Tre texter om förskjutningens estetik. Dislokation och autonomi

Sammanfattning: The aim of the dissertation Three texts on the aesthetics of dislocation , is to show and discuss some aspects of aesthetics with regard to the concepts of deviation, dislocation and incompleteness. The dissertation consists of three different parts, which can be read separately and without any preferable sequence. One of the three texts, (-) The designating gesture , deals with questions concerning a typical theme in the modern society, namely the tendency to worship the act of deviation from the modernistic ideological mainstream. Paradoxically the break from general conventions seems to be the drive in the aesthetics of modernism. (-) The designating gesture is an attempt to give the philosophical background to this paradox. Of great importance is the ages of romanticism and enlightment, but also the critique of enlightment developed in poststructuralistic thoughts and deconstructive philosophy. Deconstruction also plays a fundamental role in the quantitatively biggest part of the dissertation. This part, Dislocation and Autonomy , deals with questions that arise in a close reading of Peter Eisenmans texts on architecture. Dislocation and autonomy are here the key-concepts in the investigation of Eisenmans theoretical relation to the philosophical deconstruction. In Eisenmans architectural theories, a special type of object-oriented perspective tends to occupy the foreground. This is important in the concideration of how Eisenmans theories and architecture have been developed since the end of the sixties. Furthermore, it also gives the background to the formalistic impact on Eisenmans works. The smallest, but not the less important part of Three texts on the aesthetics of dislocation , is Furniture Strategies . This text is a comparison between Donald Judd1s way of designing furniture and Richard Artschwager1s furniturelike objects of art. In the light of a discussion about the economy in the designprocess and fullfillment of desires, the strong limit between the categories of furniture and art is brought into question. In addition to this text, the author presents an object, Bench for museums , which can be seen as a parasite on both of the two traditional categories of art and furniture.