By Gérald Mazzalovo (auth.)
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On the left 1955, on the right 2008 28 Brand Aesthetics the fields of production and reproduction (as illustrated by the works of Duchamp and Warhol, for example) brings even the banal and the quotidian into the realm of art. Reality and fantasy merge and fascination with aesthetic pleasure permeates everything. The end of the real and the end of art lead us to a hyper-reality that the surrealists had anticipated. Marcel Duchamp was a pioneer in this field in 1913 when he presented a bicycle wheel on a stool as a full artistic creation.
2b Artificial intelligence and computer-aided design The literature on industrial design is rich in studies on the influence of the aesthetic treatment of objects on consumer preferences. This area of research is dedicated in particular to the introduction of instruments to automate a maximum number of tasks. The introduction of digital instruments in the industrial-design process over the past 20 years has helped to significantly shorten the development time of products, reduce the costs of staff (Giannini, Monti and Podehl 2006) and increase reliability in the transition from concept to production.
The status of the artist then evolves into a purely ‘editing’ role consisting of selecting objects from everyday life and simply choosing the time and place of their exhibition. This is not very different from how some of the current brand designers work, selecting from among a myriad prototypes created by their assistants the pieces that will appear in the fashion show. Let’s see how brands participate in this convergence of daily life and art. From art to brands Warhol excelled at reducing artistic activity to the discovery of an original concept and at relying primarily on techniques of provocation (all words well known in the world of communication).