Relevant bibliographies by topics / Artistic and aesthetic

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Artistic and aesthetic'

Author: Grafiati
Published: 5 June 2025
Last updated: 24 June 2025

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Journal articles on the topic "Artistic and aesthetic"

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Stepanova, Anna A., and Ilona V. Dorohan. "AESTHETIC VS ARTISTIC CONSCIOUSNESS: TYPOLOGY OF AESTHETICS AND LITERATURE INTERACTION." Alfred Nobel University Journal of Philology 2, no. 26/1 (2023): 22–32. http://dx.doi.org/10.32342/2523-4463-2023-2-26/1-2.

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The objective of the work is to study the specifics of aesthetic and artistic consciousness in their interaction in terms of literary comprehension of philosophical concepts; to highlight the levels of interaction between aesthetics and literature as a factor in the formation of aesthetic dominants of the literary trend and artistic method. The focus of the work determines the use of cultural-historical, historicalliterary, philosophical and aesthetic research methods. Aesthetic consciousness is understood as a mode of intellectual-sensory perception (and assessment) of empirical reality, which determines the type of artistic consciousness and is reflected in a work of fiction. Three levels of correlation between aesthetic consciousness and reality are distinguished: the syncretic, at which the aesthetic consciousness merges with the empirical, dissolving into reality, and the ideal of beauty corresponds to scientific ideas about the surrounding world and man; the discrete level emphasises a certain autonomy of aesthetic consciousness from empirical one, its orientation towards the expression of some ideological or ideal essence; the synthetic, representing dialectical interaction and mutual influence, giving rise to harmony and aesthetic value of the unity of content and form. The specificity of the relationship between aesthetic and artistic consciousness is determined. The process of interaction between aesthetic and artistic consciousness as the interaction between aesthetics and literature takes place at two levels. The first level represents the transformation of the system of aesthetic-philosophical theories and characterises the state of aesthetic consciousness as a set of aesthetic views of the epoch. The second level is characterised by the process of “the transition of the artistic to the general cultural”, involving a change in worldview stereotypes when literature, producing its own spiritual values and anti-values, turns out to be able to reorient public consciousness (in some instances, even scientific) and public psychology, to shape the mindset, tastes, and specifics of everyday culture. The findings note that the convergence of aesthetic consciousness and literature, along with the actualisation of the principle of possibilities that began in the Romantic era, largely predetermined the development of aesthetic consciousness at the turn of the 19th and 20th centuries, when their interaction became so intertwined that it formed a unity. The distinction between aesthetics and literature practically disappeared, ushering in a new stage of cultural reorientation for aesthetics and art.
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Christiane, Wagner. "Aesthetic Appreciation: Natural, Artistic, and Media Effects." Art Style, Art & Culture International Magazine 9, no. 9 (2022): 129–47. https://doi.org/10.5281/zenodo.6808426.

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Art Style | Art & Culture International Magazine Abstract This article aims to conceptualize aesthetic appreciation based on the main aesthetic theories of the last decades. The development of this analysis includes the core values that highlight the natural and urban environmental aesthetic experience. The need to know more about aesthetic experience establishes possibilities for research beyond art that focuses on natural and artificial spaces. While other traditional approaches have sought to discuss the object of aesthetics, namely artistic beauty and its relation to natural beauty, or an aesthetic appreciation of nature without necessarily the artistic object, this article seeks a reflection on art concerning natural and urban interdisciplinary reality. The following questions guide this reflection: What is the difference between artistic and natural aesthetic appreciation? How does the environment offer aesthetic effects and resonances across socio-territorial boundaries through the media? Before any manifestation or representation, individuals establish their actions through their perceptions. An individual chooses, organizes, and transforms the information that comes to him or her from the environment, resulting in the continuous construction of mental representations according to their participation. In this sense, the scope of environmental aesthetics applies to this reflection in the relationship of the natural environment influenced by humans and the things related to the environment. Therefore, observing the aesthetics associated with the arts and the everyday objects and environments of public life is essential, as is observing their political and cultural implications. The conception, a priori, of environmental and everyday aesthetics is analyzed concerning the individual in the public space, considering the relationships of individuals with the arts and the environment through the media. Thus, this analysis enables an understanding—not necessarily chronologically—but with a notion of knowledge grounded in aesthetic theories and the foundations of aesthetics as a philosophical discipline.
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Dohotaru, Maia. "The creation of artistic / aesthetic values within the choreographic art education." Studiul artelor şi culturologie: istorie, teorie, practică, no. 2(45) (August 2024): 61–66. http://dx.doi.org/10.55383/amtap.2023.2.11.

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Choreographic art is not only a rich treasure trove of artistic/aesthetic values, but also a process that involves and makes responsible individualities, through its specific means of reflecting the surrounding world. The development of artistic/aesthetic values within the education of choreographic art is closely related to the creation of the artistic image (the work of art) and the assimilation through activities of creative thinking in images and artistic thinking. Artistic thinking largely includes elements and structures of logical thinking that are expressed in compositions, drawings and choreographic techniques. Aesthetics is the product of a spiritual activity, which appeared within individual perception and appreciation. The categories of aesthetics/ beauty, through their invaluable significance, develop not only the creative thinking of the future choreographer, but also form his value/aesthetic orientations, which consequently determine his life position. Beauty represents an aesthetic category of the highest aesthetic value that has the ability to characterize choreographic works from the performance point of view.
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Zeng, Qingliang. "Research on the Aesthetic Orientation of Artistic Creation in Virtual Reality Scenes." Journal of Education and Educational Research 9, no. 2 (2024): 34–38. http://dx.doi.org/10.54097/zww7cr98.

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With the advancement of science and technology, virtual reality technology has gradually penetrated into the field of artistic creation, providing artists with a new creative platform and aesthetic experience space. This paper explores the aesthetic orientation of artistic creation in virtual reality scenes and its influencing factors, so as to provide useful reference for researchers and practitioners in related fields. Through the discussion of immersive aesthetic experience, interactive aesthetic participation and diversified aesthetic expression, it reveals how virtual reality technology brings revolutionary changes to artistic creation. This change is not only reflected in the presentation of artworks, but also goes deeper into the audience's aesthetic psychology and the artist's creative concept. There are many factors that affect the aesthetic orientation of artistic creation in virtual reality scenes. Such as technical factors, cultural factors, and the artist's creative intentions. Typical virtual reality art creation cases are selected for analysis, which not only shows the wide application of virtual reality technology in artistic creation, but also reveals the formation process and influencing factors of different aesthetic orientations. With the continuous advancement of technology and the continuous innovation of art, artistic creation in virtual reality scenes will be richer.
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Karam, А. "ESSENTIAL CHARACTERISTICS OF THE PHENOMENA “AESTHETIC COMPETENCE OF PERSONALITY”." Pedagogical education: theory and practice. Psychology. Pedagogy, no. 32 (2019): 81–85. http://dx.doi.org/10.28925/2311-2409.2019.32.11.

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In the article it is revealed the essence of interpretation of the phenomenon of «aesthetic competence» from the point of view of philosophy, psychology, pedagogy, sociology, and cultural studies. Emphasis is placed on the interconnection of synonymous terms «readiness» and «preparedness»: «readiness» is a concept broader than competence and preparedness, which may be single, fragmented, that is, not to provide the full capacity to perform the functions of an activity. The essence of the outlined phenomenon is analyzed through its separate concepts, taking into account their relation: «aesthetic competence» with the concepts «competence», aesthetics «. Artistic and aesthetic competence is defined as a system of internal means of regulation of artistic and aesthetic actions, which includes artistic and aesthetic knowledge, social guidelines, skills and experience, aesthetic orientation, based on knowledge and sensory experience, free possession of artistic and aesthetic means and perception of artistic and aesthetic situation. The essence and features of aesthetic competence are revealed. The modern approaches to defining the concept of «aesthetic competence» are highlighted. The components of aesthetic competence are revealed. Specific features and factors influencing the development of aesthetic competence are highlighted. In conclusion, it is noted that the concept under study, aesthetic competence, should be differentiated into such varieties as aesthetic and artistic competence, while each of them, for a particular artistic profession, will at the same time have a general and specific meaning.
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Liu, Jinyun, Zhenzhen Li, Haiyan Xu, and Huimin Huang. "Research on Surname Totem Art from the Perspective of Taoist Aesthetics." Arts Studies and Criticism 5, no. 2 (2024): 85. http://dx.doi.org/10.32629/asc.v5i2.2258.

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This article analyzes the surname totem from the Taoist aesthetic ideas, analyzes the aesthetic value of artistic expression research, and discusses the relationship between Taoist aesthetics and surname totem art. By comparing the core concepts, it reveals the commonality of Taoist aesthetic thought and surname totem in cultural inheritance and artistic creation, and then explores the new innovative enlightenment of Taoist aesthetic thought to art design, which helps to deepen the understanding of traditional culture. At the same time, it expands the new possibility of blending Taoist aesthetics and surname totem in contemporary art, and provides a new perspective and inspiration for artistic creation.
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Zhang, Xin, and Jian Chen. "The expression of "Balanced Harmony" aesthetic paradigm in aesthetic and artistic concepts." Journal of Education, Humanities and Social Sciences 38 (September 28, 2024): 213–16. http://dx.doi.org/10.54097/vvckk176.

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The so-called "Balanced Harmony" aesthetic paradigm simply means that Chinese aesthetics emphasizes the reconciliation and unity between two conflicting and confronting aspects of aesthetic things and aesthetic systems, or between two extremes and two ends. The so-called "neutral" aesthetic paradigm simply means that Chinese aesthetics, when interpreting the ontology of "beauty is harmony", puts emphasis on the reconciliation and unity between the two conflicting and confronting aspects of aesthetic things and systems, or between the two poles and the two ends of the …… system, which are balanced and neutral. The so-called "neutral" aesthetic paradigm simply means that Chinese aesthetics interprets the ontology of "beauty is harmony" and regards this state of reconciliation and unity, which is balanced and neutral, as the highest ideal, principle, goal and realm of aesthetics and art. The so-called "neutral" aesthetics paradigm simply means that Chinese aesthetics pays special attention to the coupling structural relationship between things of beauty and within artistic events, pays special attention to thinking between two opposing aesthetic contradictions, and is particularly good at using the simple and dialectical "dichotomous" method to understand and explain the aesthetic world.
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Abdullayev, Hotamjon Khamroevich. "ARTISTIC AESTHETIC FUNCTION OF MONOLOGUES." CURRENT RESEARCH JOURNAL OF PHILOLOGICAL SCIENCES 02, no. 07 (2021): 16–19. http://dx.doi.org/10.37547/philological-crjps-02-07-05.

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Wang, Kedi. "Art Aesthetic and Innovation Research on the Design of Car." Art and Society 3, no. 4 (2024): 82–85. http://dx.doi.org/10.56397/as.2024.08.10.

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The artistic aesthetics of automotive design involve aesthetics, design, and material science. The designer is required to use unique creativity and superb craftsmanship based on the basic design principles to create both the car form with high artistic aesthetics to meet consumers’ visual needs for the appearance of the vehicle and stimulate its sense of identity and belonging to the car brand culture. This article analyzes the artistic aesthetic points of automotive design and takes the Red Flag H9 as an example to explore the practical application of the artistic aesthetics of automobile design and artistic aesthetic innovation strategy for automotive design. Enlightenment, promote the continuous high level of automotive design in the design of automobiles, bringing consumers a more colorful and remarkable automotive product.
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Montano-Rodríguez, Freddy, and Miguel Ángel Fernández-Marín. "Aesthetic Education and Artistic Education. The Aesthetic Artistic Competition in the formation of the Education professional." Revista Metropolitana de Ciencias Aplicadas 6, no. 2 (2023): 43–49. http://dx.doi.org/10.62452/66z49p25.

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In the article that is presented, an analysis of Aesthetics is carried out from the perspective of humanism, as well as the importance of Aesthetic Education and Artistic Education in the process of integral, axiological, creative, sensitive and humanistic formation of the students, which, without a doubt, constitute social demands and adjustments that today are imposed on the current educational systems. The Aesthetic Artistic professional competence is presented as a necessity in the training of the education professional, since it is one that allows the direction of the process of formation of sensitivity and taste for the perception of aesthetic values ​​both in reality and in the arts, the development of the imagination and the creative attitude in its students, as well as the ability to understand, value and enjoy art in its various manifestations, in correspondence with the social aesthetic ideal.
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Dissertations / Theses on the topic "Artistic and aesthetic"

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Tomaszewski, Ramses Veronique. "Aesthetic heaven and artistic hell, an intellectual journey." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp02/NQ56270.pdf.

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Palmer, Clive Alan. "A qualitative investigation of aesthetic evaluation in men's artistic gymnastics." Thesis, Liverpool John Moores University, 2003. http://researchonline.ljmu.ac.uk/5602/.

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Daniel, Leah. "Utamaro’s Picture Books: A Study in Cross-Cultural Artistic Aesthetic." University of Cincinnati / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1428065911.

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Chandler, Chelsea Beth. "The Art of Teaching: Understanding the Lived Experience of Artistic Teachers." University of Toledo / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=toledo1438892983.

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O'Malley, Jennifer. "Life Support: Sustaining a Personal Aesthetic." Honors in the Major Thesis, University of Central Florida, 2005. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/785.

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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf<br>Bachelors<br>Arts and Sciences<br>Fine Art
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Ozdemir, Ibrahim Soner. "Grasping The Space Of The Heart/mind: Artistic Creation And Natural Beauty In The Later Philosophy Of Kitar." Phd thesis, METU, 2011. http://etd.lib.metu.edu.tr/upload/12613515/index.pdf.

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In this dissertation, focusing on the problem of &ldquo<br>aesthetic form&rdquo<br>and its relation to the distinction between natural and artistic beauty, it is argued that the Japanese philosopher Kitar
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Rojas, Ricardo. "“18th Century Gardening Tradition, and the Possibility of Pure Aesthetic Judgments on Artistic Objects”." Pontificia Universidad Católica del Perú, 2017. http://repositorio.pucp.edu.pe/index/handle/123456789/119392.

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At the third section of the “Analytic of the Beautiful” of the Critique of Judgement, Kant establishes the difference between pure judgements of taste and judgements of adherent beauty. The Author contends that the definitions presented there are problematic when one attempts to reconcile them with judgements of artistic beauty. In principle, every work of art supposes certain concepts and contents that determine it as an artistic object, so it would not be possible to formulate pure judgements of taste in their regard. In order to overcome these difficulties, it becomes necessary to articulate the ideas in relation to the nature of artistic production that Kant presents in the sections on Fine Art and the Genius, where the concept of “aesthetic ideas” (understood as internal intuitions of artistic objects) is introduced. Finally, the debate on landscape and gardening in the 18th century allows us to understand how pure judgements of taste can be made from two different ways of presenting aesthetic ideas in an artistic genre.<br>En el tercer momento de la “Analítica de lo bello” de la Crítica de la facultad de Juzgar, Kant establece la diferencia entre juicios puros de gusto y juicios de belleza adherente. A juicio del autor, las definiciones presentadas resultan problemáticas a la hora de intentar conciliarlas con juicios de belleza artística. En principio, toda obra de arte supone conceptos y contenidos que la determinan como objeto artístico, por lo que no sería posible emitir juicios puros de gusto sobre ellos. Es necesario articular las ideas en relación a la naturaleza de la producción artística presentadas en las secciones sobre arte bello y el genio, donde se introduce el concepto de “ideas estéticas” (entendidas como intuiciones internas de los objetos artísticos), para superar aquellas dificultades. Por último, el debate sobre paisaje y jardinería en el siglo XVIII permite entender cómo se puede emitir juicios estéticos puros a partir de dos formas distintas de presentar ideas estéticas en un género artístico.
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Larsson, Erik. "SYSTEMS OF INTERPRETATION." Thesis, Konstfack, Institutionen för Konst (K), 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-2990.

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Every image locates intelligence.1 I decided to become an artist due to this premise. Mostof my childhood was spent in front of a TV-screen. By channel surfing across the rangeof our satellite dish I created new narratives of my own, based on the different channelsexisting images. The disappearance of images became as important as their appearance.Art offered me a way of preserving and study these transient images of contemporaryculture.
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Eldrot, Johan. "Fragments, emptiness and density." Thesis, Konstfack, Institutionen för Konst (K), 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-2985.

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During the last three years, my practice has mainly consisted of installation works; compositions of images, texts, video, constructions, produced and found objects, drawings etcetera. This thesis serves to present an overview of my practice during these three years, to contextualize my work and work method and to discuss my future artistic intentions.
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Nylund, Carolina. "Allt ska bort!" Thesis, Konstfack, Institutionen för Konst (K), 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-2986.

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I decided to start writing this thesis considering mainly all the books and texts read during my Art Academy education that made a strong impression on me in order to analyze the essence of my work. The reason to study at Konstfack is after all, to find a context and a reference to my art production. When I started collecting all the thoughts and ideas that been significant to me I BECAME AWARE of that every time I found the words describing them became PHYSICAL. Every word has a strength and tone. I confront a difficulty writing in English, learning theory in Swedish and having as a native language Spanish. So, with all respect to the interest and passion I have for languages, I would like to dedicate the fear of writing this thesis to the “information generation” for ABUSING the “language” making it richer but making it harder in my attempt to describe the essence of my work.
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Books on the topic "Artistic and aesthetic"

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Museum, Victoria and Albert, ed. Artistic circles: Design & decoration in the aesthetic movement. V&A Pub., 2010.

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Gernsheim, Helmut. Creative photography: Aesthetic trends 1839-1960. Dover Pubns., 1991.

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Pitts, Terence. Photography in the American grain: Discovering a native American aesthetic, 1923-1941. Center for Creative Photography, University of Arizonia, 1988.

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Phillips, Steffan J. Sport,the aesthetic and the artistic: BA(Hons) Human Movement Studies dissertation. SGIHE, 1987.

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Desideri, Fabrizio, and Giovanni Matteucci, eds. Dall'oggetto estetico all'oggetto artistico. Firenze University Press, 2006. http://dx.doi.org/10.36253/88-8453-386-4.

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Does such a thing as an "aesthetic" object exist? And if so, how can it be defined? This book, with no less than 23 contributions, emerging from a Seminar on Aesthetics and a Convention of the Italian Philosophical Society, seeks to answer these questions, exploring the concept of the aesthetic object as distinct from the artistic object. The first section is theoretical and attempts to identify what are the aesthetic properties of an object as opposed to the physical or semantic. This is followed by a historical-aesthetic section, where the question is explored in terms of its theoretical effects within the coils of contemporary aesthetics. Finally, there is a third part devoted to grasping the object-dimension in certain occasions of contemporary art.
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Jahn, Wolf. The art of Gilbert & George, or, an aesthetic of existence. Thames and Hudson, 1989.

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Jahn, Wolf. The art of Gilbert & George, or, An aesthetic of existence. Thames and Hudson, 1989.

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Javeau, Claude. Deux images et le désir. Lettre volée, 1999.

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Javeau, Claude. Deux images et le désir. La lettre volée, 1999.

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Edgar, Slusser George, Rabkin Eric S, and Eaton Conference on Science Fiction and Fantasy Literature (11th : 1989 : University of California, Riverside), eds. Styles of creation: Aesthetic technique and the creation of fictional worlds. University of Georgia Press, 1992.

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Book chapters on the topic "Artistic and aesthetic"

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Høffding, Simon. "Artistic and Aesthetic Experience." In A Phenomenology of Musical Absorption. Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-030-00659-4_6.

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McFee, Graham. "The Artistic and the Aesthetic: A Distinction Considered." In Artistic Judgement. Springer Netherlands, 2010. http://dx.doi.org/10.1007/978-94-007-0031-4_1.

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Ott, Michaela. "Aesthetic and Artistic Dividuation Processes." In Dividuations. Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-72014-2_6.

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Davies, John Reuben. "Kitsch in Religion: Identifying the Kitsch Aesthetic in Liturgy." In Non-Artistic Kitsch. Springer Nature Switzerland, 2024. https://doi.org/10.1007/978-3-031-72237-0_12.

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Sauchelli, Andrea. "Aesthetic Value, Artistic Value, and Morality." In A Companion to Applied Philosophy. John Wiley & Sons, Ltd, 2016. http://dx.doi.org/10.1002/9781118869109.ch36.

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Sukmanova, Olena. "Kitsch in Law: Aesthetic Focus on Lawyers and Law Firms’ Activities." In Non-Artistic Kitsch. Springer Nature Switzerland, 2024. https://doi.org/10.1007/978-3-031-72237-0_11.

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Messori, Rita. "25 Ways to Hammer a Nail. “Postcrocian” Aesthetics and Everyday Life’s Poetics in Enzo Mari." In Springer Series in Design and Innovation. Springer Nature Switzerland, 2023. http://dx.doi.org/10.1007/978-3-031-49811-4_21.

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AbstractThe essay analyzes the poetics of Enzo Mari in the light of postcrocian aesthetics, in particular Umberto Eco and Luciano Anceschi’ contributes.The field of reflection of the essay, conducted on several levels (both meta-artistic and intra-artistic) is polarized around some expressions and some key words, explications of issues perceived as urgent.First, a rethinking of aesthetic experience on the basis of the results of psychology and the phenomenology of perception.Secondly, a rethinking of the status of the work of art, which becomes “open work” or work “with multiple outcomes”; to characterize the work is a semantic stratification, a multiplicity of meanings that requires an active user, able to enter the work and trace an interpretative path. Thirdly, a rethinking of the aesthetic-social impact of art capable of activating an “aesthetic education”, a new and more conscious experience of the “environment”, be it natural or cultural: artistic objects, as well as those of design, have a transformative power of ordinary space-time, and consequently of the habits that mark it. This creates a very close link between aisthesis, poiein and praxis, between aesthetics, artistic operation and life, in its ethical and social aspect.
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Seo, Dong Wan, and Won Lee. "Artistic Approach for Minimally Invasive Plastic Surgery." In Minimally Invasive Aesthetic Surgery Techniques. Springer Nature Singapore, 2022. http://dx.doi.org/10.1007/978-981-19-5829-8_1.

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Breen, Aidan, Colm O’Riordan, and Jerome Sheahan. "Evolved Aesthetic Analogies to Improve Artistic Experience." In Computational Intelligence in Music, Sound, Art and Design. Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-55750-2_5.

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Danilla, Stefan. "Artistic Anatomy of the Gluteal and Lumbosacral Area." In Aesthetic Surgery of the Buttock. Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-13802-7_3.

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Conference papers on the topic "Artistic and aesthetic"

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Hou, Qinggang, Wanshuai Yang, and Xiaoli Qin. "General, personalized, and artistic image aesthetic assessment: a survey." In 4th International Conference on Electronic Information Engineering and Data Processing (EIEDP 2025), edited by Azlan Bin Mohd Zain and Lei Chen. SPIE, 2025. https://doi.org/10.1117/12.3066907.

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Saleev, V. "DESIGN: AESTHETIC OR ARTISTIC." In Aesthetic Problems of Environmental Design. LCC MAKS Press, 2024. https://doi.org/10.29003/m4216.978-5-317-07275-9/91-93.

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CIOBANU, Claudia Veronica. "The impact of children's folklore on the formation of elements of artistic-aesthetic culture in primary school." In "Educaţia lingvistică şi literară în contextul dezvoltării valorilor general-umane", conferinţă ştiinţifică internaţională. Ion Creangă Pedagogical State University, 2024. https://doi.org/10.46727/c.10-11-11-2023.p163-167.

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The article is a debate about children's folklore that continues to shape children's artistic aesthetic perception. The paper addresses how we frame questions about the aesthetics of today's children's folklore. The debate is based on the issue of complexity and its role, which is inherently complex and the complexity must not elude the child. We add the moral, intellectual and educational implications of creating poems / lyrics. The review of the specific creations of children's folklore is made starting from the artistic-esthetic elements specific to each one. The connection with music is an important element that should not be omitted when talking about artistic-aesthetic culture. Theoretical and experimental identification of the specifics of artistic-aesthetic knowledge is an important, basic premise, in order to integrate the methodologies of artistic-aesthetic education from the perspective of strengthening pedagogical approaches on the principle of forming elements of artistic-aesthetic culture.
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Jin, Xin, Qianqian Qiao, Yi Lu, et al. "Paintings and Drawings Aesthetics Assessment with Rich Attributes for Various Artistic Categories." In Thirty-Third International Joint Conference on Artificial Intelligence {IJCAI-24}. International Joint Conferences on Artificial Intelligence Organization, 2024. http://dx.doi.org/10.24963/ijcai.2024/849.

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Image aesthetic evaluation is a highly prominent research domain in the field of computer vision. In recent years, there has been a proliferation of datasets and corresponding evaluation methodologies for assessing the aesthetic quality of photographic works, leading to the establishment of a relatively mature research environment. However, in contrast to the extensive research in photographic aesthetics, the field of aesthetic evaluation for paintings and drawings has seen limited attention until the introduction of the BAID dataset in March 2023. This dataset solely comprises overall scores for high-quality artistic images. Our research marks the pioneering introduction of a multi-attribute, multi-category dataset specifically tailored to the field of painting: Aesthetics of Paintings and Drawings Dataset (APDD). The construction of APDD received active participation from 28 professional artists worldwide, along with dozens of students specializing in the field of art. This dataset encompasses 24 distinct artistic categories and 10 different aesthetic attributes. Each image in APDD has been evaluated by six professionally trained experts in the field of art, including assessments for both total aesthetic scores and aesthetic attribute scores. The final APDD dataset comprises a total of 4985 images, with an annotation count exceeding 31100 entries. Concurrently, we propose an innovative approach: Art Assessment Network for Specific Painting Styles (AANSPS), designed for the assessment of aesthetic attributes in mixed-attribute art datasets. Through this research, our goal is to catalyze advancements in the field of aesthetic evaluation for paintings and drawings, while enriching the available resources and methodologies for its further development and application. Dataset is available at https://github.com/BestiVictory/APDD.git
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Meshcherina, E. "PHILOSOPHICAL AND AESTHETIC UNDERSTANDING OF THE URBAN ENVIRONMENT IN MODERN RUSSIAN GRAPHICS." In Aesthetic Problems of Environmental Design. LCC MAKS Press, 2024. https://doi.org/10.29003/m4229.978-5-317-07275-9/181-186.

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The understanding of the city in modern graphic art is presented in two aspects: philosophical, dominated by existential themes related to the "man-city" system, and mainly artistic and aesthetic, representing the diverse faces of specific cities and performing the function of cultural and historical memory. The importance of the Decorative Art magazine for the design of the environment is indicated, in which constructivist graphic artists developed the principles of humanization of urban space.
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Lazarev, Ludmila. "Urban landscape: aesthetic and identity valences." In Conferința științifică internațională "Învăţământul artistic – dimensiuni culturale". Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2022. http://dx.doi.org/10.55383/iadc2022.30.

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În secolul XX noţiunea de peisaj urban, care însemna, iniţial, o specie de peisaj artistic, capătă o nouă conotaţie din perspectivă antropologică şi esteprivită ca parte a realităţii socio-culturale a oraşului, aspectul estetic al peisajului fiind integrat în dimensiunea lui identitară. Dimensiunea estetică a peisajului urban ţine, în mare parte, de aspectele vizuale ale oraşului, de corespondenţa dintre funcţie şi formă a spaţiilor urbane, de distribuţia şi compoziţia acestora, pe când caracterul identitar al unui spaţiu conferă peisajului urban valenţe unice de percepţie şi semnificaţie. Prin analiza a două situri urbane emblematice ale Chişinăului, cu referire la aspectele identitare şi estetice, articolul prezintă evoluţia şi reconfigurarea peisajului urban prin integrarea identităţii şi diversităţii estetice a siturilor, creând o imagine atractivă a oraşului atât pentru locuitori cât şi pentru turişti, contribuind la creşterea calităţii vieţii, coeziunii sociale şi dezvoltării durabile.
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Oganov, A. "SEMANTIC INTENTIONALITY OF ARTISTIC TEXT." In Aesthetics and Hermeneutics. LCC MAKS Press, 2022. http://dx.doi.org/10.29003/m2559.978-5-317-06726-7/118-120.

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The article examines the ontological status of a work of art. The main attention is paid to the characteristics of its being aspect and the ability to generate meanings. An attempt is made to substantiate the self-sufficiency of the work. The question of the relationship between artistic reality and objective reality is considered from the standpoint of aesthetic distance,externality in relation tothe latter. The appeal tothe concept of play is conditioned by the aim to model the way of being of a work of art.
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Meng, Pu, Yueqi Liu, Liqun Zhang, and Xiaodong Li. "Computational Aesthetics of Visual Artworks: Review and Outlook." In 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1001833.

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Beauty has always been the goal of human activity. The meaning of beauty is defined during its creation. The discussion of beauty by mathematicians has created the computational aesthetics. This paper reviews the related works in computational aesthetics of visual arts and summarizes the features used in aesthetic measurement. The features extracted from the visual artworks are divided into five types including visual, compositional, statistical, perceptual and artistic features. Based on those features, the visual images are quantified and analyzed on their aesthetic and artistic properties. The previous studies are mostly focused on the aesthetics of art production, the continuous process for artistic creation cannot be represented. Moreover, new forms of visual arts such as generative art emerged, which provide new opportunities and challenges to the field of computational aesthetics. A prospective on the algorithms for the evaluation of this new forms of visual arts will be given.
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Giurescu, Adina. "The aesthetic experience of the contemporary theater audience." In Conferința științifică internațională "Învăţământul artistic – dimensiuni culturale". Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2022. http://dx.doi.org/10.55383/iadc2022.21.

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The purpose of this work is materialized in our attunement to the perplexities and feelings of the theater audience and, at the same time, we wonder if there are theater creators who have in their subsidiary, when starting a theatrical project, the express desire to excite the audience? The theater performance must retain its individuality gained in the art area, manifesting even its potentialcharacter as a trainer. The atrical creation must be carried out in an exclusively artistic manner, so that the estrangement from professional art is not placed under the sign of obligation when socio-political conditions (lack of money, few spectators) impose it. As Jerzy Grotowski said, the theater performance is fulfilled through this connection created during the theater performance between the actor and the spectator. A forced expression of a new theatrical vision, namely that of recounting banally an event that occured at the present time and subsequently materialized, without aesthetic value, on the stage of the theater, will lead to a split (perhaps irreparable) between the theatrical phenomenon and the spectator.
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Ermolenko, G., and S. Kozhevnikov. "DECONSTRUCTION OF AUTHORSHIP IN MODERN ART PRACTICES." In Aesthetics and Hermeneutics. LCC MAKS Press, 2022. http://dx.doi.org/10.29003/m2565.978-5-317-06726-7/142-144.

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The report presents the main trends in modern art practices related to the transformation of the institution of authorship. In street art and landscape design, authorship is a function of urban aesthetic spaces,so the work of urban artists tends to be anonymous, the conceptual expression of which belongs to Banksy. Deconstruction of authorship in modern art practices is an attempt to revise the author's role in creating an aesthetic environment by artistic means in the context of turning art into an open communication platform.
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Reports on the topic "Artistic and aesthetic"

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Mestre Delgado, Giselle. The Artistic Representation of the Witch: From Demonization to Empowerment. Florida International University, 2025. https://doi.org/10.25148/fiuurj.3.1.2.

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This journal article examines the portrayal of the witch archetype in Art History, uncovering not only the aesthetic choices made by artists but also the ways in which prevailing beliefs, moral panics, and societal anxieties have shaped these depictions. I discuss the iconography, visual imagery, literary inspirations, and historical context behind each examined artwork and artist to fully grasp this turbulent history. The term “witch” describes mythological figures with inborn or acquired magical powers. The ways these powers function differ from region and culture. However, one aspect prevails in all of them: the witch is predominantly a woman. This female archetype offers a new perspective on the history of women’s struggles in a male-dominated society. In this article, I compare artworks across time and space, analyzing the portrayal of witches by artists such as Albrecht Dürer, Remedios Varo, and Leonora Carrington. I explore the evolution of the witch archetype and its shift from demonization to empowerment, drawing parallels to the changing views of women in society.
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Klengel, Susanne. Pandemic Avant-Garde Urban Coexistence in Mário de Andrade’s Pauliceia Desvairada (1922) after the Spanish Flu. Maria Sibylla Merian Centre Conviviality-Inequality in Latin America, 2020. http://dx.doi.org/10.46877/klengel.2020.30.

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The radical aesthetic of the historical avant-garde movements has often been explained as a reaction to the catastrophic experience of the First World War and a denouncement of the bourgeoisie’s responsibility for its horrors. This article explores a blind spot in these familiar interpretations of the international avant-garde. Not only the violence of the World War but also the experience of a worldwide deadly pandemic, the Spanish flu, have moulded the literary and artistic production of the 1920s. In this paper, I explore this hypothesis through the example of Mário de Andrade’s famous book of poetry Pauliceia desvairada (1922), which I reinterpret in the light of historical studies on the Spanish flu in São Paulo. An in-depth examination of all parts of this important early opus of the Brazilian Modernism shows that Mário de Andrade’s poetic images of urban coexistence simultaneously aim at a radical renewal of language and at a melancholic coming to terms with a traumatic pandemic past.
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Cox, Jeremy. The unheard voice and the unseen shadow. Norges Musikkhøgskole, 2018. http://dx.doi.org/10.22501/nmh-ar.621671.

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The French composer Francis Poulenc had a profound admiration and empathy for the writings of the Spanish poet Federico García Lorca. That empathy was rooted in shared aspects of the artistic temperament of the two figures but was also undoubtedly reinforced by Poulenc’s fellow-feeling on a human level. As someone who wrestled with his own homosexuality and who kept his orientation and his relationships apart from his public persona, Poulenc would have felt an instinctive affinity for a figure who endured similar internal conflicts but who, especially in his later life and poetry, was more open about his sexuality. Lorca paid a heavy price for this refusal to dissimulate; his arrest in August 1936 and his assassination the following day, probably by Nationalist militia, was accompanied by taunts from his killers about his sexuality. Everything about the Spanish poet’s life, his artistic affinities, his personal predilections and even the relationship between these and his death made him someone to whom Poulenc would be naturally drawn and whose untimely demise he would feel keenly and might wish to commemorate musically. Starting with the death of both his parents while he was still in his teens, reinforced by the sudden loss in 1930 of an especially close friend, confidante and kindred spirit, and continuing throughout the remainder of his life with the periodic loss of close friends, companions and fellow-artists, Poulenc’s life was marked by a succession of bereavements. Significantly, many of the dedications that head up his compositions are ‘to the memory of’ the individual named. As Poulenc grew older, and the list of those whom he had outlived lengthened inexorably, his natural tendency towards the nostalgic and the elegiac fused with a growing sense of what might be termed a ‘survivor’s anguish’, part of which he sublimated into his musical works. It should therefore come as no surprise that, during the 1940s, and in fulfilment of a desire that he had felt since the poet’s death, he should turn to Lorca for inspiration and, in the process, attempt his own act of homage in two separate works: the Violin Sonata and the ‘Trois Chansons de Federico García Lorca’. This exposition attempts to unfold aspects of the two men’s aesthetic pre-occupations and to show how the parallels uncovered cast reciprocal light upon their respective approaches to the creative process. It also examines the network of enfolded associations, musical and autobiographical, which link Poulenc’s two compositions commemorating Lorca, not only to one another but also to a wider circle of the composer’s works, especially his cycle setting poems of Guillaume Apollinaire: ‘Calligrammes’. Composed a year after the ‘Trois Chansons de Federico García Lorca’, this intricately wrought collection of seven mélodies, which Poulenc saw as the culmination of an intensive phase in his activity in this genre, revisits some of ‘unheard voices’ and ‘unseen shadows’ enfolded in its predecessor. It may be viewed, in part, as an attempt to bring to fuller resolution the veiled but keenly-felt anguish invoked by these paradoxical properties.
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Nitkey, Spencer. The Eternal Life and Art of Maxwell Ardeen. Asimov Press, 2025. https://doi.org/10.62211/28he-13uu.

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