ABSTRACT
Suggesting the same philosophical flaw does more harm than good, this
chapter uses theories associated with a sense of place to highlight the
shortcomings, particularly those created by a dependence on universal
truth, in the studio and in practice. Constructing an entirely different
basis from which to understand aesthetic experience unlocks a major
part of the debate, the trick, once again, is to disengage aesthetics from
the primitive bodily ways of knowing, disentangle it from psychology
and use a fresh, common-sense approach to bring materiality back into
the picture.
