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Journal articles on the topic 'Aesthetics (Art)'

Author: Grafiati

Published: 4 June 2021

Last updated: 26 July 2024

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1

Castro, Sixto J. "Beyond Theological Aesthetics: Aesthetic Theology." Religions 13, no. 4 (2022): 311. http://dx.doi.org/10.3390/rel13040311.

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In this text, I explore what I have termed “aesthetic theology”. After noting the transference of religious content, function, etc., to art in Modernity, an act that has made art a locus theologicus once again, I analyse one of the main consequences of this phenomenon: art is progressively being considered through what was once purely theological categories, thus giving rise to aesthetic theology. The implication is that some of the solutions that have arisen from theological debate might be useful in the philosophy of art. I also suggest that aesthetic theology can provide theology with a gen

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Ortlieb, Stefan A., and Claus-Christian Carbon. "Kitsch and Perception: Towards a New ‘Aesthetic from Below’." Art and Perception 7, no. 1 (2019): 1–26. http://dx.doi.org/10.1163/22134913-00001091.

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Although kitsch is one of the most important concepts of twentieth-century art theory, it has gone widely unnoticed by empirical aesthetics. In this article we make a case that the study of kitsch is of considerable heuristic value for both empirical aesthetics and art perception. As a descriptive term, kitsch appears like a perfect example of hedonic fluency. In fact, the frequently invoked opposition of kitsch and art reflects two types of aesthetic experience that can be reliably distinguished in terms of processing dynamics: a disfluent one that promises new insights but requires cognitive

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Dourley, John. "Jung, a mystical aesthetic, and abstract art." International Journal of Jungian Studies 7, no. 1 (2015): 4–18. http://dx.doi.org/10.1080/19409052.2014.924687.

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On the question of aesthetics, Jung makes a clear distinction between aestheticism and aesthetics. He dismissed the former as lacking substance and moral commitment, but allows that his psychology can never usurp but can contribute to a depth aesthetic. On close examination, this aesthetic rests on the manifestation of the archetypal in all forms of creativity. As such, it is closely related to the spiritual and religious. Modern expressionist and abstract art was consciously influenced by the apophatic mystical tradition to which Jung himself was drawn. Kandinsky and Arp are significant repre

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Erjavec, Aleš. "Art and aesthetics: Three recent perspectives." SAJ - Serbian Architectural Journal 4, no. 2 (2012): 142–59. http://dx.doi.org/10.5937/saj1202142e.

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The author sketches the development of the relationship between art and aesthetics in the recent past. As his starting point, he takes the position that artists established in the sixties in relation to philosophical aesthetics. In his view 1980 represented a historical threshold as concerns transformations both in art and its philosophy. He then discusses three theories of art and aesthetics - Nicolas Bourriaud's "relational aesthetics" from the nineties, Jacques Rancière's aesthetic project from the following decade, and the very recent "theory of contemporary art" developed by Terry Smith.

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He, Fanlun. "Research on the application of artificial intelligence aesthetics in the cultivation of aesthetic literacy of art-normal students." International Journal of Social Sciences and Public Administration 2, no. 1 (2024): 160–68. http://dx.doi.org/10.62051/ijsspa.v2n1.21.

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The aesthetic literacy of art-normal students is an important aspect of cultivating outstanding art education talents. However, the traditional aesthetic education model has problems, such as low personalization and unclear evaluation standards. Therefore, it is of great significance to study the application of artificial intelligence (AI) aesthetics in the cultivation of aesthetic literacy of art-normal students. This research uses literature review and analysis methods to systematically sort out the relevant research results and theoretical foundations of artificial intelligence aesthetics a

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Dziamski, Grzegorz. "Performative nature of aesthetics." DYSKURS. PISMO NAUKOWO-ARTYSTYCZNE ASP WE WROCŁAWIU 26, no. 26 (2019): 32–49. http://dx.doi.org/10.5604/01.3001.0012.9886.

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Many lecturers of aesthetics feel that the subject of their lectures is not necessarily aesthetics, but history of aesthetics, the aesthetic views of Plato and Aristotle, Kant and Hegel, Hume and Burke, the British philosophers of taste and German romanticists. Does that mean that aesthetics feeds on its own past, is nurtured by reinterpretations of its classics, defends concepts and categories that inspire no one and do not open new cognitive perspectives? Does it mean that aesthetics is dead today, like Latin or Sanskrit, while its vision of art and beauty is outdated, invalid and totally us

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Lufiani, Alvi, Setiawan Sabana, and Achmad Haldani. "Aesthetics and functions of craft art in public art space." Harmonia: Journal of Arts Research and Education 17, no. 1 (2017): 41. http://dx.doi.org/10.15294/harmonia.v17i1.9399.

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<p>The problem in this research is about how to assess the aesthetics and functions of craft art in Indonesian city public space compare to other cities in other countries. It is also about how these craft arts can be used to improve the aesthetics and strength a city’s identity. Approaches used in this research are aesthetic theory and sociology of art. Aesthetic theory is used to assess the craft art textually or intra aesthetics. Sociology of art theory is used to see how craft art role can fulfil its function as a medium for craftsperson to participate in creating an art work that is

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Dr. Muhmmad Jawwad. "Influence of Kant’s Aesthetics on the Aesthetics of Collingwood." sjesr 6, no. 2 (2023): 148–52. http://dx.doi.org/10.36902/sjesr-vol6-iss2-2023(148-152).

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R. G. Collingwood is supposed to be one of the most important Aesthetes of 20th Century. He was a multi-talented person having original ideas in the fields of Philosophical History (his most famous book is ‘Idea of History’), Aesthetics and Anthropology. He was a practitioner in the field of Archaeology and Music. His second most famous book is ‘Principles of Art.’ He is supposed to be an original philosopher of Art too. His Philosophy of Art has much to do and has much connections with the Aesthetics of Immanuel Kant. Kant was a multi-dimensional genius, presenting before the world very origi

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Lisovetc, Irina, and Boris Orlov. "Urban Art Practices in the Vision of Projective Aesthetics." AM Journal of Art and Media Studies, no. 22 (September 15, 2020): 77–84. http://dx.doi.org/10.25038/am.v0i22.389.

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Modern urban art practices (public art, street art, flash mob, performance, etc.), are engaged in a radical aesthetic transformation of everyday life. The problem of projective aesthetics is taken as a variant of the praxis of modern aesthetics. Projective aesthetics suggests that one should mark out art projects which are created in the real aesthetic experience and which represent topical cultural issues in daily human life. Being the subject of projective aesthetics, the main examples of that kind are the projects of actual art in the urban environment. It is a group of artifacts at the bor

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Defrančeski, Jan. "Environmental Aesthetics and Land Art." Pannoniana 6, no. 1 (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 wh

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11

Fromm, James R. "Reading Joseph Conrad: Rhetorical Aesthetics/Aesthetic Rhetorics." Roczniki Kulturoznawcze 13, no. 4 (2022): 79–82. http://dx.doi.org/10.18290/rkult22134.10.

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The presented statement is part of the volume it covers a variety of responses from people who interact with art in different ways. The aim is to suggest to the participant of the contemporary world a new, personal perspective to rethink what is this area of our world that we label with art; thoughts with and without theoretical suggestions - reflections by the creators and reflections by the audience, teaching humility and uniqueness, perhaps - forming a fresh perspective on art.

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Dziamski, Grzegorz. "Performatywny charakter estetyki." DYSKURS. PISMO NAUKOWO-ARTYSTYCZNE ASP WE WROCŁAWIU 26, no. 26 (2019): 32–50. http://dx.doi.org/10.5604/01.3001.0012.9866.

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Many lecturers of aesthetics feel that the subject of their lectures is not necessarily aesthetics, but history of aesthetics, the aesthetic views of Plato and Aristotle, Kant and Hegel, Hume and Burke, the British philosophers of taste and German romanticists. Does that mean that aesthetics feeds on its own past, is nurtured by reinterpretations of its classics, defends concepts and categories that inspire no one and do not open new cognitive perspectives? Does it mean that aesthetics is dead today, like Latin or Sanskrit, while its vision of art and beauty is outdated, invalid and totally us

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Onishchenko, E. I. "POLISH AESTHETIC DISCOURSE OF THE 20TH CENTURY: INTERPRETATION OF INTERPRETATIONS." UKRAINIAN CULTURAL STUDIES, no. 1 (2) (2018): 25–29. http://dx.doi.org/10.17721/ucs.2018.1(2).05.

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The article is devoted to the analysis of the Polish aesthetic discourse of the twentieth century and the prospects for its interpretation in the Ukrainian aesthetics, particularly in the works by Kateryna Shevchuk, defended at the department of ethics, aesthetics and culture studies of Taras Shevchenko National University of Kyiv. These research greatly extend the idea of the aesthetic canon of the Polish thought, classically represented by the aesthetics R. Ingarden and W. Tatarkiewicz and reveal the names of virtually unknown in Ukraine Polish scientists, including special interest is the l

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Wang, Chen. "Research on Gardening Art from the Perspective of Different Aesthetic Forms." Highlights in Art and Design 3, no. 2 (2023): 104–9. http://dx.doi.org/10.54097/hiaad.v3i2.10577.

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Aesthetics is an important part of art design, and the analysis of gardening art from the perspective of different aesthetic forms can enhance the designer's aesthetic mood, understand the harmony and richness between people and the living world, and improve people's living space and spiritual realm. Ming Dynasty private gardens are a climax in the history of Chinese gardens, with good craftsmanship, good interest and fine aesthetics, which is a model for the study of contemporary gardening art aesthetics. The past analysis of the aesthetics of garden landscape is mainly from the ancient Chine

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15

de la Fuente, Eduardo. "The Art of Social Forms and the Social Forms of Art: The Sociology-Aesthetics Nexus in Georg Simmel's Thought." Sociological Theory 26, no. 4 (2008): 344–62. http://dx.doi.org/10.1111/j.1467-9558.2008.00333.x.

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This article examines the sociology-aesthetics nexus in Georg Simmel's thought. The article suggests that it is useful to divide Simmel's linking of sociology and aesthetics into three distinct types of propositions: (1) claims regarding the parallels between art and social form (the “art of social forms”); (2) statements regarding principles of sociological ordering in art and aesthetic objects (the “social forms of art”); and (3) analytical propositions where aesthetic and social factors are shown to work in combination. In the latter case, the sociology-aesthetic nexus moves beyond mere ana

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Mohammad Nasser AL-Arifi, Tahani. "Phenomenology as an approach to seeing the aesthetics of ugliness in contemporary art designs." Al-Academy, no. 110 (December 15, 2023): 315–50. http://dx.doi.org/10.35560/jcofarts1307.

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With a descriptive and analytical approach, it discusses the concept of phenomenology as an approach to seeing the aesthetics of ugliness as one of the concepts associated with the aesthetic experience in contemporary art designs, as it is the result of communication between artistic production and the recipient, which leads to creating a state of aesthetic pleasure. A phenomenological method is used to uncover the aesthetics of ugly and to connect ugliness and beauty since ugliness in aesthetics incorporates beauty as a modern aesthetic vision from the phenomenological perspective. The study

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Karlholm, Dan. "Aesthetics: Art and Non-Art." Art History 37, no. 5 (2014): 1005–9. http://dx.doi.org/10.1111/1467-8365.12126.

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18

Jeong, Kyung-Chul. "A Study on Emotions Expressed in the Aesthetics of the Mind." Korean Association of General Education 16, no. 3 (2022): 223–38. http://dx.doi.org/10.46392/kjge.2022.16.3.223.

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This study is to examine whether the feelings of joy, anger, sadness, and joy were expressed as the aesthetics of the mind by approaching Wang Yangming's aesthetics as a category of art education. To this end, art classes were applied to art majors at universities, and through the analysis criteria for works, students' understanding of the aesthetics of the mind and whether originality, the core of the aesthetics of the mind, was expressed as a level of painting. As a result, it was confirmed that various elements of action originated from the intuitive mind, and aesthetic objects and aestheti

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19

Bao, Yu, and Bao Hui Xu. "Architectural Art Design in Visual Field of Ecological Aesthetics." Applied Mechanics and Materials 522-524 (February 2014): 1734–37. http://dx.doi.org/10.4028/www.scientific.net/amm.522-524.1734.

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This paper introduces the architectural art design based on ecological aesthetics. The philosophical foundation, thinking ways and research methods of ecological aesthetics are described detailedly. The architectural art design which absorbs the advantages of ecological aesthetics shows the beauty of architecture. This is beneficial attempt from three aspects, namely whole vision, cultural ecology and aesthetic participation. All these research promote the development of architectural art design.

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20

Kranjec, Alexander, and Martin Skov. "Visualizing Aesthetics Across Two Centuries." Empirical Studies of the Arts 39, no. 1 (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 cen

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21

Zangwill, Nick. "AESTHETICS AND ART." British Journal of Aesthetics 26, no. 3 (1986): 257–69. http://dx.doi.org/10.1093/bjaesthetics/26.3.257.

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22

Slater, H. "ART AND AESTHETICS." British Journal of Aesthetics 37, no. 3 (1997): 226–31. http://dx.doi.org/10.1093/bjaesthetics/37.3.226.

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23

Haman, Aleš. "Aesthetics - Poetics - Art." Bohemica Olomucensia 10, no. 2 (2018): 10–22. http://dx.doi.org/10.5507/bo.2018.019.

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Frydryczak, Beata. "Theodor W. Adorno: pojęcie pięknej natury." Acta Universitatis Lodziensis. Folia Philosophica. Ethica-Aesthetica-Practica, no. 17 (January 1, 2005): 139–51. http://dx.doi.org/10.18778/0208-6107.17.09.

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Theodor W. Adorno aesthetics is considered as the last and the most important theory, which is formulated from a perspective of the aesthetics of art. It established an understanding of the contemporary art and its mechanisms. In spite of its wide reception, the interpretations of Adorno's conception often overlook his notion of beautiful nature. The notion is the main subject of my article. I want to show that it is not only vividly present in "Ästhetische Theorie", but also takes an important part in Adorno's aesthetic theory and in his understanding of art and of aesthetic experience. Such

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Grubor, Nebojsa. "Heidegger’s aesthetics. The philosophy of finite human freedom and basic moods and emotions." Filozofija i drustvo 32, no. 3 (2021): 418–27. http://dx.doi.org/10.2298/fid2103418g.

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The first part of the text poses the question whether for Heidegger?s aesthetically relevant thought it is better to use older terms, such as ?Heidegger?s Doctrine of Art? or ?Heidegger?s Philosophy of Art?, or a more recent term ?Heidegger aesthetics?? Does the term ?Heidegger?s aesthetics? represent an ?oxymoron? contrary to the intentions of Heidegger?s own philosophy, or does it signify a relevant aesthetic conception that has its own place in contemporary philosophical aesthetics? In order to answer these questions, the text considers Heidegger?s understanding of aesthetics as a philosoph

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Hegenbart, Sarah. "The Participatory Art Museum: Approached from a Philosophical Perspective." Royal Institute of Philosophy Supplement 79 (October 2016): 319–39. http://dx.doi.org/10.1017/s1358246116000400.

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AbstractThis chapter introduces the participatory art museum and discusses some of the challenges it raises for philosophical aesthetics. Although participatory art is now an essential part of museological programming, an aesthetic account of participatory art is still missing. The chapter argues that much could be gained from exploring participatory art, as it raises fundamental challenges to our understanding of issues in aesthetics, such as the nature of aesthetic experience, the value of art, and the role of the spectator. Moreover, participatory art fundamentally questions the status of t

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Cui, Huaguo, Lingling Ding, and Dong-yeul Jang. "Simulation Analysis of Aesthetic Effects of Context in Film and Television Animation Based on Unity 3D." Tobacco Regulatory Science 7, no. 5 (2021): 2549–58. http://dx.doi.org/10.18001/trs.7.5.1.24.

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Film and television animation generally belongs to the art form of film and television category, but it also contains a large number of characteristics of art visual communication. To explore the research scope of visual communication of film and television animation aesthetics, we may as well start from the perspective of methodology. If the methodology of aesthetics is also applicable to the study of film and television animation aesthetics, we can choose the most commonly used methodology in literature and art and aesthetics to analyze the aesthetic application of film and television animat

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Bennington, Geoffrey. "Aesthetics Interrupted: the Art of Deconstruction." Oxford Literary Review 36, no. 1 (2014): 19–35. http://dx.doi.org/10.3366/olr.2014.0084.

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The principle whereby any bit of deconstruction brings with it all of deconstruction must affect the philosophical understanding of art usually subsumed under the title ‘aesthetics’. There can in principle be no deconstructive aesthetics (any more than there could be a deconstructive ethics or a deconstructive epistemology. Aesthetics in general is mortgaged to sensory perception, and from very early Derrida ‘perception does not exist’. Whence his interest in blinking, blindness and the trait of drawing. But the trace is not the trait, colour too is differential, and aesthetic judgement in gen

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Wang, You Zhi, and Ken Nah. "A study on the Computational Aesthetics based on Humanized Aesthetics: Focusing on the architectural design." Korea Institute of Design Research Society 7, no. 2 (2022): 228–45. http://dx.doi.org/10.46248/kidrs.2022.2.228.

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In recent years, computational aesthetics, which connects science and art, is becoming a new interdisciplinary field that brings technology into art creating. With advanced CAD technology and artificial intelligence, computational aesthetics has been widely used in many design fields such as architecture and industry design. Famous design companies such as Foster+Partners, Zaha Hadid and BIG have already adopted computational and parametric design method as a competitive way to enhance creativity. But there are still some argues that this new aesthetics is superficial or even cold. In terms of

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Grubor, Nebojsa. "Comparative aesthetics of Milan Rankovic." Theoria, Beograd 67, no. 1 (2024): 115–24. http://dx.doi.org/10.2298/theo2401115g.

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According to the contemporary Serbian esthetician Milan Rankovic, the basic goal of comparative aesthetics is not only to compare different types of art, but to define the concept of art in general. Throug the interpretation of three aesthetic problems, Milan Rankovic shows what the comparative aesthetic thematization of the universal concept of art consist of. The analysis of the problem of disputing the uniqueness of artistic types shows that the concept of art must be open enough to be applied to new works of art, but not so indefinite that it can accommodate any artistic content. In the tr

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de Sousa Vianna, Rachel. "Art Education and Urban Aesthetics." Leonardo 35, no. 3 (2002): 255–61. http://dx.doi.org/10.1162/002409402760105244.

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The widespread problem of visual illiteracy prevents people from perceiving the aesthetic quality of their surroundings. This inability represents a barrier to full participation by the public in debates over the kinds of cities they want to live in, and yet the physical qualities of the environment strongly affect the social and psychological well-being of its inhabitants. This article argues that art educators have an important role in fostering the awareness, understanding and appreciation of urban aesthetics. It then recounts the author's field study, which investigated the effectiveness o

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Zhuravleva, Olga A., Natalie B. Savkhalova, Andrei V. Komarov, et al. "Computational Analysis Problem of Aesthetic Content in Fine-Art Paintings." Russian Journal of Philosophical Sciences 65, no. 2 (2022): 120–40. http://dx.doi.org/10.30727/0235-1188-2022-65-2-120-140.

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The article discusses the possibilities of the formal analysis of the fine-art painting composition on the basis of the classical definitions of beauty and computational aesthetics’ approaches of the second half of the 20th century he authors define the problem and consider solutions for the formalization of aesthetic perception in the context of aesthetic text, i.e., as part of the fine arts composition – a formal sequence of signs simply ordered in accordance with the syntactic rules’ system. The methodology of the research is defined by the general semiotics, distinguishing semantics, synta

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Hermerén, Göran. "Notions of the Aesthetic and of Aesthetics: Essays on Art, Aesthetics and Culture." British Journal of Aesthetics 58, no. 2 (2017): 212–15. http://dx.doi.org/10.1093/aesthj/ayw093.

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Shusterman, Richard. "Art, Eros, and Liberation: Aesthetic Education between Pragmatism and Critical Theory." Journal of Aesthetic Education 58, no. 1 (2024): 1–24. http://dx.doi.org/10.5406/15437809.58.1.01.

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Abstract After showing how pragmatist aesthetics and Marcuse's critical theory affirm aesthetic education as key to transforming society toward greater freedom, equality, pleasure, and fulfillment, I compare the ways these two approaches differently perceive the scope and role of aesthetics in such transformation. Whereas Marcuse identifies the aesthetic dimension with the realm of high art, pragmatism understands this dimension far more broadly to include the popular arts and somaesthetic arts of living. Because Marcuse identifies art's critical function through its oppositional transcendence

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Belov, Vladimir N. "Art and culture: Aesthetic ideas of V.E. Sesemann." Vestnik of Saint Petersburg University. Philosophy and Conflict Studies 38, no. 2 (2022): 231–41. http://dx.doi.org/10.21638/spbu17.2022.207.

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The article provides an analysis of the aesthetic views of one of an interesting and original, but still, unfortunately, little studied Russian philosopher, V.E. Sesemann (1884–1963). Aesthetics occupied a leading position in Seseman’s philosophical constructions, while remaining fully embedded in the philosophy of the Russian thinker. Continuing the traditions of transcendental philosophy, Sesemann considers aesthetics as a general theoretical discipline that combines all private and separate studies of the theme of beauty. As in his theory of knowledge, the fundamental element of his aesthet

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Bandrovska, Olha T. "THE AESTHETIC REGIME IN THE MODERN ERA: ART AND DISCOURSE ON ART." Alfred Nobel University Journal of Philology 2, no. 26/1 (2023): 9–21. http://dx.doi.org/10.32342/2523-4463-2023-2-26/1-1.

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The article traces the changes in the aesthetic conventions of Modern art in accordance with the dynamics of literary development in Great Britain. The study focuses on three key areas: the impact of “the ancients and moderns” quarrel on European philosophical and literary thought; the nuances of critical and literary discourse in Enlightenment-era Great Britain; and the reception of the Enlightenment aesthetic values and novelties in Victorian criticism, linking them to the emergence of twentieth-century modernism. The subject involves the evolution of Enlightenment aesthetics and poetics in

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Richardson, Benjamin J. "Climate Change Law: Encounters with Aesthetics and Art." Climate Law 8, no. 3-4 (2018): 279–319. http://dx.doi.org/10.1163/18786561-00803011.

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Climate change has multifaceted aesthetic dimensions of legal significance. Global warming alters the aesthetic properties of nature, and further aesthetic changes are precipitated by climate mitigation and adaptation responses of impacted societies. The social and political struggles to influence climate change law are also influenced by aesthetics, as environmental activists and artists collaborate to influence public opinion, while conversely the business sector through its marketing and other aesthetic communications tries to persuade consumers of its climate-friendly practices to forestal

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APOSTOLOPOULOU, Georgia. "On the Dialogue of Aesthetics and Philosophical Anthropology." WISDOM 10, no. 1 (2018): 6–11. http://dx.doi.org/10.24234/wisdom.v10i1.197.

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After the alleged ‘ends’ of metaphysics, of history, and of art, aesthetics reorganises the field of its enquiry. While retaining the question of the meaning of art for the human as the background justification of its theorising, aesthetics meets philosophical anthropology and enlarges its field. Philosophical anthropology explains that the instability of the human condition demands culture as the artificial stabilisation of the human world as well as of the human in the world. Expressivity, artificiality, and the aesthetic are interweaved with the meaning of the human world. In this context,

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Skov, Martin, and Marcos Nadal. "A Farewell to Art: Aesthetics as a Topic in Psychology and Neuroscience." Perspectives on Psychological Science 15, no. 3 (2020): 630–42. http://dx.doi.org/10.1177/1745691619897963.

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Empirical aesthetics and neuroaesthetics study two main issues: the valuation of sensory objects and art experience. These two issues are often treated as if they were intrinsically interrelated: Research on art experience focuses on how art elicits aesthetic pleasure, and research on valuation focuses on special categories of objects or emotional processes that determine the aesthetic experience. This entanglement hampers progress in empirical aesthetics and neuroaesthetics and limits their relevance to other domains of psychology and neuroscience. Substantial progress in these fields is poss

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Wang, Yijing. "Dynamic Art: Chinese Calligraphy." Communications in Humanities Research 3, no. 1 (2023): 1011–21. http://dx.doi.org/10.54254/2753-7064/3/2022804.

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The purpose of this study is to investigate the effects of modern society on the aeathetics of traditional Chinese Calligraphy, and techniques to preserve these aesthetics through designing a curatorial project. From the conducted research, it is evident that modern interpretations of calligraphy have driven away from traditional aesthetic standards. The paper will present an exhibition design that portrays ancient aesthetics through the manipulation of space. The organization of the exihibition relied heavily on Barry Judithss article, Dissenting Spaces, in the book: Thinking about Exhibition

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Keser, İnan, and Nimet Keser. "Sociological analysis on the discourse of crisis in art." New Trends and Issues Proceedings on Humanities and Social Sciences 2, no. 1 (2016): 20–25. http://dx.doi.org/10.18844/prosoc.v2i1.273.

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For about a hundred and fifty years, it has been continuously expressed that art has been facing a deadly crisis and this crisis roots itself from the reality that there exists no concrete answer to the question of â€˜what is artâ€™. However related with the non-existence of consensus on what art is, itâ€™s nothing more than a weak understanding to claim that it is impossible to talk about art. Thus, it can be acknowledged that the continuous repetition of the question of â€˜what is artâ€™ and non-existence of consensus on this subject is a clear proof of existence of a sharp struggle in art;

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Dhakal, Lekha Nath. "Black Art: An Aesthetic Transformation for Freedom and Justice." KMC Research Journal 3, no. 3 (2019): 91–99. http://dx.doi.org/10.3126/kmcrj.v3i3.35716.

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This paper attempts to explore African Americans’ world view and its roots in Black Aesthetics. It also reveals that Black art is an aesthetic transformation of African Americans for freedom and an expectation of a higher level of life. Supporters of Black Aesthetics appealed to black artists to establish a new standard of judgment and beauty based on African myths, spirituality, belief systems and music in opposition to Western aesthetic. However, the Black Aesthetics had its origins in those first artistic resonances of black slaves in the form of spirituals, coded singing and signifying, an

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Zahra, Fatima, and Safrizal Bin Shahir. "The Aesthetic Value and Spiritual Aesthetics of Islamic Ornaments in Islamic Architecture." Journal of Islamic Thought and Civilization 12, no. 1 (2022): 164–75. http://dx.doi.org/10.32350/jitc.121.08.

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Islamic architecture, a form of Islamic art, contributes significantly to portraying God Almighty's supremacy. In Islamic art, there are numerous ways to place emphasis on this architecture; one of which is through high aesthetic value. In Islamic art and architecture, the greatest extent of ornamentation and motifs probably describe aesthetic values. Islamic ornamentation serves as a platform for delivering information about Islam's culture including Islamic values and identity. Additionally, the most distinguishing characteristic of Islamic ornamentation is the richness of meaning behind it,

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Costello, Diarmuid. "Conceptual Art and Aesthetic Ideas." Kantian Review 26, no. 4 (2021): 603–18. http://dx.doi.org/10.1017/s1369415421000388.

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AbstractThis paper considers whether Kant’s aesthetics withstands the challenge of conceptual art. I begin by looking at two competing views of conceptual art by recent philosophers, before settling on an ‘inclusive’ view of the form: conceptual art includes both ‘strong’ and ‘weak’ non-perceptual art (NPA). I then set out two kinds of conceptual complexity that I argue are implicated by all aesthetic judgements of art (as art) on Kant’s view: the concept of art itself, and the idea the work is meant to express (dependent beauty and aesthetic ideas, respectively). I go on to demonstrate the ap

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Qu, Weicheng. "Modern Chinese Scholars' Perspectives on Zhuangzi's Aesthetics." Communications in Humanities Research 4, no. 1 (2023): 491–96. http://dx.doi.org/10.54254/2753-7064/4/20220741.

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Modern Chinese scholars of Zhuangzi's aesthetics can be illustrated by the words of Liu Shaojin in Zhuangzi and Chinese Aesthetics. The aesthetic significance of the book Zhuangzi is not a theoretical summary of beauty and art as objects, but rather, when it comes to its 'Dao', it's understanding of The aesthetic significance of Zhuangzi's book is not a theoretical summary of beauty and art, but a coincidence between its experience and realm of 'Tao' and the aesthetic experience and realm of art. Because of this coincidence, later generations naturally transposed these philosophical questions

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Wannarumon, Somlak, Erik L. J. Bohez, and Kittinan Annanon. "Aesthetic evolutionary algorithm for fractal-based user-centered jewelry design." Artificial Intelligence for Engineering Design, Analysis and Manufacturing 22, no. 1 (2007): 19–39. http://dx.doi.org/10.1017/s0890060408000024.

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AbstractThis paper proposes an aesthetic-driven evolutionary algorithm for user-centered design. The evolutionary algorithm is based on a genetic algorithm (GA). It is developed to work as an art form generator that enhances user's productivity and creativity through reproduction, evaluation, and selection. Users can input their preferences and guide the generating direction to the system. A two-step fitness function is developed to evaluate morphology and aesthetics of the generated art forms. Fractals created by an iterated function system are used for representing art forms in our process.

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Sernelj, Téa. "Different Approaches to Modern Art and Society: Li Zehou versus Xu Fuguan." Asian Studies 8, no. 1 (2020): 77–98. http://dx.doi.org/10.4312/as.2020.8.1.77-98.

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Proceeding from the inseparable relation between ethics and aesthetics in traditional (and often also modern) Chinese thought, this article aims to illuminate two important approaches to the aesthetic foundations of Chinese modernity. The relation between the individual and society, which is a core question of modern ethics, is reflected in most of the ethical theories of 20th century China. In this context, the article first presents Li Zehou’s theory of aesthetics and his definition of aesthetic experience. In this way, it aims to illuminate Li’s interpretation of modern art and society, and

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Sattler, Janyne. "Middleway aesthetics: an aesthetical way to say nothing about aesthetics." Revista de Filosofia Aurora 27, no. 40 (2015): 375. http://dx.doi.org/10.7213/aurora.27.040.ao06.

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This is a very brief sketch on Wittgenstein’s “middle” writings about aesthetical appreciation and aesthetical attitude concerning the objects of art. Even if it takes the Tractarian conception of ‘aesthetics’ as a starting point, the paper is focused on Wittgenstein’s (second-hand) class-notes taken from his Lectures on Aesthetics and a very specific remark reported by Moore, brought from the Philosophical Occasions, where “reasons” for aesthetical persuasion and correction are said to be like those offered in “discussions in a court of law”. At the end, not much is left for aesthetical appre

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RYU, Jiyeong. "Art Education as Aesthetics - Re-conceptualization of Aesthetics in Art Education -." Society for Art Education of Korea 84 (December 31, 2022): 95–117. http://dx.doi.org/10.25297/aer.2022.84.95.

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Bufardeci, Louisa. "Tacktical Aesthetics: A Propositional Aesthetic Language Starting from Philosophies of Relationality." AM Journal of Art and Media Studies, no. 23 (October 15, 2020): 1–12. http://dx.doi.org/10.25038/am.v0i23.393.

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Tacktical aesthetics is a propositional aesthetic language for an art that seeks to reinforce and reproduce values present in philosophies of relationality in place of those present in contemporary systems of domination. With this text I present some partial declarations about tacktical aesthetics that draw on Indigenous and feminist philosophies of relationality and on ideas of resingularization. As well as reflecting on the value of neologisms for this type of project, I discuss the various implications for tacktical aesthetics, including its relation to contemporary art and shock tactics, a

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