Collisions, Design and the Swerve

Brassett, Jamie; O’Reilly, John

doi:10.1007/978-3-319-73302-9_5

Cited by 4 publications

(4 citation statements)

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“…237-238); see: Agamben (1998). 13 We have noted this in our essay on Lucretius, the clinamen and design: Brassett and O'Reilly (2018a). We should also note that we recognise the way in which Whitehead characterises 'critical philosophy', favouring rather 'speculative philosophy'.…”

Section: Notesmentioning

confidence: 87%

2078/1978. Anticipation and the contemporary

Brassett¹,

O’Reilly²

2021

A Creative Philosophy of Anticipation

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Section: Notesmentioning

confidence: 87%

2078/1978. Anticipation and the contemporary

Brassett¹,

O’Reilly²

2021

A Creative Philosophy of Anticipation

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“…While Kaplan (following Nancy) highlights the relational ontology Lucretius's atomism delivers, such relations (being-in-common) seems to accentuate Being. My emphasis here is rather on creative becoming; see also Brassett & O'Reilly (2018) on this in relation to design practice. between birth and death, the relation between atomic individuals and the emergence of a life (Deleuze, 1991) is not a negating one.…”

Section: (Atoms Worms)mentioning

confidence: 99%

“…As if some accidental swerve knocked atoms out of their regular path downwards and set them into aleatory patterns of creative generation. Not only is accident the experiential dimension of ontology, but the inception of all ontology's creative potential (Lucretius, 2007;Brassett & O'Reilly, 2018 were deleted by mistake and could not be restored' (Ahn, 2018, p. 11). In the three images presented, two -showing the top of a child's head, framed by an adult's hands and blue-clothed shoulders and chest -are about three-fifths 'fragmented into disorderly bits' (Ahn, 2018, p. 11).…”

Section: (Accidental Ontogeneses)mentioning

confidence: 99%

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Atoms and Worms (Ontologies of Fragments)

Brassett¹

2019

Fragmentation of the Photographic Image in the Digital Age

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The nature of any type of existence can only be explained by reference to its implication in creative activity.Alfred North Whitehead, Modes of Thought, p. 93 That's why you should let go of any terror of the new. Lucretius, On the Nature of things, Book 2, ll. 1031-1040 (fragments)The power of the fragment was of crucial importance to the German Romantics especially the Schelgel brothers and their collections (Wheeler, 1984). This is examined in the first chapter of Philippe Lacoue-Labarthe and Jean-Luc Nancy's (1988) book on the theory of literature of the period and in

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Creating Affective Social Design

Brassett

2018

cubic

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The ethics of designing has often been organised according to moral imperatives, and social design not only aligns with such moralities, but perpetuates them without providing a clear critique of the systems to which they adhere. To rid itself of such reactive ideologies, and so to create other conditions for the possibility of its creativity, social design might occupy itself with a different account of ethics altogether. This paper will seek to elucidate such a different ethics along the lines Baruch Spinoza proposed and Gilles Deleuze championed. That is, it will therefore call for an affective designing that operates by creating ethical ontologies. This article will bring an affective, ethical, ontological design to bear on a social entity that emerges from the relations affectivity requires, insofar as it is one that is designed.

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Collisions, Design and the Swerve

Cited by 4 publications

References 36 publications

2078/1978. Anticipation and the contemporary

2078/1978. Anticipation and the contemporary

Atoms and Worms (Ontologies of Fragments)

Creating Affective Social Design

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