Heidegger distinguishes between the ready-to-hand (Zuhandenheit) and the present-at-hand (Vorhandenheit) to describe modes of encountering things. The ready-to-hand names tools and objects as they function seamlessly in practice, integrated into action without explicit awareness. The present-at-hand emerges when breakdown occurs, and objects confront us as detached, observable entities. In design, this distinction highlights how landscapes often withdraw into background utility until crisis or estrangement forces them into view. It reveals perception as conditioned by use, disruption, and disclosure.
An essay on how we push animals into playing roles — from fables and films to renders of biodiversity and art — tracing how these projections tame, abstract, or estrange, and how synurbists and artists unsettle the human–animal divide.
Exploring the interplay between low-res design and the transience of landscapes, this essay foregrounds the notion of resolution, enquiring about a dynamic interaction with landscapes in flux.
As we confront the growing ecological crisis, it becomes increasingly difficult to argue that harmonious aesthetics, designed primarily for pleasure and ease, are always the most effective mode of expression. Perhaps there is space to question whether ecological efforts demand a different aesthetic attitude, one less fixated on traditional notions of balance and spatial conformity and more open to dissensus and confrontation.
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