To see the other types of publications on this topic, follow the link: Artistic and aesthetic.
Journal articles on the topic 'Artistic and aesthetic'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 journal articles for your research on the topic 'Artistic and aesthetic.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.
1
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.
Full textAbstract:
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.
2
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.
Full textAbstract:
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.
3
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.
Full textAbstract:
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.
4
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.
Full textAbstract:
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.
5
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.
Full textAbstract:
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.
6
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.
Full textAbstract:
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.
7
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.
Full textAbstract:
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.
8
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.
Full text
9
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.
Full textAbstract:
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.
10
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.
Full textAbstract:
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.
11
V.I., Ivchenko. "AESTHETICIZATION OF ARTISTIC IMAGE IN DESIGN BY MEANS OF ARTISTIC AND AESTHETIC INTERPRETATION." Collection of Research Papers Pedagogical sciences, no. 91 (January 11, 2021): 65–73. http://dx.doi.org/10.32999/ksu2413-1865/2020-91-9.
Full textAbstract:
The purpose of the article is to substantiate the concept of using the possibilities of artistic and aesthetic interpretation in the process of artistic design activities for the аestheticization of the artistic image.Methods. The following scientific methods were used to solve the tasks and ensure the reliability of the provisions and conclusions: study and generalization of theoretical and practical scientific experience, analysis, synthesis, comparison, classification, artistic and aesthetic interpretation of works of art.Results. The essence of the concept of “artistic image” in its broad and narrow scientific sense is substantiated in the article. The author analyzes the dialectical relationship of the main components of the artistic image, such as: external form, internal form and content. The article describes the specific features of the artistic image, which constitute its nature as a whole. In the article the author highlights the features and specifics of understanding the “aesthetic” in works of art in the Middle Ages, the Renaissance, modern times and postmodern society. The author focuses on the relationship between the purposeful formation of the artistic image of the subject environment and the peculiarities of the request of the target audience. The author reflects the distinctive features of the artistic aesthetic image from the visual advertising image. The article describes the tendencies of transformation of the value picture of the personality under the influence of the visual advertising image. In the article the author analyzes various samples of modern design products. The author compares the aesthetic visualizations and semantic content of artistic images of the XXI century with analogues in the history of art and design on the example of the artistic image of man. The article describes the negative influence of quasi-values of postmodern society on the formation of the artistic image of design products designed for different gender and age groups. In the article the author highlights the examples of competent use of artistic and aesthetic interpretation in the design of artistic images of design products. The article describes the main possibilities of artistic and aesthetic interpretation in design and in the development of the designer’s personality.Conclusions. The author argues that the use of artistic and aesthetic interpretation is effective in the aestheticization of the subject environment. The article identifies its main capabilities in art and design activities and in the development of the designer’s personality.Key words: artistic and aesthetic interpretation, artistic image, visual advertising image, design, aesthetics of the subject environment.
12
V.I., Ivchenko. "AESTHETICIZATION OF ARTISTIC IMAGE IN DESIGN BY MEANS OF ARTISTIC AND AESTHETIC INTERPRETATION." Collection of Research Papers Pedagogical sciences, no. 91 (January 11, 2021): 65–73. http://dx.doi.org/10.32999/ksu2413-1865/2020-91-9.
Full textAbstract:
The purpose of the article is to substantiate the concept of using the possibilities of artistic and aesthetic interpretation in the process of artistic design activities for the аestheticization of the artistic image.Methods. The following scientific methods were used to solve the tasks and ensure the reliability of the provisions and conclusions: study and generalization of theoretical and practical scientific experience, analysis, synthesis, comparison, classification, artistic and aesthetic interpretation of works of art.Results. The essence of the concept of “artistic image” in its broad and narrow scientific sense is substantiated in the article. The author analyzes the dialectical relationship of the main components of the artistic image, such as: external form, internal form and content. The article describes the specific features of the artistic image, which constitute its nature as a whole. In the article the author highlights the features and specifics of understanding the “aesthetic” in works of art in the Middle Ages, the Renaissance, modern times and postmodern society. The author focuses on the relationship between the purposeful formation of the artistic image of the subject environment and the peculiarities of the request of the target audience. The author reflects the distinctive features of the artistic aesthetic image from the visual advertising image. The article describes the tendencies of transformation of the value picture of the personality under the influence of the visual advertising image. In the article the author analyzes various samples of modern design products. The author compares the aesthetic visualizations and semantic content of artistic images of the XXI century with analogues in the history of art and design on the example of the artistic image of man. The article describes the negative influence of quasi-values of postmodern society on the formation of the artistic image of design products designed for different gender and age groups. In the article the author highlights the examples of competent use of artistic and aesthetic interpretation in the design of artistic images of design products. The article describes the main possibilities of artistic and aesthetic interpretation in design and in the development of the designer’s personality.Conclusions. The author argues that the use of artistic and aesthetic interpretation is effective in the aestheticization of the subject environment. The article identifies its main capabilities in art and design activities and in the development of the designer’s personality.Key words: artistic and aesthetic interpretation, artistic image, visual advertising image, design, aesthetics of the subject environment.
13
Zhang, Chao. "Understanding of the relationship between natural emotion and artistic aesthetics in Huainanzi." Advances in Economics and Management Research 1, no. 2 (2022): 181. http://dx.doi.org/10.56028/aemr.1.2.181.
Full textAbstract:
"Huainanzi" is a work edited by the Huainan king Liu An in the early Western Han Dynasty, and it is also called "Huainan Honglie". There are many discourses on the relationship between emotion and artistic aesthetics in the book, which have been related to the nature of artistic generation, creative process, and aesthetic appreciation. They are systematic.“Huainanzi” puts forward some profound and important viewpoints around emotion and art, such as a deep understanding of natural emotions, Fen zhong ying wai" "Zhong you ben zhu" "Jun xing zhe" . Such propositions are elaborated in-depth in the creation and appreciation of literary and artistic aesthetics, so they have a strong aesthetic meaning. Although the original intention of the writers talking about feelings is not aimed at aesthetic appreciation, the aesthetic consciousness they reveal when talking about literature and art has a profound influence on aesthetics that cannot be ignored.
14
Zhang, Chao. "Understanding of the relationship between natural emotion and artistic aesthetics in Huainanzi." Advances in Economics and Management Research 2, no. 1 (2022): 181. http://dx.doi.org/10.56028/aemr.2.1.181.
Full textAbstract:
"Huainanzi" is a work edited by the Huainan king Liu An in the early Western Han Dynasty, and it is also called "Huainan Honglie". There are many discourses on the relationship between emotion and artistic aesthetics in the book, which have been related to the nature of artistic generation, creative process, and aesthetic appreciation. They are systematic.“Huainanzi” puts forward some profound and important viewpoints around emotion and art, such as a deep understanding of natural emotions, Fen zhong ying wai" "Zhong you ben zhu" "Jun xing zhe" . Such propositions are elaborated in-depth in the creation and appreciation of literary and artistic aesthetics, so they have a strong aesthetic meaning. Although the original intention of the writers talking about feelings is not aimed at aesthetic appreciation, the aesthetic consciousness they reveal when talking about literature and art has a profound influence on aesthetics that cannot be ignored.
15
Mankovskaya, Nadezda Borisovna. "The Man of Action of French Romanticism. Aesthetic Views of Victor Hugo and their Embodiment in Poetry and Dramaturgy." Культура и искусство, no. 8 (August 2023): 50–73. http://dx.doi.org/10.7256/2454-0625.2023.8.39409.
Full textAbstract:
The subject of the study is the fundamental philosophical and aesthetic problems in the romantic aesthetics of one of its leaders in France - Victor Hugo. The evolution of his aesthetic views is traced - from adherence to the aesthetics of classicism and royalist views to the established theory and artistic practice of romanticism, colored with democratic pathos. The core of Hugo's aesthetics is revealed - the original concept of the grotesque, which has found a convincing embodiment in his poetry, drama, historical novels. Such main themes as the correlation of the tragic and the comic, the beautiful and the ugly, the sublime and the base, content and form, freedom and order, historical truth and fiction in art, romantic symbolization in the context of the formation of the concept of the artistic essence of romanticism by Hugo are considered. The features of his artistic and aesthetic concept related to the national specifics of art, local color, the problems of artistic taste, inspiration, imagination, aesthetic pleasure, artistic style, genius, talent are analyzed. The main conclusion of the study is the conclusion that all these topics form the basis of Hugo's judgments about the nature of romantic drama as the pinnacle of 19th century poetry and its differences from classic tragedy. The multidimensional nature of this study predetermined the use of a number of methodological approaches: philosophical and aesthetic approach, art history analysis, comparative, interdisciplinary methods. The author's special contribution lies in the fact that the study of Hugo's aesthetic theory and artistic practice is based on original material. The article provides a comparative analysis of the embodiment of Hugo's aesthetic views in various types and genres of art. Such a study was undertaken for the first time in domestic science.
16
Kholodynska, Svitlana. "THE CREATIVE WORK OF BORIS VIAN WITHIN FRENCH HUMANITIES OF THE 1940s–1960s." UKRAINIAN CULTURAL STUDIES, no. 1(12) (2023): 29–33. http://dx.doi.org/10.17721/ucs.2023.1(12).07.
Full textAbstract:
In the second half of the 20th century, discussions around the understanding of crisis phenomena that permeated all spheres of human life became more frequent, in particular, the spheres of art and aesthetics were also touched upon. The crisis in the artistic sphere was connected with the general cultural crisis of the late 19th and early 20th centuries, the decline of spirituality, and the relativization of values, primarily moral and aesthetic. Analysis of the crisis in the sphere of artistic practice and aesthetics of the 20th century was the subject of scientific research by several representatives of Polish aesthetics of the second half of the 20th century: R. Ingarden, S. Morawski, B. Dziemidok, and others. The primary attention of these thinkers was devoted to the understanding of transformational processes in modern artistic creativity and the analysis of its influence on aesthetics with a clear emphasis on the importance of the axiological perspective. A thorough analysis of the problems of the crisis in artistic creativity and aesthetics of the 20th century can be found in the works of S. Morawski. He studied the causes and consequences of transformations in artistic creativity since the beginning of the 20th century, in particular, the consequences for the formation of the modern axiosphere, and its role in changing modern aesthetic consciousness. However, S. Morawski's prediction regarding the replacement of aesthetics with anti-aesthetics was not confirmed. On the contrary, art that implements aesthetic values has survived, although the range of aesthetic values has increased significantly. Modern philosophy of art is open to the most controversial artistic proposals. This is because it breaks with those normative principles that limit freedom. The most important thing, however, is that normative and descriptive aesthetics always have an axiological character, which all representatives of Polish aesthetics emphasized in the second half of the 20th century.
17
Shevchuk, Kateryna. ""CRISIS OF ART" AND "CRISIS OF AESTHETICS" IN RESEARCH OF POLISH HUMANITIES OF THE SECOND HALF OF THE 20th CENTURY." UKRAINIAN CULTURAL STUDIES, no. 1(12) (2023): 25–28. http://dx.doi.org/10.17721/ucs.2023.1(12).06.
Full textAbstract:
In the second half of the 20th century, discussions around the understanding of crisis phenomena that permeated all spheres of human life became more frequent, in particular, the spheres of art and aesthetics were also touched upon. The crisis in the artistic sphere was connected with the general cultural crisis of the late 19th and early 20th centuries, the decline of spirituality, and the relativization of values, primarily moral and aesthetic. Analysis of the crisis in the sphere of artistic practice and aesthetics of the 20th century was the subject of scientific research by several representatives of Polish aesthetics of the second half of the 20th century: R. Ingarden, S. Morawski, B. Dziemidok, and others. The primary attention of these thinkers was devoted to the understanding of transformational processes in modern artistic creativity and the analysis of its influence on aesthetics with a clear emphasis on the importance of the axiological perspective. A thorough analysis of the problems of the crisis in artistic creativity and aesthetics of the 20th century can be found in the works of S. Morawski. He studied the causes and consequences of transformations in artistic creativity since the beginning of the 20th century, in particular, the consequences for the formation of the modern axiosphere, and its role in changing modern aesthetic consciousness. However, S. Morawski's prediction regarding the replacement of aesthetics with anti-aesthetics was not confirmed. On the contrary, art that implements aesthetic values has survived, although the range of aesthetic values has increased significantly. Modern philosophy of art is open to the most controversial artistic proposals. This is because it breaks with those normative principles that limit freedom. The most important thing, however, is that normative and descriptive aesthetics always have an axiological character, which all representatives of Polish aesthetics emphasized in the second half of the 20th century.
18
Shorkend, Daniel. "Artistic Formalism in Relation to Sport." International Journal of Social Science Studies 7, no. 2 (2019): 71. http://dx.doi.org/10.11114/ijsss.v7i2.4081.
Full textAbstract:
I argue that sport can be considered aesthetic and thus converge with a certain view of art. We can enjoy abundance and proliferation as well as negation and austerity in nature, art and sport. The aesthetics of abundance and negation are “intertwined” in sport as art-like. Sport is well positioned to perform art’s cultural task better than traditional forms of art. Art and sport are intertwined in the sense that sport as an aesthetic, cultural phenomenon may continue the work of art. By aesthetics, the author focuses on notions of formalism in sport. This “will to form” is predicated on the need humans have for order, pattern and harmony. In that sense, art and sport might offer us a vision of clarity and precision. A theory of formalism applies equally to art and sport.
19
Ziza, Oleksandr. "CONCEPTUAL BASES OF FORMATION OF ARTISTIC AND AESTHETIC COMPETENCE OF THE FUTURE TEACHER OF MUSICAL ART." Collection of Scientific Papers of Uman State Pedagogical University, no. 1 (April 27, 2022): 82–89. http://dx.doi.org/10.31499/2307-4906.1.2022.256188.
Full textAbstract:
The article examines the main components of the formation of artistic and aesthetic competence of the future teacher of music. The specifics of the implementation of the competence approach in higher education institutions are considered, and the difference between the definitions of “competence” and “competency” is highlighted and substantiated.The competence approach involves significant changes in the content and structure of the learning process in higher education, as the main focus is on acquiring professional knowledge, using research and creative methods, attracting the best domestic and foreign methods to improve professional skills, and achieving high results in music and teaching.The study presents the key components of artistic and aesthetic competence of the future teacher of music art: scientific and cognitive, value, motivational and practical, creative and effective.It is determined that artistic and aesthetic competence is an integrative spiritual and aesthetic phenomenon, which is determined by the readiness to use personal resources in the organization of the educational process, mobilization of musical and performing knowledge, skills, values, abilities, etc. to effectively solve musical and pedagogical problems in different situations and building your own effective model of professional activity. Artistic and aesthetic competence is characterized by the synthesis of such structural elements as an aesthetic worldview, aesthetic taste, and aesthetic ideal.The article states that artistic and aesthetic competence is characterized by the synthesis of such structural elements as an aesthetic worldview, aesthetic taste, and aesthetic ideal.Artistic and aesthetic competence as a universal characteristic of aesthetic development of the individual is designed to ensure harmonious and comprehensive development of the aesthetic sphere of man in the context of his general culture, to promote creative potential and creative activity, uniqueness, and originality.
 Keywords: competence; competency; artistic and aesthetic competence; competence approach; professional competence; cultural competence; aesthetics; professional education; music teacher.
20
Novikov, Boris, Tamara Rudenko, and Olha Potishchuk. "ARTISTIC CREATIVITY AND DEVELOPMENT OF AESTHETIC THOUGHT: PHILOSOPHICAL REFLECTION." Educational Discourse: collection of scientific papers, no. 45(7-9) (November 14, 2023): 19–29. http://dx.doi.org/10.33930/ed.2019.5007.45(7-9)-2.
Full textAbstract:
The research objective. The purpose of the study is to determine the nature, features, functioning mechanisms of artistic creativity, to consider the main stages of the development of aesthetic views. To solve the task, it is necessary to consider the philosophical and aesthetic thought of the past: philosophical searches of thinkers of antiquity, the Middle Ages, the Renaissance, and the New Age, the aesthetic views of German classical idealism, non-classical philosophy and the role of irrational motives in the artistic creativity of the 19th and 20th centuries, modern aesthetic views. A detailed examination of artistic creativity will also contribute to the understanding of the specifics of the artist's creativity in each specific art form, the aesthetic and educational role of artistic works. The statement of basic materials. Aesthetic thought, like world science, has deep roots, traditions of aesthetic analysis have been formed since ancient times. There are various definitions of artistic creativity, but the properties of works of art and their impact on people are considered through the concept of the beautiful, which is central to aesthetic science. Artistic creativity is able to evoke strong feelings, promotes the development of imagination, fantasy, stimulates and directs the creative activity itself. In aesthetic thought, a huge amount of material was collected and various views were expressed regarding the nature and peculiarities of the functioning of artistic creativity. Artistic creativity has always been the center of attention of researchers, and in the future, it will attract attention, contribute to new creative discoveries, and will be admired.
21
Holgate, John. "Informational Aesthetics—What Is the Relationship between Art Intelligence and Information?" Proceedings 47, no. 1 (2020): 54. http://dx.doi.org/10.3390/proceedings2020047054.
Full textAbstract:
The author examines the notion of informational aesthetics. The origin of aesthetics lies in Epicurus’s notion of aesthesis and the integration of artistic activity within ethics and the ‘good life’—as in the aesthetic theory and practice of the East. The debasement of the word ‘aesthetic’ reflects the increasing alienation of beauty from imagination. The fragmentation of art now packaged as media objects in our digital world is the legacy of this alienation. The author retraces the history of the concept of information aesthetics developed in the 1960s by Birkhoff, Bense and Mole and which sought to marry mathematics, computation and semiotics with artistic activity, based on Birkhoff’s aesthetic measure, and to bridge the gap between science and the humanistic imagination. The failure of the cognitive school is attributed to the limitations of its data-driven view of art itself as an affordance of perception (Arnheim). The roles of algorithmically generated art and of Computational Aesthetic Evaluation (CAE) are assessed. An appeal is made to the more fertile conceptual ground of information civilization—an idea developed by Professor Kun Wu. The author introduces the concept of digital iconography and applies it to Renaissance masterpieces such as Raphael’s School of Athens and Leonardo’s Mona Lisa. In conclusion, Informational Aesthetics is identified as a future discipline for the Philosophy of Information.
22
Holgate, John. "Informational Aesthetics—What Is the Relationship between Art Intelligence and Information?" Proceedings 47, no. 1 (2020): 54. http://dx.doi.org/10.3390/proceedings47010054.
Full textAbstract:
The author examines the notion of informational aesthetics. The origin of aesthetics lies in Epicurus’s notion of aesthesis and the integration of artistic activity within ethics and the ‘good life’—as in the aesthetic theory and practice of the East. The debasement of the word ‘aesthetic’ reflects the increasing alienation of beauty from imagination. The fragmentation of art now packaged as media objects in our digital world is the legacy of this alienation. The author retraces the history of the concept of information aesthetics developed in the 1960s by Birkhoff, Bense and Mole and which sought to marry mathematics, computation and semiotics with artistic activity, based on Birkhoff’s aesthetic measure, and to bridge the gap between science and the humanistic imagination. The failure of the cognitive school is attributed to the limitations of its data-driven view of art itself as an affordance of perception (Arnheim). The roles of algorithmically generated art and of Computational Aesthetic Evaluation (CAE) are assessed. An appeal is made to the more fertile conceptual ground of information civilization—an idea developed by Professor Kun Wu. The author introduces the concept of digital iconography and applies it to Renaissance masterpieces such as Raphael’s School of Athens and Leonardo’s Mona Lisa. In conclusion, Informational Aesthetics is identified as a future discipline for the Philosophy of Information.
23
Przybysz, Piotr J. "Axiology in Stefan Morawski’s Aesthetics, Several Critical Doubts." Przegląd Kulturoznawczy, no. 1 (51) (March 2022): 111–26. http://dx.doi.org/10.4467/20843860pk.22.008.15753.
Full textAbstract:
The article tries to answer the question of what the specificity of Morawski’s aesthetics is. I indicate that Morawski is in favour of historical-cultural relationalism, where aesthetics is practised as a philosophical discipline, whose object of cognition is aesthetic qualities and values, and in art they are reduced to artistic qualities and values which it ultimately replaces with a set of aesthetic invariants. In the concluding part I undertake a polemic with Morawski’s standpoint on reducing artistic qualities and values in art to aesthetic qualities and values and with his diagnosis of the end of art.
24
Vinken, Pia M., and Thomas Heinen. "PERCEIVED AESTHETIC FEATURES DIFFERENTIATING BETWEEN COMPLEX ARTISTIC DANCE SKILLS OF VARYING STYLE." Science of Gymnastics Journal 12, no. 2 (2022): 119–33. http://dx.doi.org/10.52165/sgj.12.2.119-133.
Full textAbstract:
Research on (empirical) aesthetics investigates properties and features of objects, the resulting response-mechanisms to such objects in the observer, and the interplay between factors of the object and the observer in a given context. This study focuses on object-related factors, such as biological motion. The question is addressed of whether there are perceived aesthetic features differentiating between complex artistic skills ranked most and least aesthetic by experienced observers. Therefore, 18 participants with dance experience were asked to evaluate the perceived aesthetics of stick-figure video sequences of three different complex motor skills, namely dance jumps, poses, and turns. As a result, three specific aesthetic features are pointed out as aesthetic fundamentals in the perception and evaluation of aesthetic sports and performing arts: 1) an outwards direction away from the dancers longitudinal axis and body center, 2) a focus on external rotation of the limbs (turn-out), and 3) a (diagonal) spread of body movements creating the impression of elongating the dancer’s body. In particular, aesthetic features that demand the performer’s ability and challenge physical laws seem to be robust parameters when aiming to create aesthetic motion stimuli. Concluding, a skill-specificity for aesthetic features, as well as the need to differentiate between the interaction of different aesthetic features, is pointed out – aspects which seem especially apparent in biological motion stimuli.
25
Zhang, Yifan. "The Violent Aesthetic Embodiment of the Charm of the Villains in the Films." Communications in Humanities Research 15, no. 1 (2023): 18–24. http://dx.doi.org/10.54254/2753-7064/15/20230530.
Full textAbstract:
The aesthetics of violence are mainly in the sense that violence is presented in an aesthetic way, and poetic pictures and even imaginary shots are used to express the violence and violence of human nature. Viewers themselves are often amazed at the artistic expression and have no specific discomfort with the content. This paper mainly analyzes the three films from many aspects. The three films have different backgrounds and plots, and their commonalities are bright aesthetic expressions and rich lens language. This paper analyzes the aesthetic embodiment of the unique charm of the villain in the film from many angles, interprets the aesthetic language of the film by means of violence aesthetics, and studies it by means of examples. This paper finds that violence aesthetics is presented in an artistic way in the senses and a deeper understanding of the definition of violence aesthetics.
26
Ammagui, Nada. "Artistic Taste-Making at the Sharjah Biennial." Review of Middle East Studies 54, no. 1 (2020): 125–26. http://dx.doi.org/10.1017/rms.2020.8.
Full textAbstract:
This poster investigates the role that the Sharjah Biennial (SB), an international art showcase in the United Arab Emirates, plays in the development of a local artistic and cultural taste. It argues that the SB contributes to the molding of local aesthetic values through its selection of curatorial themes, artists, artworks, and, especially, venues. Using field visits, interviews, and archival research informed by sociological and anthropological theories on aesthetics, the author shows that organizers of public art exhibitions and programs are in a key position to shape the art to which people are exposed and how this, in turn, creates a public valuation of aesthetics. This project fills a gap in contemporary biennial literature by shedding light on the pivotal roles of art events in shaping societal aesthetic values.
27
Bobyr, Olha I. "PEDAGOGICAL CONDITIONS FOR THE FORMATION OF THE ARTISTIC AND AESTHETIC MINDSET OF WOULD-BE ARTISTS IN THE PROCESS OF PROFESSIONAL TRAINING." Bulletin of Alfred Nobel University Series "Pedagogy and Psychology" 2, no. 20 (2020): 153–60. https://doi.org/10.32342/2522-4115-2020-2-20-17.
Full textAbstract:
studies the pedagogical conditi ons for the formati on of the arti sti c and aestheti c mind- the pedagogical conditions for the formation of the artistic and aesthetic mind- set of future artists in the process of professional training. The meaning of the concept ‘condition’ in phil- osophical, psychological and pedagogical dictionaries is considered. Based on the analysis of scientific ap- proaches to the interpretation of the concept of ‘pedagogical condition’, the pedagogical conditions for the formation of artistic and aesthetic mindset of would-be arti sts are determined. We defi ne them as a holis- mindset of would-be arti sts are determined. We defi ne them as a holis- of would-be arti sts are determined. We defi ne them as a holis- would-be artists are determined. We defi ne them as a holis- are determined. We defi ne them as a holis- . We define them as a holis- tic interconnected set of activities specially created within the educational process, which provides motiva- tion for students to artistic and creative activities and increases the level of formation of the components of artistic and aesthetic mindset. The set of pedagogical conditions is substantiated. It is aimed at motivat- ing students to perform artistic and creative activities and increasing the level of formation of the compo- nents of artistic and aesthetic mindset. These include: 1) creating a comfortable artistic and creative envi- ronment in the educational process; 2) the interaction of the content of professional disciplines with the subjects of socio-humanitarian cycles, aimed at forming components of the artistic and aesthetic mindset of artists; 3) involvement of students in extracurricular artistic and creative activities by activating inter- nal motivation through external stimulation; 4) ensuring the priority of practical activities in solving artis- tic problems through the study of nature in terms of ‘plein air’. The first pedagogical condition is consid- ered in two aspects: artistic and creative environment as a system of favorable external (physical) circum- stances and professional interaction between the teacher and the students. The second pedagogical con- dition reveals the thematic content of the subjects of the social-humanitarian cycle, which should be pro- fessionally oriented and organically connected with the specialty 023 ‘Fine arts, decorative arts, restora- tion’. The third pedagogical condition reveals the need to motivate students on which depends any activi- ty. And the fourth condition explains the need to lay a solid foundation of professional knowledge and skills by means of plein air painting.
28
Consoli, Gianluca. "Aesthetic Value and Aesthetic Judgment. The Hard Problem for Contemporary Aesthetic Naturalism." Aesthetic Investigations 4, no. 1 (2020): 112–21. https://doi.org/10.5281/zenodo.4415579.
Full textAbstract:
Contemporary aesthetic naturalism integrates various scientific approaches into the common effort to provide an explanation of the main topics of aesthetics on the basis of empirical methods or in line with available evidence. Although these approaches have recently achieved very relevant empirical and theoretical results, contemporary aesthetic naturalism still does not solve the traditional hard problem of naturalism as such, that is the explanation of value in scientific terms. Firstly, I analyse the possible responses to this hard problem, showing that aesthetic value, particularly in the version of artistic value, remains outside the scope of current empirical approaches to aesthetics. Then I propose that this apparently strong philosophical limitation can be easily reduced to an ordinary epistemological limitation if aesthetic naturalism accepts to improve the interaction with art criticism, the discipline in the humanities characterised by a privileged access to the historical and social reasons that justify aesthetic judgments.
29
Vuksanovic, Divna, and Katarina Smakic. "Aesthetics of Disability: Aesthetic Values in the Era of Artificial Intelligence." Diogenes 32, no. 2 (2024): 146–63. http://dx.doi.org/10.54664/fmva4776.
Full textAbstract:
This paper deals with the interpretation of the impact of artificial intelligence (AI) in the field of artistic creation from the standpoint of aesthetic evaluation, emphasizing the distinction between aesthetic and artistic valorisation within contemporary aesthetics research. The paper broadly compares two aesthetic perspectives – traditional and contemporary: the former is value-determined through the idea of beauty, while the latter directs its interpretive focus on the body, specifically the disabled body. By recognizing the similarity between the representation of disabled bodies and works of art generated with the help of artificial intelligence, the possibility arises to connect AI creation with the so-called disability aesthetics. In this way, the treatment of the body in modern art serves as a starting point for establishing a new ideology of aesthetic evaluation in era of late capitalism.
30
Galanter, Philip. "XEPA - Autonomous Intelligent Light and Sound Sculptures That Improvise Group Performances." Leonardo 47, no. 4 (2014): 386–93. http://dx.doi.org/10.1162/leon_a_00844.
Full textAbstract:
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.
31
Wilson, Robert A. "Extended artistic appreciation." Behavioral and Brain Sciences 36, no. 2 (2013): 162–63. http://dx.doi.org/10.1017/s0140525x12001835.
Full textAbstract:
AbstractI propose that in at least some cases, objects of artistic appreciation are best thought of not simply as causes of artistic appreciation, but as parts of the cognitive machinery that drives aesthetic appreciation. In effect, this is to say that aesthetic appreciation operates via extended cognitive systems.
32
Tulaganova, Sanobar Panjievna. "ARTISTIC CONCEPT AND AESTHETIC IDEAL." Theoretical & Applied Science 102, no. 10 (2021): 373–76. http://dx.doi.org/10.15863/tas.2021.10.102.24.
Full text
33
McFee, Graham. "The Artistic and the Aesthetic." British Journal of Aesthetics 45, no. 4 (2005): 368–87. http://dx.doi.org/10.1093/aesthj/ayi049.
Full text
34
Kudaybergenova, Gulparshin Polatbaevna. "AESTHETIC FUNCTION OF ARTISTIC REPEATMENT." Educational Research in Universal Sciences 3, no. 4 (2024): 212–15. https://doi.org/10.5281/zenodo.10652644.
Full textAbstract:
<em>The article shows the importance of artistically actualized repetitions, which are one of the objects of study of linguopoetics, in ensuring the emotional expressiveness of a work of art. In the linguapoetic analysis of a literary text, logical concepts consisting of anophora and epiphora are based on literary repetitions. The article analyzes these concepts using the example of poems by Ibraim Yusupov.</em>
35
Sernelj, Téa. "V bran subjektivnosti in avtonomiji." Asian Studies 12, no. 2 (2024): 145–69. http://dx.doi.org/10.4312/as.2024.12.2.145-169.
Full textAbstract:
The article explores the aesthetic theory of Shitao, an early Qing dynasty painter who belonged to the Individualist school of painting which advocated painting from subjective experience of life and learning from the Dao, thus following the aesthetic tradition of literati landscape painters. Shitao composed his own theory of painting and aesthetics in the work The Remarks on Painting (Huayulu 畫語錄), which was the result of his artistic practice and philosophical reflections collected throughout his life. The article delves into Shitao’s critique of the Traditionalist school of painting which prevailed in his time as the mainstream painting style, advocating imitation and repetition of the old masters. For Shitao and other Individualist painters, such an approach and attitude towards art led to creative stagnation and a departure from the aesthetic ideals of classical landscape painting. With their artistic and theoretical intervention, however, they managed to preserve, upgrade and bring to life new perspectives in artistic production and aesthetic theories. This paper presents Shitao’s defence of subjectivity as a vital catalyst for the rejuvenation of artistic perspectives and the restoration of Chinese art, thus providing an invaluable contribution to the discourse on artistic creativity and subjectivity.
36
VILLAREAL, BENITO, ARNEL MORTE, and JOSEPH PAÑA. "Artistic Value of Juan Luna’s Spoliarium." Scientia - The International Journal on the Liberal Arts 12, no. 1 (2023): 62–69. http://dx.doi.org/10.57106/scientia.v12i1.139.
Full textAbstract:
This paper discussed the art appreciation technique using Jerrold Levinson’s artistic value in arriving at the importance of aesthetic experience in artwork. Levinson claimed that artistic value covers aesthetic value and achievement value, specifically in analyzing Juan Luna’s Spoliarium, which is considered the largest painting in the Philippines and is proclaimed as a national heritage. This paper argued that art should have aesthetic engagement from the viewer’s point of view which would lead them to discover its artistic value. Thus, this paper used the contextualizing technique since it augments and strengthens artistic engagement. References Adler, Mortimer. Six Great Ideas. New York: Macmillan Publishing Company, 1981.Descartes, Rene. The Philosophical Writings of Descartes (Volume II). Translated by John Cottingham, Robert, 1984.Goodman, Nelson. Languages of Arts. Indianapolis: The Bobbs-Merrill Company, Inc., 1968.Kant, Immanuel. Critique of Pure Reason. Translated by Norman Kemp Smith: Macmillan & Co., Ltd., 1929.Levison, Jerrold. Aesthetics and Ethics: Essays at the Intersection. Cambridge: Cambridge University Press, 1998._____________ Contemplating Art. Oxford: Oxford University Press, 2006._____________ Aesthetic Pursuits. United States of America: Oxford University Press, 2016.Luna, Juan. Spolarium. National Museum of the Philippines, 1884.Sporre, Dennis. Perceiving the Arts, 8th ed. United States of America: Prentice Hall, 2006.Stoothoff, and Dugald Murdoch. New York: Cambridge University Press.Tolstoy, Leo. What is Art? Translated by Richard Pevear & Larissa Volokhonsky. New York: Penguin Group, 1995.Wright, Susan. The Art, Young Children, and Learning. United States of America: Pearson Education Inc., 2003.www.flickr.com/photos/43184028@N02/440796048 29 June 2022.
37
Rohim, Abdul, Fajar Aji, and Dwi Haryanto. "The Estetika Penataan Artistik Film Sebelum Iblis Menjemput Ayat 2 Karya Timo Tjahjanto (2020)." ROLLING 6, no. 2 (2023): 121. http://dx.doi.org/10.19184/rolling.v6i2.35530.
Full textAbstract:
The application of artistic order in films needs to consider the aesthetic value. The artistic arrangement of a film is more influential if every detail can contribute to the aesthetic value that is enjoyed and accepted by the audience to support the story. Sebelum Iblis Menjemput Ayat 2 released on February 27, 2020. Sebelum Iblis Menjemput Ayat 2 movie is a follow-up story from Sebelum Iblis Menjemput movie which was released in 2018. This article discusses the aesthetics of the artistic arrangement in Sebelum Iblis Menjemput Ayat 2 movie by Timo Tjahjanto. This study uses Doeana's theory of film and television artistic order as the main theory, and A.A.M. Djelantik's aesthetic theory includes form, weight or content, and appearance is a supporting theory. The type of research used is a type of qualitative research using descriptive writing techniques. The results of the study are that the aesthetics of artistic arrangement in ritual scenes and climax scenes are depicted through the use of room settings that tend to be dark, the use of properties in the form of goat heads and ancient Greek mythology books, as well as the use of make-up, and clothing that shows the identity of each character.
38
Liu, ChunXiu. "Differences and Integration of Chinese and Western Urban Garden Architectural Aesthetics." American Journal of Arts and Human Science 3, no. 2 (2024): 56–63. http://dx.doi.org/10.54536/ajahs.v3i2.2756.
Full textAbstract:
From the perspective of Chinese and Western urban aesthetics, the article studied 15 existing scientific literature sources in terms of building types, building scale, gardening art, the relationship between gardens and architecture, the aesthetic style of castles and buildings, artistic origins, and aesthetic tastes. Using the classification and comparative analysis method, the artistic characteristics of Chinese and Western classical gardens were compared, the reasons for the differences in the artistic characteristics of Chinese and Western classical gardens were analyzed, and it was pointed out that the integration of Eastern and Western garden arts has reference significance for Chinese urban greening.
39
Baxtiyor Ugli, Asqarov Behzod. "FORMATION OF ARTISTIC AND AESTHETIC COMPETENCE OF FUTURE TEACHERS." American Journal Of Social Sciences And Humanity Research 02, no. 12 (2022): 21–27. http://dx.doi.org/10.37547/ajsshr/volume02issue12-04.
Full textAbstract:
The article deals with some aspects of the problem of formation of artistic and aesthetic competence of future teachers of primary general education. An analysis of work practice indicates that the level of professionalism in the field of art education and the qualitative characteristics of the future teacher - aesthetic culture, aesthetic and artistic taste - do not always meet the requirements of modern society. This once again confirms not only the relevance of the study, but also the need to search for and systematize forms and methods aimed at developing the artistic and aesthetic competence of future teachers.
40
Milczarczyk, Paula. "A landscape embroiled: experience of nature through experience of art." Polish Journal of Landscape Studies 2, no. 4-5 (2019): 13–22. http://dx.doi.org/10.14746/pls.2019.4.5.2.
Full textAbstract:
The article sets out with the theory of “aesthetics of reality” (created by Maria Gołaszewska) and its related method of transferring artistic structures onto non-artistic reality. The resulting construct, which is dubbed a para-artistic structure, becomes the theoretical basis for the aesthetic experience of nature. The so-called “formalization”—a procedure which consists in inserting nature into artistic frameworks—makes natural phenomena acquire a pretense of artwork. Nature as a picture becomes a landscape, while terms connected with the aesthetics of nature gain artistic qualities, enabling use of such notions as picturesque or kitsch. The methodological proposal by Gołaszewska is subsequently compared with the critical perspective of environmental aesthetics.
41
Sangrà, Toni. "La Acción Estética del Trabajo Social desde la Perspectiva Artística." Barcelona Investigación Arte Creación 7, no. 3 (2019): 285. http://dx.doi.org/10.17583/brac.2019.3036.
Full textAbstract:
The aim of this text is to generate a space to reflect and theorise about the artistic aspects of social work. In our contemporary context we can envision the aesthetic possibilities which operate during the intervention process in social work, specifically in the relational area where the subjectivity of the social worker plays an important role in the transformation of the Other. Some current art practices, in line with paradigms derived from complexity, postestructuralism and ecological theories, give us some keys as to how to revise the aesthetical condition of social work. Thus, from the grounds of artistic experience and through a conceptual development of the aesthetics of the art world, we explore social work from a new perspective and aim to offer a different outlook on this field. It is when art operates in a person’s vital context that the everyday reality strengthens our relationships with the world. In the same way, when the social workers project an aesthetic look on their actions, they accept the exercise of their profession from a dimension which is autonomous, singular and, possibly, artistic.
42
Lobo, Carlos. "Relativity of Taste without Relativism. An Introduction to Phenomenology of Aesthetic Experience." Miscellanea Anthropologica et Sociologica 20, no. 1 (2019): 46–81. http://dx.doi.org/10.26881/maes.2019.1.03.
Full textAbstract:
The author explores Ingarden’s aesthetics taking as a leading thread his repeated attempts at a refutation of the common locus of relativity of taste. Ingarden’s position is summarized in four theses: (1) values do exist as the proper correlates of aesthetic experience, (2) aesthetic values must be distinguished from artistic values, (3) artistic and aesthetic values are founded in other ontic strata, and finally (4) acts of valuation in aesthetic experience are presupposed by value judgements. In the light of the philosophical and phenomenological interpretation of the physical theory of relativity (special and general) by authors such as Weyl or Geiger, Ingarden’s refutation of the relativity of taste appears as incomplete. The phenomenology of aesthetic experience formulated by Geiger and Husserl and their own refutations of relativism in general and aesthetic relativism in particular suggest a more fruitful approach, which is undermined by Ingarden: the transcendental phenomenology of intersubjective aesthetic experience.
43
Nguyen Hong, Hanh. "The aesthetic meaning of ambiguity in literature." Journal of Science Social Science 67, no. 3 (2022): 19–30. http://dx.doi.org/10.18173/2354-1067.2022-0037.
Full textAbstract:
“Ambiguity” was first proposed by W.Empson in his work Seven types of ambiguity (1930). According to him, ambiguity "is an undefined meaning, an intention to express many kinds of things that allow for many interpretations". Ambiguity can be classified into two forms: ambiguously definite polysemy and ambiguously indefinite polysemy. Ambiguity is a characteristic aspect of artistic thinking. it dominates and leaves its mark on the artistic creation process. Ambiguity is an important quality in literary life: it opens the endless field of meaning, making literature the key to helping people open the door to dominate all aspects of human life; It is the aspect that makes the aesthetics of literature; Ambiguity promotes the imagination, cocreation of the reader; it is a measure of the artist's talent in creating a breakthrough of words and a sense of artistic innovation.
44
ugli, Tojiboev Jakhongir Umidjon. "TECHNOLOGY FOR DEVELOPING STUDENTS' ARTISTIC AND AESTHETIC COMPETENCE." International Journal of Pedagogics 4, no. 12 (2024): 149–53. https://doi.org/10.37547/ijp/volume04issue12-31.
Full textAbstract:
In this article, the technology for developing the artistic and aesthetic competence of future teachers has been improved based on a creative approach, taking into account the demands of today. An algorithm for developing the artistic and aesthetic competence of future teachers has also been developed, consisting of four stages, and its implementation in practice within the framework of pedagogical sciences is envisaged.
45
Tiupa, Valeri I. "Two Wings of Art Writing." Studia Litterarum 8, no. 1 (2023): 10–45. http://dx.doi.org/10.22455/2500-4247-2023-8-1-10-45.
Full textAbstract:
The article examines the correlation between aesthetic and rhetorical aspects of artistic writing in a historical perspective. Before the “aesthetic revolution” of the 18th century, which was marked with the publication of Baumgarten’s Aestheticism, written language, while possessing an essentially creative potential, was conceived purely rhetorically, not as the creation of conditional holistic worlds, but as a textforming craft of a special kind. The discovery of the creative nature of art served as a powerful impulse for its development and shaped classical European artistry. A mental crisis of artistic culture at the turn of the 19th and 20th centuries resulted in an imbalance between the aesthetic and rhetorical vectors of artistic writing. Avant-garde provocation, political engagement, and consumer fiction depreciated the aesthetic component of art from various angles. The critical discord between de-aestheticization of artistic writing and the rehabilitation of its aesthetic value was embedded in the formation of a theory of literature as a science, which took place in the polemic between “aesthetics of verbal creativity” by M.M. Bakhtin and purely rhetorical poetics of the formal school. This confrontation, which gave rise, in particular, to the phenomenon of “postmodernism,” continues to this day. It is in this confrontation that the fate of literature as an art of the word is decided.
46
Ternova, Maryna. "Robin George Collingwood: artistic taste as a factor of art history personalization." UKRAINIAN CULTURAL STUDIES, no. 2 (11) (2022): 34–38. http://dx.doi.org/10.17721/ucs.2022.2(11).06.
Full textAbstract:
The article considers 'artistic taste' both as a theoretical problem that is actively involved in the space of European art history at the turn of XVII – XVIII centuries, and as a manifestation of the personal preferences of artists whose place in the hierarchy of creative importance took into account such factor as artistic taste. The specificity of 'aesthetic taste' as a theoretical problem and as a personal assessment of works of art, which has its own place in modern humanities, is highlighted. It is shown that in the second half of the XX century, the tendency to analyze taste as an aesthetic and artistic phenomenon was outlined in the theoretical aspect. The standpoint of R.G. Collingwood, a famous English philosopher, aesthetician, art critic and historian of science, who attributed 'taste' to the cornerstones of aesthetic and artistic concepts, is highlighted, at the same time emphasizing the meaning of taste as a manifestation of the artist professional culture. It is argued that the actualization of the theoretical views of R.G. Collingwood is important in terms of the use of the interdisciplinary approach by modern cultural studies, which appeared in English humanism in general, and in the standpoint of the author of monograph 'The Principles of Art'. R.G. Collingwood's attitude to the historical and philosophical, aesthetic and artistic tradition of understanding of the 'taste' has been analyzed and the differences that took place in the interpretation of the 'taste' in the logic of the formation of both aesthetic and artistic approaches are emphasized. The concept of 'taste' is an integral part of the aesthetic and art theory, while preserving the 'artistic' aspect for the evaluation of works of art, as well as the 'aesthetic' aspect, when it comes to non-artistic space, for the evaluation of which the interaction with the entire 'sensual' human nature is necessary: from 'senses' that form 'base' aesthetics (senses of vision, hearing, touch, odor), to 'feelings', for example, sense of beauty, sublime, tragedy, shame. The group of artists whose work allows to 'illustrate' their personal preferences and conceptualize a number of issues related to the use of the theoretical and practical potential of existing modifications of 'artistic taste' is outlined.
47
Karam, Muayyad Ahmed. "COMPETENT APPROACH AS A FACTOR OF PROFESSIONAL DEVELOPMENT OF STUDENTS OF ARTISTIC SPECIALTIES." Educological discourse, no. 3-4 (2019): 92–99. http://dx.doi.org/10.28925/2312-5829.2019.3-4.9299.
Full textAbstract:
The study deals with the conceptual approaches to the process of formation of competences of students of artistic specialties. The main goal of the educational process for students of artistic specialties, which consists in the comprehensive development and arming of essentially important competencies, theoretical knowledge and practical skills, the ability to think creatively, to improve practically their own individual abilities is determined. The ideology of artistic education is characterized in terms of a competent approach. The essence of the concepts of «competence», «aesthetic competence», «aesthetic competence of students of artistic specialties» are revealed. The author's definition of the concept of aesthetic competence of students of artistic specialties, which is considered as an integral personality education, characterized by the ability of an individual to perceive, appreciate and realize beautiful is presented. The components of aesthetic competence of students of artistic specialties (aesthetic perception, aesthetic feelings, aesthetic needs, aesthetic tastes, aesthetic ideals) are determined. The features of a competent approach in the context of artistic education are outlined. The description of the main artistic and graphic competences of students of artistic specialties is given, as: integral, special, methodical, design and aesthetic. The list of qualities that a future specialist in the area of artistic education should possess (initiative, commonwealth, learning ability, reaction flexibility and thinking) are presented. The importance of improving the competences already acquired in previous years (subject, social, general cultural, legal, IT competencies, health-saving, competence of self-development, etc.) are emphasized.
48
Kondybay, M., O. Abdimanuly, and T. Rafael. "THE ARTISTIC FEATURES OF THE CONCEPT OF BEAUTY IN THE WORKS OF SINGER-POETS." Bulletin of the Eurasian Humanities Institute, Philology Series, no. 1 (March 30, 2025): 132–41. https://doi.org/10.55808/1999-4214.2025-1.13.
Full textAbstract:
This article provides a detailed examination of the concept of beauty and its artistic features in the works of Kazakh singer-poets. Beauty in their poetry is regarded as an integral part of nature, humanity, and national worldview. The national understanding of beauty is described through the use of artistic devices, capturing the vivid imagery of nature and the aesthetically appealing representation of human figures. Special attention is given to the harmonious interplay of feminine beauty, natural landscapes, and the national worldview. The study explores the artistic and aesthetic significance of poetic devices such as metaphors, epithets, and similes found in the works of singer-poets, as well as their influence on the national aesthetic. Literary methods employed to depict beauty serve as a foundation for uncovering the distinctive features of artistic perception in their creativity. Furthermore, the article addresses the issues of beauty and aesthetics in Kazakh poetry from the perspective of contemporary literary studies. The historical and cultural context of how the concepts of beauty and aesthetics were formed is analyzed. The contribution of singer-poets to national culture and literary heritage is considered, with an in-depth exploration of the aesthetic content of their works. Through the analysis of Kazakh singer-poets’ works, the article highlights the role and significance of national poetry in reflecting cultural values. This research allows for a deeper understanding of the artistic harmony inherent in the creative legacy of singer-poets. Thus, the aesthetic nature of beauty and its representation in national literature are evaluated from new theoretical perspectives, enriching scholarly views on Kazakh poetry.
49
Lütticken, Sven. "Autonomy as Aesthetic Practice." Theory, Culture & Society 31, no. 7-8 (2014): 81–95. http://dx.doi.org/10.1177/0263276413496853.
Full textAbstract:
This essay examines various conceptions of autonomy in relation to recent artistic practices. Starting from the apparent opposition between modernist notions of the autonomy of art and theorizations of political autonomy, the text problematizes the notion of the autonomy of art by using Jacques Rancière’s notion of the aesthetic regime. Focusing on the importance of the act and performance in the art of the last decades, it is argued that while political and artistic autonomy may never quite converge, aesthetic acts can under certain circumstances function in both the political and the artistic register, simultaneously or successively. The aesthetic act thus stages a passage from the artistic to the political, and vice versa.
50
Khamwijit, Narong, Emeritus Sakda Pannengpetch, and Raksarn Wannawattawong. "A STUDY ON THE ARTISTIC EXPRESSION OF INK ART OF CHINESE ANIMATION." EUrASEANs: journal on global socio-economic dynamics, no. 3(46) (May 30, 2024): 429–36. http://dx.doi.org/10.35678/2539-5645.3(46).2024.429-436.
Full textAbstract:
As a treasure of Chinese traditional art, ink art has a unique aesthetic charm and artistic expression. Chinese animation has gradually incorporated ink and wash art, infusing it with distinctive Chinese aesthetic elements. The paper delves into the significance and progression of the integration between ink art and Chinese animation, examining the stages of growth and maturity. It also scrutinizes the artistic expression methods of ink art in Chinese animation, such as the use of white space, compositional techniques, the use of five inks and six colors, and a variety of brush strokes. Finally, it explores the artistic aesthetics of ink art in Chinese animation, emphasizing the beauty of meaning and mood. - We study the artistic aesthetics of ink and wash art in Chinese animation, which encompass the beauty of mood existing between reality and reality, the beauty of chiaroscuro existing between form and spirit, and the beauty of metaphor-implied content.