Aesthetics and Design in the Knowledge Economy Era

Author: Teng Shouyao / Nie Zhenbin et al
Publisher:
Publish Date: 2006-01-01
Features: Art, like nature, is a native home for humanity. Art is absolutely not a plaything for ordinary people; it is the source of harmony. What flows from it is an ever-flowing spring of life. As long as one engages with and appreciates art, this life-giving spring will nourish dry lips and allow the seeds of the heart to grow vigorously. Over time, such a person may become a harmonious and perfectly developed individual. If a society is composed of such people, the entire society becomes a harmonious one. A society can only give birth to cultural offspring by "marrying" art; if it "divorces" art, it will only lead to barbarism, and the society will turn into a cultural desert. "The creation, reception, and appreciation of art is a high level of cultural quality, and the most important shortcut to acquiring this quality is art education." "The comprehensive art education or ecological art education that is currently flourishing not only emphasizes dialogue, intersection, and integration among various art forms but also focuses on the penetration of artistic spirit into other disciplines. Implementing comprehensive art education has a unique advantage for China. To inherit and promote the fine traditions of Chinese art education, to perfect and develop comprehensive art education, and to cultivate high-quality talents are precisely the purposes of developing this series of 'Frontiers of Art Education.'"
This book is the research outcome of a key project of the Chinese Academy of Social Sciences from 2002 to 2004. It aims to construct a new paradigm of aesthetics in the knowledge economy era, explore the theoretical status and practical expression of "design" within this new aesthetic system, and thus fill the research gap in human culture regarding the "aesthetic dimension" of the new social type "knowledge economy." It brings aesthetic research into the evolutionary structure of social history. At the same time, it focuses on the interaction between design and aesthetics, describing the role of design in the aesthetic system of the knowledge economy era from several aspects: design in the contemporary Chinese context, aesthetic critique of commercial design, and aestheticized existence and environment. The series of new aesthetic topics proposed in this book will become new growth points for current and future aesthetic research.