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Krane, Natalie, Jeffrey Markey, Lauren Moneta, and Michael Kim. "Aesthetics of the Nasal Dorsum: Proportions, Light, and Shadow." Facial Plastic Surgery 33, no. 02 (April 2017): 120–24. http://dx.doi.org/10.1055/s-0037-1598626.
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AbstractDue to its central location, the nose plays a prominent role in facial aesthetics. As tastes have shifted and techniques have advanced, the accepted “ideal” appearance and proportions of the nose have evolved over time. By assessing the aesthetics of the nasal dorsum through the use of lines and angles, one can more precisely elucidate a goal for the patient's postoperative nasal shape, which should, in turn, guide the surgeon to execute specific operative maneuvers needed to achieve that contour. In assessing the aesthetics of the nasal dorsum, practitioners calculate and observe aspects such as the paired dorsal aesthetic lines, the nasofrontal angle, and the nasofacial angle. There is also additional consideration given to nasal tip position as this must fit harmoniously with the shape of the dorsum. In contrast to the established aesthetic lines and angles, using nasal geometric polygons for the aesthetic evaluation and development of operative goals in rhinoplasty has recently been described in the literature. Constructed ideals, in the form of proportions, lines, and angles, should be used with caution, as there are many factors to consider in the aesthetic analysis of the nasal dorsum, including ethnic differences, and subjective and changing views of beauty.
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Galanter, Philip. "XEPA - Autonomous Intelligent Light and Sound Sculptures That Improvise Group Performances." Leonardo 47, no. 4 (August 2014): 386–93. http://dx.doi.org/10.1162/leon_a_00844.
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XEPA anticipates a future where machines form their own societies. Going beyond mere generative art, machines will exhibit artistic creativity with the addition of artistic judgment via computational aesthetic evaluation. In such a future our notions of aesthetics will undergo a radical translation. The XEPA intelligent sculptures create animated light and sound sequences. Each sculpture “watches” the others and modifies its own aesthetic behavior to create a collaborative, improvisational performance. No coordination information or commands are used. Each XEPA independently evaluates the aesthetics of the other sculptures, infers a theme or mood being attempted, and then modifies its own aesthetics to better reinforce that theme. Each performance is unique and widely varied. XEPA is an ever-evolving artwork, intended as a platform for ongoing experiments in computational aesthetic evaluation.
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Negishi, Kei, and Kayoko Matsunaga. "Intense Pulsed Light Therapy in Aesthetic Dermatology." Nippon Laser Igakkaishi 31, no. 1 (2009): 53–60. http://dx.doi.org/10.2530/jslsm.31.53.
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Berliner, Todd. "Hollywood Aesthetic." Projections 14, no. 2 (June 1, 2020): 48–55. http://dx.doi.org/10.3167/proj.2020.140204.
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Hollywood Aesthetic: Pleasure in American Cinema investigates the Hollywood film industry’s chief artistic accomplishment: providing aesthetic pleasure to mass audiences. Grounded in film history and supported by research in psychology and philosophical aesthetics, the book explains (1) the intrinsic properties characteristic of Hollywood cinema that induce aesthetic pleasure; (2) the cognitive and affective processes, sparked by Hollywood movies, that become engaged during aesthetic pleasure; and (3) the exhilarated aesthetic experiences afforded by an array of persistently entertaining Hollywood movies. Hollywood Aesthetic addresses four fundamental components of Hollywood’s aesthetic design—narrative, style, ideology, and genre—aiming for a comprehensive appraisal of Hollywood cinema’s capacity to excite aesthetic pleasure. This article outlines the book’s main points and themes. As a précis, it is heavy on ideas and light on evidence, which is to be found in the book itself.
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Popovic, Una. "The problem of aesthetic judgment: Perspectives of aesthetics." Filozofija i drustvo 24, no. 3 (2013): 5–22. http://dx.doi.org/10.2298/fid1303005p.
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This paper deals with the interpretation of Kant?s Critique of Judgment from the perspective of aesthetics. Our aim here is to show the immanent relationship between the two main motifs of this work: the analysis of traditional aesthetic problems, such as beauty and taste, on the one hand, and the systematical thinking, philosophy, and Kant?s critical project, on the other. This interpretation is developed in consideration of the prob?lem of aesthetics as a philosophical discipline, within which, for each of the motifs of Kant?s third critique it is shown how it redefines aesthetic into philosophical thought. Finally, the character of critical positioning of aesthetic problems in Kant is shown in light of the opening of the perspective of subjective universality as a theme that connects the two motifs of third critique, but also allows a different view in the domain of intersubjectivity.
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Rashof, Sascha. "Review: Peter Sloterdijk, Der Ästhetische Imperativ – Schriften zur Kunst." Theory, Culture & Society 33, no. 7-8 (October 31, 2016): 367–74. http://dx.doi.org/10.1177/0263276416672537.
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Peter Sloterdijk’s Der Ästhetische Imperativ – Schriften zur Kunst is a collection of essays addressing a range of topics in the aesthetic realm, including sound, light, product design, cities and architecture, the human (artificial) condition, museums, action cinema and the art system. Via a ‘media’-anthropological, historico-philosophical approach, he critiques the ‘aesthetic imperative’ of (post-)modern design civilizations by re-evaluating the analogy between universal ethics and aesthetics after Kant. In this way, Sloterdijk argues for a more singular, intensive, socially and environmentally responsible aesthetic experience.
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Lobo, Carlos. "Relativity of Taste without Relativism. An Introduction to Phenomenology of Aesthetic Experience." Miscellanea Anthropologica et Sociologica 20, no. 1 (May 25, 2019): 46–81. http://dx.doi.org/10.26881/maes.2019.1.03.
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The author explores Ingarden’s aesthetics taking as a leading thread his repeated attempts at a refutation of the common locus of relativity of taste. Ingarden’s position is summarized in four theses: (1) values do exist as the proper correlates of aesthetic experience, (2) aesthetic values must be distinguished from artistic values, (3) artistic and aesthetic values are founded in other ontic strata, and finally (4) acts of valuation in aesthetic experience are presupposed by value judgements. In the light of the philosophical and phenomenological interpretation of the physical theory of relativity (special and general) by authors such as Weyl or Geiger, Ingarden’s refutation of the relativity of taste appears as incomplete. The phenomenology of aesthetic experience formulated by Geiger and Husserl and their own refutations of relativism in general and aesthetic relativism in particular suggest a more fruitful approach, which is undermined by Ingarden: the transcendental phenomenology of intersubjective aesthetic experience.
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Kranjec, Alexander, and Martin Skov. "Visualizing Aesthetics Across Two Centuries." Empirical Studies of the Arts 39, no. 1 (February 13, 2020): 78–100. http://dx.doi.org/10.1177/0276237420905308.
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Empirical aesthetics is associated with two research questions: How the mind generally assigns value to sensory stimuli and how it responds specifically to art objects. Researchers have debated whether these phenomena share enough to warrant being collapsed into a single field. To ask how these particular questions came to be associated with aesthetics, we conducted Google Ngram analyses over a corpus of books spanning two centuries. Analyses trace the frequency of “big questions” about art and beauty, and how the term aesthetic appears relative to other concepts. Results indicate the 19th century was dominated by notions of beauty and an aesthetic sense. Questions about art and aesthetic experience become more frequent during the 20th century. Results are interpreted with respect to associated affective and evaluative concepts, art movements, and scientific debates. Understanding how aesthetics is used over time can cast light on the ways current work is being conceived and pursued.
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Loc Tho, Dang. "INNOVATION OF AESTHETIC EDUCATION IN KINDERGARTEN IN THE LIGHT OF CHILD-CENTERED APPROACH." Journal of Science, Educational Science 62, no. 6 (2017): 176–84. http://dx.doi.org/10.18173/2354-1075.2017-0142.
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Pudaruth, Santosh Kumar. "A Reflection on the Aesthetics of Indian Music, With Special Reference to Hindustani Raga-Sangita." SAGE Open 6, no. 4 (October 2016): 215824401667451. http://dx.doi.org/10.1177/2158244016674512.
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Like in any other heteronomous art-forms, the practitioners of Indian music and dance ( Bharatiya Sangita) aim at expressing emotions and creating the aesthetic or the “beautiful.” Indian thinkers and musicologists have gone a step further in declaring that Indian classical music ( Raga-Sangita) is the most appropriate means for attaining aesthetic experience and delight, and the most suitable pathway, if not, downright, short-cut, toward self-realization or realization of the Ultimate Reality or Truth. Thus, aesthetics and spirituality make up the very woof and warp of the Indian arts, in general, and Raga-Sangita, in particular. Raga-Sangita is, thus, considered a spiritual exercise ( nada sadhana) to attain salvation ( moksha) through sound. This conceptual article reflects upon and sheds light on the Theory of Rasa, as propounded in Indian Aesthetics, and attempts to make an assessment of it in relation to Hindustani Raga-Sangita. Through this theory, the author examines and explains the different causes leading to an aesthetic experience, referred to as “out-of-this-world” ( alaukika). In doing so, he also brings to light the possible pitfalls which both the performer and the listener should avoid.
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Vasko, Elisabeth. "Redeeming Beauty? Christa and the Displacement of Women’s Bodies in Theological Aesthetic Discourses." Feminist Theology 21, no. 2 (December 17, 2012): 195–208. http://dx.doi.org/10.1177/0966735012464151.
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This article adopts Edwina Sandys’ Christa as a hermeneutical lens through which to expose new dimensions about the interplay between aesthetics and redemption in the Christian tradition. Contemporary theological aesthetic discourses have ignored ugliness and its causes, especially the patriarchal ways in which Christian tradition has been used to sanctify violence against women. The issue of gender injustice takes on a heightened significance in light of recent claims surrounding the beauty of the cross. As a subversive aesthetic feminist representation, Christa exposes the patriarchal dimensions of such constructions and calls for a new vision of aesthetics – one that begins with women’s experiences of suffering and salvation.
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Baker, Anna. "Light-emitting diode red light therapy: evidence base for aesthetic indications." Journal of Aesthetic Nursing 5, no. 10 (December 2, 2016): 478–82. http://dx.doi.org/10.12968/joan.2016.5.10.478.
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Portera, Mariagrazia. "Babies Rule! Niches, Scaffoldings, and the Development of an Aesthetic Capacity in Humans." British Journal of Aesthetics 60, no. 3 (March 27, 2020): 299–314. http://dx.doi.org/10.1093/aesthj/ayz064.
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Abstract Where does the human aesthetic come from? How does it develop? By introducing the notion of the ‘niche’ (‘aesthetic niche’) as a key term in an empirically and evolutionarily informed aesthetics, this paper aims to take a fresh look at these and similar questions. It also aims to shed new light on the development and functioning of the aesthetic capacity in humans and its trans-generational transmission. Drawing on recent research developments in evolutionary biology, developmental psychology, and cognitive sciences, I shall argue that the human aesthetic capacity—which I understand as the capacity, involving perceptual, cognitive and emotional processes, to enter into a pleasurable/non-pleasurable and expressive relation with objects, artworks, natural phenomena, or other people—relies on constructed environmental resources (that is, on a niche) for its emergence and its ontogenetic development.
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Song, Yao, and Zhenzhen Qin. "Towards the Beauty of Buddhism: The Development and Validation of a Buddhist Aesthetics Scale." Religions 10, no. 5 (May 27, 2019): 343. http://dx.doi.org/10.3390/rel10050343.
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Buddhist aesthetics, as a profound intrinsic value of pleasure, has continually attracted scholars to shed light on its influential effects. Its aesthetic nature, however, has drawn on the laws of profound Buddhist thoughts, which is challenging for empiricists to generate evidence for. Though some individual components or factors deriving from Buddhist aesthetics have been developed and exploited in previous studies, a holistic construct of Buddhist aesthetics remains ambiguous and lacks a pragmatically useable measure. This study fills this gap by creating a Buddhist aesthetics scale. A total of fifteen items have been found valid and reliable to measure three determinants, namely, value, acumen, and response. This scale can be used in further empirical studies in designing objects aiming to elicit the unique Buddhist aesthetic experience. Moreover, it can be utilized in measuring Buddhist aesthetics as a determinant in relevant practices, such as religious psychotherapy, cognitive engineering, and business.
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Kogler, Susanne. "Adorno as Critics – Mozart, Wagner and Strauss in the Light of the Aesthetic Theory." Musicological Annual 41, no. 1 (December 1, 2005): 45–57. http://dx.doi.org/10.4312/mz.41.1.45-57.
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There is no doubt, that Adomo's critical monographs and essays on Wagner and Strauss, as well as the text on Sibelius, number among the most controversially discussed parts of his oeuvre. One important reason for this controversial reception is the fact that these writings combine philosophical and musical views. As far as the musicologists are concerned, the texts lack a detailed analytical perspective; from the philosophical point of view on the other hand, the deliberations are too much dominated by musical phenomena. This text, which was written for a lecture held at the Musicology Department of the University of Ljubljana in April 2005, aims at placing Adorno's music criticism in the context of his critical aesthetics and in his musical philosophy respectively, which he summed up in his Aesthetic Theory. By doing so the most important criteria, which refer directly to the critical perspective of his thought concerning language and culture in general, shall be focused upon. The article consists of four parts: The first part will focus on Adorno's ideas on 20th century art in general, for these theoretical thoughts constitute the basis of his thoughts on music and musicians. In the second part, Adorno's demands of musical criticism are placed in the centre of interest. The third part discusses Adorno's critique of Wagner by comparing it to his views on Mozart. The fourth and last part provides a detailed analysis of Adorno's two essays on Richard Strauss. Beside Adorno's Aesthetic Theory his writings on music criticism, in particular the paper held in 1967 at the Institute for Musical Criticism and Aesthetical Research of the former Music Academy in Graz entitled »Reflections on musical criticism«, his Essay on Wagner and his two papers on Richard Strauss written in 1924 and 1964 serve as textual basis for the following consideration.
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Koch, Anne. "Introduction: Revisiting Civil Religion from an Aesthetic Point of View." Journal of Religion in Europe 10, no. 1-2 (May 12, 2017): 1–15. http://dx.doi.org/10.1163/18748929-01002001.
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This special issue enquires into aesthetic ways of newly creating or re-shaping and re-presenting civil religion and its central characters, symbols, or figures. Normally, civil religion addresses value-orientation and social integration. In addition to these features, the papers make the aesthetic performance of civil religion the subject of discussion. The reason for taking this path is the altered aesthetic circumstances of highly mediatised and consumerist societies. Before this backdrop, images, literary figurations, movie sequences, and brands in media, public and national discourse are examined in various case studies from Italy, Finland, the uk, France, the former gdr, and Switzerland. At the same time, the negotiation and aesthetic plausibility of aesthetic styles, pragmatic power, and particular media logics are evaluated. The concept of civil religion deserves this closer re-definition also with respect to past and recent (post-)secularisation and non-religion discourses. Hopefully, this multi-layered analysis of aesthetics and aesthetic pragmatics of civil religion will shed some light on the persistent appropriateness of the ‘civil religion’ concept and its capacity to be introduced into various methodological contexts in combination with the aesthetic perspective.
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Fadri, Zainal. "Aesthetic in Puppet Performance." An-Nuha : Jurnal Kajian Islam, Pendidikan, Budaya dan Sosial 8, no. 1 (July 7, 2021): 97–108. http://dx.doi.org/10.36835/annuha.v8i1.348.
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Puppet show is still an entertainment that is full of values and meaning in some Javanese people. The existence of puppets on the Java’s island is caused by the spread of puppets in Java when the Sunan Kalijaga era spread Islam. Puppet shows save the values and rules of life inherent in the conditions of society. Values of life are conveyed by portraying puppet plays and slipping a few jokes as entertainment in the show. This research is a library research and supported by direct observation watching puppet shows. The author analyzes the aesthetic dimenasi contained in a puppet show. The results of this study are some of the aesthetic values contained in the puppet play Lahire Gatotkaca. The aesthetics contained in the puppet show are the value of the text beauty, the value of the show beauty and the norms that are conveyed in a relaxed and light manner.
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Colić, Miodrag M., Nataša Vidojković, Milan Jovanović, and Goran Lazović. "The Use of Polarized Light in Aesthetic Surgery." Aesthetic Plastic Surgery 28, no. 5 (October 2004): 324–27. http://dx.doi.org/10.1007/s00266-004-0014-8.
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Levisen, Carsten. "Pæn, flot, dejlig, and lækker." International Journal of Language and Culture 8, no. 1 (June 7, 2021): 14–34. http://dx.doi.org/10.1075/ijolc.00033.lev.
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Abstract This paper examines the Danish language of aesthetics from the perspective of four untranslatable adjectives: pæn, flot, dejlig, and lækker. These words are frequent and salient in everyday discourses, and as such they shed light on Danish “folk” conceptions. From the perspective of Lexical Anthropology and NSM Semantics, each of the words are explored and explicated in order to shed light on the ways in which Danish discourse organize positive aesthetic experiences. Sensitive to polysemy, and the variety of lexicogrammatical frames in which the words occur, the paper provides a high-resolution analyses of the “something ADJ frame” which enables discourses of design, food, and art. Based on lexical semantic evidence, the paper locates two themes in Danish discourse: “aesthetic normality” and “ordinary hedonism” which seem to act as cognitive axes around which discourses revolve. The paper argues that words hold the key to understanding the diversity of aesthetic cultures, and that untranslatables in particular, allow for a deep emic understanding of how local configurations of seeing, feeling, touching, and thinking are constituted.
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Malara, P., and W. Świderski. "Contemporary aesthetic restorative dental composite materials." Journal of Achievements in Materials and Manufacturing Engineering 78, no. 1 (August 1, 2016): 32–40. http://dx.doi.org/10.5604/01.3001.0010.1493.
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Purpose: This is a review paper that gives an insight into the most popular group ofaesthetic dental materials - dental composite materials. This article describes the historicalbackground, the main features of this group of materials, the cathegorization of the materialsin relation to clinical applications and the polymerization proces.Design/methodology/approach: This review is based on the contemporary scientificliterature most relevant to the topic. The literature search has been made in Elsevier -Science Direct.Findings: Light-curing dental composites exhibit some resemblance to the constructionof the hard tissues of the tooth. They also consist of two basic components. These are:an organic matrix and an inorganic filler. The third component, which is regularly added, isso-called binding agent. According to the composition of the materials they make a goodchoice for aesthetic restoration in natural dentition.Practical implications: In the clinical observations there are many complications resultingfrom inadequate polymerization of composite materials. This may be the result of poorquality of curing lights of a very low intensity, too long distance between the tip of the lampand the surface of the material or improper exposure timeOriginality/value: Dental composite materials are the only group of dental materialsin which these features are combined together, ensuring naturally looking final effect ofthe restoration. Easy handling of the dental composite materials together with effectivepolymerization process with portable light units make these materials a good choice forclinical use.
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Draskic-Vicanovic, Iva. "Aesthetics as analysis of mind experience." Filozofija i drustvo 26, no. 3 (2015): 617–28. http://dx.doi.org/10.2298/fid1503617d.
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The paper presents an at tempt to shed light on causes and circum stances which brought about foundation of aesthetics in 18th century as discipline which analyzes mind experience. Author recognizes key importance of 17th century epistemology for constitution of modern aesthetics, principally idea of subjectivity, subject-object relation problem and new method - philosophical introspection. Special place in modern aesthetics, according to author, deserves aesthetic theory of Francis Hutcheson who defines beauty as phenomenal quality of subjective experience of human mind.
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Ammagui, Nada. "Artistic Taste-Making at the Sharjah Biennial." Review of Middle East Studies 54, no. 1 (June 2020): 125–26. http://dx.doi.org/10.1017/rms.2020.8.
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This poster investigates the role that the Sharjah Biennial (SB), an international art showcase in the United Arab Emirates, plays in the development of a local artistic and cultural taste. It argues that the SB contributes to the molding of local aesthetic values through its selection of curatorial themes, artists, artworks, and, especially, venues. Using field visits, interviews, and archival research informed by sociological and anthropological theories on aesthetics, the author shows that organizers of public art exhibitions and programs are in a key position to shape the art to which people are exposed and how this, in turn, creates a public valuation of aesthetics. This project fills a gap in contemporary biennial literature by shedding light on the pivotal roles of art events in shaping societal aesthetic values.
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Jovanovic, Monika. "At the end of the debate about canons: Categories, evaluation and the nature of aesthetic value." Theoria, Beograd 63, no. 1 (2020): 143–58. http://dx.doi.org/10.2298/theo2001143j.
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The public opinion in philosophy is guided by a multitude of factors and sometimes an idea gets general recognition but is systematically studied only after a few decades have passed. There aren?t many papers in contemporary aesthetics that can match the originality and influence of Kendall Walton?s ?Categories of Art?. It is unsurprising, then, that contemporary aestheticians often expand upon its main theses. Nevertheless, even after almost half a century from its first publication, an exhaustive and comprehensive interpretation of Walton?s paper is still lacking. Moreover, even Walton himself doesn?t provide a detailed elucidation of his ideas, many of which are merely outlined in his seminal paper. Furthermore, he doesn?t apply his view to evaluative aesthetic judgments, even though such an attempt could today, when the debate about aesthetic canons is on the wane, might help us understand the nature of aesthetic evaluation. The goal of this paper is to once again shed some light on the significance of Walton?s approach and on its reception in contemporary aesthetics.
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Innis, Robert E. "Peirce and Dewey think about art: Quality and the theory of signs." Semiotica 2019, no. 228 (May 7, 2019): 103–33. http://dx.doi.org/10.1515/sem-2018-0079.
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AbstractMy goal in this essay is not to investigate the sources, systematic applications, extensions, or coherence of Peirce’s admittedly fragmentary remarks on aesthetics, tasks that have been undertaken by others. Rather, I want, with both historical and systematic intent, to draw attention to some important links between Dewey’s aesthetic use of Peirce’s theory of quality and the remarkable, albeit not thematic, reconstitution in Dewey’s explicitly experiential or perception based aesthetics of central Peircean distinctions and typologies that bear upon the putative aesthetic importance of the divide between Peirce’s early and late theory of signs. In order to give concreteness to the discussion, practicing a kind of method of exemplification, I examine some engagements with art works where the analytical concepts are brought into play. My approach has, as a result, two blades: an upper blade in the form of a theoretical prelude and a lower blade in the form of an analytical staging of some powerful aesthetic encounters in light of the themes outlined in the theoretical prelude.
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Kormin, Nikolai Aleksandrovich. "Art and aesthetic structures of metaphysics of color." Культура и искусство, no. 5 (May 2020): 47–76. http://dx.doi.org/10.7256/2454-0625.2020.5.32877.
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This article analyzes the aesthetics of color as a branch of metaphysics of light and entire photonic zone, which from phenomenological perspective can be viewed as the source of intentional radiations in various bands. It is demonstrated that the image of light is the result of work of aesthetic and artistic consciousness that pan the world and place of a human therein; at the same time, it is important to underline the set-up of meaning with all its predicates in the a posteriori score of color perception itself. Special attention is given to examination of the phenomenology of color. Metaphysically, it represents an even, when the color reflect itself in the value and acquires a prospect. Structuring of modern phenomenological attitude to reality leads to the emergence of new opportunities for the experience of working with color, reconsideration of beauty of coloristic data. According to Husserl, color originated by fantasy, can be an act of life within aesthetic consciousness. Despite the rich research material on the topic, these is still no special research that would demonstrate the artistic shift of boundaries of the color image in relation to metaphysical axes of reference (which becomes a leitmotif for metaphysical painting Giorgio de Chirico), as well as possibility of existence of cross-platform toolset that works on several instrumental systems of aesthetic consciousness and allows conducting the analysis of aesthetic methods of examination of the color itself. This article helps to fulfill such gap.
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Allan, Jonathan A. "The Foreskin Aesthetic or Ugliness Reconsidered." Men and Masculinities 23, no. 3-4 (March 4, 2018): 558–78. http://dx.doi.org/10.1177/1097184x17753038.
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This article argues that to understand the role and place of the foreskin, we must address the aesthetic question that sits at its root. North American media often describe the foreskin as “ugly,” “gross,” or pejoratively “European”; all of which present, fundamentally, an aesthetic comment on what is pleasing. As such, this article investigates the aesthetic discourse surrounding the foreskin in relation to a range of materials that speak at or around the foreskin. In particular, it looks at sources deemed to be “common”—sex manuals, pregnancy manuals, and film and television—alongside theoretical and scientific studies. Undertaking a close reading of these materials, this article sheds light on the striking similarities that these distinct bodies of literature share and the way that aesthetics undergirds their arguments, often as a silent statement rather than exerted forcefully. Through this argument, this article breaks new ground on the way that we consider the foreskin, and, importantly, the aestheticization processes that shape our understanding of this seemingly ancillary component of the penis. Accordingly, this article contributes to a growing body of scholarship on the politics of the foreskin and circumcision by shifting the debate to consider the aesthetic.
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Ortlieb, Stefan A., Uwe C. Fischer, and Claus-Christian Carbon. "Enquiry into the Origin of Our Ideas of the Sublime and Beautiful: Is there a Male Gaze in Empirical Aesthetics?" Art and Perception 4, no. 3 (September 16, 2016): 205–24. http://dx.doi.org/10.1163/22134913-00002051.
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In his ground-breaking Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful, Edmund Burke (1757) presented a comprehensive aesthetic theory based on two types of aesthetic appreciation: the beautiful and the sublime. While beauty inspires us with tender feelings of affection, a thrill of delightful horror attracts us to the sublime. According to Burke these ideas originate in a drive for affiliation (beautiful) and a drive for self-preservation (sublime). He also claims that the sublime is generally the more powerful aesthetic experience. A synopsis of literature on gender differences in aesthetic preferences, personality traits, and social motivation suggests, however, that on average women might be less susceptible to the Burkeian sublime than men. We tested this hypothesis empirically using sixty picture details from a triptych by Hieronymus Bosch. One hundred and fifty participants rated these stimuli in terms of threat (respectively safety) and liking. Besides, they completed standardized scales for state and trait anxiety as well as for state and trait depression. We found a strong effect for gender: on average, safety and liking were more closely related for female than for male participants. In the light of these findings we state that Burke’s concepts of the beautiful and the sublime might in fact be confounded with gender-related aesthetic preferences and that his proclivity to the sublime could reflect a male gaze on aesthetics. Finally, we discuss possible indicators for ‘Burke’s fallacy’ in empirical aesthetics today.
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Mladenović, Miloš N., Sanna Lehtinen, Emily Soh, and Karel Martens. "Emerging Urban Mobility Technologies through the Lens of Everyday Urban Aesthetics." Essays in Philosophy 20, no. 2 (2019): 146–70. http://dx.doi.org/10.7710/1526-0569.1633.
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The goal of this article is to deepen the concept of emerging urban mobility technology. Drawing on philosophical everyday and urban aesthetics, as well as the postphenomenological strand in the philosophy of technology, we explicate the relation between everyday aesthetic experience and urban mobility commoning. Thus, we shed light on the central role of aesthetics for providing depth to the important experiential and value-driven meaning of contemporary urban mobility. We use the example of self-driving vehicle (SDV), as potentially mundane, public, dynamic, and social urban robots, for expanding the range of perspectives relevant for our relations to urban mobility technology. We present the range of existing SDV conceptualizations and contrast them with experiential and aesthetic understanding of urban mobility. In conclusion, we reflect on the potential undesired consequences from the depolitization of technological development, and potential new pathways for speculative thinking concerning urban mobility futures in responsible innovation processes.
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Braginsky, Vladimir. "Light, Sound and Fragrance: The Impact of Sufism on the Aesthetics of Traditional Malay Literature." Malay Literature 24, no. 1 (March 11, 2011): 51–69. http://dx.doi.org/10.37052/ml.24(1)no3.
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Sufi ideas exerted a great influence on nearly every aspect of traditional Malay literature of the late 16th to the 17th century. Not only Malay literary practice of that age owed much to the Sufi inspiration, equally important is the fact that Sufism brought to life a pre-modern Malay literary theory including, inter alia, fundamental concepts of literary aesthetics. On the basis of a poem by Hamzah Fansuri and Sufi allegories Hikayat Inderaputera and Hikayat Si Burung Pingai the article investigates the Sufi doctrine of imagination as a particular world all of its own, the “aesthetics of light” expressed through specific illumination of portrayed events and “lighting effects”, and the “aesthetics of ecstasy” communicated through acoustic and olfactory images. By embodying these aesthetics in the “flesh and blood” of literary works, their creators not only managed to reveal Sufi doctrines with more clarity and beauty, but also let their audience experience them both intellectually and emotionally. Keyword : Sufism, Hamzah Fansuri, literary aesthetic, Hikayat Metaphysics.
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Baranov, P., O. Slyvna, and O. Matyushkina. "Eco-aesthetic features of mineral deposits." Journal of Geology, Geography and Geoecology 27, no. 1 (July 10, 2018): 20–29. http://dx.doi.org/10.15421/111826.
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The aim of work is a study of worked out fields, under development and explored deposits of minerals for the purpose eco-aesthetics.The basis of eco-aesthetics is the principle of utility (utility, expediency) and beauty (aesthetics).The criteria for assessing the eco-aesthetics of geological objects are economic, environmental and aesthetic characteristics. Developed deposits cause irreparable damage to the geological environment and the entire ecosystem. Extraction from the bowels of the earth of minerals violates the geochemical systems on many decades and centuries, and on occasion changes the landscape of locality. Developed deposits can be economically profitable, ecologically clean and esthetically attractive due to development to the aesthetic and historical aspects. An example is the Wieliczka mine in Poland, where business, ecology and aesthetics are harmoniously combined. A number of the largest worked out fields and developed fields in Ukraine are in extremely need of the development of this issue. Developed iron ore deposits are one of the important factors of industrial potential of Ukraine. Semiprecious stone material, jaspilite, is the aesthetic aspect of these fields. They have colossal reserves. Using their decorative properties, we have developed the laws of shaping for the design of natural stone, identified the main areas of application of jaspilites in decorative art. Implementation of the idea of creating a Jespilite room will allow Krivbas not only industrial, but also cultural and educational center. The achieved results will qualitatively improve the eco conditions for the local population, the development of stone carving art and will lead to business growth. The explored deposits of spodumene pegmatites in the Western sea of Azov in addition to lithium mineralization contain expansive fields of graphic microcline pegmatites, spodumene and albitic pegmatites. They contain samples of pink spodumene (kunzite), petalite from light green to pink, tourmaline (sherl). Thus, this deposits of spodumene pegmatites in Western Azov today require a comprehensive assessment of minerals, because in addition to ore mineralization there is also a gemstone-colored raw material.
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Hung, Yung-Shan, and Shih-Fen Yeh. "The Aesthetics of Curriculum and Taoism." International Journal of Chinese Education 2, no. 1 (2013): 54–69. http://dx.doi.org/10.1163/22125868-12340013.
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Abstract Inspired by the understanding of curriculum as aesthetic text, study on the aesthetics of curriculum has attracted more and more interests in Taiwan. Based on the cultural lens of Taoism, this article aims to explore the theory and implementation of aesthetics of curriculum in a case study. The study found the aesthetics of Taoism in the curriculum can be understood from the aesthetics of relation, and the aesthetics of simplicity and plainness, which lead to the reconstruction of the way of “Being” in education. The aesthetics of curriculum from a Taoist perspective sheds important light on educational reform. In the era of globalization, we should reconsider the implications of curriculum by looking back on and reviving our culture.
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Thornton, Tim. "An Aesthetic Grounding for the Role of Concepts in Experience in Kant, Wittgenstein and Mcdowell." Forum Philosophicum 12, no. 2 (November 1, 2007): 227–45. http://dx.doi.org/10.35765/forphil.2007.1202.18.
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The paper begins by asking, in the context of McDowell's Mind and World, what guides empirical judgement. It then critically examines David Bell's account of the role of aesthetic judgement, or experience, in Kant and Wittgenstein, in shedding light on empirical judgement. Bell's suggestion that a Wittgensteinian account of aesthetic experience can guide the application of empirical concepts is criticised: neither the discussion of aesthetic judgement nor aesthetic experience helps underpin empirical judgement. But attention to the parallel between Wittgenstein's discussion of understanding rules and the question of how empirical concepts can be applied to particulars suggests how to dissolve the felt need for an answer. This in turn helps shed light on McDowell's conceptualist account of experience.
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Yang, Xiao Qian. "Study of Light Pollution about Night Landscape Lighting." Applied Mechanics and Materials 214 (November 2012): 338–42. http://dx.doi.org/10.4028/www.scientific.net/amm.214.338.
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Night landscape lighting is the extension of urban space and time and it reflects the prosperous development of economic and that cultural life has become increasingly rich and colorful. However, nowadays, the phenomena of pursuing excessive brightness and decorative lighting instead of functional lighting and abusing light color and following the model blindly have become prominent problems in the construction of night landscape in our country. Light pollution problem has already become the heated focus of academic theory and lighting technology management group. This thesis is based on the light pollution of cities' night landscape lighting , analyzing the harm to biosphere, social life and urban environment caused by light pollution, expounding its sphere of influence and the main forms and summarizing the problems and reasons of light pollution about cities' night landscape lighting .The aesthetic sense about city night view needs to accord with intensity of illumination standard but also to follow the principles of humanism, environmental psychology, city aesthetics, ecology and so on.
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Shen, Min, and Liangqiu Lv. "On Translation of Electric Power English from the Perspective of Translation Aesthetics." Journal of Language Teaching and Research 8, no. 5 (September 1, 2017): 934. http://dx.doi.org/10.17507/jltr.0805.13.
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The translation of electric power English is getting prominent with the expanding of national grid and frequent exchanges of power industry among countries. From the perspective of translation aesthetics, electric power English translation is a language transformation activity that combines science and art together. Beginning with introduction to translation aesthetics theory and electric power English, under three criteria for judging aesthetic value of electric power English, this paper shall probe into the beauty of accuracy, conciseness, rhetoric and logic of electric power English and its translation. On the basis of analysis, translation techniques are proposed to represent these beauties in light of translation aesthetics.
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Pesce, Dolores. "New Light on the Programmatic Aesthetic of MacDowell's Symphonic Poems." American Music 4, no. 4 (1986): 369. http://dx.doi.org/10.2307/3052226.
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Dölen, Utku Can, and Selçuk Çınar. "Perfect Lighting for Facial Photography in Aesthetic Surgery: Ring Light." Aesthetic Plastic Surgery 40, no. 2 (February 18, 2016): 319–26. http://dx.doi.org/10.1007/s00266-016-0614-0.
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Yusova, J. Y., D. V. Demidion, and M. A. Avagumyan. "Possibility of using light technology in correction of age-related skin changes." Medical alphabet 1, no. 7 (March 5, 2019): 83–86. http://dx.doi.org/10.33667/2078-5631-2019-1-7(382)-83-86.
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Light technologies are widely represented in aesthetic medicine and solve a wide range of problems. To date, broadband light radiation or IPL-effect is actively studied and studies of various spectra of waves on the skin continue, which indicates the relevance of the problem. The article presents the latest trends in the use of hardware light technologies and technical solutions for the correction of aesthetic problems depending on the radiation spectrum, which allows to assign the necessary treatment differentially and solve problems depending on individual characteristics.
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Ovcharov, A. T., and A. S. Kostareva. "ENGINEERING AND AESTHETIC SOLUTIONS OF MODERN DEVELOPMENT OF OUTDOOR LIGHTING." Vestnik Tomskogo gosudarstvennogo arkhitekturno-stroitel'nogo universiteta. JOURNAL of Construction and Architecture, no. 2 (April 29, 2019): 134–57. http://dx.doi.org/10.31675/1607-1859-2019-21-2-134-157.
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The article describes engineering and technical solutions that determine the development of modern outdoor lighting: safety, light comfort, aesthetics of urban space architecture, energy efficiency. Outdoor lighting innovations affect the city planning structure and its elements, such as road network, pedestrian paths and spaces, landscape and recreational areas. The article describes the basic requirements, principles and techniques for organizing outdoor lighting in the city structure that contribute to solving strategic lighting problems such as creation of the comfort lighting zones and amenities, satisfaction of ethical and aesthetic needs and wellbeing of residents and visitors. The outdoor lighting concepts are formulated in the context of modern trends in the urban development.
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Moscoso, Claudia, and Barbara Matusiak. "Aesthetic perception of a small office with different daylighting systems." Indoor and Built Environment 27, no. 9 (June 4, 2017): 1187–202. http://dx.doi.org/10.1177/1420326x17711490.
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The quality of a lit environment cannot be deduced solely from the quantity of light. Therefore, daylighting studies should not only be focused on the usage of lighting metrics but should also consider the aesthetic experience. This paper examines the influence of daylighting systems on the aesthetic perception of a small office. One single side lit office was equipped with four different daylighting systems (white blinds, high-reflecting blinds, hybrid light shelf and mirror light shelf) under two sky conditions (clear sky and overcast sky). In total, eight stimuli were captured and presented via stereoscopic images. Fifty participants evaluated the images using the semantic differential scale to rate nine architectural quality attributes. The results from MANOVA indicated that both the daylighting systems and the type of sky had an effect on the aesthetic attributes, and that the significant interaction effect suggested that the aesthetic perception of a daylighting system depends on the type of sky. Subsequent statistical findings showed that the high-reflecting blinds comprised the daylighting system that scored highest in nearly all attributes under both clear and overcast sky conditions.
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Fediy, Olga. "AESTHETIC INTELLIGENCE OF THE TEACHER IN THE CONTEXT OF PEDAGOGICS OF GOOD OF IVAN ZIAZIUN." Aesthetics and Ethics of Pedagogical Action, no. 17 (March 9, 2018): 106–18. http://dx.doi.org/10.33989/2226-4051.2018.17.176286.
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The article is dedicated to assessment and evaluation of the philosophical and aesthetic fundamentals of educator’s activity in the era of informational society. The set of fellow contradictions of the contemporary educational system is defined by the author: ultimate uncertainty of the major goal of the educational process alongside with the priorities of educational activity; professional overload of the teacher and lack of one’s attention in relation to the essence of the aesthetic and spiritual self- value of a child.Author of the article offers the effective approach towards addressing of the misbalance in relations between a pupil and modern school – by development of aesthetic intelligence of the educator. The aesthetic intelligence is defined by the scholar as the system-composing trait of an individual, which is mainly oriented on representation of the essential, emotional and spiritual, aesthetically-realized acceptance of the natural aesthetical individuality of a pupil by an educator. Additional emphasis in this context is put on the importance of the pupil’s individually-developed ability for emotionally sensed living of one’s school life.The conceptual basis of the phenomenon of aesthetic intelligence of an educator is investigated in the light of the paradigm of the pedagogics of good (as it is offered by Ivan Ziaziun). The conceptual analysis of the major approaches of Ivan Ziaziun in relation to defining of the major essence of aesthetical and substantial contents of the aesthetic feelings is conducted. The set of such feelings cerates the fertile background for the spiritual and aesthetic area of educator’s activity. In addition aesthetic feelings fulfill the logics of the pedagogical actions with their sense and in such manner, strengthen the power of such actions in the process of achievement of an excepted outcome from such educational activity.The aesthetic feelings create the background for the strong spiritual and intelligence-based relations between a Teacher and a Pupil. Actualization of the aesthetic both in the context of the educational process and in the process of formation of the aesthetic intelligence, has its step-by-step characteristics: aesthetic creates the background for finding the path to the soul of a pupil, supports aesthetic and emotional experience of all subjects of the educational process and funds the final success in the context of gaining the set of educational competences by a pupil. The knowledge base (informational awareness and related practical competences), which is gained by the pupil alongside with experiencing the aesthetic pleasure, its assessment and evaluation, feeling corresponding personal sensation, deep and engaging understanding etc., which takes its place in the school environment (characterized as psychologically comfortable and aesthetically-fulfilled one) has the further potential of achievement of the effect of desired replication and updated emotional experience.
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Symeonidis, Thomas. "Architecture as a tool for aesthetic and political thought." SAJ - Serbian Architectural Journal 11, no. 3 (2019): 397–404. http://dx.doi.org/10.5937/saj1903397s.
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Despite the usual approach of architecture in terms of conception, design and construction of the built environment in our paper we will argue that architecture can be used as a tool for aesthetic and political thought. To this end we will rely on definitions of architecture emphasising either its aspects of principle (arché) or construction either its relational character. In this regard, architecture will be used as a means for conceptualising and thinking issues at the intersection of the two pivotal notions of political theory - equality and justice. Our main hypothesis will be that in the contemporary aesthetic regime the thought of aesthetics is indissosiable from politics endorsing in that way the main aspects of Jacques Rancière's relevant contributions. In our analysis, we will first show the affinity between the political and aesthetic thought and then elaborate on aspects of architecture such as scale, type, form, diagram, history and hierarchy in order to show the functioning of architecture as a tool of thought. To this end we will provide a solid scheme and definitions of thought drawing from contemporary philosophy. By establishing analogies between the process of thought and the processes of architecture we will eventually attempt to show that architecture can be used in an inverted manner so as to shed light on matters of aesthetic and political theory and practice.
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Coates, A. M. "Beauty lived towards shalom. The Christian Life as Aesthetic-Ethical Existence." Acta Theologica Supp, no. 29 (November 30, 2020): 93–113. http://dx.doi.org/10.18820/23099089/actat.sup29.6.
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The apparent irrelevance of beauty to questions of justice reflects a problematic schism between aesthetic and ethical existence. While a theological aesthetics focused on the transcendent nature of beauty offers an important contribution, such an understanding of the place of beauty in human existence is incomplete without a complementary understanding of it as this-worldly: beauty as lived, as a relational category impelled by visceral desire and fuelled by the embodied imagination. By rightly ordering the appreciation and cultivation of beauty in everyday life, its relationship to works of justice is immediately apparent, as both modes of relating mutually serve as fitting shalom. In this light, fittingness becomes a measure of not only aesthetic but also ethical excellence, the two modes of existence being inextricably intertwined. Cultivating beauty-and-justice, as an expression of shalom, is a following after Christ’s being-for-the-other. It is a relational commitment, a life of discipleship that founds beauty in love.
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Jakabházi, Réka. "Ich-Dissoziation – Apokalypse – Ästhetik des Hässlichen. Einfluss des deutschen literarischen Expressionismus’ auf die frühe Lyrik von Robert Reiter." Studia Universitatis Babeș-Bolyai Philologia 66, no. 3 (September 20, 2021): 49–60. http://dx.doi.org/10.24193/subbphilo.2021.3.03.
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"Dissociation of the Self – Apocalypse – the Aesthetic of Ugliness. The Influence of German Literary Expressionism on the Early Lyrical Work of Robert Reiter. The present paper focuses on the influence of German literary Expressionism on the early lyrical work of Robert Reiter. In his early period, Robert Reiter took inspiration from the formal language of German Expressionism, as well as from the notion of subjective expression or the dissociation of the self associated with it. He used the apocalypse-motif and the ideal type known as the “New Man,” and practised an “aesthetics of the ugly”, which played a central role in Expressionist literature. To support this thesis, this article analyses the early work of the poet in light of contemporary avant-garde tendencies, with a focus on the poem Terhes hajnalban [In Pregnant Dawn]. Keywords: Expressionism, Robert Reiter, dissociation of the self, apocalypse, aesthetic of ugliness "
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Biondani, Francesco Giuseppe, Giuliano Bissacco, Lukáš Pilný, and Hans Nørgaard Hansen. "Analysis and Characterization of Machined Surfaces with Aesthetic Functionality." International Journal of Automation Technology 13, no. 2 (March 5, 2019): 261–69. http://dx.doi.org/10.20965/ijat.2019.p0261.
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The generation of fine machined surfaces with high gloss is an important topic in mould manufacturing. The surface gloss can be characterized by means of scattered light sensors and a representative parameter such asAq. In this paper, in-line measurements of scattered light distribution are compared with roughness parameters calculated using a confocal microscope, in order to assess surface aesthetic quality. Several surfaces have been machined by means of high precision milling, producing different surface topographies. Surface characterization has been performed on a machine using a scattered light sensor, and using a confocal microscope in laboratory conditions. The calculatedAqparameter is compared with the amplitude roughness parametersSaandSq, and with hybrid parametersSdqandRdqrepresenting the average slope of the surface features. Scanning electron microscope (SEM) images are used as visual benchmarks to identify the parameters’ correlation with the visual appearance. A different linear trend of the relationship betweenAq,Rdq, andSdqis observed. The description of the surface quality throughSaorSqinstead is found to be insufficient. This is explained by means of SEM pictures showing a dramatic influence of the smeared material over the machined surface.
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Lai, Wen-wei, Xiao-xing Zeng, Jian He, and Yuan-long Deng. "Aesthetic defect characterization of a polymeric polarizer via structured light illumination." Polymer Testing 53 (August 2016): 51–57. http://dx.doi.org/10.1016/j.polymertesting.2016.05.011.
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Saxena, Dr Sonal, Dr Karan Punn, Dr Divya Dubey, Dr Vivek Srivastava, Dr Ajita Meenawat, and Dr Shivam Yadav. "LIGHT CURED RESIN- AN AESTHETIC AND BIOCOMPATIBLE ALTERNATIVE TO CONVENTIONAL DRESSING." UNIVERSITY JOURNAL OF DENTAL SCIENCES 6, no. 1 (July 13, 2020): 31–35. http://dx.doi.org/10.21276/ujds.2020.6.1.8.
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Introduction: Periodontal dressings, also known as periodontal packs, have been employed over centuries for the purpose of protection of surgical sites. Many modifications have been made to improve their physical and therapeutic properties. Hence this study was designed to compare and evaluate the clinical efficacy of light cured periodontal dressing to most widely used non-eugenol pack.
Materials and method: Ten patients suffering from generalized chronic periodontitis, requiring periodontal flap surgeries on contralateral sides of the arch were selected and randomly divided into two groups: Group I (Control group) and Group II (Test group). In Group I, non-eugenol periodontal dressing and in Group II light cured periodontal dressing was applied at the surgical sites. Clinical parameters that were assessed on day 7 after the removal of the pack are debris index, plaque scores and gingival index. Patients were also be assessed for acceptance and compliance of the material. All the data recorded was then statistically analysed.
Result: Group II showed better results when compared with the control group on debris index, plaque scores and gingival index, though the differences were found to be statistically insignificant. Group II also showed better results in terms of esthetics, associated mucosal problems, retention of the dressing and over all patient satisfaction.Conclusion: Light cured periodontal dressing showed better patient acceptability and compliance and could be considered to be a clinically efficient and alternative to the non-eugenol pack as the periodontal dressing.
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Rarey, Matthew Francis. "Shine: The Visual Economy of Light in African Diasporic Aesthetic Practice." African Arts 50, no. 4 (December 2017): 90–92. http://dx.doi.org/10.1162/afar_r_00383.
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Elias, Ann. "The Black Diamonds of Sydney Harbour." Environment and Planning E: Nature and Space 2, no. 3 (May 14, 2019): 645–64. http://dx.doi.org/10.1177/2514848619850446.
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This article explores the case study of a coal mine that was first tunneled under Sydney Harbour in 1897 but closed in 1931. Specifically, it examines how the history of the mine intersects with aesthetics, race, colonialism, and Indigenous dispossession. Centered on the story of an English mining company that first sought a mine site in a pastoral area of the city, but under public pressure was forced to select instead a grimy working class suburb on the opposite harbor shore, the article argues that environmental aesthetics and tastes in beauty collaborated with extractivism. The argument emerges that economics, art, and aesthetics are inextricably linked in this history and further, that while the mine excited the industrial imagination through the aesthetic of the sublime, and associations with darkness and vastness, it conflicted with colonial settler tastes for the pastoral imagination defined by the aesthetics of the beautiful and its associations with light. The article discusses the context of a settler economy in lands stolen from Indigenous peoples, and how conceptualizations of the sublime and beautiful, as well as dark and light, were aligned with the racialization of the properties of coal and space above and below ground.
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Yang, Yuan Gao. "On Visual Aesthetic Feeling of Microlite Decorating Plate." Applied Mechanics and Materials 214 (November 2012): 343–47. http://dx.doi.org/10.4028/www.scientific.net/amm.214.343.
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Among all the dazzling decorating materials, microlite decorating material stands out because of its attributes and visual aesthetic feeling. It’s an eco-friendly material belong to the latest designing field in the new century. And its splendid tincture, smooth surface, homogeneous reflection of light is all manifestation of its visual beauty and natural tenderness.
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Perica, Ivana. "Hybridity: Discussing Rancière with Austro-Marxism." Maska 32, no. 185 (September 1, 2017): 122–28. http://dx.doi.org/10.1386/maska.32.185-186.122_1.
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The paper draws on possibilities of applying Rancière’s views to the poetics and politics of ‘Red Vienna’, that is, to the cultural and educational policies developed by the Social Democratic Workers’ Party of Austria (SDAP), which in the 1920s supported aesthetic policies structurally related to Rancière’s own conceptions of art and aesthetic revolution. The aim of the paper is to discuss Rancière’s understanding of aesthetic revolution in the light of the historical achievements and impasses of the Viennese social democratic politics.