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form: towards a working definition

updated tue 10 apr 01


iandol on mon 9 apr 01

I think the arguments about "good" and "bad" form are irrelevant. For =
the most part evidence which has been put forward is subjective. =
Furthermore, and those who wish may castigate me for playing semantics, =
without defining your terms of reference opinions put forward so far =
seem to skirt around the basic point. So what are we supposed to be =
discussing? Because if we cannot answer that question can we ever =
evaluate our works.

So, following on from my essay about Audacious Aesthetics versus =
Functional Efficiency (CM Comments) where I discussed the unity of Art, =
Design, Craft, Evaluation and Judgement as a holistic cyclic process =
here is my stab at saying what "Form" is.

Given that the visual appearance of every three dimensional and two =
dimensional object can vary depending on the viewpoint of each =
spectator, then each object is experienced as visual and tactile =
sensations which give us a subjective appreciation of the intention of =
the maker.

When analysed, Form is the sum total of the conceptual, structural and =
visual elements and their relationships. Form is responsible for the =
visual appearance of every object. With a three dimensional object, form =
is often appreciated through the shape of the apparent contour or visual =
edge which separates the object from its surroundings or background.

As a general example to illustrate this point, I see six sides of a =
hexagon but can feel and count twelve edges. Is the hexagon a shape or a =
form in this instance?

Best regards to those who are contributing to this discussion.

Ivor Lewis. Redhill, South Australia=20