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Journal articles on the topic 'Aesthetics, comparative'
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1
Loesberg, Jonathan. "Kant's Aesthetics and Wilde Form." Victoriographies 1, no. 1 (May 2011): 79–95. http://dx.doi.org/10.3366/vic.2011.0008.
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Although Wilde was convicted of Gross Indecency, not of having written questionable literature, critics frequently take his trial as a trial of his literature and his theories, and, in a sense, they are oddly enough right since, at key moments, the difficult of reading Wilde's writing becomes manifest in the difficulty of reading what occurs in the trials. That reading difficulty results from the alignment between Wilde's aestheticism and the ostensibly straighter Kantian aesthetics, a theory Wilde queered only by clarifying its paradoxes. Through a comparative reading of Kant's and Wilde's theories of natural and aesthetic beauty and the manifestation of Wilde's theory in The Picture of Dorian Gray (1891), this article will show how the ambiguities in Wilde's trial result from his insistence on a connection between his theoretical paradoxes and what he called his perverse desires, a connection that enriches both aesthetic theory and our understanding of the cultural significance of his trial.
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Al-Salam, Nadia A., Ahmed A. Al-Jaberi, and Ahmed S. Al-Khafaji. "Measuring of Subjective and Objective Aesthetics in Planning and Urban Design." Civil Engineering Journal 7, no. 9 (September 1, 2021): 1557–68. http://dx.doi.org/10.28991/cej-2021-03091743.
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The article includes the concept of aesthetics through what has been dealt with in the literature by philosophers and researchers who have addressed this concept in an attempt to derive indicators of aesthetics. The article adopted a descriptive and analytical methodology by reviewing recent literature on the concept of aesthetics and its relation to urban planning and design issues. Many subjective and objective aesthetics indicators have been identified, some of which are classified under real aesthetics, and some under fake aesthetics. The indicators were applied to the Kufa Mosque complex and Sahla Mosque complex as a comparative case study. It was found that the indicators of real aesthetics have a higher weight in determining the final aesthetic judgment on the complex form versus the fake indicators, which in turn reinforced the weighting of the subjective aspect over the objective. This was consistent with the answer to the question directed to the sample about which complexes are more aesthetic. The answer was that the Kufa Mosque complex is most aesthetically. This was proven by the questions directed in the questionnaire, which outweighed the real aesthetic indicators for the Kufa Mosque complex. As for the results of analyzing the indicators of fake aesthetic were equal, as each complex achieved higher values in three indicators. Doi: 10.28991/cej-2021-03091743 Full Text: PDF
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Loginova, Marina V. "Ethno-aesthetics in the system ethnic culture: theoretical and methodological aspect." Finno-Ugric World 13, no. 2 (July 12, 2021): 169–79. http://dx.doi.org/10.15507/2076-2577.013.2021.02.169-179.
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Introduction. The article deals with the study of theoretical and methodological foundations of ethno-aesthetics as a “cultural code” of an ethnos through a systematic approach to solving the problem of the ratio of ethno-culture and ethno-aesthetics. The aim of the study is a philosophical analysis of ethno-aesthetics to determine the semantic potential of the symbolic capital of ethnic culture. Materials and Methods. The logic of the research, ascending from the abstract (definition of ethno-aesthetics) to the exact (ethno-futurism), is based on a systemic approach. It distinguishes the following methods: dialectical (ethno-aesthetics at the level of the singular, particular and universal), comparative-historical (transformation of ethno-aesthetic values); structural and functional (ethno-aesthetics as an open system of aesthetic values that serve as “markers” of ethnic originality). Results and Discussion. The author denotes the theoretical and methodological aspects of ethno-aesthetics in the modern conditions of being of an ethnos: ethno-aesthetic values, aesthetic ontology of ethnos, expression in ethno-aesthetics of the “spirit of a people”. In the ethnic world-picture the expression of the concept “spirit of the people” allows to highlight the levels of ethno-aesthetics in ethnoculture: substantial (aesthetic consciousness, aesthetic values that reflect/express the “spirit of a people”); functional-historical (transforming system of aesthetic relations and aesthetic experience of an ethnos). The author notes the relationship of ethno-aesthetic values with mentality, the “spirit of a people”, the deep layers of ethnic consciousness (traditions, rites, beliefs, mythological representations, archetypes), art as a system of creating symbolic images. The dialectics of single, special and universal with regard to aesthetic values distinguishes ethno-aesthetics as the level of being of special, which at the same time combines (values and creative potential of an ethnos in world exploration) and determines the specifics of understanding and interpretation by an ethnos the basic values (the beautiful, the tragic, the comic, etc.) and its fixation in the language. The source of aesthetic ontology is the experiencing by an ethnos life, nature, labour, creativity, which have creative and harmonizing potential. Conclusion. The author interprets ethno-aesthetics as an integral part of aesthetics, which creates a philosophical theory of an ethnos aesthetic relationship to the world (nature, art, labour), reflects the process of formation and development of aesthetic sensuality and aesthetic consciousness, the value of the world.
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Kurraz, Abdullah. "Artistic Narrative Structure of Ihsan Abdel Quduos and D. H. Lawrence's Novels: A Stylistic Comparative Sketch." International Journal of Linguistics, Literature and Translation 5, no. 3 (March 5, 2022): 48–57. http://dx.doi.org/10.32996/ijllt.2022.5.3.6.
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This paper explores the artistic structures, aesthetics, and thematics in the literary works of Ihsan Abd Al-Quduos (the Arab writer) and D. H. Lawrence (the English writer) in terms of the narrative style, language, dialogue, settings, and characters through a textual analysis in the light of the premises of the narrative aesthetics, comparative assumptions and aesthetic intertextualities. Comparatively, the paper sheds light on the aspects of artistic aesthetics of structure and style between the two writers, basically the treatment of women, clarifying their narrative experiences. Therefore, this paper adopts the descriptive and analytical critical theory to explore similarities and dissimilarities in the aesthetics, style, and language of both writers' selected texts. The results of this paper textually reveal both authors' awareness of the nature of the fictional discourse as linguistic creativity and special artistic composition. Also, both novelists show some similarities and differences in narrative content, style, structure and themes, each according to his realistic experience as a result of the relationship with the surrounding environment and the cultural background. So, the two writers are very careful with all their art and creativity to endow their novels with aesthetics of expression and their structural and semantic spaces. The paper explores such issues in their selected narratives, which include Ihsan's Sleepless, The Dead End, A Nose and three Eyes, and Don't Turn off the Sun. Lawrence's novels include Sons and Lovers, Women in Love, The Lost Girl, Aaron's Rod, and Lady Chatterley's Lover.
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Kodalak, Gökhan. "Affective Aesthetics beneath Art and Architecture: Deleuze, Francis Bacon and Vogelkop Bowerbirds." Deleuze and Guattari Studies 12, no. 3 (August 2018): 402–27. http://dx.doi.org/10.3366/dlgs.2018.0318.
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There is an aesthetic undercurrent traversing Deleuze's philosophy along confluent trajectories of Baruch Spinoza and Friedrich Nietzsche, which harbours untapped potentials and far-reaching consequences for contemporary discussions of art and architecture. According to this subterranean stream, aesthetic experience is generated, neither in ready-made mental faculties of a subject, nor in essential qualities of an object, but through affective interactions of a relational field. A cartographic inquiry of affective aesthetics constitutes the subject matter of this paper, beginning with a philosophical elaboration that connects aesthetic theories of Spinoza, Nietzsche and Deleuze, evolving via a comparative analysis of aesthetic processes specific to Francis Bacon's artistic assemblages and Vogelkop bowerbirds' architectural constructs, and concluding with the possibility of a non-anthropocentric aesthetics.
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Bettaieb, Donia, and Abeer Alsobahi. "Use of Design Theories and Principles in Visual Brand Identity Elements in Commercial and Retail Banks." Journal of Visual Art and Design 14, no. 2 (December 15, 2022): 111–37. http://dx.doi.org/10.5614/j.vad.2022.14.2.8.
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Studies on the processes that link logos and space design aesthetics to visual perception and recognition of visual brand identity (VBI) remain scant. Consequently, this study analyzed the visual correspondence between visual brand identity elements such as logos and interior spaces in commercial retail banking companies by assessing the foundations of their aesthetics formation and the role of aesthetic principles, aesthetic appraisal, and aesthetic impression. Using a qualitative approach, four commercial retail banking companies in Jeddah, Saudi Arabia were analyzed through semi-structured interviews with professional designers and design academics. A comparative method was used to determine the visual correspondence between the aesthetics of the logos and the interior spaces. The findings confirmed the importance of using design characteristics and theories for designing the elements of VBI. The results encourage the use of design for building visual correspondence between the elements of a visual identity of brands. This study provides a useful addition to knowledge on the place of design principles in the creation of VBI.
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Poškaitė, Loreta. "Everyday Aesthetics in the Dialogue of Chinese and Western Aesthetic Sensibilities." Dialogue and Universalism 30, no. 3 (2020): 225–44. http://dx.doi.org/10.5840/du202030344.
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The paper examines the intercultural dimension of everyday aesthetics which was promoted by one of its most important Chinese proponents Liu Yuedi as a search for dialogue between various aesthetic traditions, in particular, those from the East and West. The aim of the paper is to explore some parallels between the traditional Chinese and contemporary Western aesthetic sensibilities, by looking for their common values and concepts which are gaining prominence in the discourse of everyday aesthetics. It begins with a survey of the contributions of Chinese and Western scholars; the survey concerns the relevance of Chinese (Confucian and Daoist) traditional aesthetics for everyday aesthetics, and examines particular features of the nature of perception in everyday aesthetics which is common to Chinese and Western artistic activities, aesthetic discourses and their conceptualizations. In the second section I discuss the “intercultural” concept of atmosphere as the de-personalized or “transpersonal”/intersubjective, vague and all-inclusive experience of the situational mood and environmental wholeness. I explore and compare the reflection of its characteristics in Western scholarship and Chinese aesthetics, especially in regard to the aural perception and sonic sensibility. The final section provides a comparative analysis of few examples of the integration of music into the environmental or everyday surrounding—in Daoist philosophy and Chinese everyday aesthetics, and Western avant-garde art (precisely, musical composition by John Cage 4’33). The analysis is concentrated on the perception of music in relation to the experience of atmosphere and everyday aesthetics, as they were defined in the previous sections. The paper challenges the “newness” of everyday aesthetics, especially if it is viewed from the intercultural perspective, and proposes the separation of its discourses into the investigation of its past and present.
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Sobolev, Yuriy. "Aesthetic Ideas and Concepts of the Hindu Tradition: Specific Features and Analogies." Vestnik of Northern (Arctic) Federal University. Series Humanitarian and Social Sciences, no. 3 (July 21, 2021): 119–27. http://dx.doi.org/10.37482/2687-1505-v108.
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This article deals with the main ideas and basic concepts of Hindu aesthetics. The problem area reveals itself in the question of European culture’s perception of Hindu aesthetics. In this connection, the following questions are actualized: what can be considered as original aesthetic conceptions of Hinduism? is it possible to find direct analogies in other cultures? how relevant and correct is the conceptual apparatus describing various aesthetic phenomena? what is the role of the religious thought in the proposed aesthetic context? Proceeding from the historical and cultural position of aesthetic knowledge as it is presented in the European tradition, key approaches to the phenomenon of the aesthetic are shown, with the ideas of classical German philosophy – the cradle of aesthetic science (A. Baumgarten, I. Kant) – at the centre. The marked heterogeneity of aesthetic knowledge indicates its problematic status in the European historical-philosophical discourse and at the same time allows one to see, against its background, the harmonious place of aesthetics in Hindu culture. It mainly concerns the peculiarities of religious and worldview systems. Further, the paper studies the similarities and differences between the theoretical and ritual ideas and practices in Christianity and Hinduism. In particular, what they have in common is the importance of “threshold people” – liminal personae – in the spiritual life of society. Among the radical differences is the natural embedding of aesthetics in the religious system of India, while for European aesthetics, the religious world is just one of the spheres of the aesthetic. Using the method of comparative text analysis with reference to leading Russian orientalists and foreign researchers (V. Shokhin, D. Zilberman, E. Torchinov, R. Guénon, N. Gupta), the author takes a number of concepts as an example to demonstrate identity of religious and aesthetic ideas in Hindu and European cultures, as well as a possibility of mutual “cultural translation” of such basic concepts as aesthetics, the aesthetic, rasa and bhava.
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Hackett, Peter. "Aesthetics as a Dimension for Comparative Study." Comparative Education Review 32, no. 4 (November 1988): 389–99. http://dx.doi.org/10.1086/446792.
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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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Koul, Radhika. "Navigating the Space Between Hermeneutics and Aesthetics: Dhvani and Comparative Poetics." Comparative Literature Studies 59, no. 2 (May 1, 2022): 292–315. http://dx.doi.org/10.5325/complitstudies.59.2.0292.
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ABSTRACT In Production of Presence: What Meaning Can’t Convey (2003), Hans Ulrich Gumbrecht suggests that through their unremitting emphasis on hermeneutics, modern critics have ignored the ineffable, bodily aspect of aesthetic experience that he calls “presence.” In the realm of poetics, such a theory implies a dissociation between the hermeneutic activity of a poem and a reader’s emotional response to it. Two aestheticians from medieval Kashmir, Ānandavardhana, c. ninth century CE, and his tenth-century commentator Abhinavagupta, propose a cause of poetic beauty and aesthetic effect that is still grounded in meaning: dhvani. They delineate how, in certain poetic conditions, dhvani leads to rasa, roughly “aesthetic enjoyment,” an experience at once mental and visceral. Whereas the poetic forms the Indian aestheticians discuss go beyond the lyric per se, this paper brings some of the most critical aspects of their poetics in conversation with current critical overtures as well as resonant poetry we might be more familiar with today in order to inspire further work on comparative literary aesthetics and “world criticism.”
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KAMAL, Aysel, and Sinem ATIS. "Comparative Analysis of Ahmet Hamdi Tanpinar’s Travels to European Countries." European Journal of Multidisciplinary Studies 5, no. 1 (May 19, 2017): 78. http://dx.doi.org/10.26417/ejms.v5i1.p78-84.
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Ahmet Hamdi Tanpinar (1901-1962) is one of the most controversial authors in the 20th century Turkish literature. Literature critics find it difficult to place him in a school of literature and thought. There are many reasons that they have caused Tanpinar to give the impression of ambiguity in his thoughts through his literary works. One of them is that he is always open to (even admires) the "other" thought to a certain age, and he considers synthesis thinking at later ages. Tanpinar states in the letter that he wrote to a young lady from Antalya that he composed the foundations of his first period aesthetics due to the contributions from western (French) writers. The influence of the western writers on him has also inspired his interest in the materialist culture of the West. In 1953 and 1959 he organized two tours to Europe in order to see places where Western thought and culture were produced. He shared his impressions that he gained in European countries in his literary works. In the literary works of Tanpinar, Europe comes out as an aesthetic object. The most dominant facts of this aesthetic are music, painting, etc. In this work, in the writings of Tanpinar about the countries that he travelled in Europe, some factors were detected like European culture, lifestyle, socio-cultural relations, art and architecture, political and social history and so on. And the effects of European countries were compared with Tanpinar’s thought and aesthetics. Keywords: Ahmet Hamdi Tanpinar, Europe, poetry, music, painting, culture, life
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Lee, Junghwan. "The Underlying Premises of the Western Aesthetic System: A Preliminary Inquiry for Comparative-Aesthetics 1." Mihak - The Korean Journal of Aesthetics 88, no. 4 (December 30, 2022): 211–60. http://dx.doi.org/10.52720/mihak88.4.7.
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Mankovskaya, Nadia. "The Russian Simulacrum." Dialogue and Universalism 7, no. 3 (1997): 201–5. http://dx.doi.org/10.5840/du199773/420.
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This comparative analysis of multiple variants of the aesthetics of simulacrum as equal and autonomous participants in the postmodern polylogue presents a principle of creation of a 'third reality', which unites foreign and Russian elements. Making an artifact out of an artifact leads to a theory of artistic relativism. This type of simulacra give artistic cross-cultural results with an additional aesthetic effect representing fragments of a postmodern mosaic culture.
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Jankevica, Maija. "COMPARATIVE ANALYSIS OF METHODOLOGIES FOR LANDSCAPE ECOLOGICAL AESTHETICS IN URBAN PLANNING / KRAŠTOVAIZDŽIO EKOLOGINĖS ESTETINĖS URBANISTINIO PLANAVIMO METODOLOGIJOS PALYGINAMOJI ANALIZĖ." Mokslas - Lietuvos ateitis 4, no. 2 (May 11, 2012): 113–19. http://dx.doi.org/10.3846/mla.2012.23.
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Areas with high level of urbanisation provoke frequent conflicts between nature and people. There is a lack of cooperation between planners and nature scientists in urban studies and planning process. Landscapes usually are studied using the ecological and aesthetical approaches separately. However, the future of urban planning depends on integration of these two approaches. This research study looks into different methods of landscape ecological aesthetics and presents a combined method for urban areas. The methods of landscape visual aesthetical assessment, biotope structure analysis, landscape ecology evaluation and multi-disciplinary expert level are compared in the article. A comparison of obtained values is summarized by making a comparative matrix. As a result, a multi-stage model for landscape ecological aesthetics evaluation in urban territories is presented. This ecological aesthetics model can be successfully used for development of urban territories. Santrauka Aukštas teritorinės urbanizacijos lygis skatina dažną gamtos ir žmogaus konfliktą. Urbanistinio planavimo studijų procesuose trūksta bendradarbiavimo tarp urbanistinių teritorijų planavimo ir gamtos mokslo srityse dirbančių mokslininkų. Kraštovaizdis dažnai tyrinėjamas atskirai, taikant ekologinius ir estetinius metodus. Tačiau miestų planavimo ateitis priklauso nuo šių dviejų metodų integracijos. Šio tyrimo metu nagrinėjami skirtingi kraštovaizdžio ekologinės estetikos metodai ir pateikiamas apibendrintas urbanizuotoms teritorijoms skirtas sprendimas. Palyginti kraštovaizdžio vizualinio estetinio vertinimo, biotopų struktūros analizės, kraštovaizdžio ekologijos vertinimo metodai ir įvairių sričių ekspertų išvados. Gauti rezultatai suvesti į palyginamąją matricą. Viso to rezultatas – urbanistinių teritorijų daugiapakopis kraštovaizdžio ekologinės estetikos vertinimo modelis. Šis ekologinės estetikos modelis gali būti sėkmingai taikomas urbanistinių teritorijų plėtrai.
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Pajin, Dušan. "Environmental Aesthetics and Chinese Gardens." Dialogue and Universalism 7, no. 3 (1997): 51–65. http://dx.doi.org/10.5840/du199773/46.
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Analysis of Chinese landscape design offered a challenge to test the concepts of environmental aesthetics developed in the West. With comparative approach we improved our understanding of art and environment, and of different strategies (inspired by Taoist, and/or Buddhist concepts) in designing forms of Chinese gardens. In order to describe the "hidden" symbohsm of Chinese landscape design we applied various concepts and metaphors: completeness, large and small, mirror and mirroring, garden as entrance and separate reality, disclosure and concealment, and returning to the source.
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Zaytseva, Anastasia F. "Artistic Reception as a Field of Implementation of the Aesthetic Component of Advertising." Observatory of Culture, no. 4 (October 28, 2015): 29–33. http://dx.doi.org/10.25281/2072-3156-2015-0-4-29-33.
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In this article, the author examines the perception of art as a field of implementation of the aesthetic function of advertising. Being based on research works in the field of receptive aesthetics and phenomenology, the author analyzes the relevance of the aesthetic perception of advertising communications. The article examines the advertising communications as a complex phenomenon; there is presented a comparative analysis of the values of perception of works of art and of advertising samples. The article opens a new perspective on the aesthetic component in advertising. The author goes beyond the classical idea of its implementation through artistic techniques and shows a vast field of actualization of the aesthetic component in advertising.
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Popiel, Magdalena. "Rodin, czyli świat. Dwie kosmogonie – Rainera Marii Rilkego i Georga Simmla." Przestrzenie Teorii, no. 29 (January 31, 2019): 15–29. http://dx.doi.org/10.14746/pt.2018.29.1.
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The article is a comparative analysis of the modernist aesthetics of creation. It describes how Rilke and Georg Simmel discovered August Rodin’s rules of modern perception, sensitivity and creative imagination. In the work of both writers we see them striving to interpret works of art as a creative process that is the effect of their astute diagnosis of contemporary culture. A new approach to aisthesis restores value to aesthetic experience and opens up broader learning opportunities.
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Bayer, Gerd. "Global Crusoe: comparative literature, postcolonial theory and transnational aesthetics." Journal of Postcolonial Writing 49, no. 1 (February 2013): 120–21. http://dx.doi.org/10.1080/17449855.2012.739334.
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Jeremy Tanner. "Aesthetics and Art History Writing in Comparative Historical Perspective." Arethusa 43, no. 2 (2010): 267–88. http://dx.doi.org/10.1353/are.0.0036.
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Davey, E. R. "'Soft framing': a comparative aesthetics of painting and photography." Journal of European Studies 30, no. 118 (June 2000): 133–55. http://dx.doi.org/10.1177/004724410003011801.
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Singh, Salil, Patrick Colm Hogan, and Lalita Pandit. "Literary India: Comparative Studies in Aesthetics, Colonialism, and Culture." Asian Theatre Journal 14, no. 1 (1997): 144. http://dx.doi.org/10.2307/1124090.
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Gaižutytė-Filipavičienė, Žilvinė. "André Malraux’s Comparative Theory of Art." Dialogue and Universalism 30, no. 3 (2020): 263–80. http://dx.doi.org/10.5840/du202030346.
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The article deals with André Malraux’s (1901–1976) comparative theory of art. He, a French intellectual, novelist, and philosopher developed an original philosophical approach to art works and their transformations in time which has still a significant impact to contemporary comparative studies of art. The idea of metamorphosis expresses Malraux’s radical turn from classical academic aesthetics and his closeness to existential philosophical and aesthetical thinking. It reinforces the concept of the imaginary museum and provides a more philosophical background. Each culture perceives and accepts the art of other cultures according to its own viewpoints in a process which is defined by Malraux as metamorphosis. The full significance of metamorphosis appeared in modern civilisation—the first which collected art forms from any period and place. The work of art lives its own life deliberated from history and its consequential postulation of human permanence. The metamorphosis is the key to Malraux’s humanist metaphysics of art.
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Voronovich, Ekaterina P. "Interaction as an Artistic and Political Strategy: a Philosophical Source of the Relational Aesthetics." Chelovek 33, no. 6 (2022): 156. http://dx.doi.org/10.31857/s023620070023385-0.
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The article analyzes the concept of «social turn» in the art of the turn of the XX-XXI centuries, the most famous conceptualization of which is Relational Aesthetics by Nicolas Bourriaud. Collapse of the communist project, general disappointment of the art community in the neoliberal version of capitalism – those are aesthetic and political reasons for the Relational Art. The article discusses the difference between the Relational Art and modernist artistic practices. The interpretation of the principle of "operational realism" according to Bourriaud - the art of «social turn» does not revolutionize the world of capitalist exploitation and alienation, but learns to exist in the established cultural context, carrying aesthetic projections on social relations already existing in reality in order to gently recode the world. The main «medium» of the Relational Art is human relations, the main theme - «being-together», the goal – microsocialities, new ways of human collaboration. The article proposes a comparative analysis of the aesthetic and political aspects of Guy Debord's concept of the "society of the spectacle" and Relational Aesthetics - the former served as the philosophical source of the latter.
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Wen, Xia, Jingwen Shen, and Xin Gao. "A Comparative Study of Online Aesthetic Education Courses in Chinese and American Colleges." International Journal of Education and Humanities 5, no. 2 (October 25, 2022): 103–9. http://dx.doi.org/10.54097/ijeh.v5i2.2116.
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At present, the college aesthetic education is not compatible with the construction of an all-round education system in areas such as morals intelligence physical fitness work and aesthetics. In an era of big data and artificial intelligence, with the help of modern information intelligent means, college online aesthetic education courses take advanced and specialized aesthetic knowledge as the main content, and promote the development of students' "aesthetic and humanistic literacy", becoming a major starting point for deepening the comprehensive reform of aesthetic education in colleges. This paper simply takes college online aesthetic education courses offered by "iCourse" platform in China and "edX" platform in America as the objects, focusing on the comparison of three types of courses and their contents, such as art aesthetic education courses, professional aesthetic education courses, and comprehensive aesthetic education courses, to find their respective characteristics and problems, and to provide a reference for the integration of aesthetic education courses and information intelligence in Chinese colleges. It is expected to form a new pattern of aesthetic education in colleges, which is "comprehensively improving the quality of universal art education, promoting the combination of various disciplines and majors with innovation and entrepreneurship, and promoting the integration of aesthetic education with as morals intelligence physical fitness work in colleges", so as to provide an interpretive perspective for the construction of a diversified and high-quality socialist modern aesthetic education system with Chinese characteristics.
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Kurbakova, Marina A. "The philosophical basis of the aesthetics of A.S. Pushkin and I.S. Turgenev." Philological Sciences. Scientific Essays of Higher Education, no. 2 (March 2022): 91–98. http://dx.doi.org/10.20339/phs.2-22.091.
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This article discusses the issue of the philosophical and creative aesthetic basis of Pushkin and Turgenev. The study pays special attention to the features of artistic and aesthetic similarities and differences between both writers. The results of a comparative analysis are presented, based on the history of aesthetics of the corresponding periods. The novelty of the work lies in the revision of previous studies on this topic and the introduction of important touches to the topic under study. The relevance of the research is due to the tasks of examining classical works using modern tools through the prism of new research. In the course of the research, a review of the work of writers and works of researchers in the context of this topic was carried out, which allows us to draw the following conclusions: the philosophical and aesthetic basis of the work of both writers most reflects the ideas of Kant, Schiller and Hegel; the beautiful and the good in their worldview are inseparable; both writers are united by nationality and the whole spectrum of socio-political issues; the creativity of the writers is excellent to the same extent that the Slavophil is different from the Westernizer; Turgenev’s aesthetics is less mobile and rosy, but represents a greater synthesis of philosophical and aesthetic attitudes of different types of art.
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Demeterio III, Feorillo Petronilo. "Looking at Botong Francisco from the Horizon of Diego Rivera: A Visual Dialogue between Two Modern Muralists." Philippiniana Sacra 48, no. 144 (2013): 299–328. http://dx.doi.org/10.55997/ps2005xlix144a4.
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This paper explored the visual aesthetics of Carlos Francisco in a dialogical manner using Diego Rivera’s visual aesthetics as a point of reference. In particular, this paper comparatively analyzed Francisco’s “Filipino Struggles through History” and Rivera’s “Man, Controller of the Universe.” The comparative analysis covered the following aspects of these two murals: 1) the dimensions of their works and media used, 2) the styles that influenced them, 3) their figures and colors, 4) their themes and the way they plotted or narrativized them, 5) their underlying political ideology, 6) their underlying religious ideology, 7) their underlying gender ideology, 8) their nationalism, and 9) the hidden tensions between their colonialism and post-colonialism.
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Bublatzky, Cathrine. "Aesthetics and Materiality of Knowledge: (Un)sighted Archives of Migration." International Journal for History, Culture and Modernity 8, no. 1 (June 11, 2020): 97–104. http://dx.doi.org/10.1163/22130624-00801001.
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Many private or artistic migratory archives remain unnoticed by the wider public or are endangered by loss, misuse or destruction by human or non-human agents, especially when institutional infrastructures are missing. If archives are considered to be dynamic, it is essential to ask how the aesthetics and materiality of knowledge, as they are stored in (un)sighted archives of migration, are to be investigated. How can we look at archives of migration in their performative sense when cultural memory implies dynamism and represents ‘an ongoing process of remembrance and forgetting’? Bringing together anthropologists, artists, photographers, historians and activists with and without migration experiences, the workshop ‘Aesthetics and Materiality of Knowledge – (Un)sighted Archives of Migration’ initiated a comparative and non-hierarchical exchange among experts on archives of migration as historical and aesthetic resources. This article explores the themes raised during these discussions and reflects on the variety of perspectives that emerged.
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Iseli, Christian, Stefan Dux, and Miriam Laura Loertscher. "The Aesthetics and Perception of Documentary Film: A mixed methods approach and Its implications for Artistic Research." International Journal of Film and Media Arts 5, no. 2 (November 13, 2020): 27–48. http://dx.doi.org/10.24140/ijfma.v5.n2.02.
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The ongoing research project Gadgets, Phones and Drones at the Zurich University of the Arts investigates how innovations in camera technology have affected the visual aesthetics of documentary films since the 1990s. With specially produced variants of short films, historical paradigm shifts are being subjected to contemporary comparative analyses. Major aspects of the aesthetic change, as for instance the tendency towards a shallow depth of field, are linked to the concept of authenticity or perceived realism. The project’s use of interdisciplinary research is oriented towards artistic research, or more precisely, towards a practice-based approach and is combined with empirical audience experiments. The dialogue between qualitative and quantitative research, also known as mixed methods, has enabled surprising new insights. However, the comparability of quantitative methods risks narrowing down the aesthetic potential of the filmic products that are used to conduct the research. In order to maintain a discriminating discourse within the practice-based approach, it is therefore advantageous to extend the study’s framework beyond a quantitative and comparative research set-up and provide specific fields for artistic investigations.
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Chen, Wangheng, Jun Qi, and Pingting Hao. "On Chinese Aesthetics: Interpretative Encounter between Taoism and Confucianism." Culture and Dialogue 6, no. 1 (September 7, 2018): 61–76. http://dx.doi.org/10.1163/24683949-12340042.
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Abstract Chinese aesthetics mainly derives from Confucianism and Taoism. This essay attempts to revisit the main theories that run through Confucian and Taoist aesthetics in order to make them comprehensible within a broader global context. Aesthetics in Confucianism pertains to fields as various as literature, art, music and the natural environment. It holds the idea of ren 仁 (human-heartedness) as the essential attribute of beauty. In comparison, Taoist aesthetics emphasizes the centrality of tao 道 (way), which transpires through naturalness, and, as such, considers natural forms to offer the highest degree of beauty. In order to understand variations of representation and interpretation in Confucian and Taoist aesthetics, the essay discusses accordingly the three fundamentals of Chinese aesthetics: beauty, feeling of beauty, and artistic image. This comparative study will hopefully bring to light differences and similarities between two traditions, which may also resonate within the wider context of modern global aesthetics.
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De Paula, Darlei. "ETHICS AND AESTHETICS CRITERIA AS VALID SUPPORT TO RESEARCH." Logeion: Filosofia da Informação 5, no. 2 (March 20, 2019): 159–68. http://dx.doi.org/10.21728/logeion.2019v5n2.p159-168.
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This article aim to show the aesthetics and ethics values whose relation traces could be found in theological text studies. We use bibliographic review as methodology to this research. Considering these elements and how it was found we ask: how can we validate such elements to understand the theological text? When we are analyzing ethics behaviors can we consider the found results as intrinsic values in such discoveries and can it be compared in different times, in other words, it is available if we bring it out to our time without prejudice considering criteria. We know values and beliefs can change according different times, but the main question that translates our doubt is: how can we consider the ethical and aesthetical values described in different times avoiding damage then to be impartial in the research? In spite of lots of doubts rose, what can support on our research reading are historic and current images we can validate as support line to comparative analysis considering ethics and aesthetics values found. This text will be presented as communication in this event.Key Words: Methodology. Ethics and research. Aesthetics and research. Theological methodology.
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Kivy, Peter. "FICTIONAL FORM AND SYMPHONIC STRUCTURE: AN ESSAY IN COMPARATIVE AESTHETICS." Ratio 22, no. 4 (December 2009): 421–38. http://dx.doi.org/10.1111/j.1467-9329.2009.00443.x.
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Kiros, Teodros. "Alienation and aesthetics in Marx and Tolstoy: A comparative analysis." Man and World 18, no. 2 (June 1985): 171–84. http://dx.doi.org/10.1007/bf01248613.
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Akinseloyin, Adefemi. "A Comparative Study of The Yorùbá News and Aláròyé Newspapers." Yoruba Studies Review 5, no. 1 (December 21, 2021): 1–14. http://dx.doi.org/10.32473/ysr.v5i1.130072.
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The Yorùbá News, since its inception in 1924, was an admiration to many. Its informative function, which covered variety of fields relevant to the grassroots, cannot be overlooked. Despite the series of scholarly writings on The Yorùbá News, much work has not been geared towards a comparative study of the newspaper with any other be it old or contemporary. In the light of this, this essay therefore attempts a comparative study of The Yorùbá News and Aláròyé, a fast-selling contemporary Yorùbá newspaper. Four editions of The Yorùbá News and two editions of the Aláròyé newspapers are selected and content-analyzed using postmodernism theory. It is observed that The Yorùbá News distanced itself from aesthetics and total bias to the grassroots while Aláròyé newspaper foregrounded aesthetic splendor and grassroots biases in its editions. In this study, language, content, and headings/headlines are employed as measures of our comparison.
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Beebee, Thomas O. "Comparative Criticism beyond Eurocentrism: In Search of the Untranslatables of Literary Theory." Journal of Foreign Languages and Cultures 6, no. 1 (June 28, 2022): 100–112. http://dx.doi.org/10.53397/hunnu.jflc.202201009.
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While the study of world literature is often seen as escaping the boundaries of eurocentrism—albeit with the need for constant revision and self-critique—a truer overcoming would involve another sort of anthologization, namely, of world theory and criticism. World literature should go beyond being a reified collection of translated texts, to become an exploration and comparison of the different ways of thinking about literature and aesthetics in different parts of the world. Barbara Cassin’s Vocabulaire Européen des philosophies: Dictionnaire des intraduisibles provides a possible model in this regard. The untranslatability of critical terms from different traditions is generative of new meanings due to the repeated efforts to translate and to compare non-synonymous terms with each other. This essay examines the untranslatability and comparability of several different terms from Asian aesthetic traditions.
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Weber, Samuel, Marta Nowicka, and Tomasz Wiśniewski. "The Foundering of Aesthetics: Thoughts on the Current State of Comparative Literature." Tekstualia 4, no. 31 (April 1, 2012): 129–44. http://dx.doi.org/10.5604/01.3001.0013.4655.
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The article investigates major preoccupations of comparative literature at the end of the twentieth century. Evoking René Wellek and Paul de Man, the discussion focuses on a rereading of selected aspects of Immanuel Kant. The argument points out the differences between Comparative Literature and „general literature”.
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Floyd, Taylor. "Aesthetics in Claymation: An Exploration of Adam Elliot." Film Matters 13, no. 1 (March 1, 2022): 56–67. http://dx.doi.org/10.1386/fm_00204_1.
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This article aims to explore the films of Adam Elliot to assist in defining an aesthetic of claymation filmmaking using an experimental rubric. This study identified patterns among Elliot’s filmmaking that are influenced by claymation and could be repeated in other films. The rubric can now be applied to a claymation film produced by another director to conduct a comparative analysis, identifying the patterns that define the aesthetic of claymation.
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Hatchwell, Sophie. "Transcribing Form: The Ekphrastic Image in Interwar British Art Journals." Journal of Modern Periodical Studies 13, no. 1 (June 1, 2022): 77–102. http://dx.doi.org/10.5325/jmodeperistud.13.1.0077.
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ABSTRACT Photographs of sculpture in interwar British art journals played a key role in the articulation and dissemination of abstract aesthetics. Through comparative analysis of the journals Axis (1935–1937) and Circle (1937), this article argues for the historiographical significance of such editorial presentations of sculpture, by demonstrating the central role these publications played in furthering interwar aesthetic debates. Axis and Circle were responsible for developing particular visual and verbal conventions for representing abstract art in print, influencing subsequent art-historical publications. This article traces the journals’ construction of these conventions and shows how an interplay between text and image foregrounded the aesthetic ideas they wished to convey. Image and text function ekphrastically in Axis and Circle, prompting an active form of reading that shows the reader not just what abstract art should look like, but what it should be like to encounter it. The significance of this is three-fold: first, it provides a precise chronology for the development of specific conventions for representing abstract sculpture in print. Second, it highlights the phenomenological potential of modernist art journals. Finally, it shows how the study of journals can further art-historical knowledge and understanding of the development and dissemination of abstract aesthetics.
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Komarytsia, Mariana. "Between aesthetics and ideology: comparative studies of stefanykiana in press of writer’s lifetime." Proceedings of Vasyl Stefanyk National Scientific Library of Ukraine in Lviv, no. 13(29) (2021): 31–45. http://dx.doi.org/10.37222/2524-0315-2021-13(29)-3.
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The article focuses on the two vectors of the reception of Vasyl Stefanyk’s legacy — i. e. the aesthetic and the sociological ones — in the reports published in periodicals during the writer’s lifetime. In our opinion, the article “Old and New in Modern Ukrainian Literature” (1904) by Sofia Rusova pub¬lished in Literaturno-Naukovyi Vistnyk (Literary Scientific Herald) as translated into Ukrainian by Ivan Franko including his commentary served as a kind of a (conditional) starting point. It contrasts V. Stefanyk as a “poet of the contemporary dire plight of the people in Galicia” with his ability to convey characters’ mentality and create a powerful emotional background. The paper traces the further development of these two vectors in the 1920s and 1930s. Artistic criteria were closely related to the political situation: in the periodicals of Western Ukraine and the diaspora, the aesthetic approach usually prevailed; whereas the periodicals of Soviet Ukraine focused on the social aspects. The authors of reviews pointed to the individual artistic sense, art background, familiarity with the way of life and mentality of peasants, sensitivity to human suffering and the utter tragedy in the works by V. Ste¬fanyk. Reviewers also severely criticized interference in the language and censorship of the writer’s short stories in Soviet publications, in particular in 1924. A number of publications are comparative in nature. The authors of literary-critical articles and reviews include Ostap Hrytsay, Bohdan Lepky, Vaclav Morachevsky, Klym Polishchuk, Petko Todorov, Ivan Trush, Lesya Uk¬rainka, and others. Keywords: Ukrainian press of the 20th century, reception of Vasyl Stefanyk, aestheticism and sociologism.
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Hidayah, Nur. "حركة العودة إلى المسج د في الموسيقى التصويرية الأصلية لفيلم خمس زوايا المساجد." Jurnal CMES 13, no. 1 (September 26, 2020): 1. http://dx.doi.org/10.20961/cmes.13.1.44558.
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This article discusses the concept of Islamic aesthetics, which is the view of art and beauty according to Ismail Raji Al Faruqi and Seyyed Hossein Nasr, the representation of the two intellectual figures is seen as representing a pattern of religious understanding, especially with regard to the perspective of art objects in Islam. The aim is to explain descriptively the comparative views of the two modern Islamic thinkers and examine how Muslims respond to their thoughts in the Islamic art world today. furthermore, the article explain conceptually how religious art thought is believed and chosen as a basis in determining the direction and expression of art in the socio-cultural space. The method used in this study is descriptive qualitative analytic, with a religious philosophical approach to Islam, while data collection techniques are carried out through qualitatively described literature. The results show that aesthetics built on Sufistic conception and spiritual appreciation so distinctively in it’s paradigm. The Sufistic paradigm emphasizes how art encourages one's psyche without debating legal status, while monotheistic aesthetics built on the basis of dogmatism and belief in the faith underlines the exoteric level, the foundations that are considered permissible or not may not legally Islamic law. Community social responses and the selection of aesthetic views are sectarian in accordance with their religious beliefs.
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M, Muh Farkhan. "ESTETIKA SUFISTIK DAN ESTETIKA TAUHIDIK: PERSPEKTIF FILOSOFIS KOMPARATIF." Jurnal CMES 13, no. 1 (September 26, 2020): 80. http://dx.doi.org/10.20961/cmes.13.1.44563.
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<p>This article discusses the concept of Islamic aesthetics, which is the view of art and beauty according to Ismail Raji Al Faruqi and Seyyed Hossein Nasr, the representation of the two intellectual figures is seen as representing a pattern of religious understanding, especially with regard to the perspective of art objects in Islam. The aim is to explain descriptively the comparative views of the two modern Islamic thinkers and examine how Muslims respond to their thoughts in the Islamic art world today. furthermore, the article explain conceptually how religious art thought is believed and chosen as a basis in determining the direction and expression of art in the socio-cultural space. The method used in this study is descriptive qualitative analytic, with a religious philosophical approach to Islam, while data collection techniques are carried out through literature that is described qualitatively. The results show that aesthetics built on Sufistic conception and spiritual appreciation so distinctively in it’s paradigm. The Sufistic paradigm emphasize how art is able to strengthen one's psyche without debating legal status, while monotheistic aesthetics built on the basis of the legal text and dogmatism emphasize the exoteric level as legally considered by Islamic Islamic law. Thus the social responsibility and the selection of aesthetic views are sectarian in accordance with their religious beliefs.</p>
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Wang, Chenzhen, and Xinglin Li. "The Application of Pattern Recognition System in Design Field Based on Aesthetic Principles." Computational Intelligence and Neuroscience 2022 (May 24, 2022): 1–11. http://dx.doi.org/10.1155/2022/8581900.
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The design system based on aesthetic principles is the most representative in the field of design and has a certain significance for the research and construction of design aesthetics and the development of design education. Therefore, this paper studies the application of pattern recognition system in the field of design based on aesthetic principles and designs a new type of aesthetic principle design system based on pattern recognition in computer vision. This paper proposes pattern similarity measurement and image preprocessing technology to improve the traditional aesthetic principle design system through pattern recognition and then further refine the research of the whole system through histogram equalization and gamma correction. Finally, the MNIST dataset experiment is used to verify the effect of multicolumn convolutional neural network pattern recognition on the aesthetic principle design system. The questionnaire survey experiment in this article and the traditional comparative experiment show that 76% of the public are very satisfied with this design system based on the aesthetic principles of pattern recognition in computer vision. Also, the improved aesthetic principle system scores as high as 90–95 points.
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Anantharam, Anita. "A Change in Aesthetics and the Aesthetics of Change: A Comparative Study of Premchand's Bazaar-e husn and Sevasadan." South Asian Review 33, no. 2 (October 2012): 177–202. http://dx.doi.org/10.1080/02759527.2012.11932884.
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Baklyskaia, Larisa Evgen'evna, Natalia Vladimirovna Goncharova, Alisa Aleksandrovna Denisova, and Artem Yurievich Mamontov. "Aesthetic aspects of the design of the courtyard space of an apartment building." Урбанистика, no. 2 (February 2022): 15–26. http://dx.doi.org/10.7256/2310-8673.2022.2.37933.
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The article analyzes and evaluates the adjacent spaces in residential areas. A survey of about a hundred yards of Far Eastern cities (Khabarovsk, Komsomolsk-on-Amur, Yuzhno-Sakhalinsk) was conducted. Using the methods of full-scale survey and comparative analysis, positive and negative characteristics are determined in terms of aesthetics, functions and convenience for residents, the conditions of visual comfort on the selected site are revealed. The study is carried out from the point of view of architectural composition and functional organization. The study includes an analytical part, which presents the characteristics of house spaces and a practical one, which contains recommendations for improving the aesthetic qualities of the courtyard environment. The novelty of the research lies in the fact that for the first time such an analysis is carried out in the process of architectural design training in order to understand the special importance of aesthetic comfort in an urban residential environment. The relevance of the research is determined by the need to introduce theoretical research into design practice for further development of the courtyard of an apartment building: from reasonable functional organization and simple physical comfort - to aesthetic comfort, to artistic expressiveness of space and a unique sense of place identity. The study was conducted by the Institute of Architecture and Design of Pacific State University as part of the training courses "Environmental factors in Design" and "Aesthetics of Architecture and Design".
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Gladkova, D. V., and D. Yu Dorofeyev. "A visual-acoustic duet of painting and music in medieval aesthetics." E3S Web of Conferences 266 (2021): 05006. http://dx.doi.org/10.1051/e3sconf/202126605006.
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The purpose of this work is to study the visual and acoustic relationship of painting and music in the Middle Ages. When writing the article the authors focused on modern sources and used such important for the socio-humanitarian sciences methods of research as comparative, phenomenological, semiotic, art history, cultural studies and visual anthropology, which determined the interdisciplinary nature of the study, which focuses of the aesthetic specificity of the perception of the phenomenal image. The significance of the study lies in the fact that the results obtained allow to better understand the cultural foundations of the non-verbal way of perception, the peculiarities of medieval culture and aesthetics of Western Europe and its semiotic and symbolic forms, primarily in the perspective of the interaction of painting and music in the sacred and everyday spaces of the existence of medieval man.
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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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SHTEINBUK, Feliks. "QUEER-PROBLEMS AS A FACT OF AESTHETICS IN THE WORKS OF OLES ULIANENKO." INNOVATIONS IN THE SCIENTIFIC, TECHNICAL AND SOCIAL ECOSYSTEMS 84, no. 3 (February 21, 2022): 56–69. http://dx.doi.org/10.56378/sjfs3008.
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The purpose of the research is to establish why the author uses images of queer identities on the example of Oles Ulianenko’s works. The research methodology is based on the hypothesis that to achieve the specified goal should be possible providing the three methods are used, namely hermeneutic, the comparative-typological, and the corporal- mimetic method to analyse fiction. The scientific novelty of the research is that queer issues are represented as an aesthetic phenomenon in Ukrainian literary studies for the first time. The Conclusions. First, the queer content depicted in the works under analysis proves that people find their ability to derive pleasure from various actions, ideas, fantasies, and things, related to sexual sphere, extraordinary significant. Second, the ability and desire to receive pleasure can be limited neither by laughter nor by the death threat, which ontologically should allegedly deny sexual urges. Third, direct portraying of people’s conflicting abilities and desires is specific aesthetics. Fourth, queer content does not exist by itself since it is an inevitable peculiar accompaniment of passion, being a queer phenomenon which violates not a fancy moral but a real rational norm. Fifth, the works by Oles Ulianenko are artistically powerful because he does not neglect anything Queer-problems as a fact of aesthetics in the works of Oles Ulianenko ISSN 2824-1843 (Online), ISSN 2824-8074 (Print) 57 in his desperate attempts to reach extreme aesthetic limit, opening almost unlimited horizon of senses which is completely different, much deeper than any ideological, political, or pedagogical speculation. Sixth, this horizon is determined by a wonderful and simultaneously imperfect, and exciting artistic strategy, caused by queer efforts to overcome the last limits of erotic and sexual decency, as a result of which such incredible aesthetics appears.
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Yang, Hongyi, and Han Yang. "Evolution of Entropy in Art Painting Based on the Wavelet Transform." Entropy 23, no. 7 (July 11, 2021): 883. http://dx.doi.org/10.3390/e23070883.
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Quantitative studies of art and aesthetics are representative of interdisciplinary research. In this work, we conducted a large-scale quantitative study of 36,000 paintings covering both Eastern and Western paintings. The information entropy and wavelet entropy of the images were calculated based on their complexity and energy. Wavelet energy entropy is a feature that can characterize rich information in images, and this is the first study to introduce this feature into aesthetic analysis of art paintings. This study shows that the process of entropy change coincides with the development process of art painting. Further, the experimental results demonstrate an important change in the evolution of art painting, and since the rise of modern art in the twentieth century, the entropy values in painting have started to become diverse. In comparison with Western paintings, Eastern paintings have distinct low entropy characteristics in which the wavelet entropy feature of the images has better results in the machine learning classification task of Eastern and Western paintings (i.e., the F1 score can reach 97%). Our study can be the basis for future quantitative analysis and comparative research in the context of Western and Eastern art aesthetics.
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Moore, C. J., J. C. Miles, and S. N. Evans. "Innovative Computational Support in Bridge Aesthetics." Transportation Research Record: Journal of the Transportation Research Board 1549, no. 1 (January 1996): 1–11. http://dx.doi.org/10.1177/0361198196154900101.
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Bridge aesthetics, an area of great interest to engineers, is recognized as a difficult area to research because of its subjective nature and ill-defined concepts. An innovative computational decision support tool for use in bridge aesthetics is described. The system contains a knowledge base created by using an extensive literature survey and by completing in-depth knowledge elicitation from leading bridge designers in the United Kingdom and with the support of the Department of Transport. To further validate the knowledge base, the rules elicited from the designers were tested against public opinion through a series of questionnaires. This procedure enabled the construction of a knowledge base that supports many aspects of aesthetics for small- to medium-sized span road bridges. This limited domain was chosen because this form of bridge is currently the most commonly constructed in Britain, yet generally receives little attention in terms of aesthetics because of time and economic constraints. The knowledge base has been incorporated into a system aimed at providing interactive advice on comparative bridge design. The system was developed in Visual C + + to run on a personal computer and to operate in a Windows environment. It is currently undergoing prolonged evaluation in practicing bridge design offices. To date, this evaluation has shown that engineers like the system and would find it useful. Therefore, commercial exploitation is currently being explored. The comments received during the evaluation are also being used to further tailor the system to suit practicing engineers' needs.
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Fedoseeva, Nadezhda Aleksandrovna. "“TANGYRA” OF MIKHAIL ATAMANOV AND “YUGORNO” OF ANATOLIY SPIRIDONOV: COMPARATIVE AND TYPOLOGICAL ASPECT." Yearbook of Finno-Ugric Studies 14, no. 3 (October 2, 2020): 454–58. http://dx.doi.org/10.35634/2224-9443-2020-14-3-454-458.
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The article examines the artistic and aesthetic parallels in the Mari epic “Yugorno” and the Udmurt “Tangyra” - the heroic legends of the peoples of the Finno-Ugric world. The idea is that the poetic commonality between them is a consequence of folklore and cultural typology and historical connection. The similarity of motives and plots is manifested in the pantheon, in views on the world order, in the nature of the relationship between gods and people, in the types of characters. By their poetic nature “Tangyra” and “Yugorno” occupy a place among the classical European epics, with which they are brought together by themes, socio-cultural status of heroes (cultural and social demiurges), views on the ancestors, descriptions of clashes between princes as representatives of the highest level and relations with neighboring peoples, philosophical views of the Udmurts and Mari on the past, present and future. It is about the main differences between the epics “Yugorno” and “Tangyra”, which lie in the peculiarities of plots and composition, poetics and aesthetics of works, their ethnic philosophy and social utopia.