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Extra resources for The Perfect Fit: The Classic Guide to Altering Patterns
Second, to propose the classical procedure of ekphrasis as a possible model of aesthetic inquiry that allows us to do justice to the aesthetic on its own terms without abandoning or losing 17 I nt rod u ction sight of the ethical operations of a given artwork. The chapter concludes with a comparative exercise in ekphrasis, extending the notion of the aesthetic encounter as a form of partial becoming through a discussion of a several drawings by Kathleen Henderson and a series of Richard Barnes’s photographs.
Decisions about the “value” of artworks, about their function in the activity of aesthetic creation, furthermore, are never final, or finalizable, because there is always a certain indeterminacy about such decisions, depending on the “subjective form,” on the way the object is perceived or felt by the observer. Whereas art acquires its necessary place in life from its transformational potential, from the ways the encounter with an artwork is something that actively happens to us, an event that constitutes us anew as subjects, an ambivalent, dynamic event that enables novelty per se, such decisions — or aesthetic “judgments” — on the contrary, are not, nor are they universal.
While I argue for an understanding of the operations of all cultural expression as an embodied/embedded affective event, my aim in this chapter is to foreground the singularity of any given artistic encounter in its irreducibility to object or form. I develop my approach to art in its historical and sociocultural specificity as a site of experience that exceeds the determination and the materiality of objects while remaining rooted in the world because it only obtains in its affective, material, singular actualization.