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1
Humphries, Stacey, Jacqueline Rick, Daniel Weintraub, and Anjan Chatterjee. "Movement in Aesthetic Experiences: What We Can Learn from Parkinson Disease." Journal of Cognitive Neuroscience 33, no. 7 (June 1, 2021): 1329–42. http://dx.doi.org/10.1162/jocn_a_01718.
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Abstract Visual art offers cognitive neuroscience an opportunity to study how subjective value is constructed from representations supported by multiple neural systems. A surprising finding in aesthetic judgment research is the functional activation of motor areas in response to static, abstract stimuli, like paintings, which has been hypothesized to reflect embodied simulations of artists' painting movements, or preparatory approach–avoidance responses to liked and disliked artworks. However, whether this motor involvement functionally contributes to aesthetic appreciation has not been addressed. Here, we examined the aesthetic experiences of patients with motor dysfunction. Forty-three people with Parkinson disease and 40 controls made motion and aesthetics judgments of high-motion Jackson Pollock paintings and low-motion Piet Mondrian paintings. People with Parkinson disease demonstrated stable and internally consistent preferences for abstract art, but their perception of movement in the paintings was significantly lower than controls in both conditions. The patients also demonstrated enhanced preferences for high-motion art and an altered relationship between motion and aesthetic appreciation. Our results do not accord well with a straightforward embodied simulation account of aesthetic experiences, because artworks that did not include visual traces of the artist's actions were still experienced as lower in motion by Parkinson patients. We suggest that the motor system may be involved in integrating low-level visual features to form abstract representations of movement rather than simulations of specific bodily actions. Overall, we find support for hypotheses linking motor responses and aesthetic appreciation and show that altered neural functioning changes the way art is perceived and valued.
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Gaydos,, H. Lea Barbato. "The Cocreative Aesthetic Process: A New Model for Aesthetics in Nursing." International Journal of Human Caring 7, no. 3 (April 2003): 41–45. http://dx.doi.org/10.20467/1091-5710.7.3.41.
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The cocreative aesthetic process is a new model to describe aesthetics in nursing. The process has four aspects: engagement, mutuality, movement, and new form. This description of an aesthetic process in nursing has some features in common with other descriptions of the art of nursing and adds to these in significant ways. Importantly, the cocreative aesthetic process demonstrates the necessity of both caring and holism to the art of nursing. This model can be used to evaluate the presence of nursing as art in selected situations.
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Huang, Ya. "Comparative Analysis of Aesthetic Emotion of Dance Movement: A Deep Learning Based Approach." Computational Intelligence and Neuroscience 2022 (July 21, 2022): 1–10. http://dx.doi.org/10.1155/2022/5135495.
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Dance is a unique art with the human body movement as the main means, but dance is not limited to the human body movement itself. Like any art, dance is the product of human social behavior and a romantic behavior of human thoughts and emotions in the virtual world. Dances with different characteristics will also reflect different aesthetics, different cultural psychology, different living styles, and emotional trajectories of different times and different nationalities. People rely on the image of dance artists to develop and inherit the profound ideological connotation and philosophy of life. Viewers may form their own diversified and unique aesthetic characteristics. In the new era, in order to better promote the development, communication, and dissemination of dance art, it is very necessary to analyze and explore the connotation and aesthetic characteristics of dance art. Only through specific movements can the value and ideological connotation of works be expressed. Therefore, this paper comparatively analyzes dance movement aesthetic emotion based on deep learning. Experimentations are performed to systematically analyze the models from various perspectives. Findings of the evaluation show that CAP and CNN are effective models that can successfully extract high-level emotional features. The method proposes and effectively selects the best models among the five standard models based on key features and is, therefore, suitable in predicting the dancer’s emotion and for the analysis of the dance movement in the future.
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Defrančeski, Jan. "Environmental Aesthetics and Land Art." Pannoniana 6, no. 1 (December 12, 2022): 9–34. http://dx.doi.org/10.32903/p.6.1.1.
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In this paper, the author reflects on the relationship between environmental aesthetics and land art. By considering their historical development, the author first addresses the terminology problem which prompted him to understand land art as a hypernym – i.e. a term that semantically encompasses other art practices (e.g. “Earth art”, “Earthworks”, “Site art”, “Arte Povera”, “Environment(al) art”, and “Ecological art”). Moreover, by considering certain features of land art (e.g. integration, interruption, involvement, implementation, and imagining), the author proposes a thesis according to which land art represents not only a contemporary art movement but also a new form of the aesthetic experience of nature. In the further development of this thesis, the author focuses on two aesthetic principles of land art – participation and entropy – which in the history of aesthetic theory have been almost non-existent, pushed to the margins, or completely neglected. Finally, by finding solid theoretical foundations for this thesis in Ronald W. Hepburn’s ground-breaking essay “Contemporary Aesthetics and the Neglect of Natural Beauty” (1984), as well as some land art projects (e.g. Robert Smithson, Spiral Jetty, 1970), the author emphasises the strong theoretical connection between environmental aesthetics and land art.
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Reed, Corey. "Signifying the Sound: Criteria for Black Art Movements." Journal of Aesthetic Education 57, no. 4 (December 1, 2023): 36–59. http://dx.doi.org/10.5406/15437809.57.4.03.
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Abstract “Black art” is often understood as being inherently political. In examining two major Black arts movements, the Harlem Renaissance and the Black Arts movement, many of the works attributed to those periods fit the description of “political art” but not all of them. Black art movements are not defined exclusively by similar styles or methodologies, like Expressionism or Surrealism, either. Instead, Black art movements are complex movements that blend social, political, and aesthetic criteria. In this article, I list seven conditions that I take to be jointly sufficient for a Black art movement to be signified as such. In this assertion, I also argue that this current era, paralleling the Black Lives Matter movement, is worthy of Black art movement signification, if we update the mediums by which the conditions are met in the Harlem Renaissance and the Black Arts movement.
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Zhu, Yifan. "The Influence of the French New Wave Movement on Contemporary World Art Film Creation." Communications in Humanities Research 3, no. 1 (May 17, 2023): 670–74. http://dx.doi.org/10.54254/2753-7064/3/20220555.
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The French New Wave is one of the three major aesthetic movements in the world film history. The "New Wave" films shocked the world, causing the "New Wave" film movements in America, Europe, Asia and other countries to emerge one after another, triggering a worldwide film aesthetic revolution. The French "New Wave" has a profound impact on modern films. This paper focuses on grasping the emergence, development, prosperity and decline of the French "New Wave" film aesthetics, paying attention to live broadcast and process documentaries, analyzing the artistic skills of the New Wave film to shape characters, effectively summarizing the influence of the French New Wave movement on contemporary world artistic film creation, so as to find out some rules of film development and provide a necessary reference system for contemporary world film art creation, And explore the development direction of Chinese film in the future.
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Wildt, Franziska. "Aesthetics of Resistance: On the Politics of Aesthetic Thought in Hegel’s Theory of Art and Peter Weiss’ Novel The Aesthetics of Resistance." AM Journal of Art and Media Studies, no. 22 (September 15, 2020): 1–13. http://dx.doi.org/10.25038/am.v0i22.385.
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hrough a confrontation of Hegel’s Lectures On Aesthetics and Peter Weiss’ novel The Aesthetics of Resistance this paper criticizes the theory of aesthetics for its lack of aesthetic thinking. Hegel’s theory of aesthetics is introduced as a paradigmatic case of this problem, while The Aesthetics of Resistance is read as an attempt to “re-aestheticize” the thought of aesthetics. Following a brief introduction and contextualization of the problem within the theoretical discourse on “aestheticization”, Hegel’s theory is analyzed and then contrasted to The Aesthetics of Resistance. The analysis is carried out in three steps, which correspond to three forms in which Hegel’s lectures represent the movement that leads from the aesthetic form of art to the – in his view – no longer aesthetic form of aesthetics. This analysis is finally confronted with a reading of The Aesthetics of Resistance that reverses the movement delineated by Hegel’s theory through aestheticizing aesthetics. Article received: April 28, 2020; Article accepted: June 23, 2020; Published online: September 15, 2020; Original scholarly paper
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Sernelj, Téa. "Modernization of Beauty in China." Asian Studies 9, no. 2 (May 7, 2021): 165–79. http://dx.doi.org/10.4312/as.2021.9.2.165-179.
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The article explores the socio-political and historical development of the great debate on aesthetics and the aesthetic fever in China during the 20th century. It introduces the main figures of the aesthetic movement and their aesthetic theories. It introduces the period of appropriation of the aesthetic debates to Marxist ideology that prevailed in China after 1949 and lasted until the end of 1970s. The 1980s and 1990s represent a shift in the Chinese aesthetic debate which focused on the adoption of Western aesthetic concepts and paradigms in a more scientific way. The article tackles the problem of Chinese society on the verge of the millennium, and problematizes the consumerism of art and attitudes towards aesthetics in general.
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Chen, Changhai. "New Aesthetic Characteristics Emerging in the Digital Cinema Era." International Journal of Education and Humanities 2, no. 1 (January 25, 2022): 1–6. http://dx.doi.org/10.54097/ijeh.v2i1.224.
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Digital film technology has constantly transformed and enhanced the fundamental aesthetic elements in the traditional aesthetic categories of film aesthetics during its gradual penetration into the film art system, enabling these fundamental aesthetic elements to take on new forms and appearances that enrich the artistic communication of film and mark This is a sign of artistic advancement. The fusion of old and new technologies in synergy with the original film system has also accelerated the development of digital film technology as an aesthetic model, and in adapting to the original film art system, digital film aesthetics has produced aesthetic implications that transcend the original system, in terms of virtual images, spatial and temporal concepts, narrative modes, sound and picture relationships, and movement characters. They all exhibit new aesthetic characteristics that are distinct from traditional film aesthetics in terms of virtual images, spatial and temporal concepts, narrative modes, sound and image relationships, movement characteristics, and interactive methods. When one examines existing discussions on digital cinema in China and globally, it is easy to see that they primarily focus on expanding the audiovisual expression of images and on the study of the expressive power and image effects of digital special effects, while research on expanding film concepts and expanding film aesthetics is superficial, or even nonexistent. From a film aesthetics standpoint from the standpoint of film aesthetics, as digital technology has gradually displaced traditional modes of film production and concepts, audience viewing styles, and human aesthetic concepts, the aesthetics of digital film under the new digital technology can be a new construction in terms of time and space, reality, narrative techniques, virtual reality, and aesthetic acceptance. Based on established film theories and aesthetic notions, this study will seek to develop film aesthetics in the digital era, highlighting the study's uniqueness and systemic character in light of shifting aesthetic categories and the incorporation of new aspects in digital cinema.
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Chapakdee, Thanom. "Art of Engagement: Visual Art of Thailand in Global Contexts." International Journal of Creative and Arts Studies 3, no. 1 (December 29, 2017): 21. http://dx.doi.org/10.24821/ijcas.v3i1.1832.
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This paper on the topic of Art of Engagement: Visual Art of Thailand in Global Contexts, attempts to explore that “global contexts” is transformed because of the impacts rapid change in economics, politics, society and culture. Globalization based on the notion of Global art and transform Thai art scene into the state of international art movement such as Installation art, Performance art, Community art, i.e. these movement becomes the mainstream of art since 1980s. This kind of movement which artist has created the art objects, space, time and sphere as a model of sociability which audiences can participate with people in community as relational art practice. The relational art becomes the space of exchange and participants can share experienced of taste, aesthetic, criticism which it’s related to art objects and sphere of community. This paper will explains that relational art is in the process of art of engagement. That is why art has become the community engagement which art objects and practical based are of the relational art and relational aesthetics.
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Pyrova, Tatiana Leonidovna. "Philosophical-aesthetic foundations of African-American hip-hop music." Философия и культура, no. 12 (December 2020): 56–62. http://dx.doi.org/10.7256/2454-0757.2020.12.34717.
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This article is dedicated to the philosophical-aesthetic foundations of African-American hip-hop music of the late XX century. Developed by the African philosopher Leopold Senghor, the author of the theory of negritude, concept of Negro-African aesthetics laid the foundations for the formation of philosophical-political comprehension and development of the principles of African-American culture in the second half of the XX century in works of the founders of “Black Arts” movement. This research examines the main theses of the aesthetic theory of L. Senghor; traces his impact upon cultural-political movement “Black Art”; reveals which position of his aesthetic theory and cultural-political movement “Black Arts” affected hip-hop music. The author refers to the concept of “vibe” for understanding the influence of Negro-African aesthetics upon the development of hip-hop music. The impact of aesthetic theory of Leopold Senghor upon the theoretical positions of cultural-political movement “Black Arts” is demonstrated. The author also compares the characteristics of the Negro-African aesthetics and the concepts used to describe hip-hop music, and determines correlation between them. The conclusion is made that the research assessment of hip-hop music and comparative analysis of African-American hip-hop with the examples of global hip-hop should pay attention to the philosophical-aesthetic foundations of African-American hip-hop and their relation to Negro-African aesthetics, which differs fundamentally from the European aesthetic tradition.
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Cagulada, Elaine. "Persistence, Art and Survival." Canadian Journal of Disability Studies 9, no. 4 (November 10, 2020): 50–70. http://dx.doi.org/10.15353/cjds.v9i4.668.
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A world of possibility spills from the relation between disability studies and Black Studies. In particular, there are lessons to be gleaned from the Black Arts Movement and Black aesthetic about conjuring the desirable from the undesirable. Artists of the Black Arts Movement beautifully modeled how to disrupt essentialized notions of race, where they found “new inspiration in their African ancestral heritage and imbued their work with their experience as blacks in America” (Hassan, 2011, p. 4). Of these artists, African-American photographer Roy DeCarava was engaged in a version of the Black aesthetic in the early 1960s, where his photography subverted the essentialized African-American subject. My paper explores DeCarava’s work in three ways, namely in how he, (a) approaches art as a site for encounter between the self and subjectivity, (b) engages with the Black aesthetic as survival and communication, and (c) subverts detrimental conceptions of race through embodied acts of listening and what I read as, ‘a persistent hereness.’ I interpret a persistent hereness in DeCarava’s commitment to presenting the unwavering presence of the non-essentialized African-American subject. The communities and moments he captures are here and persistently refuse, then, to disappear. Through my exploration of the Black Arts Movement in my engagement with DeCarava’s work, and specifically through his and Hughes’ (1967) book, The Sweet Flypaper of Life, we are invited to reimagine disability-as-a-problem condition (Titchkosky, 2007) and deafness as an ‘excludable type’ (Hindhede, 2011) differently. In other words, this journey hopes to reveal what the Black Arts Movement and Black aesthetic, through DeCarava, can teach Deaf and disability studies about moving with art as communication, survival, and a persistent hereness, such that different stories might be unleashed from the stories we are already written into.
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Ortiz, Carlos Manuel Montenegro. "Pragmatism and Creativity: Patenting the School Art Manifesto from Dewey’s Aesthetic Experience." Creativity. Theories – Research - Applications 9, no. 1 (June 1, 2022): 130–45. http://dx.doi.org/10.2478/ctra-2022-0007.
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Abstract An original way to make sense of the aesthetic experience concept – in a Deweyan perspective – is from the Art-Education binomial. After studying the pragmatist philosophical category of Experience in John Dewey, a product of Doctoral theoretical research in education, it was possible to characterize a new art movement: School Art. Hence, this conceptual-theoretical finding will expand a wide range of art movements that emerged between the nineteenth century and contemporaneity: Art Nouveau, Impressionism, Abstract Art, Futurism, Action Painting, and Children’s Art, among many others. However, because of lexical reasons and hoping to achieve greater acceptance among theorists, the so-called School Art will patent from this paper as a neologism named from now on as Artscholarism. Thus, its philosophical-historical foundations, characteristics, and description will be the article’s primary purpose. In that sense, psychological and historical discussions will emerge throughout the paper. In conclusion, the new art movement – Artscholarism – comes from Deweyan thinking and is framed by creativity and a social context.
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Marty, Nicolas. "Deleuze, Cinema and Acousmatic Music (or What If Music Weren’t an Art of Time?)." Organised Sound 21, no. 2 (June 30, 2016): 166–75. http://dx.doi.org/10.1017/s1355771816000091.
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Drawing on Deleuze’s work about cinema (the ‘movement-image’ and the ‘time-image’), this article explores formal and aesthetic resonances with sound-based music, distinguishing between aesthetics of energy, articulation and montage, and aesthetics of contemplation, space and virtual relations. A second perspective is given, focusing on how listening behaviours may impose a ‘movement-image’ or a ‘time-image’ lens through which we could experience and remember a work’s form. This is exemplified with a short analysis of the first section ofChat Noir(1998–2000) by Elizabeth Anderson.
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Raunig, Gerald. "Singers, Cynics, Molecular Mice: The Political Aesthetics of Contemporary Activism." Theory, Culture & Society 31, no. 7-8 (December 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 from Rancière’s rejection of activist art, a non-totalizing political aesthetics as a component of molecular revolution.
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Kempe, Marisa, and Thomas Heinen. "Aesthetic Perception of Stage Setups in Dance." European Journal of Sport Sciences 1, no. 4 (August 31, 2022): 29–35. http://dx.doi.org/10.24018/ejsport.2022.1.4.30.
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Dance as moving art is an adequate medium for exploring visual perception and the aesthetic value of movements. The aesthetic experience in dance movements and performances was investigated over the last two decades. Still, research on stage setups in dance is severely underrepresented despite their importance in dance choreographies. The study aimed to assess dancers (hip-hop and modern dance) and non-dancers' aesthetic evaluation of three different prototypical movements performed on five prototypical stage setups. N=27 dancers (hip-hop and modern) and non-dancers evaluated various movements performed on different stage setups on their perceived aesthetic. It was hypothesized that symmetrical stage setups and a fast movement or a movement with a wide form were generally preferred. It was furthermore expected that dancers and non-dancers, as well as dancers from different styles, differ in their aesthetic perception of stage setups and dance movements. Results revealed that the movement contract-release and the stage setup V were generally evaluated as most aesthetic. Nevertheless, while hip-hop dancers and non-dancers preferred a free stage setup as the least aesthetic, modern dancers preferred a bloc setup as the least aesthetic. It can be concluded that there is a general preference for movements comprising a large amplitude and range of motions and for stage setups that contain symmetry and a wide form. Thus, symmetry seems essential when developing stage setups in dance. This can be used as a tool trying to delight the observer as well as trying to play with contrast and convergence throughout a whole dance performance.
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SAMUR, Serpil. "THE IMPORTANCE OF AESTHETIC ELEMENTS IN THE ART OF CINEMA AN ASSESSMENT ON." JOURNAL OF INSTITUTE OF ECONOMIC DEVELOPMENT AND SOCIAL RESEARCHES 7, no. 28 (September 28, 2021): 101–15. http://dx.doi.org/10.31623/iksad072808.
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Besides being an art, cinema also reveals the existence of a linguistic ability. In this way, with a flexible and dynamic narrative structure that turns changed so as to maintain its coherence, which can create endless imaginative narratives and present these narratives that provide a structure which allows the viewer. Cinema is quite close to the appearance in life, and the illusion of reality is an inalienable attribute of it. Reality is sometimes used as a whole, sometimes a part of it is reflected on the screens. At the core of the language of cinema lies the visual perception of the world in which people live. The concept of aesthetics is essential to understanding the ways in which contemporary and popular culture interacts with cinema. Light, sound, color and movement elements are involved in providing visual communication. Color, one of the most important elements of visual design in the cinema industry, is at the heart of the narrative world created by cinema. Basically there is no color, there is light. The element of color can be said to be an aesthetic transformation of reality or a directed, interpreted sense of reality. Every image in the cinema is accepted as a sign as the carrier of the filmic image. In addition to this, cinema is a visual art, as well as an auditory art. Cinema, which was considered as an art before sound, has undergone a structural change with the introduction of sound. Cinema aesthetics is a special aesthetic area established with cinematography and dealing with beauty. For this reason, the aim of the study is to reveal the importance of aesthetic elements for the art of cinema. In addition, the basic aesthetic elements in the art of cinema are discussed in detail and it is tried to explain why aesthetic elements are important for the art of cinema. Keywords: Cinema Art, Aesthetics, Lighting, Color, Image, Sound.
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Reva, Yana. "AESTHETIC AND THERAPEUTIC POTENTIAL CHOREOGRAPHY." Aesthetics and Ethics of Pedagogical Action, no. 14 (September 9, 2016): 184–91. http://dx.doi.org/10.33989/2226-4051.2016.14.171614.
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The article is about necessity of psyco-pedagogical attention to the problems of people psycophysical and emotional health saving. In order to get this difficult goal real, art of dance helps person to understand himself and leads to selfperfection. The dance is a merge of physical, psychological and esthetic activities. But the art of dance is also a therapeutic factor and its value is rising with developing of sangennic role of the art in modern life and in harmonization of Human-Universe relations.Functionality of dance art is quite wide. Thoughtful usage of dance impact leads to psychological and physical conditions stabilization and return of a person to harmonic life. Dance therapy is use of dance, plastic and rhythms for prophylactics and cure. So the objective of dance therapy is to establish a contact between a person and world. It could be done in parallel with language impact or without. Dance usage is based on the following: movement shows the person characteristics, its thoughts, mood, feelings, gained experience; combined elements of the movements make expressive dance with ability to self-expression. Dance therapy helps children to identify themselves and achieve better self-understanding. The objective of dance therapy is to destroy internal obstacles of child on its way to happiness and harmony.Also professional usage of dance therapy helps to stabilize child psychological condition and return it to normal life. That is why future dance teacher should pay attention to esthetic and therapeutic abilities of dance art and use them in their professional activities.
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McMahon, Melissa. "The Other Industrial Art: Deleuze, Cinema, Affect and Sport." Deleuze Studies 10, no. 2 (May 2016): 206–22. http://dx.doi.org/10.3366/dls.2016.0222.
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The emergence of cinema in the nineteenth century was contemporaneous with the rise of modern sports, both popular spectacles connected with the industrial revolution. Deleuze sees film in his Cinema books as the aesthetic expression of a specifically modern understanding of movement, in contrast to the science and philosophy of antiquity. This article uses Deleuze's analysis of cinema to characterise the aesthetic of modern sports as another ‘industrial art’ with a similarly innovative approach to space, time and movement. It also shows how the aesthetic impact of a sporting match is aligned with the dimensions of Deleuze's ‘affection-image’ in cinema, which frames the world as a ‘face’ divided between absorption and agitation.
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Lin, Wen Chia. "Study on Community Empowerment by Conversation Art and Design." Applied Mechanics and Materials 584-586 (July 2014): 132–37. http://dx.doi.org/10.4028/www.scientific.net/amm.584-586.132.
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Community is a basic element of living field. However, due to the influence and intervention of modernization, the original life styles and traditional cultures of Taiwan’s rural areas have vanished gradually. Since the Council for Cultural Affairs (CCA), Executive Yuan promoted the policy of Community Empowerment in 1994, there have been plenty of discussions related to the topic.Aiming at the operation and combination of Local Aesthetics and Art Community, the cultural policies such as Cultural Citizenship and Civil Aesthetic Movement have made Art into the Community a famous topic in the artistic fields and community construction.Through long-term participation in the construction of Tugou Community , the study reviews the modes, implementations, positions and values of art issues during the integration of Community Empowerment and Art over the years, and analyzes the spirits and meanings behind the issues. The progress of community aesthetics is mentioned in the study, which not only emphasizes on the Publicity and Participation of art empowerment, but also observes the influence of artworks on aesthetic experience of residents and become the technique applied in the space planning and building. It expects to propose a methodology or epistemology on seeking for local aesthetics and practices on life and art for Taiwan’s community empowerment in the future.
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Ward, Lindsey M., and Zoi Kapoula. "Creativity, Eye-Movement Abnormalities, and Aesthetic Appreciation of Magritte’s Paintings." Brain Sciences 12, no. 8 (August 3, 2022): 1028. http://dx.doi.org/10.3390/brainsci12081028.
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Dyslexic children have been shown to be more creative than their non-dyslexic counterparts. They have also been shown to have an abnormal oculomotor profile while viewing targets in free space, making vergence or saccadic eye movements while reading or when viewing Op art. They show a slower deceleration of their eye movements and a difficulty in coordinating their two eyes to obtain single fused vision in depth. Interestingly, their abnormal oculo-motor profile is exacerbated while reading more difficult texts. Given these differences, we postulate that dyslexics’ increased creativity may be related to their different eye movement control affecting how they perceive the world. Therefore, we decided to measure adolescent dyslexics’ creativity, oculomotor profile, and subjective responses while they viewed three paintings by Magritte. These were chosen to stimulate the perception of hidden conceptual spaces or stimulate conflict between the perception of the figural and textural content. For the first time to our knowledge, dyslexic adolescents were demonstrated to be more creative in terms of flexibility and fluidity than their non-dyslexic peers. Subjectively, while viewing the Magritte paintings, dyslexics reported fewer conceptual spaces and fewer hidden words than their non-dyslexic peers; thus, they confabulated less than non-dyslexics. Dyslexics also demonstrated an abnormal oculomotor profile similar to those that we have shown when reading, viewing randomized targets, and while perceiving illusions of depth in Op art paintings, in that they demonstrated difficulty with disconjugation and abnormalities in their eye velocity profiles. We propose there may be a link between dyslexic increased creativity and their eye movement abnormalities. Similar to reading nonsense text, we propose that Magritte’s contradictory paintings exacerbate dyslexics’ eye movement abnormalities. These eye movement abnormalities while viewing these particular paintings might provide a physiological signature suggesting a contribution of their unusual eye control to their higher creativity scores.
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Iorio, Jeanne Marie. "Conversation as a Work of Art: Will it Hang in a Museum?" Contemporary Issues in Early Childhood 9, no. 4 (January 1, 2008): 297–305. http://dx.doi.org/10.2304/ciec.2008.9.4.297.
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Arts are an expectation in early childhood classrooms — traditionally, visual art, music, drama, and movement. The variety of understandings of art and aesthetic experiences shape approaches to arts education, particularly with young children. Attempts to define the aesthetic experience refer to the presence of an object, most commonly a work of art. The object becomes central to the human response within the aesthetic experience. Through the analysis of data documenting conversations between a child and an adult, the author have previously proposed child — adult conversations as aesthetic experiences. In this article, she re-examines excerpts from child—adult conversations from her research, negotiating the possibility of naming child—adult conversation as art, in order to recognise child—adult conversation as an aesthetic experience. This article continues the conversation around thinking of conversation as art, and the art of conversation — an integral component of pedagogy with young children.
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Staszkop, Urszula. "OCCUPY BIENNALE? SOCIALLY-ENGAGED ART PRACTICE AND ART INSTITUTION." ARTis ON, no. 7 (December 24, 2018): 171–77. http://dx.doi.org/10.37935/aion.v0i7.203.
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The political phenomenon of Occupy Wall Street obtained the global attention in the fall of 2011 with its encampment in the Zuccotti Park (New York). As the movement grew, there also seemed to be an aesthetic component to it revealed in socially-engaged, participatory practices. Those presuppositions provoked the debate focused on the emerging issue of activist art and on the art’s capability to transmit the aims of political protest. Consequently, curators and art institutions attempted to endorse the Occupy movement, while incorporating it into various art events. This text seeks to explore those issues through the analyses of emerging discourse on socially-engaged practices and its existence within art institution on the example of Berlin Biennale 7.
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Sheets-Johnstone, Maxine. "The Ineluctable Modality of Movement." Journal of Speculative Philosophy 36, no. 1 (March 1, 2022): 1–33. http://dx.doi.org/10.5325/jspecphil.36.1.0001.
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ABSTRACT Present-day fixations on “embodied minds,” and “enactive” assessments of life fail to recognize alive, moving bodies, precisely as James Joyce implicitly shows in his experience-anchored descriptions of the ineluctable modality of the visual and of the audible. Joyce's experience-anchored descriptions accord with Edmund Husserl's renditions of “the kinestheses” and their integral relationship to perception and to the development of agency. They furthermore accord with John Dewey's writing on aesthetics that describe the immediacy of motion into sense and sense into motion in both nonhuman animal life and aesthetic experience. William James's connection of the stream of thinking with the stream of breathing is in further accord. Such accords show that animate forms of life are essentially mindful bodies sensuously and affectively attuned to their surrounding world. Cave art, both its creation and appreciation, is further testimony to mindful bodies as is internationally known musician Roger Sessions eloquent descriptions documenting the integrality of movement to all the arts. All such accords testify to the central and essential presence of the sense modality of movement—kinesthesia—and its bodily engaged dynamics in animate life and in art.
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Snyder, Stephen. "Transvaluation and Aesthetic Displacement: Gezi Park and the Power of Art." Protest, Vol. 4, no. 2 (2019): 26–30. http://dx.doi.org/10.47659/m7.026.art.
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The wave of demonstrations that developed out of the Gezi Park sit-ins manifested a form of aesthetic creativity that employed transvaluation and displacement in a way that set them apart from other protests in Turkey and the Arab world. Transvaluation and displacement were arguably among the primary forces that drove the protests following the forceful breakup of the Gezi Park sit-ins. The protests began when police forcefully removed sleeping demonstrators from Gezi Park. To most observers, the police use of violence to clear the park was deemed disproportionate, and the resistance countered the tear gas, truncheons, water cannons, and detentions with a level of aesthetic intensity that surprised detractors as well as supporters. The primary aim of the movement was to protect a park in the center of Istanbul, but the resistance represented a broad coalition of those who opposed what they perceived as the autocratic ruling style of then Prime Minister Recep Tayyip Erdoğan. They ranged from anti-capitalist Muslims to students who simply opposed the Prime Minister’s Islamification of the Turkish public sphere. Examining the way in which transvalution and displacement were used as a response to the force employed by riot police at the direction of the Turkish government shows how political art was employed effectively in the Gezi Park protests. Keywords: aesthetics displacement, art and social power, Gezi Park, political, political art, politics and aesthetics, protest
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Yang, Jinwei. "The modern expression of Hongdao Yuan 's aesthetic thought in Art." BCP Social Sciences & Humanities 18 (June 30, 2022): 500–503. http://dx.doi.org/10.54691/bcpssh.v18i.1152.
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Since the middle of the Ming Dynasty, a romantic trend of thought has been aroused in the field of literature and art, baptized by Yangming Wang's mind study, the self-centered aesthetic trend advocated by scholars and officials, affirmed the natural emotions of individuals, publicized the individuality, and constructed the artistic creation principles and evaluation system with self-centered. This aesthetic ideological trend develops a secular movement based on the affirmation of the natural needs of people, which can be summarized as "transforming elegance into vulgarity", advocates sexual spirit, attaches importance to individual and freedom, and has the atmosphere of ideological liberation. Hongdao Yuan's one of the representatives of this ideological movement. This paper explores Hongdao Yuan's modernity in art through the study of his aesthetic thoughts.
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Brejcha, Michaela. "Umění a ideologie – k estetickým implikacím a výstavním možnostem uměleckých částí Sbírky Muzea dělnického hnutí." Muzeum Muzejní a vlastivedná práce 56, no. 2 (2018): 3–17. http://dx.doi.org/10.37520/mmvp-2018-0018.
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In 2018 the National Museum gained support within the program NAKI of the Ministry of Culture for the project entitled The Museum of Working Class Movement in 21 Century, which is aimed at the presentation of The Collection of the Museum of Working Class Movement and other collections of similar nature. We may expect that thanks to its nature burdened by their communist past, the presentation outputs of the project will give rise to controversy. Thus the researchers of the project are faced with the question of how to present the Collection in adequate manner. Among the collection objects will be presented also artistic materials of the Collection which, thanks to their aesthetic nature, occupy special position, since the works of art have not only ideological function as other objects of the Collection, but have also the aesthetic function and related aesthetic value. This essay is directed at the analysis of aesthetic value of ideologically burdened works of art and also at their specific exhibition possibilities. We shall deal with the notion of pure art, which, on the level of the subconscious, keeps on influencing strongly our evaluation of the works of art till these days, and further with the concept of art as the path of revolutionary transformation of reality, and finally with functional aesthetic basis.
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Tabunova, N. A. "Modification of Artistic Language in the Modern Era: Factors of Influence." Art & Culture Studies, no. 4 (December 2022): 82–107. http://dx.doi.org/10.51678/2226-0072-2022-4-82-107.
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Referring to the aesthetic and philosophical treatises of the Modern Era and its artistic heritage, the author examines the driving force and key factors that determine manifestation and consolidation of changes in the expressiveness of the language of art. The dialectics of form and content occupy one of the central places in aesthetic theory. Studying the impact that the mechanisms of “artistic form wear” have on the evolution of artistic expressiveness from specific to general allows tracing how the content is formalized and concentrated in particular structures of the artistic language, thereby subsequently influencing the content of contemporary art. The author reveals the incentives that forced the artists of the Modern Era to look for new ways of expressiveness in their work, referring to both the “aesthetics from within”, i.e. the factor of self-movement of art, and the “aesthetics from the outside”, i.e. stereotypes of the era laid down by mentality, which determine the expressive form of art, the methods and techniques of expressiveness used by artists. The focus of attention in the article is shifted to the art of classicism, since it is in the strict academic framework that the elements of transformation and change in established forms become especially evident.
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Azaglo, Alex Kwasi, Alice Korkor Ebeheakey, Benjamin Quarshie, and Prosper Kwaku Asiedu. "Conceptualizing the stylistic body movements in contemporary Ghanaian dances as performance art form." Journal of African History, Culture and Arts 2, no. 1 (April 25, 2022): 61–74. http://dx.doi.org/10.57040/jahca.v2i1.104.
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This paper attempts to conceptualize the stylistic body movements in contemporary Ghanaian dances through the aesthetic lenses of performance art. The expressiveness of performance art forms is frequently praised for the emotions we have toward them. These feelings are derived from the symbolic connotations and functionalities of the arts in life. Through an exploratory design of qualitative inquiry, the researchers focus on a contextual dialogue on the aesthetic visual presentations of selected contemporary Ghanaian dances as performance art forms. The critical content analysis of music videos was espoused to examine the stylistic body movements and gestures coded in some contemporary Ghanaian dances such as Azonto, Twerking, Kupe, Pilolo and Shoo as part of an empirical artistic study. Instruments for data collection were observation, document analysis and photography for the contextual visual content analyses grounded in semiotic and aesthetic theoretical discourse. This study again relied heavily on secondary data from recorded communication including music videos, books, transcripts, websites, newspaper articles, journal articles and the like to make objective inferences. The findings indicate that dance is the communication that occurs via the conduit of the dancer's body that ruptures individuals' independent existence and generates a sense of finitude. Whereas some of the dances make aggressively erotic visual statements, others are mere expressive gestural and body movements to simply entertain a targeted audience. The result further shows that, the contemporary Ghanaian dance performances transcend beyond mere entertainment but rather are an embodiment of body language emerging from the indigenous dance symbolisms. Teaching learners to perceive visual aesthetic qualities and symbolic interpretations in dance performances will deepen the appreciation of Ghanaian dance performances not just as entertainment but as another medium for expression to transmit their inherent messages. It is suggested that, these dance forms should be formalized as indigenous knowledge in a quest to blend tradition with modernity in our creative endeavours. This knowledge should be propagated through creative arts education in Ghanaian schools. Other performance art components displayed in contemporary Ghanaian dances including body painting, facial expressions, costumology and fashion accessories present another lacuna for further research by future researchers. Key words: aesthetics, dance, therapy, performance art, body, movement
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Khrenov, Nikolai A. "ART CRITICISM SELF-DEFINITION OF RUSSIAN FORMALISTS." RSUH/RGGU Bulletin. Series Philosophy. Social Studies. Art Studies, no. 1 (2024): 128–38. http://dx.doi.org/10.28995/2073-6401-2024-1-128-138.
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The article considers the limits of self-definition of Russian formalist philologists as art researchers. It is demonstrated that formalism was in a state of double crisis: the crisis of ambitions of symbolism and the crisis of positivist art criticism. The crisis of symbolism forced the formalists to look for a new positivist code to substantiate their work, while the crisis of positivism itself required the use of particular aesthetic narratives. The era of general aesthetics came, which evolved from a project in the vein of B. Croce into a shared self-definition of art as probing the gap between the possible and the actual. Formalism, with its pathos of the reality of the word, could not entirely renounce the domain of the possible, which was conceptualized as the core aesthetic sphere, including the production of personal reactions to what was happening. Only the contextualization of formalism within the linguistic turn, drawing on the ideas of Bakhtin and Gadamer, allows us to realize the input of the movement not only to the methods of certain humanities, but also to the specification of art in the 20th century.
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Francuz, Piotr, Tomasz Jankowski, and Paweł Augustynowicz. "What Do You Mean When You Say You Like This Painting? Oculomotor Indices of Processes Involved in Aesthetical Appreciation." Roczniki Psychologiczne 24, no. 3-4 (March 1, 2022): 201–26. http://dx.doi.org/10.18290/rpsych21242-7s.
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This study aims to verify the hypotheses concerning emotional and cognitive predictors of aesthetic judgments, operationalized by instructions for viewing paintings from different perspectives (emotions and feelings, empathy, the captured moment, important elements, title, and mystery). Two eye movement parameters: fixation duration average and scan path length, estimated based on data recorded during viewing paintings, were analyzed. The extent to which the parameters of eye movement while performing different instructions predict the same parameters during the aesthetic assessment task was investigated. It was assumed that similar parameters of eye movements are indicators of similar mental processes, activated under different instructions. The viewing time window and expertise of participants were independent variables. Data were analyzed by multilevel modeling. The results showed that at the early stage of viewing a painting, instructions that activate emotional processing (regardless of expertise), better predict the aesthetic evaluation of a painting than instructions activating cognitive processes. At this stage, it was also found that the eye movement parameters, during the performance of instructions that activate cognitive processing, better predict the aesthetic evaluation of paintings only in the group trained in visual arts. At the later stage of viewing paintings, instructions activating cognitive processes turned out to be more reliable predictors of eye movement parameters during the aesthetic evaluation task than instructions activating emotional processes in both groups of participants. The results of the experiment were confronted with the existing models of perception of art and aesthetic experience.
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Jabaril, Rahmat. "SENI RUPA SEBAGAI MEDIA PENYADARAN." Jurnal Budaya Nusantara 3, no. 2 (July 20, 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 literature with an emphasis on the philosophy of art that gives bargaining power to change in thinking, freedom of interpretation Then The aim of study of literature is to gain an understanding that art gives its weight in thinking about renewal art with a constructive approach through aesthetic understanding. For this reason, fine arts should see forms of visualization as a form of social reality. With it, the artist must be able to
create novelty as well as from ethics, aesthetics, and the philosophy of art itself. Without it, the existence of artists cannot be expected to advance the world of art, if the artists themselves lack understanding of the principles in creating fine arts. Therefore, in this paper, the author is obliged to offer solutions, as an effort to improve the quality of the concept of works and at the same time associated with the cultural movement in the public.
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Jabaril, Rahmat. "SENI RUPA SEBAGAI MEDIA PENYADARAN." Jurnal Budaya Nusantara 3, no. 2 (July 20, 2020): 87–98. http://dx.doi.org/10.36456/jbn.vol3.no2.2530.
Full textAbstract:
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 literature with an emphasis on the philosophy of art that gives bargaining power to change in thinking, freedom of interpretation Then The aim of study of literature is to gain an understanding that art gives its weight in thinking about renewal art with a constructive approach through aesthetic understanding. For this reason, fine arts should see forms of visualization as a form of social reality. With it, the artist must be able to create novelty as well as from ethics, aesthetics, and the philosophy of art itself. Without it, the existence of artists cannot be expected to advance the world of art, if the artists themselves lack understanding of the principles in creating fine arts. Therefore, in this paper, the author is obliged to offer solutions, as an effort to improve the quality of the concept of works and at the same time associated with the cultural movement in the public.
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Kertakova, Marija, and Jordan Efremov. "CUBISM WITH ITS AESTHETIC PARADIGMS AS AN AVANT-GARDE CULTURALARTISTIC MOVEMENT AND AN ART PRINCIPLE FOR CREATING ANALOGUE FASHION SOLUTIONS." KNOWLEDGE - International Journal 55, no. 5 (December 16, 2022): 923–28. http://dx.doi.org/10.35120/kij5505923m.
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Design in applied art is a process of creating and developing a plan for an aesthetic and functional object,which requires appropriate research, thinking, modeling, adaptation and creation. Aesthetics today appears invarious forms of art. Therefore, when we talk about something that creates an aesthetic experience, we are usuallytalking about some form of art. The focus of aesthetics is not limited but directed towards aesthetic ideas, ideals andsublime appearance. Cubism as an artistic movement is a new way of representing the world. We could associate thebeauty of Cubism with the unconventional value, because its aesthetic paradigms penetrate the elements thatsurround our environment. The works are deformed, illogical, irrational, broken down into small details. Still lifeand portraiture are like a set of geometric shapes that interact with each other. This direction with aestheticparadigms turns into a special form of the avant-garde, where sharp angles, straight lines and neutral colors play adominant role. Artistic pictures - still life, portrait – do not have to look real, they are like a puzzle that the viewerhas to mentally put together, while the consumer has to feel fashion and always need change, because it itselfchanges daily in direction of something new and different. The very idea of designing analog fashion solutions onthe theme of “Cubism“ is derived from the feeling and perception that Cubism is an artistic movement, which findsthe most ordinary spatial patterns and configurations of things, phenomena that represent all the complexity anddiversity of life. At its core, Cubism perceives the world through geometric forms. It can be seen that the works aredominated by the concept of geometric simplification of the forms of the human body. All these aspects combineinto a simple and unique form or symbol, but each of them provides a key to interpretation, each offering a distinct“reading“ of the image. A person's abilities and imaginations are sometimes simply amazing, because they developand express their creativity in different ways. From such a concept came the cubist style, a style of somethingextraordinary and interesting. Cubism as a cultural artistic movement, with its artistic principles, shows free forms,bizarre construction of figures and objects, as if light currents passed through the objects and tried to show the objectfrom different angles. Thanks to the created creations on the theme of cubism, the world is introduced to the style offlat forms without perspective with completely new and unusual colors, which communicate with each other. Thisartistic movement, possessing all these aesthetic paradigms and artistic principles, still manages to influence thecreation of absolutely unconventional analog fashion solutions today.
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Peremyslov, I. A., and L. G. Peremyslova. "JAPANESE AESTHETICS IN MASTERPIECES OF AMERICAN SILVER." Arts education and science 1, no. 1 (2021): 89–96. http://dx.doi.org/10.36871/hon.202101010.
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Japanese culture with its unique monuments of architecture, sculpture, painting, small forms, decorative and applied arts, occupies a special place in the development of world art. Influenced by China, Japanese masters created their own unique style based on the aesthetics of contemplation and spiritual harmony of man and nature. In the context of "Japan's inspiration" the work refers to the influence of the art of the Land of the Rising Sun on American decorative arts and, in particular, on the silver jewelry industry in trends of a new aesthetic direction of the last third of the XIXth century, the "Aesthetic movement". The article provides a brief overview of the history of the emergence and development of decorative silver art in the United States. The important centers of silversmithing in the USA and the most important American manufacturers of the XIXth century are described in more detail. The article also touches on the influence of Japanese aesthetic ideas on European creative groups and on the formation of innovative ideas in European decorative arts. At the same time, an attempt is made to trace the origin, development trends, evolution and variations of "Japanesque" style in American decorative and applied art, in particular, in the works of Edward Moore and Charles Osborne (Tiffany jewelry multinational company).
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Peremislov, I. A., and L. G. Peremislov. "JAPANESE AESTHETICS IN AMERICAN SILVER MASTERPIECES." Arts education and science 1, no. 2 (2021): 79–88. http://dx.doi.org/10.36871/hon.202102010.
Full textAbstract:
Japanese culture with its unique monuments of architecture, sculpture, painting, small forms, decorative and applied arts, occupies a special place in the development of world art. Influenced by China, Japanese masters created their own unique style based on the aesthetics of contemplation and spiritual harmony of man and nature. In the context of "Japan's inspiration" the work refers to the influence of the art of the Land of the Rising Sun on American decorative arts and, in particular, on the silver jewelry industry in trends of a new aesthetic direction of the last third of the XIXth century, the "Aesthetic movement". The article provides a brief overview of the history of the emergence and development of decorative silver art in the United States. The important centers of silversmithing in the USA and the most important American manufacturers of the XIXth century are described in more detail. The article also touches on the influence of Japanese aesthetic ideas on European creative groups and on the formation of innovative ideas in European decorative arts. At the same time, an attempt is made to trace the origin, development trends, evolution and variations of "Japanesque" style in American decorative and applied art, in particular, in the works of Edward Moore and Charles Osborne (Tiffany & Co jewelry multinational company).
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Kiklewicz, Aleksander, Julia Mazurkiewicz-Sułkowska, and Helena Pociechina. "Art in protest discourses – on the example of the Belarusian anti-government protest movement." Przegląd Wschodnioeuropejski 14, no. 2 (December 24, 2023): 303–21. http://dx.doi.org/10.31648/pw.9718.
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In protest discourses the problem of using aesthetic and artistic elements lies in the centre of attention. The authors draw empirical material from the Belarusian protest movement, especially the anti-government protests of 2020. In the current study the problem of the use of aesthetic elements in protest discourses is considered in two aspects: 1) in the aspect of artistic activism, i.e. the involvement of artists in resistance activities; 2) in terms of the use of aesthetic speech acts in various forms of protest activity, i.e. as a special rhetorical tool with emphatic and persuasive function, but also as a means of expression with the satisfying function. As a result of this dichotomy, the article is divided into two parts. The authors point out that even though public art is not developed in Belarus (e.g. in the field of visual arts), aesthetic creativity is a very characteristic feature of both street poster discourses and forms of protest in the Internet.
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Goryunov, Vasiliy, Tatjana Konjkova, Vera Murgul, and Nikolay Vatin. "William Richard Lethaby – Architecture, Mysticism and Myth." Applied Mechanics and Materials 725-726 (January 2015): 1084–89. http://dx.doi.org/10.4028/www.scientific.net/amm.725-726.1084.
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This article deals with the art of a prominent English architect and architectural theorist - William Richard Lethaby. His theoretical outlook on architecture has been considered herein. His fundamental outlook – the book ‘Architecture, Mysticism, and Myth’ - has been analyzed. His innovative outlook, as well as the concept development regarding study of art in the 20th century described in this book, has been highlighted. The Lethaby’s relations with English movements ‘Art and Craft’ and ‘Aesthetic Movement’ have been indicated. Different outlooks on architecture supported by Lethaby and other leading theorists-rationalists in the mid-19th have been also distinguished.
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Edström, Ann-Mari, and Björn Wangen. "Being in motion through an aesthetic working process." Educare - vetenskapliga skrifter, no. 1 (March 20, 2020): 144–61. http://dx.doi.org/10.24834/educare.2020.1.7.
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The article reports the results of an empirical investigation into movement viewed as a quality of an aesthetic working process. Any process presupposes movement - there is no process if one stands still. At times, movement is deliberately provoked by artists wanting to view their work from a different perspective. This was the approach applied in the first-year course of an art teacher’s program in Sweden, where movement was provoked through shifts of media (cardboard, sketching, Minecraft) during a four-week working process. The assignment was to work with a 3D shape through these media. The students' process journals (containing writings and photography) constitute the material for the study. The results are visualized on an individual level as movement patterns and five characteristic patterns are discerned. Movement within and between media are visualized collectively, showing not only how media shifts stimulate movement but also how the students themselves can provoke movement within a medium. Sketching shows the most movement, typically triggered by the students themselves when they get bored by the repetitiveness of multiple sketching. Minecraft encourages the least amount of movement, which is discussed in relation to preconceptions embedded in the software design. The study relates to a phenomenographic approach.
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Protopopova, Irina. "“Art and Life”: Oscar Wilde’s Aesthetic Platonism." ΣΧΟΛΗ. Ancient Philosophy and the Classical Tradition 16, no. 1 (2021): 254–64. http://dx.doi.org/10.25205/1995-4328-2022-16-1-254-264.
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The article examines the Platonism of Oscar Wilde, starting from his studies at Trinity College and Oxford, and how it was related to his aestheticism. Plato was one of the key figures for the so-called Oxford Hellenistic movement (1850–70s of the 19th century). In its context, the “Symposium” was read almost as a manifesto of a new aestheticism, an important part of which was homoeroticism. Wilde believed that Plato should be interpreted as a “critique of Beauty” and compared a philosopher of the Platonic school with a poet. At the same time, considering himself a Platonist, Wilde turned Plato upside down. The metaphor of the “Cave” remained relevant to him as well, and the Cave itself was understood in about the same way, viz. as a vulgar sensual life with its senseless utilitarianism, taking shadows for genuine reality. But while for Plato the exit from the Cave was associated with pure comprehension in the rarefied and, most importantly, extra-figurative space of merging oneself with the transcendent, and attaining genuine virtue by this outlook for genuine reality, for Wilde, the beautiful in itself was imagery par excellence (according to Plato, the world of eidolons, the lowest sphere of being), and imagery was art, and the possibility of virtue according to Wilde is precisely fidelity to art.
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Andrijauskas, Antanas. "The Aesthetics of the Intellectual (Wenrenhua) School in the Milieu of Chinese Renaissance Ideas." Dialogue and Universalism 30, no. 3 (2020): 245–61. http://dx.doi.org/10.5840/du202030345.
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This article mainly focuses on one of the most refined movements in world aesthetics and fine art—one that spread when Chinese Renaissance ideas arose during the Song Epoch and that was called the Intellectual (Wenrenhua) Movement. The ideological sources of intellectual aesthetics are discussed—as well as the distinctive nature of its fundamental theoretical views and of its creative principles in relation to a changing historical, cultural, and ideological contexts. The greatest attention is devoted to a complex analysis of the attitudes toward the artistic creation of the most typical intellectuals, Su Shi and Mi Fu; the close interaction between the principles of painting, calligraphy, and poetry is emphasized; a special attention is paid to the landscape genre and to conveying the beauty of nature. This article discusses in detail the most important components of artist’s creative potential, the opportunities to employ them during the creative act, and the influence of Confucian, Daoist, and Chan aesthetic ideas. The various external and internal factors influencing the intellectual creative process are analyzed; artist’s psychological preparation before creating is discussed along with the characteristics of his entrance into the creative process. This article highlights the meditational nature of artistic creation typical of representatives of this movement, the freedom of the spontaneous creative act, and the quest for the inner harmony of the artist’s soul with expressions of beauty in the natural world.
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Kolomiets, G. G., and Ya V. Parusimova. "THE IDEA OF THE POLYFUNCTIONAL ESSENCE OF ART AS A PROBLEM OF MODERN AESTHETICS." Intelligence. Innovations. Investment, no. 3 (2021): 91–99. http://dx.doi.org/10.25198/2077-7175-2021-3-91.
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The appeal to the problem of polyfunctionality of art is caused by the modern post-postmodern situation in the field of philosophical and cultural knowledge, which raised the problem of understanding the essence of art and its existence. A stochastic state was revealed, an uncertainty in view of the transformations of art itself, following not only the footsteps of the changing world, but also anticipating civilizational shifts, guessing a lot of probabilities and possibilities in the cultural movement of humanity. In this regard, the article rethinks the problem of the polyfunctionality of art and puts forward the idea of the polyfunctionality of art in the problematic field of aesthetics. Art is considered by the authors from the point of view of phenomenology and axiology as an aesthetic way of being in the human world, as a valuable interaction of a person with the world, as a subject of constructing new meanings and meanings by the consciousness when meeting with art. The article asserts the polyfunctional essence of art, which, according to the authors, stems from the variety of interpretations of the concept of «art» in the history of aesthetic thought and modern discourse, due to the multidimensional nature of its manifestations in the human life world. After analyzing various approaches to the understanding of art, and following the phenomenological methodology, as well as the ontological method and axiological approach, the authors came to the conclusion that definitions do not answer the question «what is art?», they rather say «what is art for?». In other words, it is not «what is» that is defined, but «what it means». It is noted that the leading functions recognized in aesthetics, such as aesthetic, communicative, harmonizing, transforming, are predominant at certain stages of culture, but they are separate functions of art that do not exhaust the fullness of the multifunctional essence, the ideological integrity of art in culture. It is pointed out that at the present stage, the features of openness, isolation, and «atomicity» of the communicative discourse are becoming more and more acute, leading to a change in the models of art functions, determining the problematic nature of the aesthetic «super-function» of art in the promotion of civilizational and cultural space. The idea of the polyfunctional essence of art presupposes a specific form of mental development of the polyfunctionality of art, is the principle of explaining the existence of art and includes the process of further searching for the definition of art on the basis of its multi-valued existence in culture.
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Zetterman, Eva. "Claims by Anglo American feminists and Chicanas/os for alternative space: The LA art scene in the political 1970s." American Studies in Scandinavia 48, no. 1 (March 1, 2016): 61–83. http://dx.doi.org/10.22439/asca.v48i1.5361.
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Abstract: Originating in the context of the Civil Rights Movements and political activities addressing issues of race, gender and sexuality, the Women’s Liberation movement and the Chicano Movement became departures for two significant counter art movements in Los Angeles in the 1970s. This article explores some of the various reasons why Anglo American feminist artists and Chicana artists were not able to fully collaborate in the 1970s, provides some possible explanations for their separation, and argues that the Eurocentric imperative in visual fine art was challenged already in the 1970s by Chicana/o artists in Los Angeles. In so doing, the art activism by Anglo American feminists and Chicanas/os is comparatively investigated with Los Angeles as the spatial framework and the 1970s as the time frame. Four main components are discussed: their respective political aims, alternative art spaces, pedagogical frameworks and aesthetic strategies. The study found that the art activisms by Anglo American feminists and Chicanas/os differed. These findings suggest that a task ahead is to open up a dialogue with Chicana/o activist art, making space for more diverse representations of activities and political issues, both on the mainstream art scene and in the history of art.
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Isrow, Zachary. "Defining Art and its Future." Journal of Arts and Humanities 6, no. 6 (June 27, 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 painting, singing, etc. The former corresponds to the form out of which these take shape, movement, speech, etc. With this distinction set out, it becomes clearer that art and the aesthetic is rooted in the properties of the ‘thing’ such as the color, shape, and the texture, rather than the product of creation itself. Thus, the future of art will bring a new aesthetic in which these properties become recognized as art and as such there will be an aesthetic of everyday life.</span></span></p>
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Tavrizyan, Alexander V. "Aesthetics of Thomas Newman’s Music to “Six Feet Under” TV Series." Observatory of Culture 16, no. 3 (July 19, 2019): 264–77. http://dx.doi.org/10.25281/2072-3156-2019-16-3-264-277.
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This article analyzes the aesthetics of modern Western audiovisual art by the example of the opening titles of “Six Feet Under” TV series (2001—2005). This titles sequence, as well as the series itself, were proclaimed as “cult art” and became widely influential in the US television culture. The visuals of the sequence had been created by a team of Digital Kitchen designers on the basis of music by Thomas Newman, who was a trend setter of the soundtrack genre in the 1990s—2010s. This work is of interest, being one of the most significant in modern mass culture, which allows to analyze the aesthetic trends within the postmodern audiovisual art in general. The research is based on R. Barthes’ method of analyzing objects of mass culture, in which the literal meaning of artistic images and the symbolic one (connotations, metaphors, allegories) are considered separately. T. Newman’s music is analysed by using M. Chion’s view upon soundtrack as both musical work and acoustical image. The article analyzes the coherence between the music, the frame (literal) content of the video, and the connotative (symbolic) meaning of the visual images. The concept of “affect”, taken by the historians-poststructuralists G. Deleuze and F. Guattari from the aesthetic theory of Baroque art, is used to describe similar phenomena in postmodern art. Interviews, additional materials and other sources that tell about the idea of the series’ creators and about its workflow expanded the source base of the study. The audiovisual composition’s analysis revealed the aesthetic techniques of artistic images’ affective (feelings-emotional) transmission, “counterpoint” of allegorical and realistic (naturalistic) images in the visuals and the music, central role of the pairs of images-antithesis (warmth/coldness, movement/static, life/death, and some others). The author concludes that the studied aesthetic model is similar, both in its content and in the form of expression, to the Baroque aesthetics in a modified postmodern form (Neo-Baroque).
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Simonova, S. A., and A. N. Averyushkin. "TO THE QUESTION OF THE AESTHETICIZATION OF MODERN CULTURE." Izvestiya of the Samara Science Centre of the Russian Academy of Sciences. Social, Humanitarian, Medicobiological Sciences 24, no. 85 (2022): 73–77. http://dx.doi.org/10.37313/2413-9645-2022-24-85-73-77.
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In the process of retrospective analysis of cultural epochs, one can observe the movement of the pendulum of culture from aestheticism to moralizing, and vice versa. One of the first critics of aestheticization was S. Kierkegaard, who, without denying the significance of the aesthetic, placed the latter below the ethical in the spiritual hierarchy. Domestic philosophers defended the need for a synthesis of ethics and aesthetics. Researchers of the twentieth century point to the trend of total aestheticization, the transformation and deformation of basic moral ideals. In modern times, the phenomenon of aestheticization of all social spheres, including politics and economics, is being updated, which is largely due to the formation of a «consumer society», visual and digital turns in culture. The article analyzes the main features of postmodernism that contribute to aestheticization: fragmentation, massification, clip consciousness, visual turn, loss of sacredness of traditional meanings and symbols. All of the above contributes to the strengthening of the aesthetic component and the violation of the ethical and aesthetic balance. The authors reveal that the absolutization of beauty in art leads to the degradation of tragic genres based on ethical conflicts. Art is able to educate, form a value hierarchy. Thus, art has possibilities that transform a person, which are contained in the synthetic integrity of the ethical and aesthetic, therefore, it already acquires cosmological parameters. In turn, aestheticization as the dominant of culture leads to moral limitations and the destruction of the spiritual integrity of man and society.
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Akhmylovskaya, Larisa Alekseevna. "Cross-cultural interpretations of Yanagi Soetsu’s philosophy." Manuscript 16, no. 4 (October 27, 2023): 264–70. http://dx.doi.org/10.30853/mns20230053.
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The aim of the research is to shed light on cross-cultural interpretations of mingei, a philosophy developed in the 1920s by the Japanese collector and art historian Yanagi Soetsu. This concept recognises aesthetic value in utilitarian objects and their unique harmony. The mingei movement emphasises anonymous, handmade production of functional objects in large quantities. The study comments on fragments from the exhibition catalog “MINGEI: The Beauty of Everyday Things” and provides examples of incorporating mingei objects into the cross-cultural process. The scientific novelty of the research lies in identifying conflicting viewpoints among researchers of the mingei movement regarding the relationship between mingei undo (the folk crafts movement) and the British Arts and Crafts movement. As a result, the research materials allowed the author to examine Yanagi Soetsu’s activities in the context of the cross-cultural interaction and the mutual influence of Japanese and European folk-art movements in the late 19th and the early 20th centuries.
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Patin, Thomas. "Discipline and Varnish: Rhetoric and Subjectivity at the Museum of Modern Art." Prospects 26 (October 2001): 639–65. http://dx.doi.org/10.1017/s036123330000106x.
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Literary and Cultural Theorist Terry Eagleton argues that “the aesthetic” was from its very inception a development toward a representation of human subjectivity. For Eagleton, the discourse of aesthetics assigned the body to “a subtly oppressive law … a specious form of universalism … [that] blocks and mystifies the real political movement towards … community.” The aesthetic became a “coercion to hegemony,” by informing and regulating sensuous life while at the same time allowing for what seemed like a prospering autonomy. For Eagleton, aesthetics is not ultimately concerned with art objects but with the project of “reconstructing the human subject from the inside.” Autonomy, as it has been described by many theories of the aesthetic, becomes for many a desirable model of independent subjectivity and individual subjective experience. Even though aesthetics works on the subject “from the inside,” as Eagleton writes, it does so through material means. Architecture, art theory, and curatorial practices provide other instances of what Eagleton describes as “apparatuses” of power in the cultural field. One of the things I want to suggest is that cultural practices represent possibilities for subjectivity. Critical, architectural, and museological representations seem to concern artistic production, but also function as subtle suggestions about what it means to be human. These practices work to affect the formation of subjects by attempting to limit and pre-scribe the possibilities for subjectivity. Joel Fineman has similarly argued that subjectivity is constructed from “subjectivity effects” that are in turn produced in a web of discourses. One of Fineman's primary concerns is for how rhetoric can be used to establish compelling and realistic representations of subjectivity, while providing evidence of the artificial nature of the subject at the same time.
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Sabir, Shwan Bahram, and Naeema Muhammad Abdulla. "Aesthetic values of decorative inscriptions and epigraphic texts in contemporary ceramics in Kurdistan region." Halabja University Journal 7, no. 2 (June 30, 2022): 126–49. http://dx.doi.org/10.32410/huj-10414.
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Historically, ceramic art is one of the most important arts that has emerged in all civilizations as an artistic value and a philosophical concept of the movement between material and tangible objects or between the ambiguity and clarity of the structure of the elements of works of art that were carried out as a human activity through its artistic output, in showing the same aesthetics of ceramic works of art in terms of form and decoration The Kurdish artist also benefited from the works surrounding him historically, philosophically and artistically, so the culture and history of Kurdish art has an important value in identifying the implicit concepts that the artist enriches aesthetically in his works, and this contributes to the neighborhoods of Kurdish culture and the development of cultural values intellectually and aesthetically, to achieve modern and contemporary art, so the student will research on "the aesthetic values of decorative inscriptions and texts in contemporary ceramic Kurdistan region", Here, the researcher highlights the problem of research embodied in the following question: Has the value of aesthetics become a cause for the transfer of artistic ideas in the presentation of ceramic artwork or just decorating and filling spaces with decorative inscriptions and drawings without aesthetic value? This research is a description and analysis of the works of Kurdish artists. The first chapter consists of the general framework of research that includes (problem, importance, objectives, boundaries) and then the definition of terminology, while the second chapter consists of three investigations. The first topic deals with: the definition of the philosophy of the values of beauty in art, and the second topic dealt with the realization of aesthetic values in the work of art, but the third research is about showing decorative inscriptions and biblical texts in Kurdish fine art, and the third chapter dealt with a research society, while the fourth chapter consists of the results of the research.
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Muslimah, Siti Hanifah, Muh Faisal, and M. Muhlis Lugis. "KOMPARASI ESTETIK SENI GRAFFITI KARYA ALIASTIGA." JURNAL HARMONI 13, no. 1 (April 30, 2023): 1–18. http://dx.doi.org/10.26618/jh.v13i1.12160.
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This study aims to analyze aesthetic comparisons of graffiti art by Aliastiga from 2006-2022 in Makassar City. The analytical method used in this study is a qualitative descriptive analysis method, supported by the theory of Form Aesthetics from Dr. A.A.M Djelantik and the theory of Functional Aesthetics from Edmund Burke Feldman as a reference for analysis. The results of this study show that the graffiti artwork created by Aliastiga initially originated from an interest in art in the form of a character and writing. The work produced by Aliastiga from early 2006 has shown that artists are very talented and have good skills. Although in reviewing the weight of his work, Aliastiga does not have ideas and messages in his work, Aliastiga emphasizes artistic visuals in his work. Aliastiga graffiti art is not just a hobby, but in it becomes an artistic movement that tends to fight acts of vandalism.