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Journal articles on the topic 'Aesthetic forms of expressions'

Author: Grafiati

Published: 4 June 2021

Last updated: 10 February 2022

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1

Agung, Lingga, and Novian Denny Nugraha. "Digital Culture and Instagram: "Aesthetics for All?"." IMOVICCON Conference Proceeding 1, no. 1 (2019): 93–98. http://dx.doi.org/10.37312/imoviccon.v1i1.7.

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Aesthetics is the study of beauty but in a cultural discourse is a representation of cultural expressions that mark its position in social reality. Thus, aesthetics is not a subjective expression of culture but rather a mechanism by which beauty is produced and distributed. The mechanism continues to operate even in a wider landscape such as in multidimensional technological space. This has resulted the aesthetic deconstruction because the norm operates differently. Instagram, which attracted latest generation, has birth a digital culture oriented to the new aesthetic visual forms. The aesthet

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Dahlbäck, Katharina, and Anna Lyngfelt. "Estetiska dimensioner i svenskämnets kursplaner från Lgr 69 till Lgr 11." Educare - vetenskapliga skrifter, no. 1 (August 16, 2019): 152–82. http://dx.doi.org/10.24834/educare.2017.1.8.

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The possibilities young pupils have to express themselves by using verbal, written and aesthetic languages depend on the multilingual discourse at school. In this presentation, multilingualism is defined as languages with roots in different nations and cultures, linked to aesthetic languages (music, fine arts, literature, theatre, film and dance). The term multimodality is used to highlight the variety of communicative forms used by people to utilize and develop knowledge (Selander & Kress, 2010). Although people increasingly communicate by the use of different modalities in today’s societ

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Rusu, Marinela. "1. Emotional Development through Art Expressions." Review of Artistic Education 14, no. 1 (2017): 227–38. http://dx.doi.org/10.1515/rae-2017-0029.

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Abstract Aesthetic education forms and develops a mental quality of the individual, namely, general receptivity to the world and life. It can be said, however, that aesthetic education includes a multiplicity of meanings, formative and educative in relation to personality. All this has a profound echo in the whole personality, whether at the emotional or behavioral level. Art touches and contributes to creating prints from which the later emotional pleasure, taste, artistic judgment and discernment on human values will develop. Emotion refers not only to the aesthetics but involves more often,

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Muhajirin, Muhajirin. "ESTETIC EXPRESSIONS OF JEPARA CARVING IN EFFORTS TO DEAL WITH THE MARKET DEMANDS." Corak 8, no. 1 (2019): 57–69. http://dx.doi.org/10.24821/corak.v8i1.2779.

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The demands of consumers that always evolving makes Jepara craftsmen have to adjust themselves. This is reflected in the aesthetic expression of products that are no longer homogeneous. The purpose of this paper is to analyze the aesthetic expression of Jepara carving art in an effort to face global challenges. Data obtained through interviews and direct observation in the field. The results of the study show that the carving that has now undergone a change due to adjusting to the demands of consumers and the times. European market dominance influenced European-style furniture so that the expr

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Cardoso Filho, Jorge Cunha, and Juliana Freire Gutmann. "Performance as aesthetic experience´s expression: modes of seizure and operatinal mechanisms." Intexto, no. 47 (August 6, 2019): 104–20. http://dx.doi.org/10.19132/1807-8583201947.104-120.

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This article comprehends performances as empirical expressions of aesthetic experience, understanding that destabilization in the performances account for expressive forms of experience. While restored behaviors, performances can be seen in various social situations, which suggests various possibilities of apprehension. Based on the observation of how we accessed the performance from media processes, we list here four conceptual figurations that can function as operational mechanisms analysis: mimesis, mise-en-scène, context communication and media genre.

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Hertrampf, Marina Ortrud M. "Romani Literature(s) As Minor Literature(s) in the Context of World Literature: A Survey of Romani Literatures in French and Spanish." Critical Romani Studies 3, no. 2 (2021): 42–57. http://dx.doi.org/10.29098/crs.v3i2.88.

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The article discusses the comparatively young form of written Romani literary self-expression as an example of “minor literature” in Deleuze and Guattari’s sense.[1] The focus here is on producing a classifying survey of the literary production of Romani writers in France and Spain, with the article outlining the different aesthetic fields and literary forms evident in French and Spanish Romani literature. The comparative approach reveals thatdespite regional and national differences, these minor literatures demonstrate several aesthetic similarities typical of Romani literature that could ult

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Dinislamova, Oksana Yurisovna. "REPRESENTATION OF A PERSON’S APPEARANCE IN TERMS OF CONSIDERATION OF THE AESTHETIC CATEGORY OF “UGLINESS” (ON MATERIAL OF PHRASEOLOGICAL UNITS OF THE MANSI AND RUSSIAN LANGUAGES)." Yearbook of Finno-Ugric Studies 13, no. 2 (2019): 343–55. http://dx.doi.org/10.35634/2224-9443-2019-13-2-343-355.

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The article deals with phraseological units of the Mansi and Russian languages as lexical means of description of a person’s appearance within the framework of the aesthetic category of “ugliness” in the context of the linguocultural content of national pictures of the world; reflection of people’s ideas about “ugliness” is revealed; the universal and specific parameters of figurativeness of metaphorical expressions in description of “ugliness” are determined; the components of semantics and internal figurative forms that create the national-cultural specificity of the considered phraseologica

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Moosa, Ebrahim. "Aesthetics and Transcendence in the Arab Uprisings." Middle East Law and Governance 3, no. 1-2 (2011): 171–80. http://dx.doi.org/10.1163/187633711x591512.

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Politics is regarded as a science for it tells us what to do, when it deals with measurable concepts. But politics is also an art—a form of practice, telling us how and when to do things. Lest we forget, the arts of persuasion and inspiration are part of politics. And, every art also produces an aesthetic. By aesthetics I mean, the ways by which we think about art: recall, art is what we do and how we do things. Th ose things and acts that become visible when we do and produce certain actions—jubilation, conversations, speeches, greetings, protests, banners, deaths, wounds and other expression

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Ponimin and Guntur. "The COVID-19 War in Ceramic Arts: Navigating Aesthetic and Symbolic Expressions." Aisthesis. Pratiche, linguaggi e saperi dell’estetico 14, no. 1 (2021): 81–99. http://dx.doi.org/10.36253/aisthesis-12056.

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This paper reports on the production of a ceramic installation artwork that explores the story of the COVID-19 pandemic experienced by people throughout the world. The work is a symbolic expression in the form of a set of ceramic art models that portray the story of the battle between positive and negative values, expressed through a 3-dimensional visual ceramic installation consisting of an arrangement of statues that portray an imaginary battle between COVID-19 troops and Lord Krishna. The method used in the process of creating this work was a creative approach that combined appreciation and

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Chenoivanchenko, Ye. "Rhetoricality and artistry as two forms of aesthetic expression in literature." Alfred Nobel University Journal of Philoligy 9 (2015): 30–36. http://dx.doi.org/10.32342/2523-4463-2015-0-9-30-36.

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Brunner, Christoph. "Affective Politics of Sensation: Anonymity and Transtemporal Activism in Argentina." Conjunctions. Transdisciplinary Journal of Cultural Participation 2, no. 1 (2015): 176–95. http://dx.doi.org/10.7146/tjcp.v2i1.22276.

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This article deals with the aesthetic mobilization of anonymity in Argentine activist practices. Focusing on the specific intervention of El Siluetazo, the public drawing and placarding of nameless silhouettes during the mili- tary dictatorship from 1976 to 1983, anonymity will be explored as instigating an affective politics of sensation. Different from the human rights discourse on disappearance, which is concerned with politics of identification of the disappeared and the repressors, anonymity offers forms of affective relaying beyond identity. The logic of identity will be discussed in rel

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Guo, Yuan Yuan, and Ting Ting Guo. "Strategy Research on the Enhancement of Wuhan Public-Art Interactivity in Digital Times." Advanced Materials Research 1065-1069 (December 2014): 2702–5. http://dx.doi.org/10.4028/www.scientific.net/amr.1065-1069.2702.

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Under the background of digital times,We are committed to solved these problems which are based on the solution to the problems of social attitudes of contemporary Wuhan citizen from the perspective of public art. Current Wuhan public art is not merely the aesthetic object, but a medium to publicize urban spirit and express public will and citizens ’ personality. The forms of expressions of public art in digital times are highly enriched and diversified; as for Wuhan, a city with distinct characteristics, the public properties of public art should give priority to citizens’ involvement. In ord

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Stojiljkovic, Nenad, Slavoljub Uzunović, and Stevan Stamenković. "PLAYFUL FORMS OF ART – THE APPLICATION OF DANCE IN THE TEACHING OF PHYSICAL EDUCATION." Facta Universitatis, Series: Teaching, Learning and Teacher Education, no. 1 (January 23, 2020): 161. http://dx.doi.org/10.22190/futlte1902161s.

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The paper gives a critical review of the application of different forms of dance in physical education teaching. Dance as a playful form of art was considered in many respects - as a kind of art, by its basic characteristics, its essence, as an aesthetic expression through essentially and formally beautiful. Dance forms are organized into three areas: folk dance, social dance and artistic dance. For each of the forms, as a part of art in space and time the basic types and their essential characteristics and benefits they can provide are specified. The study of dance in general embraces the his

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Chen, Xiao Jie. "Sports Architecture Structure Stress Characteristics Analysis." Advanced Materials Research 919-921 (April 2014): 1553–56. http://dx.doi.org/10.4028/www.scientific.net/amr.919-921.1553.

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In the sports architectural form creation, structure technology plays an important role, it is the ideal form of guarantee, elements and form, structure and technology as a method of design, is the factor most architects consider first in sports in architectural creation. Technology of building structure technology as the field of material production, the aesthetic features of its shape becomes the main expression of sports architecture aesthetics, aesthetic psychological effects caused by the people. Especially in large span structure system because of its giant scale and exaggerated shapes,

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Raunig, Gerald. "Singers, Cynics, Molecular Mice: The Political Aesthetics of Contemporary Activism." Theory, Culture & Society 31, no. 7-8 (2014): 67–80. http://dx.doi.org/10.1177/0263276413497406.

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On the basis of certain tensions between Jacques Rancière’s aesthetics and his political philosophy, the article tries to trace new modes of subjectivation in contemporary activism and art. It explores how the actors of the overlapping terrains of aesthetic and political practices organize ‘different forms, different spaces of expression and distribution of ideas’ in Rancière’s sense. Yet, analysing the practices of the Occupy movement, the Spanish M15 movement, and the dOCUMENTA (13) ‘agents’ AND AND AND as radically inclusive, polyvocal and transversal, it proposes a position that differs fr

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Jonkus, Dalius. "Aesthetic A Priori and Embodied Imagination." Social Imaginaries 5, no. 1 (2019): 143–60. http://dx.doi.org/10.5840/si2019518.

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This paper discusses the modern idea of imagination and its various transformations in the phenomenological conceptual frameworks of Edward Casey, Mikel Dufrenne (1910-1995), Max Scheler (1874-1928) and Vasily Sesemann (1884-1963). I would like to raise and critically assess questions regarding the role of imagination in our consciousness: whether imagination is a productive or reproductive activity; and how, if at all, aesthetic expression limits the imagination. Casey criticizes Dufrenne for his attempt to unite imagination with aesthetic expression. He argues for the autonomy of the imagina

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McFarlane, Ashleigh, and Emma Samsioe. "#50+ fashion Instagram influencers: cognitive age and aesthetic digital labours." Journal of Fashion Marketing and Management: An International Journal 24, no. 3 (2020): 399–413. http://dx.doi.org/10.1108/jfmm-08-2019-0177.

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PurposeThis paper demonstrates how #50+ fashion Instagram influencers contribute to the social construction of cognitive age through their aesthetic digital labours.Design/methodology/approachNon-participative netnography was used in the form of visual and textual analysis of over 300 Instagram posts including images, captions and comments.FindingsFindings reveal how outfit selection, background choices and bodily poses redefine expressions of look age through forms of aesthetic labour. Post-construction, hashtag and emoji usage illustrates how influencers refrain from directly posting about t

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오선명. "Research in the Forms of Expression and Aesthetic Change in European Contemporary Dance." Korean Journal of Dance Studies 29, no. 29 (2010): 27–46. http://dx.doi.org/10.16877/kjds.29.29.201004.27.

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Donzelli, Aurora. "Material words: The aesthetic grammar of Toraja textiles, carvings, and ritual language." Journal of Material Culture 25, no. 2 (2019): 167–95. http://dx.doi.org/10.1177/1359183519858378.

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This article examines the intersections between ritual speech, woodcarving, and painted sacred cloths among the Toraja of upland Sulawesi, Indonesia. The author argues that the longstanding division between studies of speechmaking and material culture has obfuscated significant overlaps between what in fact are related systems of semiotic expressions in Indonesia and beyond. By bringing within a single analytic field the forms of ritual speech, textiles, and woodcarving she documented during long-term intermittent fieldwork in Sulawesi (2002–2018), the author highlights fundamental commonaliti

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Xie, Xiaolan. "Cultural Aesthetic Comparison of "Three Singing Methods"." Frontiers in Business, Economics and Management 1, no. 2 (2021): 15–17. http://dx.doi.org/10.54097/fbem.v1i2.17.

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The art of music is an important part of human culture. Vocal music art is closely related to traditional culture. Different social, historical and cultural factors of different nationalities have injected different ideological and cultural connotations into vocal music art. In their respective cultural atmosphere, vocal music art presents very different forms of expression. The traditional cultural concepts and national psychological consciousness formed under different religious backgrounds affect the traditional artistic concepts and the trend of vocal music art, and finally lead to the dif

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Williams, James S. "Redemption Song." Film Quarterly 74, no. 4 (2021): 56–61. http://dx.doi.org/10.1525/fq.2021.74.4.56.

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This article explores how Steve McQueen’s acclaimed 2020 pentalogy Small Axe (BBC) appears paradoxically to swerve away from Black British history in the very act of retrieving it. By examining key moments in Mangrove, Red, White and Blue, and Alex Wheatley, it argues that the constant tension between a push toward history and the pull of the aesthetic is the result of McQueen’s reformulation of “racial uplift” aesthetics that privileges exceptional acts over collective experience. Yet in striking contrast to his poetic license with history, McQueen presents Black masculinity and male self-exp

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Bagchi, Tista. "The Signing System of Mudra in Traditional Indian Dance." Paragrana 19, no. 1 (2010): 259–66. http://dx.doi.org/10.1524/para.2010.0017.

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AbstractBody language involving manual gestures of a highly stylized nature is used in traditional Indian dance forms. Termed Mudras, such gestures are related to but distinct from Mudras in Buddhist and/or Tantric iconography and in Carnatic music of Southern India. The Mudra signs in dance occur in families or classes, which often cut across the basic dichotomy between combined-hand and separate-hand gestures, and which reflect linguistic and sociolinguistic classes of words and signs, such as question expressions and hierarchically differentiated pronouns, used in the domain of lang

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Menotti, Gabriel. "A Call to Otherness: Inscribing Digital Vernaculars into the Art Institution." Journal of Curatorial Studies 10, no. 1 (2021): 94–115. http://dx.doi.org/10.1386/jcs_00033_7.

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In the mid-2010s, a number of renowned museums and galleries across the world held retrospective exhibitions positioning digital arts within western art history. While inscribing some techno-aesthetic forms and behaviours into the contemporary arts institution, these exhibitions nevertheless cemented the exclusion of others. By examining the role and shortcomings of curatorial practices in this process, this article seeks to frame curating as an art of inclusion able to carve institutional and epistemic space for otherness. In doing so, I argue for the relevance of devices for noticing, define

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Iaţesen, Mihai Cosmin. "Methods of Achieving Stylistic Unity Between Portrait, Costume, and The Theatre Play Space." Review of Artistic Education 17, no. 1 (2019): 200–211. http://dx.doi.org/10.2478/rae-2019-0022.

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Abstract Creating stylistic unity within a theatre play is more than just a complex process. The original interpretation of the language forms, specific to each artist that becomes part of this creative act, lies within the final aesthetic product. This article starts by analysing the concept of form and movement as a result of syncretism on various levels, from style and movement, to expression and feelings. To achieve this, the author describes the aesthethics of form emphasising the meaning of stylistic unity in achieving the artistic vision of a show. The paper defines compositional laws a

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Purnama, Rizal Faturohman. "THE AESTHETIC RECEPTION OF THE QURAN IN INSTAGRAM: Variations, Factors, and Religious Commodification." ULUL ALBAB Jurnal Studi Islam 21, no. 2 (2020): 237–68. http://dx.doi.org/10.18860/ua.v21i2.9528.

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This research discusses the aesthetic reception of the Quran in Instagram including various forms, appearance factors and commodification. This research is included in the qualitative study using Ahmad Rafiq’s reception theory. Using descriptive-analytical method, the study found variations of the Quran’s aesthetic reception in Instagram which are in the form of verse continuation and the Quran recitation. The background factors of the Quran’s aesthetic reception in Instagram include normative factors the Quran’s verses showing kindness to those who teach and practice it; historical factor i.e

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Górecki, Przemysław. "Towards Masculinity As an Ethical Project. An Outline of the Philosophical and Social Situation." ETHICS IN PROGRESS 8, no. 2 (2018): 110–22. http://dx.doi.org/10.14746/eip.2017.2.9.

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The article is an attempt at addressing the problem of "masculinity" as a historically privileged category in the social and philosophical tradition. In the dichotomous gender system, femininity is usually valued as aesthetic quality, while masculinity stands as an ethical value. This distinction, suggesting the subordinated and disadvantaged position of "femininity" derives from ancient philosophy and biblical tradition and was strengthened not only by philosophical writings but also by symbolic, legal, economic and social practices. By sketching a review of positions and confronting the ster

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Stankovic, Danica, Milan Tanic, and Aleksandra Cvetanovic. "The impact of intelligent systems on architectural aesthetics." E3S Web of Conferences 110 (2019): 01044. http://dx.doi.org/10.1051/e3sconf/201911001044.

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During its historical development, materials and architecture have always been inextricably linked. More recently, the application of modern materials and new achievements in architecture around the world have actualized the issue of the relation between architectural aesthetics and technology. Technological advancement allows the creation of new forms and a new way of shaping materials. Therefore, smart and nanotechnology have a significant impact not only on modern buildings, but also on the emergence of new architectural expression and style. Using analytical descriptive methodology and res

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Bendix, Regina. "Expressive Resources." Anthropological Journal of European Cultures 17, no. 2 (2008): 114–29. http://dx.doi.org/10.3167/ajec.2008.170208.

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Drawing examples from ethnic and popular music as well as from folk art, the paper explores the multivalence of expressive forms as local and European, even global aesthetic resources, whose territorial or ethno-national connection is - due to the power of aesthetic affect - but one among many possibilities of identification. It is argued first that the resource dimension of cultural expression has been furthered by the documentation and classification techniques of ethnological and folkloristic knowledge production, which in turn also facilitated circulation in multiple context. Second, the p

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Boutaghou, Maya, and Emmanuel Bruno Jean-François. "Introduction: The minor in question." Cultural Dynamics 32, no. 1-2 (2020): 3–13. http://dx.doi.org/10.1177/0921374019900693.

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Dedicated to “the minor in question,” this issue of Cultural Dynamics investigates the renewed potential and conceptual valence of the “minor,” both as a critical category and a methodological framework, for thinking through questions of positionality and performance, of agency and ways of being, for marginal subjects whose creative and expressive cultures circumvent dominant influences and hierarchical systems of power. Grounded in the work of comparative literature and theory, the volume gathers contributions by scholars from a variety of disciplines in the Humanities, whose works lie at the

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Wikström, Britt-Maj. "Older Adults and THE ARTS: The Importance of Aesthetic Forms of Expression in Later Life." Journal of Gerontological Nursing 30, no. 9 (2004): 30–36. http://dx.doi.org/10.3928/0098-9134-20040901-07.

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PRENSA VILLEGAS, Luis. "La estética musical en el medievo cristiano o un viaje estético a las formas musicales gregorianas." Revista Española de Filosofía Medieval 6 (October 1, 1999): 77. http://dx.doi.org/10.21071/refime.v6i.9663.

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Speaking about musical aesthetics in the Christian Middle Age is speaking about the conditions of beauty in liturgical musical forms and, ultimately, about aesthetics in a kind that, with the passage of time, would be called «gregorian chant». And because the beauty of a musical work lies in its form, we will try to discover the human expressions contained in its repertoire: music is nothing more than the joyful or hurtful expression of human feeling because in it, the same as in the human soul, everything could be included.

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Hafeli, Mary. "Angels, Wings, and Hester Prynne: The Place of Content in Teaching Adolescent Artists." LEARNing Landscapes 2, no. 1 (2008): 87–113. http://dx.doi.org/10.36510/learnland.v2i1.277.

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This case study uses adolescents’ accounts of studio practice to trace the diverse themes, sources, and contexts that inspire aesthetic and narrative meaning in their artworks. Beyond self expression and formal and technical concerns, the study illustrates how eight young artists work to address cultural and aesthetic themes that borrow, build on, and ultimately reinvent conventional narratives and art forms. Narrative formation, and its relevance for learning and teaching art, is investigated as distinct but related practices in multiple worlds of art, cultures, and education.

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Trochimska-Kubacka, Beata. "Koncepcja sztuki w filozofii kultury Ernsta Cassirera." Studia Philosophica Wratislaviensia 14, no. 3 (2019): 81–99. http://dx.doi.org/10.19195/1895-8001.14.3.6.

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The Concept of Art in Ernst Cassirer’s Philosophy of CultureThe presentation is dedicated to the discussion of the concept of art and aesthetics within Ernst Cassirer’s philosophy of culture. The considerations are connected with an attempt to answer the question about the meaning of art in the system of symbolic forms and the position of aesthetics in Cassirer’s thought. It includes a reconstruction of his position on the tradition of aesthetic thought, including the theory of mimesis and theory of expression, the notion of beauty and imagination. It shows the dialogical, dynamic and communic

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Isrow, Zachary. "Defining Art and its Future." Journal of Arts and Humanities 6, no. 6 (2017): 84. http://dx.doi.org/10.18533/journal.v6i6.1207.

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<p class="FirstParaofSectionTextStyle" align="left"><span class="DroppedCaseChar"><span>Art is a creative phenomenon which changes constantly, not just insofar as it is being created continually, but also in the very meaning of ‘art.’ Finding a suitable definition of art is no easy task and it has been the subject of much inquiry throughout artistic expression. This paper suggests a crucial distinction between ‘art forms’ and ‘forms of art’ is necessary in order to better understand art. The latter of these corresponds to that which we would typically call art such as paintin

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Alice Casto, Mary, and Marilyn DeLong. "Classic design: From cultural knowledge to individual experience." Fashion, Style & Popular Culture 7, no. 4 (2020): 501–18. http://dx.doi.org/10.1386/fspc_00025_1.

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Understanding the aesthetic response to classic design has become a prominent part of the consumption process. Classic design has been equated with understanding its artistic forms through the user because aesthetic response to classic design is influenced by personal desires that are informed by, and part of, collective cultural knowledge. It is, therefore, essential to understand the aesthetic response to classic design as an expression of culturally transmitted meanings based on user data. Following a survey identifying examples of classic design, participants volunteered for in-depth inter

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Taylor, Juliette. ""PIDGIN BULLSKRIT": The Performance of French in Beckett's Trilogy." Samuel Beckett Today / Aujourd'hui 15, no. 1 (2005): 211–23. http://dx.doi.org/10.1163/18757405-015001019.

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The theatre, by including non-linguistic forms of expression, plays an extremely significant part in Beckett's aim to bring disrepute upon language and to turn away from representational aesthetic aims. Before he began to explore dramatic forms of expression, however, Beckett's use of language was already 'dramatic' in a linguistic sense: it manifested high levels of . This article will examine the increasingly performative language of the Trilogy in relation to Beckett's use of a foreign language and demonstrate that the textually dramatic function of Beckett's language is directly related to

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Angelon, Rafaela, and Frederick van Amstel. "Monster aesthetics as an expression of decolonizing the design body." Art, Design & Communication in Higher Education 20, no. 1 (2021): 83–102. http://dx.doi.org/10.1386/adch_00031_1.

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Institutionalized design education aims at training the human body to become a design body, a subject capable of designing according to aesthetic canons. In colonized territories, the modern canon predominates over indigenous, vernacular and other forms of expression. Manichaeism, utilitarianism, universalism, methodologism and various modern values are inculcated in the design body as if it did not have any. The colonization of design bodies makes young designers believe that once they learn what good design is, they need to save others from bad design. This research reports on a series of de

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Filanowski, Błażej. "Odnajdując i tracąc miejsce. Łódzki underground wobec doświadczenia miejskiej codzienności." DYSKURS. PISMO NAUKOWO-ARTYSTYCZNE ASP WE WROCŁAWIU 26, no. 26 (2019): 188–203. http://dx.doi.org/10.5604/01.3001.0012.9863.

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The Łódź underground had emerged from the punk aesthetic, yet it absorbed successive genres surprisingly quickly: hardcore, industrial, later also, among others, techno and rave. It utilized diverse forms of expression: most of all sound, but also projections, site-specific actions, graphic design or fashion. The article, drawing from the memories and output of several most important participants of the movement, poses the question, in what way the underground so easily absorbed new genres and aesthetic patterns on the one hand, while on the other – it remained so strongly separate. The separa

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Filanowski, Błażej. "Finding and losing a place. Łódź underground towards experience of everyday life of a city." DYSKURS. PISMO NAUKOWO-ARTYSTYCZNE ASP WE WROCŁAWIU 26, no. 26 (2019): 188–202. http://dx.doi.org/10.5604/01.3001.0012.9883.

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The Łódź underground had emerged from the punk aesthetic, yet it absorbed successive genres surprisingly quickly: hardcore, industrial, later also, among others, techno and rave. It utilized diverse forms of expression: most of all sound, but also projections, site-specific actions, graphic design or fashion. The article, drawing from the memories and output of several most important participants of the movement, poses the question, in what way the underground so easily absorbed new genres and aesthetic patterns on the one hand, while on the other – it remained so strongly separate. The separa

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Purić, Biljana. "Kubrick's Neobaroque Spectacle: An Aesthetic Analysis of Artificiality and Violence in A Clockwork Orange." Issues in Ethnology and Anthropology 12, no. 2 (2017): 489. http://dx.doi.org/10.21301/eap.v12i2.7.

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This article examines Stanley Kubrick’s film A Clockwork Orange through the concept of neobaroque. Starting with the basic elements of mise-en-scène such as costumes, scenography, and positioning of the body inside the shots, the aesthetic analysis of the film will move towards more abstract concepts such as spectacle and violence. By identifying these elements inside the film, the film itself could be understood, I argue, as a neobaroque film. Neobaroque film neither refers to a genre or a period in film history. It is an aesthetic term, with implicit references to changes in modern society,

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Wild, Camila Fernandes, Elisabeta Albertina Nietsche, Cléton Salbego, Elizabeth Teixeira, and Natalia Barrionuevo Favero. "Validation of educational booklet: an educational technology in dengue prevention." Revista Brasileira de Enfermagem 72, no. 5 (2019): 1318–25. http://dx.doi.org/10.1590/0034-7167-2018-0771.

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ABSTRACT Objective: to validate a booklet on dengue prevention in order to make it an educational technology to be used with the population. Method: methodological study, carried out with two groups of judges specialized in health and other areas. For data analysis, the calculation of Content Validity Index was carried out. Results: the booklet, in general, was considered valid by the expert judges, since it obtained an overall CVI of 70%. However, it has undergone a textual and aesthetic re-elaboration. The changes were based on the substitution of expressions, phrases, information additions

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Mayer, Seth. "Interpreting the Situation of Political Disagreement: Rancière and Habermas." Journal of French and Francophone Philosophy 27, no. 2 (2019): 8–31. http://dx.doi.org/10.5195/jffp.2019.888.

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Although Jacques Rancière and Jürgen Habermas share several important commitments, they interpret various core concepts differently, viewing politics, democracy, communication, and disagreement in conflicting ways. Rancière articulates his democratic vision in opposition to important elements of Habermas’s approach. Critics contend that Habermas cannot account for the dynamics of command, exclusion, resistance, and aesthetic transformation involved in Rancière’s understanding of politics. In particular, the prominent roles Habermas affords to communicative rationality and consensus have led pe

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Заєць, Ганна Вікторівна. "Поетичний світогляд Володимира Ярошенка". Літератури світу: поетика, ментальність і духовність 7 (30 червня 2016): 79–88. http://dx.doi.org/10.31812/world_lit.v7i0.1118.

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The article deals with the main formation sources of poetic outlook of V. Yaroshenko. The main forms of expression of the author’s mind and originality of imagery system of poetic means of V. Yaroshenko as a symbolist were determined. The philosophical and aesthetic concept of V. Yaroshenko and his appealing to the problem of alienation of personality were analyzed.

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Jabaril, Rahmat. "SENI RUPA SEBAGAI MEDIA PENYADARAN." Jurnal Budaya Nusantara 3, no. 2 (2020): 87–98. http://dx.doi.org/10.36456/b.nusantara.vol3.no2.a2530.

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Fine Art as a form of expression of artists, certainly not like economists who need advantages in currency values. Art is not likely to be intervened by fields of pragmatic size. Then it will be so difficult to place art as part of the aesthetic element. So, in this case, we can see the strengths that are in the art itself. Art as a matter of which considered unconstitutional is certainly very paradoxical when it is part of standard rules. So when art works, it becomes part of aesthetic polarization and not being as a reading room in the future. The method used in this study is study of litera

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hufford, mary. "Molly Mooching on Bradley Mountain: The Aesthetic Ecology of Appalachian." Gastronomica 6, no. 2 (2006): 49–56. http://dx.doi.org/10.1525/gfc.2006.6.2.49.

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Morel mushrooms (morchella sp.) are a prized delicacy wherever they can be found in the world’s temperate zone. Among English speakers they go by a variety of names, related to their appearance and habitat, such as Honeycombs, Dryland Fish, and Orchard mushrooms. Only in Central Appalachia are they referred to as “molly moochers.” This article explores the relationship of molly moochers to the idea and practice of the community forest. The community forest exemplifies Gregory Bateson’s notion of the thinking system, which is the organism plus its environment, as the minimal unit required for a

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Berger, Kenneth. "Cinema against Communication." differences 31, no. 1 (2020): 1–35. http://dx.doi.org/10.1215/10407391-8218746.

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This essay reassesses the concept of spectacle and argues for aesthetic refusal as a key strategy for contesting spectacle’s expanding hold on everyday existence. Against the view that spectacle renders the individual passive, the essay asserts instead that spectacle develops as a central postwar mechanism for intensifying the subject’s productivity and managing the growing anxiety that pervades post-Fordist social life. Highlighting the “refusal of work” that grounds 1960s Italian workerist movements, the essay proposes a corresponding refusal of communication, a form of aesthetic refusal tha

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Laskowska, Małgorzata. "Estetyka komunikacji jako wyraz grzeczności." Zeszyty Prasoznawcze 64, no. 1 (245) (2021): 9–20. http://dx.doi.org/10.4467/22996362pz.21.001.13029.

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Podstawowym celem niniejszego artykułu jest określenie tego, na ile estetyka komunikacji jest wyrazem grzeczności. Szczególna uwaga zostanie zwrócona na znaczenie estetyki komunikacji werbalnej oraz niewerbalnej. Tak postawiony cel badawczy można przedstawić w następujących pytaniach szczegółowych: w jakim znaczeniu estetyka komunikacji może być formą grzeczności w komunikacji? W czym przejawia się estetyka komunikacji werbalnej oraz niewerbalnej? Artykuł ma charakter przeglądowy; zastosowano tu przede wszystkim metodę analizy zawartości literatury przedmiotu. Odpowiedzi na wymienione wyżej py

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White, Noel. "Time in the Aesthetic Dimension of Visual Art." KronoScope 8, no. 1 (2008): 29–39. http://dx.doi.org/10.1163/156852408x323201.

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AbstractIn the spring of 2006 the English artist Noel White met the author J.T. Fraser while staying with friends near Cordoba, Spain. Lively discussion arose between them prompted by a reading of a paper by the social scientist Barbara Adam, which argues for the recognition of a moral dimension in political decisions. What follows here is an essay based on their conversation. The essay does not comment directly on Adam's arguments, but extends the question of the moral dimension to White's own area of expertise, the visual arts. Through an analysis of aspects of the history of modern painting

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Honisch, Stefan Sunandan. "Singing tone: Disability and pianistic voices." Journal of Interdisciplinary Voice Studies 4, no. 2 (2019): 247–55. http://dx.doi.org/10.1386/jivs_00008_1.

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Abstract Humans experience multiple forms of vocality not only through encounters with each other but also with other animals (e.g. the crying wolf), and in moving through natural environments (e.g. the howling wind). Music likewise affords varied opportunities to experience and express ourselves as vocalizing beings, giving rise to complex relationships between speaking, singing and playing musical instruments. This piece considers the built-in percussiveness of the piano against the aesthetic prestige of lyricism ‐ that is, 'songfulness' ‐ as it encodes ableist choreographies on the part of

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Lian, Ye-Ping, and Jing-Dong Zhong. "Oscar Wilde’s Multiple Appeals Revealed in the Male Characters in The Picture of Dorian Gray." English Language and Literature Studies 11, no. 2 (2021): 89. http://dx.doi.org/10.5539/ells.v11n2p89.

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Concerning Oscar Wilde&rsquo;s The Picture of Dorian Gray, the previous studies have mainly been conducted on the writer&rsquo;s aesthetic thoughts and moral senses reflected in this novel, while the relationship between his literary creation and his psychological appeals needs to be further explored, for possibly these appeals are essentially related to his multiple personalities and complex psychology. Focusing on the three male characters, this paper attempts to examine Wilde&rsquo;s psychological appeals for the recognition of his aestheticism and the acceptance of his non-aest

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