Moving Objects: A Cultural History of Emotive Design.

Taylor explains how in the case of a "use-object" (vs. an art object), such a lexicon must be "inevitably involved with I praxis i , whereby theory is enacted" (p. 184). It is significant that Taylor firmly locates his investigation within the field of design theory, with the aim of expanding its scope. Graph In his 1936 essay "La Crise de l'Objet", André Breton identifies a I volonté d'objectivisation i ; an unprecedented drive toward the concrete in contemporary art and science that underlies the surrealist endeavor to bring about "a total revolution of the object".[1] With reference to diverse artifacts displayed in the first Surrealist Exhibition of Objects,[2] he elaborates on this new conception of the object and lists some of the strategies adopted by the surrealists to transcend an object's "manifest life" and liberate it from the "mad beast of I conventional use i [ I usage i ]". [Extracted from the article]