I found one of those recently
Forty; Adrian (1986): Objects of Desire. Design and Society since 1750. London, Thames and Hudson.
and he gives a very good exegesis of the changes wrought by making sustainable money out of the making of objects - one I used for my students was Wedgewood and it is interesting to look at the site for Wedgewood on the web, all hubris and hyperbole, and look at Forty's take on Wedgewoods endeavours in the late 18th Century (p.32 - making machines of men) using what appears to me to be a fairly classic Marxist analysis of capitalist desires manifested in the managerial control of production and the designers emerging role as mediator between boss, process and society.
I still feel, Per, that the emphasis of any work on aesthetics soon shifts to questions about identity and thus on to questions of difference and our ability to achieve it as individuals and thus an existential question that requires more than simple associations with form (which is about where most psychology seems to settle at present) and of course allows simple and naive visual image claims for knowledge sets (which equally of course exist)
Condemn everyone, on whichever side of the argument she places himself, in whose mode of advocacy either want of candour, or malignity, bigotry, or intolerance of feeling manifest themselves; but not inferring these vices from the side which a person takes, though it be the contrary side of the question to our own; and giving merited honour to everyone, whatever opinion she may hold, who has calmness to see and honesty to state what his opponents and their opinions really are, exaggerating nothing to their discredit, keeping nothing back which tells, or can be supposed to tell, in their favour – J.S Mill
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