1. AESTHETICS OF INTERACTION DESIGN
As being a designer I always try to design something new, creative and interactive. Most of the people think that designers are born to modify and beautify things, which is totally wrong designers give directions of living; they transform the ugly into beautiful things. I have a deep interest in aesthetics and that I am tackling with the concept of aesthetics on a daily basis, in words as well as in drawings, movies, prototypes and other artifacts of interaction design. In this era the whole design field is all about interactive designs for that we have to deal with aesthetics of interactive design.
1.1 AESTHETICS
I have read the Journal „SPECIAL ISSUE ON DESIGNING FOR AESTHETICS OF INTERACTION’ and attempt to provide an overview of current research in the Aesthetics of Interaction.
Aesthetics is the study of beauty in nature. The best designs usually 'look good‟ 'aesthetically pleasing'. The aesthetics are usually accomplished by the shape, texture, and colour, type of material, symmetry and simplicity of the repeated pattern used in the design.
Aesthetics is a concept not easily broken down into simpler ideas, making it difficult to explain. When we speak of something that creates an aesthetic experience, we are usually talking about some form of art; yet the mere fact that we are discussing a work of art does not guarantee that we are also discussing aesthetics the two are not equivalent. Not all works of art necessarily create an aesthetic experience, for example when we look at a painting to determine how much we can sell it for. Just think how we beautify things in our mind and this aesthetic design sense should require achieving interactive designs.
Aesthetics is basically related t...
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4. Gibson, J. J. (1986). The ecological approach to visual perception. Hillsdale, NJ: Lawrence Erlbaum Associates.
5. Philip R. Ross* and Stephan A. G. Wensveen: Department of Industrial Design, Eindhoven University of Technology, Eindhoven, the Netherlands
6. Frens, J. W. (2006). Designing for rich interaction: Integrating form, interaction and function. Eindhoven, the Netherlands: Eindhoven University of Technology.
7. David McGookin, Stephen Brewster , Berlin Springer (2006). Haptic and audio Interaction design.
8. Taylor & Francis. (01 Jan. 1997), London: Taylor & Francis. Ergonomics abstracts.
9. Routledge & Kegan Paul. (01 Jan. 1996), British journal of aesthetics.
10.http://www.guusbaggermans.nl/friendlyvending/
11. http://www.techeblog.com/index.php/tech-gadget/high-tech-friendly-vending-machine-is-interactive
(1) See "Judgment, Aesthetic" in A Companion to Aesthetics edited by David Cooper (Basil Blackwell, Oxford: 1992).
Bell, Clive. The Aesthetic Hypothesis. Aesthetics. Edited by Susan Feagin and Patrick Maynard. New York: Oxford University Press, 2010.
There is no requirement of beauty in art. Indeed, some of the highest quality in art is attained by some of the ugliest things. An example is the film, Schindler's List. Its representation of oppression and violence is revolting at times, but its ability to convey a clear message is strong. Perhaps the most appropriate gauge of quality in art is its effectiveness in communication.
One is illustrated by the aesthetic differences between two typefaces that are included in most computers: Arial and Helvetica. Arial’s ubiquity is not due to its beauty. In fact, it is more than a copy of Helvetica (). Mark Simonson, an American graphic designer, produced an analysis of the two, which shows how much more refined Helvetica’s detailing is than Arial’s. The tail of the ‘a’ is gently curved in Helvetica, as is the first connection of the bowl to the stem, but not in Arial. Similarly, the top of the ‘t’ and the ends of the strokes in the ‘C’ and ‘S’ are perfectly horizontal in the former, but slightly angled in the latter. He also noted that the stem of Helvetica is more complex in the structure than those in Arial. The distinguishing details are so tiny that you can only see them if you scrutinize magnified versions of each character as Simonson did. Only a handful of the millions of people who use either typeface will ever look closely enough to notice them. Yet it is these subtleties that constitute Helvetica a finer example of design than Arial for professionals. Functionally the two fonts are roughly equal, as both are admirable clear and easy to read, but aesthetically Helvetica is superior and considered to be Super
With his down-the-rabbit-hole approach to design and obsessive attention to detail, Wes Anderson, writer, director and auteur, is best known for his highly stylized movies. His extremely visual, nostalgic worlds give meaning to the stories in his films, contrary to popular critical beliefs that he values style over substance. Through an analysis of his work, I plan to show that design can instead, give substance to style.
In Introduction to Aesthetics, G.W.F. Hegel’s opening paragraphs describe the spacious realm of the beautiful, the relationship of beauty in both nature and art, and the limitation and defense of aesthetics. Hegel addresses that the proper way to express the meaning of aesthetics is to refer to it as Philosophy of Fine Art, however, once adopting this expression humans, “exclude the beauty of nature” (Hegel). As humans, it has become a way of life to use our senses to help describe the beauty of nature, animals and other people in our world. According to Hegel, “beauty of art is higher than nature” (Hegel) and it is the art that is created by the spirit that stands above that of nature. Nature is an incomplete substance and the, “realms of nature have not been classified and examined from the point of view of beauty” (Hegel). Therefore, there is a difference between the beauty of nature and
Aesthetics found that through their great interest in beauty, pleasure that is derived form objects of art is more beautiful than other pleasures.
Philosophies of Art and Beauty Edited by Hofstadter and Kuhns, (Chicago: University of Chicago press, 1976) chapters one and two for an overview of the aesthetics of Plato and Aristotle.
Aesthetics is the theoretical study of the arts and related types of behavior and experience. It is traditionally regarded as a branch of philosophy, concerned with the understanding of beauty and its manifestations in art and nature. However, in the latter 20th century there developed a tendency to treat it as an independent science, concerned with investigating the phenomena of art and its place in human life. Yet, what in a field with a hazy line in between being classified as a science or study of beliefs is considered data for determining what can be studied? It can simply be drawn to the only three things involved in the process of art : The creator, the person experiencing, and the art itself.
Today most art education programs are made up of four components. One of these components is art aesthetics. Aesthetics is the study of the nature of a piece of artwork. It analyzes the work by asking specific questions regarding the artist and the piece. The viewer becomes the judge in a sense. It tries to discover what the artwork might be representing. They could also ask what type of emotion the artist was trying to convey in their work. The viewer also takes part in analyzing the physical aspects and characteristics of the work. It focuses on the use of color, sequence and synchrony of an artwork. It notes the artist’s craftsmanship, artistic ability and proficiency in technique (Hoffman 1999).
Aesthetics is the study of nature, beauty and taste. Found information states “that Aesthetics refer to environmental factors and how they are manipulated to influence our feelings and emotions”. When referring to environmental factors it was including colors, lighting, spatial arrangement, and sounds. Found information also states that we “manipulate environmental factors to affect mood by controlling the setting”. For example, you may change the lighting in the room to a dim to give a romantic mood for someone. Aesthetics is used in many different ways.
Design has major impact with concerns to environmental qualities. This field is a direct study of the relationship between behaviouristic actions of its inhabitants. Designers constantly interact with people and communicate to solve the needs of their clients regardless of large or small scale projects. Analysis is key in combining creativity with managerial design solutions. These outside-of-the-box designers have the ability to create beautiful, safe and functional and aesthetically pleasing spaces using common factors, designing for communities as well as,
Visual Communication could be described as processes that rely primarily on rich visual content as the means of conveying information through words, photos, colors, shapes, and many other components. However, visual communication explores the use of graphical components in achieving communication goals. Visual communication has both critical and practical parts. According to the current book we use in the class “Visual Communication, Images with Messages”, the critical part of visual communication is known as visual rhetoric, which explores the way that designers use visual elements to influence audiences.
‘You cannot hold a design in your hand. It is not a thing. It is a process. A system. A way of thinking.’ Bob Gill, Graphic Design as a Second Language.
When it comes to aesthetic pleasure, there are many ways of arriving at the notion that something is aesthetically pleasing or something is art, cultures differ, but there are four theories that allow discussion on how or why something is aesthetically pleasing. These theories are; The Theory of Expression, The Theory of Representation, Institutional Theory and Formal Theory. But before proceeding one must understand what aesthetic pleasure is. Aesthetic pleasure is the pleasure received from seeing or hearing something beauty, as long as something is beautiful then that something is art. Dictionary.com would support my argument by stating on its website that aesthetics pleasure is “pertaining to a sense of the beautiful or to the philosophy of aesthetics.”