The Imperfect Aesthetic

Lie, S; Pandolfo, B; Walden, R

The Imperfect Aesthetic

Lie, S Pandolfo, B Walden, R

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Publisher:: Palgrave Macmillan
Publication Type:: Chapter
Citation:: Provocative Plastics Their Value in Design and Material Culture, 2021
Issue Date:: 2021-01-29

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Field	Value	Language
dc.contributor.author	Lie, S
dc.contributor.author	Pandolfo, B
dc.contributor.author	Walden, R https://orcid.org/0000-0001-8746-7276
dc.contributor.editor	Lambert, S
dc.date.accessioned	2021-02-08T07:11:15Z
dc.date.available	2021-02-08T07:11:15Z
dc.date.issued	2021-01-29
dc.identifier.citation	Provocative Plastics Their Value in Design and Material Culture, 2021
dc.identifier.isbn	3030558819
dc.identifier.isbn	9783030558819
dc.identifier.uri	http://hdl.handle.net/10453/145952
dc.description.abstract	The history of plastics in product design is divided into four sections, based on key changes in manufacturer perception of the aesthetic strengths of the material. These are discussed through a review of the literature. Noting that the perceived imperfect aesthetic associated with 3D-printing technology has not stalled the advance of additive manufacturing, the chapter combines Hekkert’s human-product aesthetic interaction and Norman’s reflective-level human processing theory, to expand aesthetics in relation to material understanding. It concludes that the instrumental aesthetic interaction qualities of plastics, combined with the increased reflective-level human processing afforded by 3D printing, places more value on free manipulation of the material than on the quality of resulting surface texture.
dc.language	en
dc.publisher	Palgrave Macmillan
dc.relation.ispartof	Provocative Plastics Their Value in Design and Material Culture
dc.rights	info:eu-repo/semantics/closedAccess
dc.title	The Imperfect Aesthetic
dc.type	Chapter
pubs.organisational-group	/University of Technology Sydney/Faculty of Design, Architecture and Building
pubs.organisational-group	/University of Technology Sydney/Faculty of Design, Architecture and Building/School of Design
pubs.organisational-group	/University of Technology Sydney
utslib.copyright.status	closed_access	*
pubs.consider-herdc	true
dc.date.updated	2021-02-08T07:10:42Z
pubs.publication-status	Published

Abstract:

The history of plastics in product design is divided into four sections, based on key changes in manufacturer perception of the aesthetic strengths of the material. These are discussed through a review of the literature. Noting that the perceived imperfect aesthetic associated with 3D-printing technology has not stalled the advance of additive manufacturing, the chapter combines Hekkert’s human-product aesthetic interaction and Norman’s reflective-level human processing theory, to expand aesthetics in relation to material understanding. It concludes that the instrumental aesthetic interaction qualities of plastics, combined with the increased reflective-level human processing afforded by 3D printing, places more value on free manipulation of the material than on the quality of resulting surface texture.

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http://hdl.handle.net/10453/145952