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Journal articles on the topic 'Aesthetics, Thai'
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1
Hoang, Nguyen Tan. "Wer Aesthetics in Contemporary Queer Thai Cinema." Camera Obscura: Feminism, Culture, and Media Studies 33, no. 1 (2018): 139–69. http://dx.doi.org/10.1215/02705346-4336872.
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Shannan, Jonathan H. "Sounding the Center: History and Aesthetics in Thai Buddhist Performance:Sounding the Center: History and Aesthetics in Thai Buddhist Performance." American Anthropologist 105, no. 1 (March 2003): 215–17. http://dx.doi.org/10.1525/aa.2003.105.1.215.
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Intaraporn, Weerawat. "Aesthetics of Khlong in Thai Poetry: Convention and Creativity." MANUSYA 9, no. 3 (2006): 73–87. http://dx.doi.org/10.1163/26659077-00903005.
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This paper aims to illustrate the beauty of khlong (Thai poetry) creatively written and transmitted from the past to the present through a study of the preservation and creation of aesthetics in relation to euphony, and diction, as well as the imitation of words used by previous poets with new meaning in Thai poetry. From the study, it is found that Thai poets of each era have both followed and adapted the traditional style of composition. In terms of euphony, poets from the past to the present put an emphasis on tones at the end of each line, play on different tone levels, and use internal rhymes as seen in both alliteration and assonance. As for diction, puns, either homophones or homonyms and repeated words are employed. Regarding word formation, even though it is obviously seen that poets have imitated the same words employed by poets of previous generations, they have also adapted and developed them to suit the individuality of each poet for the unique aesthetics of both diction and concept. It can be said that the creation of melodious and witty khlongis congruent with the nature of the Thai language since khlong is Thai in its origin and this in itself enhances the effectiveness of Thai poets in making use of the dominant characteristics of the Thai language in the composition of their poetic works from the past to the present.
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Greene, Paul D., and Deborah Wong. "Sounding the Center: History and Aesthetics in Thai Buddhist Performance." Yearbook for Traditional Music 33 (2001): 172. http://dx.doi.org/10.2307/1519645.
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Suphanyot, Buaphan. "Sexuality in Thai Folk Songs." MANUSYA 10, no. 4 (2007): 92–101. http://dx.doi.org/10.1163/26659077-01004007.
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Combining fieldwork research with textual analysis, this paper investigates the role of traditional Thai folk songs in teaching sexuality and sex education in contemporary Thai society. Although this mode of teaching is not formally included in school curricula, folk songs have easily lent themselves to the role of education and the transmission of cultural values. They are filled with humour, easy to remember, and do not challenge prevailing Thai moral standards. This paper shows how folk songs have long been an important way for Thai people to learn about sexual desire, the functioning of sexual organs, intercourse, sexual behaviour, courtship and reproduction, as well as the roles of husband and wife in marriage. Through a close reading of their musical composition, lyrics and symbols, the paper analyses the double role of folk songs in the transmission of knowledge about sex and the sexual body, as well as strengthening the notion of an essential Thai sense of aesthetics and way of life.
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Popovic, Una. "Baumgarten on the sublime: Aesthetics and ethics." Theoria, Beograd 63, no. 3 (2020): 129–39. http://dx.doi.org/10.2298/theo2003129p.
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In this paper, Baumgarten?s account of the sublime will be inspected with regard to the category of aesthetic greatness (magnitudo aesthetica), and in view of his analysis of aesthetic subjectivity. The Sublime is here shown to be the topic within which Baumgarten aims to prove the inner connection between aesthetics and ethics, or, more precisely, that the aesthetic domain is intrinsically related to moral acts and decision-making. My analysis will primarily focus on Baumgarten?s Aesthetics, but it will also include his other works, like Metaphysics and Ethics, as well as the comparison with Pseudo-Longinus?s text On the Sublime. My research should indicate one possible interpretation of Baumgarten?s project, such that it would not discard its purpose, the autonomy of aesthetical domain, but which could, at the same time, determine the relations of aesthetics with other forms of human thought.
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Jatuthasri, Thaneerat. "Unakan: A Combination of the Images of Thai Hero and Heroine." MANUSYA 9, no. 2 (2006): 81–94. http://dx.doi.org/10.1163/26659077-00902005.
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Focusing on Unakan, the heroine in male disguise in Bot lakhon nai reung Inao, this paper aims at studying the roles and significance of her character that reflect the outstanding image of a heroine in Thai literature. In the story, Butsaba, the heroine, is disguised by her divine ancestor, Patarakala, as a young man named Unakan. The study reveals that Unakan possesses the characteristics of both hero and heroine. By portraying the roles as parallel to Inao, the hero of the story, Unakan is a great warrior and a dignified hero who has irresistible charm to women. She also searches for the lost lover which is generally the role of a hero. These roles are usually found in many versions of the Panji romances. It reflects that the poet kept these outstanding roles of the Panji romances' heroines. Still, Unakan preserves the same characteristics as other heroines in the Thai literary convention. Unakan does not only have perfect beauty and conduct like other Thai ideal women, but she also represents an ideal wife. The character of Unakan has significance to literary aesthetics and values, to the criticism of women’s potential, and to Thai literary tradition.
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Ortlieb, Stefan A., Werner A. Kügel, and Claus-Christian Carbon. "Fechner (1866): The Aesthetic Association Principle—A Commented Translation." i-Perception 11, no. 3 (May 2020): 204166952092030. http://dx.doi.org/10.1177/2041669520920309.
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Most of the groundbreaking works of Gustav Theodor Fechner (1801–1887), who paved the way for modern experimental psychology, psychophysics, and empirical aesthetics, are so far only available in German. With the first full text translation of Fechner’s article on The Aesthetic Association Principle ( Das Associationsprincip in der Aesthetik), we want to fill in one of the blank spots in the reception of his Aesthetics from Below (Aesthetik von Unten). In his 1866 article, Fechner devises a fundamental principle that accounts for the role of associations in the formation of aesthetic preferences. Based on concrete everyday examples and thought experiments, he demonstrates how aesthetic choices are largely shaped by the observer’s learning history (associative factors) rather than by an object’s formal properties (direct factors). Fechner’s Aesthetic Association Principle has lost nothing of its initial relevance as the role of content and personal meaning is still grossly underrated in theory and practice of empirical aesthetics today.
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Chapakdee, Thanom. "Art of Engagement: Visual Art of Thailand in Global Contexts." International Journal of Creative and Arts Studies 3, no. 1 (December 29, 2017): 21. http://dx.doi.org/10.24821/ijcas.v3i1.1832.
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This paper on the topic of Art of Engagement: Visual Art of Thailand in Global Contexts, attempts to explore that “global contexts” is transformed because of the impacts rapid change in economics, politics, society and culture. Globalization based on the notion of Global art and transform Thai art scene into the state of international art movement such as Installation art, Performance art, Community art, i.e. these movement becomes the mainstream of art since 1980s. This kind of movement which artist has created the art objects, space, time and sphere as a model of sociability which audiences can participate with people in community as relational art practice. The relational art becomes the space of exchange and participants can share experienced of taste, aesthetic, criticism which it’s related to art objects and sphere of community. This paper will explains that relational art is in the process of art of engagement. That is why art has become the community engagement which art objects and practical based are of the relational art and relational aesthetics.
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Raksamani, Kusuma. "The Validity of the Rasa Literary Concept: An Approach to the Didactic Tale of PHRA Chaisurjya." MANUSYA 9, no. 3 (2006): 67–72. http://dx.doi.org/10.1163/26659077-00903004.
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The rasa (emotive aesthetics), one of the major theories of Sanskrit literary criticism, has been expounded and evaluated in many scholarly studies by Indian and other Sanskritists. Some of them maintain that since the rasa deals with the universalized human emotions, it has validity not only for Indian but for other literatures as well. The rasa can be applied to any kind of emotive poetry such as lyric, epic, drama and satire. However, in Thai literature an emotive definition of poetry encompasses a great variety of works. A question is then raised in this paper about whether the rasa can be applied to a Thai poem of didactic nature. Phra Chaisuriya, a versified tale by Sunthon Phu, is selected as an example of study.
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Scott, Sarah. "From Genius to Taste." Journal of Jewish Thought & Philosophy 25, no. 1 (May 23, 2017): 110–30. http://dx.doi.org/10.1163/1477285x-12341281.
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I reconstruct the aestheticism of Martin Buber in order to provide a new way of framing his moral philosophy and development as a thinker. The evolution of Buber’s thought does not entail a shift from aesthetics to ethics, but a shift from one aspect of aesthetics to another, namely, from taking genius to be key to social renewal, to taking taste to be key. I draw on Kantian aesthetics to show the connection between Buber’s aesthetic concerns and his moral concerns, and to defend the notion that a certain aesthetic orientation may be just what is needed for moral response.
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Schoonmaker, Cristina Penn. "Arts Education in Thailand: Why it Matters." MANUSYA 17, no. 2 (2014): 1–16. http://dx.doi.org/10.1163/26659077-01702001.
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The humanities, especially the visual arts, are often neglected at Thai universities because they are perceived as rarely yielding tangible results. This paper aims to demonstrate that learning to decode and talk about a painting not only require high level cognitive, visual, and language skills, but also extensive contextual knowledge, which only a background in the humanities can offer. The author analyzes several works of art as well as discusses modern aesthetics to argue that the arts are an integral part of the human experience, and therefore, should be included in general education courses at the tertiary level.
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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 (March 6, 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 elaboration (art), and a fluent one that consists of an immediate, unreflective emotional response but leaves us with what we already know (kitsch). Yet as a derogatory word, kitsch draws our attention to a general disregard for effortless emotional gratification in modern Western aesthetics that can be traced back to eighteenth-century Rationalism. Despite all efforts of Pop Art to embrace kitsch and to question normative values in art, current models of aesthetic liking—including fluency-based ones—still adhere to an elitist notion of Modern art that privileges style over content and thereby excludes what is essential not only for popular taste and Postmodern art but also for premodern artistic production: emotionally rich content. Revisiting Fechner’s (Vorschule der Aesthetik, 1876) criticism of highbrow aesthetics we propose a new aesthetic from below (Aesthetik von Unten) that goes beyond processing characteristics by taking content- and context-related associations into account.
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Elwazani, Salim. "Purposing aesthetics in historic preservation: advocating, signifying, and interpreting aesthetics." Virtual Archaeology Review 12, no. 24 (January 19, 2021): 66. http://dx.doi.org/10.4995/var.2021.13812.
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<p>Aesthetics is a pillar consideration in historic preservation. Yet, purposing aesthetics for historic preservation ends seems to lag behind the opportunities. Utterly subjective, aesthetics poses challenges for the preservation community worldwide to moderate, accommodate, and purpose aesthetics in heritage programs. The challenges revolve around the assessment of aesthetical purposing in three domains. These domains include the community disposition towards accommodating aesthetics (advocacy), the criteria and strategies for assessing the aesthetic value of historic resources (signification), and, the standards for treating historic resources in preservation projects (interpretation). This study, therefore, assesses the trends for purposing aesthetics in historic preservation thought and practice through three platforms: advocating aesthetics, signifying aesthetics, and interpreting aesthetics. The study completed literature content analysis on aesthetics in general and aesthetics in historic preservation in particular. Further, because of the perspective of the study, the works of international and country preservation programs provided information relevant to advocacy, signification, and interpretation of aesthetics that have been refined by classification, comparison, and exemplification methods. Among others, these works include those of the International Council on Monuments and Sites (ICOMOS) and the U.S. National Historic Preservation Program in the National Park Service. The study culminated with general and platform-specific conclusions. First, as the three proposed platforms (advocacy, signification, and interpretation) maintain structural and serial relationships, they constitute a relevant and feasible framework for assessing aesthetical purposing. Second, as the aesthetical purposing assessment followed a broad, international perspective, the conclusions of the study are commensurate with the selective scope of information used from international and country preservation programs. Third, the contribution to aesthetical purposing at each of the three platforms can be measure only in general, and at times, subjective terms.</p><p><strong>Highlights:</strong></p><ul><li><p>Proposing aesthetical advocacy, aesthetical signification, and aesthetical interpretation as a platform framework to assess the purposing of aesthetics was feasible.</p></li><li><p>As aesthetical purposing was approached from a broad, international perspective, the conclusions of the study commensurate with the selective scope of information used.</p></li><li><p>The contribution to aesthetical purposing at each of the three platforms is hard to measure; however, the indications point to uneven contribution.</p></li></ul>
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Galanter, Philip. "XEPA - Autonomous Intelligent Light and Sound Sculptures That Improvise Group Performances." Leonardo 47, no. 4 (August 2014): 386–93. http://dx.doi.org/10.1162/leon_a_00844.
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XEPA anticipates a future where machines form their own societies. Going beyond mere generative art, machines will exhibit artistic creativity with the addition of artistic judgment via computational aesthetic evaluation. In such a future our notions of aesthetics will undergo a radical translation. The XEPA intelligent sculptures create animated light and sound sequences. Each sculpture “watches” the others and modifies its own aesthetic behavior to create a collaborative, improvisational performance. No coordination information or commands are used. Each XEPA independently evaluates the aesthetics of the other sculptures, infers a theme or mood being attempted, and then modifies its own aesthetics to better reinforce that theme. Each performance is unique and widely varied. XEPA is an ever-evolving artwork, intended as a platform for ongoing experiments in computational aesthetic evaluation.
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Dourley, John. "Jung, a mystical aesthetic, and abstract art." International Journal of Jungian Studies 7, no. 1 (January 2, 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 representatives of this tradition who were influenced by mystical experience – especially that of Jacob Boehme, one of Jung's key intellectual ancestors. The paper works to identify the rudiments of a Jungian aesthetic and show its compatibility with the work and theory of Kandinsky, Arp and the expressionist/abstract project.
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Kwan, SanSan. "Even as We Keep Trying: An Ethics of Interculturalism in Jérôme Bel's Pichet Klunchun and Myself." Theatre Survey 55, no. 2 (April 11, 2014): 185–201. http://dx.doi.org/10.1017/s0040557414000064.
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In 2004, Singaporean presenter Tang Fu Kuen commissioned French avant-garde choreographer Jérôme Bel to create a work in collaboration with classical Thai dancer-choreographer Pichet Klunchun. The resulting piece is unlike most intercultural collaborations. In the world of concert dance, East–West interculturalism takes place in a variety of ways: in costuming or set design, in theme or subject matter, in choreographic structure, in stylings of the body, in energetic impetus, in spatial composition, in philosophical attitude toward art making. Bel's work, titled Pichet Klunchun and Myself, does not combine aesthetics in any of these ways. In fact, the piece may more accurately be described not as a dance but as two verbal interviews (first by Bel of Klunchun and then vice versa) performed for an audience and separated by an intermission. There is no actual intermingling of forms—Thai classical dance with European contemporary choreography—in this performance. The intercultural “choreography” here comprises a staged conversation between the artists and some isolated physical demonstrations by each.
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Mizsei, Anett, and Péter György Horváth. "Safe Haven—Bath House and Library by the Burmese Border." Heritage 4, no. 3 (September 2, 2021): 2105–23. http://dx.doi.org/10.3390/heritage4030119.
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This study gives an overview of contemporary vernacular tendencies in Thai architecture. The research includes ecological, economical, ergonomic and cultural aspects, and the aim is to find a possible future direction for architectural design that is able to incorporate local features and follow traditions yet apply them in a contemporary way. As an example, a case study was carried out about a project realized in Safe Haven Orphanage in Thailand. It consists of two small-scale buildings designed and constructed by TYIN Tegnestue Architects, Sami Rintala and Hans Skotte, together with volunteers and the local community, and they are great examples of a community building “healing architecture”. Due to their aesthetics, their ecological and sustainable approach and their structures, they can provide cultural continuity, which is key for the organic evaluation of regional architecture.
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Fokeeva, Mariia Petrovna. "Sublime in the aesthetics of trauma." Философская мысль, no. 3 (March 2020): 68–73. http://dx.doi.org/10.25136/2409-8728.2020.3.32311.
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The subject of this article is the concept of sublime. The author examines which transformations has experiences the aesthetic theory of sublime since the XVIII century. In the context of aesthetics of trauma, sublime is a specific form of aesthetical experience that emerges in the context of encountering traumatic experience of the history, where the key concomitant affect is horror. The forms of sublime, associated with encountering the historical trauma, are immeasurable by their influence, as the scales of catastrophe cannot be assessed rationally, and the experience of historical violence discredits the possibility of subjective routine. Research methodology is structured on the philosophical-aesthetic approach. Which is based on analysis of the concepts of sublime and negative sublime. The author comes to the conclusion that sublime in the XX century experiences crisis related to reconsideration of the modernistic values. However, discipline associate with the aesthetic reconsideration of traumatic historical events – the aesthetics of trauma, rehabilitates the concept of sublime, because representation of the traumatic through referring to sublime, opens an opportunity to comprehend the traumatic experience and overcome it.
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HARRINGTON, EMILY. "The Strain of Sympathy: A. Mary F. Robinson, The New Arcadia, and Vernon Lee." Nineteenth-Century Literature 61, no. 1 (June 1, 2006): 66–98. http://dx.doi.org/10.1525/ncl.2006.61.1.66.
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This article investigates how A. Mary F. Robinson, a rising poetic star in 1884 at the center of aestheticist literary circles, attempted to establish an ethical aesthetics in The New Arcadia, her collection of poems about rural poverty. Robinson's poetics disrupts her readers' expectations for mellifluous verse, aiming to elicit their sympathy with strained, discordant lyrics, both for the poet as an observer of suffering as well as for the hardships of poverty. The New Arcadia is dedicated to and responds to Robinson's intimate friend Vernon Lee, whose collection of essays Belcaro (1881) argues that the production of aesthetic pleasure is a moral good in itself. Jointly, Lee and Robinson aimed to establish an alternative to the sort of Paterian aestheticism that was often accused of solipsism. For Robinson, however, this approach was not enough, and she sought to question how poetry might engender a sympathy that required the fullest possible understanding of the other and that avoided the often paternalistic, controlling attitudes that underwrote many attempts to bring beauty to the people.
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Kuletin-Ćulafić, Irena. "From the Big Mac and Ikea society to the environmental aesthetics, smart cities and storytelling architecture." SAJ - Serbian Architectural Journal 11, no. 3 (2019): 441–62. http://dx.doi.org/10.5937/saj1903441k.
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Our global society is encountering different challenges of the twentyfirst century. Our cities are in the process of constant transformation influenced by urbanisation, globalisation, advanced technologies, environmental and ecological changes, social, political and economic crises. While corporative capitalism has flourished, world population is growing and our cities are sprawling, architecture is reaching almost utopian visions and the boundaries of aesthetics are becoming more and more loose and permeable. Today our contemporary society lives and acts aesthetically. From art, architecture, music, religion, politics, communication, technological gadgets, homes, gardens, clothes, cuisine to sport and life coaching, everything is a subject to aesthetical consideration. Aesthetical consideration of architecture and urbanism in a constantly changing world demands critical and interactive approaches, that will not only deal with theoretical aesthetic opinions, but also the practical ones. Accordingly, this paper seeks to discuss aesthetical problems of contemporary architecture and urban planning from global, environmental, technological and social points of view. Nature is no longer seen as a paradigmatic object of aesthetic experience, but as our unique collective environment upon which we humans depend. Therefore architecture emerges etic and aesthetic approaches in order to reconsider burden of our cities and possible ways of their future development.
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Biskoivski, Lawrence J. "Politics Versus Aesthetics: Arendt's Critiques of Nietzsche and Heidegger." Review of Politics 57, no. 1 (1995): 59–89. http://dx.doi.org/10.1017/s0034670500019938.
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Several recent commentaries on Hannah Arendt's political thought have suggested strong connections and affinities between Arendt and Nietzsche or between Arendt and various later Nietzschean, aestheticist, or postmodernist thinkers. But a close reading of Arendt's critiques of Nietzsche and Heidegger suggests that an overemphasis on the more Nietzschean or aesthetic aspects of Arendt's work risks obscuring some vital distinctions Arendt makes or preserves concerning politics and aesthetics. More significantly, the Nietzschean or aestheticist interpretation of Arendt tends to conceal or distort Arendt's actual, highly original, and more promising response to various facets of the modern political condition.
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Braiterman, Zachary. "Joseph Soloveitchik and Immanuel Kant's Mitzvah-Aesthetic." AJS Review 25, no. 1 (April 2001): 1–24. http://dx.doi.org/10.1017/s0364009400012228.
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In the following pages, I will address the relationship between Jewish thought and aesthetics by bringing Joseph Soloveitchik into conversation with Immanuel Kant, whose Critique of Judgment remains an imposing monument in the history of philosophical aesthetics. While Buber and Rosenzweig may have been more accomplished aesthetes, Soloveitchik's aesthetic proves closer to Kant's own. In particular, I draw upon the latter's distinction between the beautiful and the sublime and the notion of a form of indeterminate purposiveness without determinate purpose. I will relate these three figures to Soloveitcchik's understanding of halakhah and to the ideal of performing commandments for their own sake (li-shemah). The model of mitzvah advanced by this comparison is quintessentially modern: an autonomous, self-contained, formal system that does not (immediately) point to extraneous goods, such as spiritual enlightenment, personal morality, or social ethics. The good presupposed by this system proves first and foremost “aesthetic.” That is, immanent to the system. Supererogatory goods enter into the picture only afterward as second-order effects.
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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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Wilson, Alan T. "The Virtue of Aesthetic Courage." British Journal of Aesthetics 60, no. 4 (August 1, 2020): 455–69. http://dx.doi.org/10.1093/aesthj/ayaa022.
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Abstract Theorists have recently been exploring the prospects for a virtue-centred approach to aesthetics. Virtue aesthetics encourages a re-focusing of philosophical attention onto the aesthetic character traits of agents, in the same way that virtue ethics and virtue epistemology have encouraged us to focus on moral and intellectual traits. In this paper, I aim to contribute to the development of virtue aesthetics by discussing aesthetic courage, the aesthetic analogue of one of the most widely acknowledged moral virtues. In addition to proposing an account of the nature of this trait, I also argue that aesthetic courage is vital for any sort of aesthetically virtuous life. It is not possible to possess any aesthetic virtue without possessing aesthetic courage. It is important, therefore, for any future development of virtue aesthetics to acknowledge the central importance of aesthetic courage.
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Dolapçıoğlu, Sevda, Burcu Gürkan, and Memet Karakuş. "Aesthetics and aesthetic creativity in social studies." Pegem Eğitim ve Öğretim Dergisi 9, no. 3 (July 20, 2019): 913–44. http://dx.doi.org/10.14527/pegegog.2019.029.
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This study’s aim is to investigate the primary school teachers’ views on the applications of aesthetic and aesthetic creativity in social studies class. It was designed as a phenomenological study as one of the qualitative research methods. The participants of the study consisted of 8 primary school teachers working in schools with different socio-economic substructure in Adana and Hatay in the 2017-2018 academic year. The data were collected through semi-structured interview form, and analysed following content analysis method. The findings of the study revealed that teachers conceptualize the concept of aesthetic in different ways; they consider that aesthetic creativity is as important as scientific creativity; that aesthetic education contributes to mental and emotional development of the students; that social studies class is effective in gaining creativity; and accordingly, they have included aesthetic education in their courses. The findings of the study revealed that teachers conceptualize the concept of aesthetic in different ways; that they consider that aesthetic creativity is as important as scientific creativity; they believe aesthetic education contributes to mental and emotional development of the students; that they think social studies class is effective in gaining creativity; and, therefore, they include aesthetic education in various ways in their courses.
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Grubor, Nebojsa. "The relation between the beauty and the sublime in Hartmann′s aesthetics." Theoria, Beograd 63, no. 3 (2020): 159–67. http://dx.doi.org/10.2298/theo2003159g.
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The text examines the relationship between the beauty and the sublime in Hartmann?s aesthetics. According to the basic assumption of Hartmann?s aesthetics, the sublime, like all other aesthetic values, are subordinated to the beauty. The text shows that the relationship between the beauty and the sublime in Hartmann?s aesthetics is complex and that beauty formally includes the sublime, but that the sublime in terms of fixing aesthetic content is the core of aesthetic issues.
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Daeng Pasiga, Burhanuddin Daeng, Rasmidar Samad, and Rini Pratiwi. "Relationship of Oral Aesthetic Assessment according to Self Perception with Oral Malocclusion Condition of High School Students in Sidrap District, South Sulawesi Indonesia." Brazilian Dental Science 22, no. 4 (October 31, 2019): 450–57. http://dx.doi.org/10.14295/bds.2019.v22i4.1712.
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Self-perception of dental aesthetics needs to be considered in planning orthodontic treatment because it is known that everyone has a self-perception of different oral esthetic conditions. Objective: To assess the state of malocclusion based on self-perception of dental aesthetics using the Oral Aesthetic Subjective Impact Score (OASIS); to determine the relationship of self-perceptions of oral aesthetics and the state of malocclusion from the results of clinical examinations using the Dental Aesthetic Index (DAI). Material and Methods: Research subjects were middle school students aged between 14-18 years as many as 187 students. For oral aesthetic assessment using the OASIS index questionnaire, and to evaluate the aesthetic and anatomical components of the malocclusion clinic using the Dental Aesthetic Index (DAI). Results: The prevalence of malocclusion according to Dental Aesthetic Index (DAI) showed that mild / normal malocclusion (59.9%), moderate malocclusion (33.4%), severe malocclusion (5.7%), and very severe malocclusion (1%). The prevalence of self-perception of oral aesthetics was 54.6% judging good. The results of the analysis with logistic regression tests showed that there was a significant (p<0.001) relationship between self-perception of oral aesthetics using the OASIS index and malocclusion status using the DAI index. Conclusion: Based on the results of this study, there was a significant relationship (p <0.01) between oral aesthetic self perception and malocclusion status of high school students.KeywordsOral aesthetic perception; Oral aesthetic subjective impact score; Dental aesthetic index.
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Zhang, Pengcheng, Yezi Chen, Yiran Zhu, and Haibin Wang. "Eye region as a predictor of holistic facial aesthetic judgment: An eventrelated potential study." Social Behavior and Personality: an international journal 49, no. 1 (January 6, 2021): 1–13. http://dx.doi.org/10.2224/sbp.9660.
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Event-related potentials (ERP) play an important role in the early detection of emotional arousal. Previous studies of aesthetics have shown that the positive component appearing around 200 ms after stimulus (P2) and the larger late positive component (LPC) are closely related to the early stage of aesthetic judgment. We investigated the temporal features of facial aesthetic judgment on the basis of facial features by using the ERP technique. Participants were instructed to predict holistic face aesthetic level based on the regions of eyes, mouth, or nose. Behavioral results show that holistic score predictions based on the eye region were no different to holistic aesthetic ratings. The ERP analysis results show that beautiful eyes and faces elicited a smaller P2 amplitude and LPC amplitude when judging the holistic aesthetic. The P2 effect of facial aesthetics may reflect automatic processing of facial aesthetics and the difference in LPC may be related to motivational attention to facial aesthetics. Because of the similar ERP effect between the holistic facial aesthetic judgment and the aesthetic judgment of eye region, this region may play a significant role in predicting holistic facial aesthetics. The implication is that the eyes are not only a window to the soul, but also a benchmark of beauty.
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Maras, Srdjan. "The erotic/aesthetic quality seen from the perspective of Levinas’s ethical an-archaeology." Filozofija i drustvo 31, no. 1 (2020): 98–107. http://dx.doi.org/10.2298/fid2001098m.
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This paper emphasizes the place and the role of the aesthetic quality and the role of the erotic in Levinas?s project that deals with ethical an-archaeology. Despite Levinas?s categorical statements that there are irreconcilable differences between ethics and aesthetics, i.e. between ethics and the erotic, above all, it is emphasized here that these differences do not represent a stark or sharp contrast, but quite contrary, they often constitute a subversive ontological element. On the other hand, somewhat unexpectedly, with its ethical anti-aestheticism Levinas?s ?noncontemporary? thought appears to be, at the same time, both significant and critical, elementary, emancipatory and contemporary in relation to present-day reactionary reactualization and revitalization of the aesthetic quality which mechanically proceeds to develop on the margins of Levinas?s emancipatory past.
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Bruehlmann, C., M. Blumer, and M. B. Soyka. "Impact of intraoperative Cone-Beam Computed Tomography use on patient satisfaction after closed nasal reduction." Rhinology Online 4 (May 1, 2021): 77–84. http://dx.doi.org/10.4193/rhinol/21.018.
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Background: The aim of the study was to assess, whether there is a difference in aesthetic and functional patient satisfaction between closed nasal reductions with intraoperative Cone-Beam Computed Tomography (CBCT) and without using intraoperative medical imaging. Methods: A monocentric, retrospective cohort study of 43 patients (20 patients treated with intraoperative CBCT and 23 patients treated without intraoperative imaging) was conducted. Subjective postoperative aesthetic and functional aspects of the nose were assessed. Additionally, questions comparing the aesthetics and function of the nose before and after the accident and on the desire of revision surgery were asked. Results: Both the SCHNOS-C and total SCHNOS score in the non-CBCT group were higher than the respective scores of the CBCT-group. The comparison of SCHNOS-C between male subjects of the two groups showed no statistical significance. The comparison of SCHNOS-C between male and female subjects over both groups showed significantly higher scores for female subjects. Conclusions: Patients undergoing surgery with intraoperative CBCT imaging showed better aesthetical outcomes than patients, treated without intraoperative imaging. However, the difference showed no clinical importance, so that both strategies appear to have comparable outcomes regarding postoperative aesthetics and function of the nose. Gender instead of the different strategies could contribute to the demonstrated differences. Female subjects seem to be less satisfied with the aesthetics of their nose postoperatively, potentially being more sensitive to remaining nasal deformities after surgery.
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Süner, Ahmet. "A critical evaluation of Heidegger’s criticism of aesthetics in ‘The Origin of the Work of Art’." Journal of European Studies 47, no. 1 (November 1, 2016): 21–33. http://dx.doi.org/10.1177/0047244116676686.
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This paper examines and critiques Heidegger’s repudiation of aesthetics in his essay ‘The Origin of the Work of Art’ and claims that his alternative approach to artworks in the essay must be understood as a theory of aesthetics and, more particularly, of aesthetic use, which delineates the inseparability of senses and sensations. The paper analyses Heidegger’s explicit remarks on aesthetics in the epilogue, discusses his criticism of the aesthetic thing-interpretation at the beginning of the essay and concludes with some critical observations on Heidegger’s own aesthetics. While critical of Heidegger’s separation of the equipment from the artwork, the paper claims that Heidegger’s significant contribution to the field of aesthetics must be sought in his focus on the attenuation of the subjective element in aesthetic experience.
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Beard, Lauren. "Archival Artistry: Exploring Disability Aesthetics in Late Twentieth Century Higher Education." Canadian Journal of Disability Studies 9, no. 5 (December 18, 2020): 75–95. http://dx.doi.org/10.15353/cjds.v9i5.691.
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Jay Dolmage’s (2014) Disability Rhetoric encourages scholars to search beyond normative Aristolean bounds of rhetoric and embrace a critical lens of rhetorical activity as embodied, and disability as an inalienable aspect of said embodiment (p. 289). To that end, this project posits an innovative structure for rhetorically (re)analyzing disability history in higher education through a framework of disability aesthetics. In Academic Ableism, Jay Dolmage (2017) argues that an institution’s aesthetic ideologies and architecture denote a rhetorical agenda of ableism. In Disability Aesthetics, Tobin Siebers (2010) asserts disability is a vital aspect of aesthetic interpretation. Both works determine that disability has always held a crucial, critical role in the production and consumption of aestheticism, as it invites able-bodied individuals to consider the dynamic, nonnormative instantiations of the human body as a social, civic issue (p. 2). Disability, therefore, has the power to reinvigorate the sociorhetorical impact of both aesthetic representation and the human experience writ large. With this framework in mind, this project arranges an archival historiography of disability history in higher education in the late twentieth century at a mid-sized U.S. state institution. During this time, Section 504 of the Rehabilitation Act was finally signed into law, and universities confronted a legal demand to allow all students access. Ultimately, this project seeks to demonstrate how disability scholars and historiographers can widen the view of both disability history and disability rhetoric in higher education through a focus on student aesthetic performance and intervention.
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Yu, Gui Lin. "Research on the Optimization of Flexibility Selection of Limb Aesthetics in the Dance Movements Based on Dynamics and Geometry Morphology." Applied Mechanics and Materials 380-384 (August 2013): 4872–76. http://dx.doi.org/10.4028/www.scientific.net/amm.380-384.4872.
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With the improvement of the quality of life, people start to pursue after some artistic beauty of spiritual level. It is particularly hot to manifest body language in the aesthetics. As an art form of body language, we focus on this form of limb aestheticst, and dance is still rare both at home and abroad .Some standardized regulations of dance moves are investigated in the current dance training ,which is demanded in the world of dance very urgently. This paper researches on the real problem that dance moves flexibility in dance training through the mathematical geometric principles. We hope this research will make the dance moves in dance training more in line with the current limb aesthetics, and perfect the blank of this field in domestic. Meanwhile, we hope that this research method can provide some reference for the other domestic aesthetic research on body language ,and make some contribution to the development of the domestic arts.
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Dirgualam, Oki, Dadang Suganda, Buky Wibawa, and Kunto Sufianto. "ESTETIKA PERMAINAN MUSIK BARAT PADA BIG BAND SALAMANDER." Paradigma: Jurnal Kajian Budaya 11, no. 1 (April 29, 2021): 99. http://dx.doi.org/10.17510/paradigma.v11i1.420.
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<p>This article describes the aesthetics of the big band jazz music by Salamander Big Band. Aesthetics is a study of the processes that occur in three basic elements: aesthetic objects, aesthetic subjects, and aesthetic values related to aesthetic experiences, aesthetic properties, and attractive and unattractive parameters. This paper presents the basic elements of western music aesthetics, especially big band jazz music, and how Salamander Big Band can implement the aesthetic values of western jazz big band music in the music played. This research uses a qualitative approach with a descriptive analysis method. Through a process of appreciation, habituation, additional insight into jazz music and continuous and consistent practice, Salamander Big Band members can adapt to cultures from outside Indonesia's popular music culture, namely playing American big band music with the right aesthetic.</p>
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D’Olimpio, Laura. "When good art is bad: Educating the critical viewer." Theory and Research in Education 18, no. 2 (July 2020): 137–50. http://dx.doi.org/10.1177/1477878520947024.
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There is a debate within philosophy of literature as to whether narrative artworks should be judged morally, for their ethical value, meaning and impact. On one side you have the aesthetes, defenders of aestheticism, who deny the ethical value of an artwork can be taken into consideration when judging the work’s overall aesthetic value. Richard Posner backs artists such as Oscar Wilde who famously wrote, ‘there is no such thing as a moral or an immoral book. Books are well written, or badly written. That is all’. On the other side of the debate are proponents of ethical criticism such as Martha Nussbaum, Wayne Booth, Noël Carroll and Mary Devereaux. This article examines the educational implications of each position and ultimately defends the importance of moral education alongside aesthetic education. Given artworks are powerful vehicles for moral sentiments and meaning, it is important that viewers are taught to engage critically with art’s ethical features as well as aesthetic features. In this way, educational concerns pose a challenge to the position of aestheticism.
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Agung, Lingga, and Novian Denny Nugraha. "Digital Culture and Instagram: "Aesthetics for All?"." IMOVICCON Conference Proceeding 1, no. 1 (July 3, 2019): 93–98. http://dx.doi.org/10.37312/imoviccon.v1i1.7.
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Aesthetics is the study of beauty but in a cultural discourse is a representation of cultural expressions that mark its position in social reality. Thus, aesthetics is not a subjective expression of culture but rather a mechanism by which beauty is produced and distributed. The mechanism continues to operate even in a wider landscape such as in multidimensional technological space. This has resulted the aesthetic deconstruction because the norm operates differently. Instagram, which attracted latest generation, has birth a digital culture oriented to the new aesthetic visual forms. The aesthetic visual on Instagram constructed through visual production that is continuously interwoven with one another. The mechanism of cultural production in Instagram tends to deconstruct aesthetics as a norm. The public is more oriented to actions rather than philosophical contemplation. However, the mechanism of culture produces the discourse of aesthetics in Instagram still needs to explore. This research is important because we facing ‘loss of ideological and historical awareness’ of the aesthetics and aesthetics are the alternative to explore the nature of humanity. This research tries to explain how the aesthetics mechanism works on Instagram by virtual ethnography method and Bourdieu's ‘Capital Culture’ theory.
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PŁOTKA, WITOLD. "BEYOND ONTOLOGY: ON BLAUSTEIN’S RECONSIDERATION OF INGARDEN’S AESTHETICS." HORIZON / Fenomenologicheskie issledovanija/ STUDIEN ZUR PHÄNOMENOLOGIE / STUDIES IN PHENOMENOLOGY / ÉTUDES PHÉNOMÉNOLOGIQUES 9, no. 2 (2020): 552–78. http://dx.doi.org/10.21638/2226-5260-2020-9-2-552-578.
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The article addresses the popular reading of Ingarden that his aesthetic theory is determined by ontology. This reading seems to suggest that, firstly, aesthetics lacks its autonomy, and, secondly, the subject of aesthetic experience is reproductive, and passive. The author focuses on Ingarden’s aesthetics formulated by him in the period of 1925–1944. Moreover, the study presents selected elements of Ingarden’s phenomenology of aesthetic experience, and by doing so, the author aims at showing how Ingarden’s aesthetics was reconsidered by Blaustein, a student of Ingarden, whose theory seems to lead one beyond the scope of ontology. Blaustein, namely, reconsiders Ingarden’s theory of purely intentional objects by interpreting it in a descriptive-psychological, or phenomenological fashion. The article is divided into four parts. In section 1, the author highlights historical interconnections between Ingarden, and Blaustein. Section 2.1. is devoted to Ingarden’s phenomenological approach towards aesthetic experience as a phasic structure. At this basis, in section 2.2., Ingarden’s early theory of intentional objects is to be discussed. Section 3 concerns Blaustein’s contribution to phenomenology of aesthetic experience. Given that Blaustein formulates his theory in discussion with Ingarden, section 3.1. is devoted to Blaustein’s critical assessment of Ingarden’s method, and aesthetics. Next, in section 3.2., the author presents Blaustein’s original theory of presentations, and its use in aesthetics. Finally, in section 4, the author lists similarities, and differences between Blaustein’s and Ingarden’s aesthetic theories.
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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 (October 29, 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 analogy. It is argued that in those instances where Simmel shows that aesthetic factors are central to the social bond the linking of aesthetics and sociology is theoretically most insightful.
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Turenko, V. E., and N. V. Yarmolitska. "SPECIFICITY AND FEATURES OF THE DEVELOPMENT OF AESTHETICS IN THE UKRAINIAN SOVIET PHILOSOPHY IN THE 50-60s OF THE XX CENTURY." UKRAINIAN CULTURAL STUDIES, no. 1 (8) (2021): 24–28. http://dx.doi.org/10.17721/ucs.2021.1(8).05.
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The article highlights the specificity of research in the field of aesthetics in the context of the development of Soviet philosophy in Ukraine in the 50-60s. XX century. There are three main vectors of scientific work: ideological works, original aesthetic developments and historical and aesthetic research. It is revealed that ideological aesthetic works were based on the concept of "positive aesthetics" by A. Lunacharsky, which contributed to the development of the concept of socialist realism, nationality of art by Ukrainian Soviet thinkers, as well as criticism of Western aesthetics and the approval of "Soviet aesthetics". It is shown that, unlike specifically ideological works, the original aesthetic developments were aimed not at substantiating certain provisions of Marxist-Leninist philosophy, but, as far as possible, creating new concepts and ideas in this branch of philosophical knowledge. It was revealed that in the context of historical and aesthetic research, in contrast to Russian researchers, Ukrainian scientists focused mainly on the development of the national tradition. It is proved that during the period under study, aesthetic problems, along with logic, methodology of science, philosophical problems of natural science, were one of the leading in Soviet Ukraine, thereby being one of its centers throughout the Soviet Union.
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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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Fischer-Lescano, Andreas. "Sociological Aesthetics of Law." Law, Culture and the Humanities 16, no. 2 (July 1, 2016): 268–93. http://dx.doi.org/10.1177/1743872116656777.
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Aesthetic theory has the potential to develop a sensorium for the rational and arational forces of law. But the aesthetic knowledge of law is underdeveloped. That is why this article proposes a self-reflective sociological aesthetics of law that is capable of acknowledging human and social forces. The article unfolds its argument in three steps: first, it outlines the main approaches in the field of “law and aesthetics”; second, it connects these approaches in legal aesthetics with sociological and philosophical discussions on aesthetics; and, third, it suggests what distinctive contributions such a connection could make to jurisprudence and legal practice.
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Dai, Chuang. "Philosophical-aesthetic reflection in China in the century: Wang Guowei and Zong Baihua." Философская мысль, no. 12 (December 2020): 15–29. http://dx.doi.org/10.25136/2409-8728.2020.12.34614.
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This article is dedicated to examination of the philosophical-aesthetic reflection in China in the XX century, and the impact of European aesthetics upon the development and transformation of the traditional Chinese aesthetics. The article employs the method of historical and cultural with elements of structural analysis of aesthetic text of the modern Chinese philosophers. In the XX century, a number of Chinese thinkers made attempts of reforming the traditional Chinese aesthetics, complementing it with the viewpoint of European philosophy. The article examines the paramount aesthetic thoughts of the modern Chinese philosophers Wang Guowei and Zong Baihua, and determines the impact of European philosophy upon them. The scientific novelty of this study lies in assessing the impact of the concepts of European aesthetics upon self-reflection and development of Chinese aesthetics in the context of cross-cultural problematic. It is demonstrated that Chinese modern aesthetics in many ways retains its connection with the tradition, which determines its specificity and imparts peculiar semantic symbolism. The conclusion is made that in the XX century, Chinese philosophers sought to complement the existing traditional Chinese reflection on art, which is based mostly on the ideas of Taoism and Buddhism, with what can be referred to as the Western viewpoint, associated with a scientific approach and scientific interpretation. Another vector in the area of humanistic understanding of the phenomenon of art was related to the attempts of interpretation of the European aesthetic thought from through the prism of Chinese traditional philosophy. The philosopher Wang Guowei tried to incorporate the European aesthetics into the scientific problematic of China. The philosopher Zong Baihua wanted to synthesize the Chinese and European aesthetic theories, and create what he believed is the modern Chinese aesthetics.
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Berleant, Arnold. "The co-optation of sensibility and the subversion of beauty." SAJ - Serbian Architectural Journal 7, no. 2 (2015): 9–26. http://dx.doi.org/10.5937/saj1501009b.
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The aesthetic analysis of everyday life has developed an important body of work whose significance extends beyond the academy. Because of its ubiquity in experience, aesthetic sensibility has many manifestations, both overt and concealed. This paper examines some largely hidden ways in which taste and aesthetic judgment, which are manifested in sense experience, have been subtly appropriated and exploited. I identify and describe such procedures as the cooptation (or appropriation) of aesthetic sensibility, a phenomenon that has consequences damaging to health, to society, and to environment. These practices are a form of negative aesthetics that distorts and manipulates sensible experience in the interest of mass marketing and political control. Such practices have great ethical significance and carry social and political implications that suggest another role for aesthetics, a critical one: aesthetics as an instrument of emancipation in social analysis and political criticism.
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Jacobsen, Thomas. "Bridging the Arts and Sciences: A Framework for the Psychology of Aesthetics." Leonardo 39, no. 2 (April 2006): 155–62. http://dx.doi.org/10.1162/leon.2006.39.2.155.
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The investigation of aesthetic processing has constituted a longstanding tradition in experimental psychology, of which experimental aesthetics is the second-oldest branch. The status of this psychology of aesthetics, the science of aesthetic processing, is briefly reviewed here. Building on this heritage and drawing on a host of related scientific disciplines, a framework for a strongly interdisciplinary psychology of aesthetics is proposed. It is argued that the topic can be fruitfully approached from at least seven different perspectives, each with multiple levels of analysis: diachronia, ipsichronia, mind, body, content, person and situation. Eventually, this work may coalesce into a unified theory of aesthetic processing.
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Popovic, Una. "The problem of aesthetic judgment: Perspectives of aesthetics." Filozofija i drustvo 24, no. 3 (2013): 5–22. http://dx.doi.org/10.2298/fid1303005p.
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This paper deals with the interpretation of Kant?s Critique of Judgment from the perspective of aesthetics. Our aim here is to show the immanent relationship between the two main motifs of this work: the analysis of traditional aesthetic problems, such as beauty and taste, on the one hand, and the systematical thinking, philosophy, and Kant?s critical project, on the other. This interpretation is developed in consideration of the prob?lem of aesthetics as a philosophical discipline, within which, for each of the motifs of Kant?s third critique it is shown how it redefines aesthetic into philosophical thought. Finally, the character of critical positioning of aesthetic problems in Kant is shown in light of the opening of the perspective of subjective universality as a theme that connects the two motifs of third critique, but also allows a different view in the domain of intersubjectivity.
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Soranzo, Alessandro, Daniela Petrelli, Luigina Ciolfi, and John Reidy. "On the perceptual aesthetics of interactive objects." Quarterly Journal of Experimental Psychology 71, no. 12 (January 24, 2018): 2586–602. http://dx.doi.org/10.1177/1747021817749228.
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This study examined the aesthetics of interactive objects (IOs), which are three-dimensional physical artefacts that exhibit autonomous behaviour when handled. The aim of the research was threefold: first, to investigate whether aesthetic preference for distinctive objects’ structures emerges in compound stimulation; second, to explore whether there exists aesthetic preference for distinctive objects’ behaviours; and, finally, to test whether there exists aesthetic preference for specific combinations of objects’ structures and behaviours. The following variables were systematically manipulated: (a) IOs’ contour (rounded vs angular), (b) IOs’ size (small vs large), (c) IOs’ surface texture (rough vs smooth), and (d) IOs’ behaviour (lighting, sounding, vibrating, and quiescent). Results show that behaviour was the dominant factor: it influenced aesthetics more than any other characteristic; vibrating IOs were preferred over lighting and sounding IOs, supporting the importance of haptic processing in aesthetics. Results did not confirm the size and smoothness effects previously reported in vision and touch, respectively, which suggests that the aesthetic preference that emerges in isolated conditions may be different in compound stimulation. Results corroborate the smooth curvature effect. We suggest that behavior may be an aesthetic primitive.
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Raffaelli, Lara Gochin, and Michael Subialka. "Introduction: D’Annunzio’s Beauty, Reawakened." Forum Italicum: A Journal of Italian Studies 51, no. 2 (March 23, 2017): 311–34. http://dx.doi.org/10.1177/0014585817698395.
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D’Annunzio’s uneven reception both within and outside of Italy is partially due to the close association between his work and Italian fascism. Yet his concept of beauty certainly exceeds the narrow confines of that association. His aesthetics is more than a (fascist) aestheticism. In this article we introduce the special issue on D’Annunzio’s beauty by articulating the complex, multifaceted role of the aesthetic in D’Annunzio’s works and thought. He idealizes art as a refuge against the levelling forces of modern capitalism, bourgeois society, democracy and massification. This positions him in between decadentism and modernism, on the one hand, and between the aestheticism of post-Kantian idealism and a heroic vision of nationalism, on the other. Ever an eclectic thinker and artist, D’Annunzio’s legacy remains rich, challenging, prolific: now, a century from the war in which he became a nationalist hero, is an ideal moment to return to the question of how these complex, conflicting elements emerge in D'Annunzio's seductive picture of beauty.
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Sernelj, Téa. "Modernization of Beauty in China." Asian Studies 9, no. 2 (May 7, 2021): 165–79. http://dx.doi.org/10.4312/as.2021.9.2.165-179.
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The article explores the socio-political and historical development of the great debate on aesthetics and the aesthetic fever in China during the 20th century. It introduces the main figures of the aesthetic movement and their aesthetic theories. It introduces the period of appropriation of the aesthetic debates to Marxist ideology that prevailed in China after 1949 and lasted until the end of 1970s. The 1980s and 1990s represent a shift in the Chinese aesthetic debate which focused on the adoption of Western aesthetic concepts and paradigms in a more scientific way. The article tackles the problem of Chinese society on the verge of the millennium, and problematizes the consumerism of art and attitudes towards aesthetics in general.
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Susanto, Dwi, Albertus Prasojo, Rianna Wati, and Murtini Murtini. "WACANA ESTETIKA ISLAM DALAM SASTERA KANAK-KANAK INDONESIA ERA ORDE BARU TAHUN 1980-AN." Jurnal Pengajian Melayu 32, no. 1 (April 22, 2021): 1–14. http://dx.doi.org/10.22452/jomas.vol32no1.1.
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This research focused on the spread of aesthetic discourse in Islamic literature, especially Islamic Indonesian children’s literature which was marginalised in Indonesian literature history. The paper aimed to identify the system of exclusion or prohibition, restrictions to discourse and genealogical aesthetics of Islamic children’s literature. The data utilised were various discourses available in Indonesian literature, aesthetics in the history of the literature mentioned, Indonesian literary experts and critics’ opinions, and different information related to the topic. Data interpretation was executed based on the strategy introduced by Michel Foucault on discourse and power. Results showed that the discourse of Islamic literary aesthetics was deliberately eliminated during the New Order era because it was believed to be a part of the right-wing political power apparatus. That exclusion was carried out with restrictions and prohibitions by highlighting the aesthetics of development and modernity as the dominant aesthetic discourse in Indonesian literature, such as universal humanism. The history of aesthetic discourse in Islamic literature, including Islamic children’s literature, appeared significantly during the Post-Reformation era due to the New Order’s collapse. Hence aesthetic discourses that emerged afterwards were highly diverse and on par with other genres. Keywords: Islamic literary aesthetic discourse, children’s literature, Indonesian literary history.