In Partial Fulfilment of the Requirements in
Introduction
People often associate art with beauty such that art forms appeal to the audience because of their aesthetic qualities. Nonetheless, as we explore various theories, concepts, and approaches in art design, we discover that beauty is diverse. As the famous saying goes, beauty is in the eye of the beholder, which means that the standard and quality of beauty differs based on varying constructs and views of beauty. The conflict and exchange between perfection and imperfection, for instance, illustrates the variability of beauty as a construct in art design (Bailey & Peoples, 2010). Beauty is not merely a creation or manifestation of perfection because in art design, as well as in other related disciplines, beauty also alludes to imperfection (Cheek, 2011; Cotton, 2000). In fact, imperfect beauty is a formal approach that guides practice in art design, something that would be proven in the succeeding discussion.
Discipline in art design as well as other areas or disciplines often lead to efforts or initiatives to achieve perfection (Longhurst, 2013). Nevertheless, if we view everything in this world from a realistic perspective, we would come to the conclusion that perfection is a rarity while imperfection is commonplace. Even in art design where artists aim to create perfect pieces or works that reflect beauty, imperfection exists. Although some appreciate perfection, imperfection is also well appreciated in some circles (Croce, 1995; Saito, 2008). In fact, one of the main objectives of this discussion is to establish and illustrate the importance and relevance of imperfect beauty in art design. In this discipline, imperfection is not merely an error, failure, or incompetence on the part of the artists or the designer but a deliberate means of create a work of art (Yanagi, 1989).
On the contrary, imperfect beauty has become a formal approach in design. Hence, imperfection is deliberately achieved following specific processes and approaches (Yanagi, 1989). In the succeeding discussion, we will explore imperfection as a standard of beauty and as a formal approach that artists and designers aim to accomplish in creating or producing art forms and pieces. Furthermore, the succeeding discussion establishes imperfection as a concept that evokes thought, stimulates the imagination, and brings about a new way of thinking and viewing people, things, and particularly beauty in the world.
Moreover, in this academic learning exercise, the investigation identifies and offers discourse on the concept of aesthetics and its relation to universally known concepts about imperfection, specifically the Japanese concept that illustrates the idea of imperfection (Saito, 2008; Yanagi, 1989). Japanese views and perspectives about beauty bring to light imperfection as a recurring theme, which further explains and introduces an alternative ideal to art and architecture in contrast to the typical view held by Western precepts. Succeeding sections in the following discussion describe the underpinnings of aesthetics enabling the groundwork for moving into the specific area of the Japanese philosophy. In addition, the discussion also explains the essence of beauty in imperfection and how it applies to approaches in art design in various fields. The discourse begins with a discussion of perfection and imperfection in beauty and art.
Perfection vs. Imperfection in Beauty and Art
For the purpose of this particular scholastic examination about imperfect beauty, we will explore the Japanese philosophy that relates to the aesthetics of imperfection in art and architecture. Our main goal or objective here is to develop to the understanding of imperfect beauty by applying culture and discussing how imperfection transformed into a discipline. Specifically, the succeeding discussion focuses on the contributions of imperfection in facilitating the development of new ideas from creative discoveries and interpretations of imperfection as the opposite of perfect beauty in art. Furthermore, the following discussion explores perfection and imperfection from varying perspectives. Hence, this discussion further provides opportunities for people to appreciate different points of view and influences new ways of creative productivity. Putting aside any set ideals about Western aesthetics enables this potential as we explore cultural traditions in art and aesthetics including those observed in Japanese society and the philosophies of perfect beauty in Western society.
Philosophies about Perfection
Imperfect beauty remains an aesthetic that identifies with the Japanese philosophy of the Wabi-Sabi, which will be discussed in the succeeding section. Imperfection as a concept counters the ideology of Western views, which essentially highlight beauty as something that is defined by perfection (Gellner, 2011; Harad, 1954; Hume, 1995). The Western perspective of aesthetics applied to art and architecture remain concerned with ideas about beauty and draws value from the earliest philosophies (Carritt, 1931) including that of Plato’s and contemporary philosophies including those that are rigidly placed on ideology about art design that are acceptable and palatable in the modern world. The 21st Century is a world where varieties of aesthetic approaches exist and among these approaches, we would find imperfection as a formal approach in art design.
According to Plumb (2010, p. 76), perfection is primarily defined by completeness. Completeness is absolute, which then sets the boundaries and standards of perfection. The idea that completeness defines perfection also establishes the idea that standards and qualities are necessary in achieving perfect beauty. In art design, therefore, rules must be followed, specifically the standards and qualities of perfection, in order to achieve work or pieces that may be judged based on beauty. Plumb (2010, p. 76) even mentioned the invention or development of geometry as an example. The Greeks’ measurement of structures using geometrical principles and practices illustrate their pursuit of aesthetic value based on completeness and perfection. To accomplish perfection, the calculation must be accurate in the same way that perfection and completeness must follow rules, standards, and qualities.
Consequently, history shows ongoing debate of the origins of beauty. In Plato’s view, the idea of beauty derived from a universal purpose for its existence. Found in his writing in the Republic, Plato wrote of that art was capable of only coming close to the essence of beauty in the attempt of copying the form of everything perfectly (Pappas, 2012). Therefore, aligning beauty to proportion and harmony is an unrealized ideal. Humanity is capable of conceptualizing a perfect circle however, it remains impossible to draw a perfect circle resulting in understanding how imaginative creativity formed in the mind reigns superior thus leading to the concept of universal beauty itself (Plumb, 2010).
For Plato, as offered by Plumb (2010, p. 76), “Beauty holds an a priori existence.” Further, Kantian philosophy holds that beauty is an innate human understanding allowing the ability to differentiate the object and what it represents. In this way, an individual views beauty not based on the physical features or structures of objects but on the meaning or significance of the object (Plumb, 2010). Hence, if the individual finds the object valuable, then it would also be aesthetically pleasing to him or her. Within this process, anyone would be able to attach their own meaning and significance of the object based on what it means to them. Perfection and imperfection, therefore, are subjective within this context. It is not a case of whether the depiction of the object providing platonic-like empirical knowledge but whether the representation provides the onlooker an intuitive experience of it (Ross, 1994). This requires the viewer having a disinterested perspective on the object in order to make a judgment of its pure beauty without any ideology attached to the process.
Plumb (2010, p. 77) describes that Kant posits in refuting the classical position of Plato therefore, judgments of “pure beauty are not grounded in any definite concepts, judgements of perfection have a concept of the object’s ideal condition in mind. Perfection is quite different to pure beauty.” In his definition, Kant holds perfection as something that is dependent on structure or form whereas imperfection is based on meaning. Kant means that people would only find something beautiful or aesthetically pleasing if it adheres to standards of beauty or if serves a valuable purpose (Plumb, 2010). This provides the choice of taking that regardless of the standards, characteristics, or features of beauty, an individual’s definition or understanding of perfection depends on existing values of perfection and the physical form of art designs (Plumb, 2010).
Going back to the philosophy behind beauty, it is important to note Plato’s argument concerning this aspect of art and aesthetics. Plato’s philosophy of beauty is essentially subjective and diverse. In Plato’s texts, for instance, the philosopher relates beauty to various things or qualities such as nobility for instance (Scott, 2007). Plato argued that there is beauty in being noble (Blitz, 2010). Beauty, according to Plato, also relate to physical qualities that are admirable in people, places, and objects. More importantly, Plato argued that beauty is essentially something that people may describe as good (Blitz, 2010; Scott, 2007). Consequently, when we think about the concept of goodness, we also look into the idea of rightness and perfection. Hence, Plato’s philosophical views of perfection represent beauty as something that is good and right (Blitz, 2010; Scott, 2007).
In Plato’s work called Symposium, he discussed and analysed beauty by focusing and defining it using three features. Essentially, Plato defined beauty in art by focusing on poetry as the major subject of art scrutiny (Pappas, 2012). According to Plato, beauty in art may be defined by the presence of love as the subject of poetry, and the integration of pure thoughts and ideas in literary works. Plato asserted that poetry must educate its readers, especially the young (Pappas, 2012). For this reason, poetry must include views or ideas that are well-intentioned, informative, and those that evoke thought and creativity. By focusing on poetry, Plato also established the importance of word selection in creating art that is beautiful, and therefore, perfect. Perfection in literature, specifically poetry, as a form of art adheres to the poet’s appropriate selection of words in the poem (Pappas, 2012). Hence, perfection, based on Plato’s philosophy, is inherent in this example because the process of carefully selecting words that match the poet’s intended meaning is a means of accomplishing beauty in flawlessness.
Considering Plato’s philosophy of beauty in art as a means of attaining perfection, we may then establish the idea that perfect beauty is a deliberate approach of putting together things that symbolise goodness, rightness, or appropriateness. Furthermore, perfect beauty is something that is meaningful such that it serves purpose and function (Cairo, 2012; Rothenberg, 2012). This definition of perfect beauty refers to perfection as utility, which is surprising because later on, we would be able to establish the concept of utility in imperfection. This conflict and yet sameness between perfection and imperfection depending on the view or perspective of beauty show that although these two concepts conflict with one another, they also share similarities thereby allowing them to influence formal approaches in art design.
The general concept of aesthetics understood from a universal view invariably holds to cultural underpinnings. Consequently, art and architecture that exist in other cultures may find flaws and inadequacies in the Western perspective. The Western perspective or view of beauty is lacking in that it does not allude or relate to traditional cultures particularly those from which ideas of perfect and imperfect beauty originated. Generally, Western views and ideals of beauty find perfection valuable (Cunningham, Reich, & Fichner-Rathus, 2014). By simply watching Western television shows and films, reading photos in magazine spreads and other images that are prevalent particularly in popular art and culture in the West, we may conclude that Western society has established a view of perfection and standards of beauty that relate to the concept of perfect beauty (Cunningham, Reich, & Fichner-Rathus, 2014). In the succeeding section, we will explore perfection within the context of the Japanese worldview, particularly minimalism.
Perfection: Japanese Worldview and Minimalism
We may define perfection in various ways. Nonetheless, to narrow down the discussion, we will explore definitions of perfect beauty that relate to art. The prevailing Japanese worldview of beauty and aesthetics, for instance, accurately define perfection. Understanding the Japanese worldview of aesthetics in art necessitates an investigation of how Japanese society views concepts in the discipline such as the relationship or link between art and architecture, or the influence of the natural world on these disciplines. Japan’s geographical position places it 500 miles away from China and 100 miles away from Korea. The country is composed of a string of island (Koren, 1994; Alex, 1963, Brown et al, 2011). If there is something we ought to have learned from studying geography, culture, and art, it is that the location and geographical features of countries shape culture and consequently influence art.
One of the most notable cultural qualities of Japan is the nation’s strong ties to tradition. For the longest time, Japan closed its doors to the world because the nation aimed to free itself from outside, particularly Western, influence (Lambourne, 2005; Zemans & Kleingartner, 1999). This isolation established a cultural vacuum controlled by its leaders while logistically keeping Japan from foreign invaders. Numerous lengthy periods of self-imposed segregation from outside influences, Japan’s art aesthetic ideals developed into specifically aligned cultural norms. Even with the eventual influence of outsiders – Chinese culture, Buddhism as a religion, and Western ideals for instance – on Japan including the nation’s traditional aesthetic art forms, Japan has managed to retain its artistic traditions throughout the past decades (Koren, 1994).
Typical to Japan’s aesthetic ideal, Japanese culture never distinguished the separation of fine art from crafts until such a view influenced their tradition through contact with Europeans in the 1870s (Duiker, 2014; Duiker & Spielvogel, 2012). Katachi is the Japanese word that best describes the meaning of art. The concept refers to the process of translating design into form influenced by the ideal that art must be purposeful and functional. Furthermore, art must coalesce with the ‘act of living’ or people’s lifestyle so much so that it relates to various aspects of life including spirituality (Ogawa, Miura & Masunari, 1996). At the centre of Japanese culture is the concept of a primary aesthetic that must be valuable because of its function and must harmonise not only with the life of people but also must flow along with nature (Liotta, Kuma, & Belfiore, 2012).
Japanese culture, hence, involves the intentional premeditated application of the natural and simplistic characteristic of everything, a view best simplified with the idea that “less is more” or in formal terms pertain to minimalism (Koren, 1994). Within this context, minimalism pertains to perfection from the Japanese worldview because it creates a perfect balance among art, purpose and function, and their relation to life and nature (Bayley & Conran, 2007; Liotta, Kuma, & Belfiore, 2012). Despite the encroachment of Western influence on the Japanese culture, the foregoing ideological traditions remain fundamental to the aesthetic expression applied in contemporary art and architecture.
Overall, the Japanese worldview that alludes to minimalism reflects perfection because this concept illustrates harmony among various elements (Crowley & Crowley, 2005. In terms of aesthetics, minimalism illustrates perfection because its application in art design aims for beauty in terms of pristine and simple qualities. Symbolically or figuratively, minimalism also represents and defines perfection because it aims to harmonise function or purpose, life or lifestyle, and nature (Bayley & Conran, 2007; Liotta, Kuma, & Belfiore, 2012). Hence, perfection within this context reflects the physical attributes that allude to purity and pristineness, as well as order and simplicity, and symbolic attributes that reflect harmony, flow, and balance.
Imperfection: Japanese Worldview and Wabi-Sabi
No matter the philosophical underpinning of an aesthetic process attached to art and architecture from a general view, there nonetheless exists a process imbuing the experience engaging in art and architecture linking personal perception emotionally as a reaction where trace effects adhere in the absence of the work. Therefore, Desmond offers how this applies to different beliefs about the ideal of aesthetic beauty describing how, “The senses (serve as) the significant bodily vessels of (both) concrete reason (and) living intelligence” (1986, p. 133). This is a fundamental framework in understanding cultural differentiation as applied to the ideal aesthetic of beauty.
In the case of the Japanese view, beauty lay in identifying imperfection created in art and architecture derives from the imperfect beauty found in the perfect existence of nature. Prusinski (2012, p. 25) further explains, “Japanese cultural standards and definitions of beauty have been nurtured over many generations.” In doing so, Prusinski, (2012 explains how Japanese society was able to establish a standard or construct of aesthetics inspired by the Wabi-Sabi discipline, which guides the Japanese people’s feelings and views about their life, relationships with people, views or perspectives about various things and concepts, and their feelings about nature and the earth. The following scholastic exploration of the Japanese tradition embracing the ideal of imperfection of beauty in art and architectural aesthetics provides an empirical approach identifying the literature specific to the Wabi-Sabi philosophy.
While minimalism reflects perfect beauty from the Japanese worldview, some concepts inherent in Japanese society similarly reflect and define imperfection. To explore imperfection, particularly from the Japanese worldview, it is important to define one concept that represents or illustrates the aesthetic of imperfect beauty. Imperfect beauty is reflected by a simple and harmonious Japanese tradition called Wabi-Sabi (Crowley & Crowley, 2005). The core meaning of Wabi-Sabi is that the ideal beauty of everything is incomplete, impermanent, and imperfect. Correlated to the ideology of Zen Buddhism, Wabi-Sabi is the beauty of humility and modesty as well as unconventionality about things (Juniper, 2011; Koren, 2008; Lawrence, 2004). Priest, monks, and tea masters practice these view, which originated from India and introduced in Japan by monks that travelled to China during the 6th Century and to Japan during the 12th Century (Juniper, 2011; Koren, 2008; Lawrence, 2004).
Wabi-Sabi emphasises how transcendental truth derives from the most direct and intuitive insight beyond all intellectual perception (Juniper, 2011; Koren, 2008; Lawrence, 2004). Central to Wabi-Sabi is the idea that finding significance in the world must be rooted on the perception and acceptance of impermanence, incompleteness, and imperfection (Juniper, 2011; Koren, 2008; Lawrence, 2004). An individual must believe and understand that imperfection is found in any material. Hence, the concept of Wabi-Sabi suggests that in this world, there exists a natural process of irregularity and that this is intimate to any material, rooted on earth or nature, and establishes unpretentiousness in people and things around us (Koren, 1994).
Wabi-sabi Buddhist and Tao philosophical connection therefore looks for beauty in the imperfection of an art object with the appreciation linking to things in a constant condition of transformation and impermanence. Seeking the beauty existing in truths expressed through nature reveals such things in ceaseless movement and modification connecting to the Japanese Aesthetic commonly found in objects of decay, and death (Plumb, 2010). Further to the connection of Wabi-sabi firmly rooted in Zen philosophy therefore looks at such art employing the evanescence of life thus, conveying an essence of melancholic beauty. In addition, such art exhibits a more truthful understanding of the world as contrary to that of things developed in the technologically advanced status of society practicing the art of perfection. Wabi-sabi art embraces the truth nothing exists in a state of perfection or immobility in the real world as conceptually valid (Plumb, 2010).
According to the theory of imperfect beauty applied in art and design, the primary intention of integrating and acknowledging imperfection is to appeal to the onlooker (Koren, 2008). This is quite challenging because appealing to the onlooker necessitates an activation of creativity and imagination that would allow the individual to grasp the significance of and meaning behind imperfection. Imperfect beauty in art design must and ideally evoke something on the part of the onlooker. While viewing or appreciating art that depict imperfection, art stimulates the imagination of the onlooker, and consequently leads him or her to develop new ideas about imperfection, thereby, opening the audience to new creative horizons as described in the aesthetic of Japanese Wabi-Sabi (Juniper, 2011; Koren, 2008, & Lawrence, 2004).
Imperfection as Impermanence
According to Plumb (2010, p. 76), over the past decades, the world has slowly come to accept the notion of beauty as something that is imperfect. In the past, most people regard beauty as something that represents or illustrates perfection. Nonetheless, through experience and changes or developments in trends and people’s way of life, people have come to realise the reality of imperfection that is inherent in everything including beauty. This concept is observable in various trends or developments in the world but more importantly in the field or discipline of technology. Art and technology have collided in that the latter no longer focuses on function and purpose but also on aesthetics (Seymour, 2011).
Constant changes and developments that bring about and illustrate the relentless pursuit of perfection and beauty is best represented by the idea or concept of impermanency (Juniper, 2011; Koren, 2008, & Lawrence, 2004). Impermanency suggests that imperfection drives perfection such that the desire to overcome imperfections pushes people and organisations to constantly seek perfection. This concept supports the duality of perfection and imperfection and the idea that these ideas somehow converge to bring about a complete definition of beauty (Juniper, 2011; Koren, 2008, & Lawrence, 2004). Answering the question of what touches the psyche and emotional centre of people attached to what Plumb (2010, p. 76) describes as “a rare moment that will not last” draws on the beautiful, perfect, and the ideal. In the area of telecommunications, for instance, telecommunication companies not only provide devices that allow people to communicate but they have done so in a way that introduced devices with aesthetic qualities (Ryan, 2014; Seymour, 2011). Over the years, for instance, the form factor of smartphones has evolved significantly. Slim phones made of materials such as titanium, for example, have redefined technology as it adopted art over the course of production. The concept illustrates the direct relationship of technological form to art such that technological advances aim towards perfection and the achievement of an ideal form that would significantly and consistently challenge constructs of beauty (Ryan, 2014; Seymour 2011). Figure 1 below shows the difference between old and modern smart phones in terms of aesthetic form, structure, and function.
Figure 1. Old and New Mobile Phones
In Figure 1, the image in the right shows an old model of a mobile phone. The image in the left shows contemporary smart phones. The design of these phones illustrate the incorporation of art design in terms of form and function in the development of technology. The process of change illustrates the constant desire for perfection among phone manufacturers to create units that would be aesthetically pleasing to consumers (Ryan, 2014; Seymour, 2011).
Contemporary art offers the technological capability producing artistic remnants potentially offering the means for interpreting artistic form perfectly through such a medium as photography. As a medium art form, photography enables humans producing exact replicas of forms in their natural state as photo software allows manipulation for illustrating what Plumb (2010, p. 77) calls “perfect” beauty. Photography as an approach to capture beauty refers to a process that aims to manipulate the composition of human or physical form in order to create or establish ideals (Plumb, 2010).
While new technological advances allows creating this idealized perfection creating an intensified sense of beauty, humans appear regressing in their effort for creating absolute perfection in art that emerges particularly and intentionally imperfect. The reason this current trend exists does not align to any problem with the technology rather, it is because of the response to the demand for less perfection that technology assures. Plumb (2010, p. 77) explains, “The demand for this type of aesthetic suggests that in fact beauty can be found in imperfection.” The example the author provides looks at how the current computer-made art allows applying grunge filters creating an aged look to the piece. Among the explanations for the demand for imperfect aesthetic may align to the appeal of authenticity where art reflects the reality of life and not an ideal perspective. Much of contemporary art intentionally looks to commercial reproduction in the form of film, print, photography, and computer generated art for the specific purpose of making multiple copies. Among the experts, the debate argues how a singular piece of artwork has its own specific aura engendering an individual immediacy of space and time and its own individual existence establishes its own history (Plumb, 2010; Marra, 1999; Richie, 2007; Santayana, 1905; Sen, 1979).
Further, the aura incorporates subsequent changes connected to aging even to the point of decay as well as changing ownership. Tradition changes the significance society holds for an object nonetheless the integrity of its distinctiveness remains preserved denoting the authenticity of its originality assuring the presence of this aura effect. The argument further contends the mass production of art objects allowed by technology results in the breakdown of this aura effect (Plumb, 2010).
Consequently, according to Plumb (2010, p. 78), the ideology behind the aura effect lends to the possibility of having an effect on the judgment the onlooker attaches in seeing the beauty of the piece. As a result, the loss or disappearance of aura force the manifestation of authenticity in aesthetics. Without aura, one would be confronted with the actual or genuine appearance of objects. It follows that when one sees an art object or work as it is, the process of deconstruction has taken place because there exists no effort to meet or achieve a certain standard or form of perfection and beauty (Plumb, 2010). An assessment of otherwise seemingly and potentially perfect objects created by mechanical mass reproduction provides a reference to authenticity connected to the aura effect. In doing so, this means the aura effect exists only through mass reproduction then the implication suggests the evolution to a need for potentially perfect objects needing an element of imperfection. An example of this looks at a reproduction of a print showing a mottled or smudged stroke in the otherwise perfect image providing the onlooker with a sense of history attached to the piece. This similarly connects to the one producing it as a causal effect of imperfection even in the likelihood of numerous copies existing (Plumb, 2010).
Plumb (2010, p. 79) explains that technological development directly links to imperfection. As formerly noted, and as depicted in Figure 1, the evolution of technology clearly suggests a pursuit of perfection through a series of improvements in the development of various technological devices including mobile phones. The need for businesses to make improvements is an admission in itself that products or commodities are imperfect and therefore, necessitates improvements. Consequently, evidence of changes show aesthetically subversive in the destruction of the aura attached to the work through mass production. Challenges to Plato and others’ view of beauty reveal evidence of the irrelevance of the perception of beauty according to both time and space, and no longer requires perfection as a means of gauging beauty. Hence, based on the foregoing examples, we may surmise that art may still be considered aesthetically pleasing even if it is incomplete or unfinished.
Since the nature of art purposefully created for reproduction signifies it pragmatically never changes theoretically with age and decay therefore, it loses its presence in both time and space. Conversely, in line with the precepts of Wabi-sabi of impermanence and fluidity, then more contemporary forms of art encompassing reproduction in masse including digital art, then provides a causal imperfection and impermanence. Further any contemporary pieces of art that do not intentionally seek to produce perfection positioned in fixed space and time fit the Wabi-sabi aesthetic as well as improvisational types of art (Plumb, 2010).
Plumb (2010, p. 80) provides how some argue how the intentionally mass produced art moved toward favouring “more subjective experience, subverting the idea of a mass culture and embracing the idea of impermanence.” This consequential subversion therefore references it as an imperfection because of its impermanence. Even though Interactive Arts technically remains reproducible, it nonetheless makes possible “this kind of subjective experience based on impermanence.” Further, according to Plumb (2010, p. 80), Cybernetics is a discipline that analyses, explores, and observes communication as a means to determine patterns and trends and then bring about information to guide the control of communication. In this, the premise posits how making something happen, therefore requires action taken toward achieving an outcome need engage some kind of feedback. Hence, Cybernetics makes use of existing and assessed constraints as means to eliminate aspects, features, and characteristics of systems that do not fit. The roots of Cybernetics in science shows its immersion into the world of art beginning in 1960 where exhibits of the future created works such as interactive computer based machined mobiles engaging both people and each other. The intention of the artist creating this looked at it as an aesthetically powerful environmental design meant for stimulating pleasurable human interaction. This artistic idea of self-organized computer systems later influenced such technically based developments as digital art emerging in the 1970s attributed to one artist having the idea of art as environmentally responsive to both the gestures and movement of anyone looking at it using sensors and video cameras placed in the floors (Plumb, 2010).
Plumb (2010, p. 81) describes a current artistic production of Cybernetics theory with the exhibit of a “fluid tank that grows iron crystals.” Achieving this requires wires electrically pulsed through other branch like wires prodding the growth of the crystals causing changes in the flow of the current. This contraption is responsible for manipulating or spurring the growth of the material. Consequently, the growth of the material materialises in an organic display. The transmission of the image on screen is an imperfection in itself because the material does not represent a fully constructed object that serves function or purpose. The value of this object depends on its meaning and function to the individual.
Imperfection as a Formal Approach or Discipline in Various Aspects of Art
Imperfection as Deconstruction in Textile Production
In the foregoing discussion, we have underscored imperfection as something that is rudimentary in art and architecture because it realises other aspects of beauty and perfection. Essentially, imperfection in art and architecture may also be an aspect of perfection and beauty. The same principle applies in textile design. Although perfection is used as a measure in gauging the surface quality of textile, some textile designs have also gained traction in fashion due imperfect surface qualities (Kelley, 2009). In the contemporary world of fashion, for instance, some see beauty in the “wear and tear” of textiles. Rei Kawakubo’s creation for Commes des Garcon in 1981 has been influential in introducing “wear and tear” as a contemporary trend in textile design. Kawakubo used frayed and tattered textile or materials in her collections (Kelley, 2009). Figure 2 below was one of Kawakubo’s creations showcasing frayed material as a fashion piece.
Figure 2. Rei Kawakubo’s collaboration with Commes des Garcon
Kawakubo’s use of frayed and tattered textile brought about a trend that alluded to deconstruction, which mirrors the concept of imperfection. Other designers such as Martin Margiela and Alexander McQueen also used tattered and seemingly muddied textiles, and therefore imperfect textiles, to put together fashion pieces for their respective collections (Kelley, 2009). Consequently, fashion labels that use non-pristine textile created a cult following and wearing torn or ripped garment became part of a subculture (Kelley 2009: 218). More importantly, the widespread use of imperfect textiles such as those that are torn, ripped, and frayed brought about a trend and approach in fashion and design called deconstruction. Hence, the use of imperfect textiles became a trend in the fashion world and a practice and approach among designers in the form of deconstruction (Kelley, 2009).
In deconstruction, designers achieve the perfect imperfections of non-pristine textiles through by subjecting materials to artificial processes of wear and tear. The result of this processes is the eventual breakdown of textiles from their finished and therefore perfect states (Kelley, 2009). Artificial processes of wear and tear allow designers to deliberately create and put together textiles for use that are unfinished and deconstructed based on the designers’ vision and intention for the materials. It is important to note that imperfection as an approach in textile production and fashion design, this concept has transcended the processes of artificial wear and tear. Within this context, imperfection is more than the state of the textile as unfinished and deconstructed because it is an approach, and therefore, represents a theory or philosophy (Kelley, 2009).
According to Kelley (2009: 218), imperfection in textile production and fashion design are aspects of postmodernism. The use of distressed textiles in fashion, according to Kelley (2009: 218) is postmodernist thinking because deconstruction as an approach integrates new meaning and history to textiles as materials. Textiles no longer function as materials to create and bring to life the vision of designers. Deconstruction as an approach infuses allegorical meaning to textiles because these materials represent a thought or concept, that is, imperfection as an object of fashion design and textile production.
Kelley (2009: 218) delved deeper into deconstruction as an approach in textile production and fashion design by exploring the meaning and significance of imperfection within these contexts. Understanding the beauty of imperfection in textile design is important in grasping the postmodern thought in deconstruction as an approach. According to Kelley (2009: 218), traditional approaches and practices in textile production and fashion design reject imperfection in textiles. Historically, manufacturers and designers do not produce and present to the public respectively unfinished, unpolished, and non-pristine textiles or fashion pieces or clothing. Hence, during this time, textile manufacturers and designers prioritised and aimed for perfection. Nonetheless, postmodern thinking introduced a different approach in textile design that creates a new meaning for imperfection as an object of fashion and aesthetics.
Imperfection in Fashion
Since we have established the manifestation of imperfection in textile production, we may now discuss its manifestation in fashion, a discipline that is closely related to the former. While textile production refers to the creation of fabrics and materials that are primarily used to construct clothing, it is only natural to establish its relation to fashion. Imperfection also manifests in fashion, as we have formerly argued using deconstruction as an approach in fashion design. Since fashion is essentially a means of self-expression for most people, we may then consider imperfection, as represented by deconstructed clothing made from worn and torn textiles a means of self-expression for those that prefer imperfect or worn clothing. Essentially, wearing worn and torn clothing symbolises the individual’s acceptance and acknowledgment of imperfection.
As formerly noted, Kawabuko introduced deconstruction and imperfection in fashion (Kelley, 2009). Nonetheless, other fashion designers followed suit. Maison Martin Margiela, for instance, also adopted deconstruction as an approach in creating fashion collections. Similarly, Maison Martin Margiela use tattered and frayed textiles to create fashion pieces. In recent years, the fashion designer and label adopted deconstruction as an approach to establish imperfect beauty by putting together different types of textiles that do not traditionally mesh together well. The use of contrasting colours and textiles or materials illustrate imperfection and deconstruction (Bruzzi & Gibson, 2013; Prettejohn, 2007). Figure 3 below shows a piece from Maison Martin Margiella’s 2012 Spring Summer collection. It shows tattered and different scraps of textiles put together to create the piece.
Figure 3. A Deconstructed Piece from Maison Martin Margiella’s 2012 Spring Summer Collection
Even in jewellery design, artists or designers have adopted deconstruction as an approach to create imperfect pieces that still appeal to beauty within the standards of the said approach. Niessing’s tension ring, for instance, illustrates imperfect beauty in jewellery design because of its irregular form (Harlow, 1998). Traditionally, gems on rings are imbued, embedded, or lodged on the ring. Nonetheless, the gems on Niessing’s tension rings appear to be floating, thus, held by the tension of the circular ring (Harlow, 1998). Figure 4 below shows an irregular design that illustrates imperfection because of the unusual form and the distinct way that the ring holds the gem.
Figure 4. Niessing’s Stainless Steel Tension Ring
Conclusion
The foregoing discussion establishes various views and perspectives about imperfection in the arts through a discussion of perfection and imperfection and the manifestation of the latter in various fields or disciplines. As formerly noted, perfection and imperfection are two different concepts but these ideas also converge because they seemingly complement one another. Due to imperfection, there is a relentless pursuit for perfection. Due to the perfection, we are able to establish the definition and qualities of perfection. Various ideas, theories, and philosophies describe perfection. From the Japanese worldview, for instance, minimalism defines perfection. On the contrary, Wabi-Sabi defines imperfection.
Over the past decade, society has slowly embraced imperfection as a natural part of life and reality. In the same way, imperfection has slowly integrated its constructs to various disciplines including art, fashion and textile in particular. As a consequence, imperfection eventually became a formal discipline and approach such that there is a deliberate pursuit of imperfection as an output of art. This establishes imperfection as a discipline and as an approach that holds meaning, significance, and relevance in art.
References
Abe, M. 1997. Zen and comparative studies: Part two of a two-volume sequel to ‘Zen and Western thought’. University of Hawaii Press.
Alex, W. 1963. Japanese Architecture. New York: G. Braziller.
Bailey, G. & Peoples. 2010. Essentials of cultural anthropology. Florence, KY: Cengage Learning.
Barton, S. 2013. Wabi-Sabi art workshop. North Light Books.
Bayley, S. & Conran, T. 2007. Design: Intelligence made visible. Firefly Books.
Blitz, M. 2010. Plato’s political philosophy. The John Hopkins University Press.
Brown, R. M., & Hutton, D. S. (Eds.). 2011. A Companion to Asian Art and Architecture. Malden, MA: Wiley-Blackwell.
Bruzzi, S. & Gibson, P. C. 2013. Fashion cultures. New York, NY: Routledge.
Cairo, A. 2012. The functional art. New Riders.
Carritt, E. F. (Ed.). 1931. Philosophies of Beauty from Socrates to Robert Bridges: Being the Sources of Aesthetic Theory. New York: Oxford University Press.
Cheek, L. W. 2011. The year of the boat: Beauty, imperfection, and the art of doing it yourself. Sasquatch Books.
Cotton, C. 2000. Imperfect beauty: The making of contemporary fashion photographs. New York, NY: V&A Publications.
Croce, B. 1995. Aesthetic: As science of expression and general linguistics. New York, NY: Transaction Publishers.
Crowley, J. & Crowley, S. 2005. Wabi Sabi style. Gibbs Smith.
Cunningham, L., Reich, J. & Fichner-Rathus, L. 2014. Culture and values: A survey of western humanities. Florence, KY: Cengage Learning.
Duiker, W. J. 2014. Contemporary world history. Florence, KY: Cengage Learning.
Duiker, W. & Spielvogel, J. 2012. World history, Vol. II. Florence, KY: Cengage Learning.
Funch, B. S. 1997. The psychology of art appreciation. Museum Tusculanum Press.
Gellner, A. 2011 Embracing Imperfect Architecture. [On line] Available at:
<http://www.inman.com/2011/11/18/embracing-imperfect-architecture/ > [Accessed 13 November 2014]
Harada, J. 1954. The Lesson of Japanese Architecture (Revised Ed.). London: Studio Limited.
Hume, N. G. (Ed.). 1995. Japanese Aesthetics and Culture: A Reader. Albany, NY: State University of New York Press.
Juniper, A. 2011. Wabi Sabi: The Japanese art of impermanence. Tuttle Publishing.
Kane, J. 1997. From the Baroque to Wabi: Translating Animal Imagery from Shakespeare's King Lear to Kurosawa's Ran. Literature/Film Quarterly, 25(2), 146+.
Koren, L. 1994. Wabi-Sabi for Artists, Designers, Poets & Philosophers. Berkeley, California: Stone Bridge Press.
Koren, L. 2008. Wabi-Sabi for artists, designers, poets & philosophers. Imperfect Publishing.
Lambourne, L. 2005. Japonisme: Cultural crossings between Japan and the west. Phaidon.
Lawrence, R. G. 2004. The Wabi-Sabi house: The Japanese art of imperfect beauty. Clarkson Potter.
Liotta, S. A., Kuma, K. & Belfiore, M. 2012. Patterns and layering: Japanese spatial culture, nature and architecture. Prestel Pub.
Longhurst, J. 2013. On perfection: An artists’ symposium. New York, NY: Intellect Books.
Marra, M. 1999. Modern Japanese Aesthetics: A Reader. Honolulu, HI: University of Hawaii
Ogawa, T., Miura, K. & Masunari, T. 1996. Katachi: Symmetry. New York, NY: Springer Science & Business Media.
Paine, R. T., & Soper, A. 1955. The Art and Architecture of Japan. Baltimore, MD: Penguin Books.
Pappas, N. 2012. “Plato’s aesthetics”. Stanford Encyclopedia of Philosophy. Available at: http://plato.stanford.edu/entries/plato-aesthetics/.
[Accessed: 26 Nov 2014].
Plumb, H. 2010 Impermanent Art – The Essence of Beauty in Imperfection. [Pdf] Available at:
<http://www.bcs.org/upload/pdf/ewic_ca10_s2paper4.pdf > [Accessed 13 November 2014]
Prettejohn, E. 2007. Art for art’s sake. Yale University Press.
Prusinski, L., 2012. Wabi-Sabi, Mono no Aware, and Ma: Tracing Traditional Japanese Aesthetics through Japanese History. Studies on Asia, Series IV, 2(1), pp. 25-49.
Richie, D. A Tractate on Japanese Aesthetics. 2007. Stone Bridge Press. © 2007 Donald Richie
Ross, S. D. 1994. Art and its significance: An anthology of aesthetic theory. SUNY Press.
Rothenberg, D. 2012. Survival of the beautiful. A&C Black.
Ryan, S. E. 2014. Garments of paradise. MIT Press.
Saito, Y. 2008. Everyday aesthetics. Oxford, UK: Oxford University Press.
Santayana, G. 1905. The Sense of Beauty: Being the Outlines of Aesthetic Theory. New York: C. Scribner's Sons.
Scott, D. 2007. Maieusis. Oxford, UK: Oxford Scholarship.
Sen, S. 1979. Tea Life, Tea Mind. Weatherhill: New York.
Seymour, S. 2011. Functional aesthetics: Visions in fashionable technology. New York, NY: Springer.
Yanagi, M. 1989. The unknown craftsman: A Japanese insight into beauty. Kodasha International.
