Relevant bibliographies by topics / Cultural aesthetics

Contents

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

Academic literature on the topic 'Cultural aesthetics'

Author: Grafiati
Published: 19 February 2023

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Journal articles on the topic "Cultural aesthetics"

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Kirwan, James. "Aesthetics Without the Aesthetic?" Diogenes 59, no. 1-2 (February 2012): 177–83. http://dx.doi.org/10.1177/0392192112469478.

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Agung, Lingga, and Novian Denny Nugraha. "Digital Culture and Instagram: "Aesthetics for All?"." IMOVICCON Conference Proceeding 1, no. 1 (July 3, 2019): 93–98. http://dx.doi.org/10.37312/imoviccon.v1i1.7.

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Aesthetics is the study of beauty but in a cultural discourse is a representation of cultural expressions that mark its position in social reality. Thus, aesthetics is not a subjective expression of culture but rather a mechanism by which beauty is produced and distributed. The mechanism continues to operate even in a wider landscape such as in multidimensional technological space. This has resulted the aesthetic deconstruction because the norm operates differently. Instagram, which attracted latest generation, has birth a digital culture oriented to the new aesthetic visual forms. The aesthetic visual on Instagram constructed through visual production that is continuously interwoven with one another. The mechanism of cultural production in Instagram tends to deconstruct aesthetics as a norm. The public is more oriented to actions rather than philosophical contemplation. However, the mechanism of culture produces the discourse of aesthetics in Instagram still needs to explore. This research is important because we facing ‘loss of ideological and historical awareness’ of the aesthetics and aesthetics are the alternative to explore the nature of humanity. This research tries to explain how the aesthetics mechanism works on Instagram by virtual ethnography method and Bourdieu's ‘Capital Culture’ theory.
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Gans, Eric. "Aesthetics and Cultural Criticism." boundary 2 25, no. 1 (1998): 67. http://dx.doi.org/10.2307/303936.

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Jordan, Patrick W. "Aesthetics and Cultural Differences." Proceedings of the Human Factors and Ergonomics Society Annual Meeting 44, no. 32 (July 2000): 6–77. http://dx.doi.org/10.1177/154193120004403222.

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Khrenov, Nikolay A. "Aesthetics as a Human Science in the Situation of Culturological Reflection Becoming." Koinon 2, no. 4 (2021): 13–25. http://dx.doi.org/10.15826/koinon.2021.02.4.037.

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The article aims to correlate aesthetics with the science of culture, which is increasingly attracting attention at the turn of the XX–XXI centuries. This correlation can give rise to a whole scientific direction, which could be called cultural aesthetics. In this case, arguments are needed. The fact is that the science of culture today attracts other humanities with its universality and ability to integrate knowledge existing in other sciences. It would seem that this trend in integration does not correspond to the processes of modern science, in which, at the later stages of history, the emphasis was placed not on integration but differentiation. Aesthetics is no exception here. Both philosophy and aesthetics of the twentieth century fragmented into several directions. Nevertheless, as the article proves, in the history of aesthetics and, more precisely, at its early stages, there was an aesthetic system that defined all kinds of aesthetics. This is an ontological aesthetic that excludes the separation of the aesthetic into a separate sphere. Having arisen in antiquity, ontological aesthetics became the aesthetics of being. The aesthetic did not have independence, as it would be in the aesthetics of the New Time, and was a sign of being itself. It was this aesthetic system that had an exceptional universalism. In the history of culture, such a manifestation of the aesthetic constantly returned but still did not become decisive. However, the closer to the twentieth century, the more evident the need for the integration of isolated trends becomes. Having an advantage in integration processes, ontological aesthetics becomes consonant with the science of culture, or rather, with the integrative potential that this science contains. It is this circumstance that should be taken into account by enthusiasts who develop the problems of cultural aesthetics.
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Siles González, José, and Maria del Carmen Solano Ruiz. "Cultural history and aesthetics of nursing care." Revista Latino-Americana de Enfermagem 19, no. 5 (October 2011): 1096–105. http://dx.doi.org/10.1590/s0104-11692011000500006.

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The aim of this study was to clarify the role of aesthetics in the organization and motivation of care through history. The guiding questions were: What values and aesthetic feelings have supported and motivated pre-professional and professional care? and Based on what structures has pre-professional and professional care been historically socialized? Primary and secondary sources were consulted, selected according to established criteria with a view to avoiding search and selection bias. Data analysis was guided by the categories: "habitus" and "logical conformism". It was found that the relation between social structures and pre-professionals (motherhood, religiosity) and professional aesthetic standards (professionalism, technologism) of care through history is evidenced in the caregiving activity of the functional unit, in the functional framework and the functional element. In conclusion, in social structures, through the socialization process, "logical conformism" and "habitus" constitute the aesthetic standards of care through feelings like motherhood, religiosity, professionalism, technologism and humanism.
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Kiianlinna, Onerva. "Contradiction That Never Was: Epigenesis versus Modularity in Evolutionary Aesthetics." Aisthesis. Pratiche, linguaggi e saperi dell’estetico 14, no. 2 (January 24, 2022): 79–91. http://dx.doi.org/10.36253/aisthesis-13054.

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Coevolutionary aesthetics has been forming since the early 2010s. Its contribution of great value has been the inclusion of cultural evolution into Darwinian theories on the origins of art and aesthetic judgement. Coevolutionary aesthetics – or non-modular evolutionary aesthetics as it is sometimes called – emphasizes that aesthetic behavior develops in a specific social environment. Coevolutionary aesthetics suggests that traditional evolutionary aesthetics, drawing from evolutionary psychology, has ignored this. The critical position stems from the widely accepted notions that humans adapt plastically to changing conditions and that there is no «innate» aesthetic module in the mind. What has not been examined is that modularity itself is often considered a condition for plasticity of mind. My main argument is that aesthetic inference is a metarepresentational module without direct fitness-increasing functions. Coevolutionary and evolutionary psychological aesthetics are thus more complementary than contradictory. Combining modular and coevolutionary thinking is the most consilient way forward in evolutionary aesthetics.
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Erlanson, Erik, Jon Helgason, Peter Henning, Linnéa Lindsköld, and Louise Ejgod Hansen. "The Aesthetics of Cultural Policy." Nordisk kulturpolitisk tidsskrift 24, no. 2 (December 14, 2021): 103–5. http://dx.doi.org/10.18261/issn.2000-8325-2021-02-01.

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Ульянова, Nataliya Ulyanova, Гудкова, and Anastasiya Gudkova. "Aesthetics of Socio-Cultural Space." Socio-Humanitarian Research and Technology 4, no. 4 (December 20, 2015): 83–86. http://dx.doi.org/10.12737/17205.

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This paper’s aim is the analysis of modern trends in design, and modern design influence on environment’s aesthetic space and art development. Trends in the fine art and design development at the example of traditional artworks have been considered in this paper. A design work is a thing of the wizard. All problems are due to real processes, which over the past decade literally alter the artwork’s essence and character. Invariably is the fact that the design carries a history and chronology of the ancient times’ art.
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Choi, Keeryong. "Aesthetics of the cultural uncanny." Craft Research 8, no. 1 (March 1, 2017): 33–54. http://dx.doi.org/10.1386/crre.8.1.33_1.

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Dissertations / Theses on the topic "Cultural aesthetics"

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Lachance, Lindsay. "Cultural Renewal in Aboriginal Theatre Aesthetics." Thèse, Université d'Ottawa / University of Ottawa, 2012. http://hdl.handle.net/10393/23425.

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The goal of this research is to shed light on current developments in the field of Aboriginal Theatre Studies. This investigation encourages the reader to look again at the ways in which elements of Aboriginal culture are manifesting in contemporary theatre. Aboriginal theatre is increasingly visible in Canada and its cachet is growing with both artists and audiences. As a result, culturally specific worldviews and traditional practices are being introduced to mainstream Canadian theatre audiences. Through interviews with practicing Aboriginal artists like Floyd Favel, Yvette Nolan and Marie Clements and through an exploration of their individual theatrical processes, this research has attempted to identify how practicing Aboriginal artists consciously privilege Indigenous ways of knowing in their approaches to creating theatre for the contemporary stage.
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Harper, Nicole Renai. "Cultural aesthetic experience perceptions of learning developed through cultural immersion /." Click here to access dissertation, 2008. http://www.georgiasouthern.edu/etd/archive/summer2008/nicole_r_harper/harper_nicole_r_200808_Edd.pdf.

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Thesis (Ed.D.)--Georgia Southern University, 2008.
"A dissertation submitted to the Graduate Faculty of Georgia Southern University in partial fulfillment of the requirements for the degree Doctor of Education." Directed by Delores Liston. ETD. Includes bibliographical references (p. 398-423) and appendices.
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Chan, Wing-chun Julia, and 陳永晉. "Towards an aesthetics of cliché: cultural recycling and contemporary fiction." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2009. http://hub.hku.hk/bib/B42182311.

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Vitali, Valentina. "The aesthetics of cultural modernisation : Hindi cinema in the 1950s." Thesis, University of Ulster, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.268856.

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Chien, Jui-Jung. "Aesthetics, cultural policies and the Arts Council of Great Britain." Thesis, University of Leeds, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.394439.

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Chan, Wing-chun Julia. "Towards an aesthetics of cliché cultural recycling and contemporary fiction /." Click to view the E-thesis via HKUTO, 2009. http://sunzi.lib.hku.hk/hkuto/record/B42182311.

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Botchkareva, Anastassiia Alexandra. "Representational Realism in Cross-Cultural Perspective: Changing Visual Cultures in Mughal India and Safavid Iran, 1580-1750." Thesis, Harvard University, 2014. http://nrs.harvard.edu/urn-3:HUL.InstRepos:13070051.

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The concept of realism in visual representation has been defined and deployed largely within the domain of the Western artistic canon. In the field of art history, the term is often used in ways that depend on implicit, culturally coded assumptions about its connection with the formal markers of optical-naturalism. The Persianate tradition of pictorial representation by contrast, has been traditionally characterized in modern scholarship as stylized and decorative, with little acknowledgment of an interest in realism in its own visual language. Furthermore, normative Euro-centric attitudes have perpetuated the assumption that an engagement with realism entered Persianate artistic practices with the advent of Europeanizing modes of depiction in Safavid and Mughal spheres of production around the late sixteenth-century. This dissertation explores the topic of realism from the perspective of Persianate visual culture. In so doing, it proposes to refine our understanding of the concept in terms that accommodate the varied artistic production of cultures that laid claims to cultivating representational realism in their own primary sources. The first chapter draws on multi-disciplinary discussions to challenge art historical treatments of pictorial realism as a style, in favor of a functional definition of the concept as an emergent quality rooted in formal strategies that activate particular patterns of mirror-response in their audiences. The second and third chapters reject the principle of evaluating the realism of Persianate representations according to their degree of proximity to European models. The second chapter discusses the structural conditions of change in visual habitus in cases of inter-cultural encounter between foreign modes of representation and the resulting works of aesthetic hybridity. The third chapter presents material evidence of early modern Safavid and Mughal albums as discourses of aesthetic heterogeneity. The fourth chapter explores the local Persianate roots of realism, including the changes these realism strategies underwent in the early modern period. The fifth and final chapter develops case studies of two seventeenth-century Mughal and Safavid drawings, which cultivate representational enlivenment in depicting harrowing moments of death. The discussion delves in greater detail into the particular patterns of realism developed in the seventeenth-century Persianate visual culture.
History of Art and Architecture
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Loten, Sarah. "The aesthetics of solo bagpipe music at the Glengarry Highland Games." Thesis, University of Ottawa (Canada), 1995. http://hdl.handle.net/10393/9502.

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The purpose of this study is to examine the aesthetics of solo bagpipe music at the Glengarry Highland Games in Maxville, Ontario, in order to understand how people perceive and receive their world. My ethnography of aesthetics of solo bagpipe music has involved a selected group of musicians that has participated in the piobaireachd and ceol beag contests at these games. Piobaireachd is the classical tradition of the Great Highland bagpipe, and ceol beag is the "light" music which consists of dance songs or marches. The first chapter explores the "arrangements" of power in this community. By "arrangements" of power, I refer to the informal understandings between people about the hierarchies, prestige and power in bagpipe activities of their community. The second chapter examines the various traditions in the aesthetics of solo piping. I problematize the notion of "tradition" by examining it as a human construction that is continuously reinterpreted as it is passed down from generation to generation. The third chapter explores the local knowledge of some of the pipers taking part in the competitions. By "local knowledge", I mean the body of knowledge that is formed collectively, over time, and comes to represent the main ideas and expectations the pipers have about their music. Since Maxville, with the Glengarry Highland Games, is considered, according to the pipers, to be the "spiritual center" of piping, this choice of location has been ideal for understanding sound structures, behaviours, practices, and attitudes that are inherent in this cultural activity.
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Gorski, Andrew David. "The Environmental Aesthetic Appreciation of Cultural Landscapes." Thesis, The University of Arizona, 2007. http://hdl.handle.net/10150/193297.

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In recent decades the canon of environmental aesthetics has expanded beyond its primary concern of understanding what is beautiful in the fine arts to the appreciation of natural and cultural landscapes. Corresponding with society's growing interest in conservation, environmental aesthetics has emerged as relevant to many conservation discussions. The preservation and interpretation of cultural landscapes is complicated by resources that are in a constant state of change. Traditional cultural landscape preservation practices have had mixed results. A focus on interpretation rather than preservation is generally considered a strategy for improving cultural landscape practices. Applying theories developed in the field of environmental aesthetics to cultural landscapes may lead to principles helpful to their preservation and interpretation. In this study, an environmental aesthetic framework is developed and applied to the Canoa Ranch, a historic property south of Tucson, Arizona, to evaluate the potential of using environmental aesthetics in appreciation of cultural landscapes.
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Ryan, John C. "Plants, people and place : cultural botany and the Southwest Australian flora." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2011. https://ro.ecu.edu.au/theses/426.

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The Southwest corner of Western Australia has a distinctive culture of flora. In particular, the region is an internationally lauded destination for wildflower tourism. Aesthetic values inform the Southwest’s contemporary culture of flora and its products: photographs of flowers, botanical illustrations, taxonomic schemata and visually based landscape writings. In dynamic combination with sight, however, multi-sensoriality enhances cultures of flora through sensation. Hence, this thesis argues that it is vital to consider how bodily experiences deepen the appreciation of floristic appearances. Through readings of cultural, literary and historical sources, I propose floraesthesis as an embodied aesthetics of plants. The ancient concept of aesthesis, the root of the modern term aesthetics, comprises sensations—induced by the many senses—as gestures of curiosity. Whereas floraesthesis theorises corporeal appreciation, a visual aesthetic tends to distance plants from human appreciators. The latter may posit plants hierarchically as objects of visual art or constructs of quantitative science. This project puts into practice a critical humanities-based model that I call cultural botany. Following a progression of readings from colonial to contemporary times, I trace a continuum from floral aesthetics to floraesthesis through the cultural botany context. Using an integrative Thoreauvian-Heideggerean theoretical framework, I describe floral aesthetics as constituted by culture and language. As Thoreau and Heidegger suggest, embodied appreciation is predicated on language. I then theorise floraesthesis through readings of written and spoken materials: historic and contemporary literatures; colonialera botanical documents; transcriptions of ethnographic interviews; and my poetic enquiries as interludes throughout the text. A qualitative methodology, which I term botanic field aesthetics, comprises poetic practice, ethnographic interviewing and field walking set within an extensive historical context and organised around three places: Lesueur National Park, Fitzgerald River National Park and Anstey-Keane Damplands.
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Books on the topic "Cultural aesthetics"

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Brub, Michael, ed. The Aesthetics of Cultural Studies. Oxford, UK: Blackwell Publishing Ltd, 2005. http://dx.doi.org/10.1002/9780470774182.

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The cultural promise of the aesthetic. London: Bloomsbury Academic, 2014.

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Wen hua biao zheng yu wen hua yan jiu: Cultural representation and cultural studies. Beijing Shi: Beijing da xue chu ban she, 2007.

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Elia, Yonan Michael, ed. The cultural aesthetics of eighteenth-century porcelain. Farnham, Surrey, England: Ashgate Pub., 2010.

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Cavanagh, Alden. The cultural aesthetics of eighteenth-century porcelain. Surrey, UK, England: Ashgate, 2009.

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The aesthetics and politics of cultural worldmaking. Trier: WVT, Wissenschaftlicher Verlag Trier, 2010.

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Mediasphere Shanghai: The aesthetics of cultural production. Honolulu: University of Hawai'i Press, 2007.

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Art & otherness: Crisis in cultural identity. Kingston, NY: Documentext/McPherson, 1992.

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Darwin and theories of aesthetics and cultural history. Farnham, Surrey, England: Ashgate, 2012.

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Beyond memory: Silence and the aesthetics of remembrance. New York: Routledge, 2016.

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Book chapters on the topic "Cultural aesthetics"

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Xhignesse, Michel-Antoine. "The Puzzle of Cultural Property." In Aesthetics, 324–30. New York: Routledge, 2023. http://dx.doi.org/10.4324/9781003368205-52.

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Xhignesse, Michel-Antoine. "The Puzzle of Cultural Appropriation." In Aesthetics, 317–23. New York: Routledge, 2023. http://dx.doi.org/10.4324/9781003368205-51.

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Carraro, Andrea, Angelie Ignacio, Eva L. Cupchik, and Gerald C. Cupchik. "The Aesthetics of Culture." In Cultural Memory, 121–36. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003205135-11.

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Highmore, Ben. "Social aesthetics." In Routledge Handbook of Cultural Sociology, 151–58. Second edition. | Abingdon, Oxon ; New York, NY : Routledge, 2019. | Series: Routledge international handbooks | Earlier edition published as: Handbook of cultural sociology.: Routledge, 2018. http://dx.doi.org/10.4324/9781315267784-17.

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Li, Zehou. "Aesthetics and Teleology." In Sophia Studies in Cross-cultural Philosophy of Traditions and Cultures, 291–336. Singapore: Springer Singapore, 2018. http://dx.doi.org/10.1007/978-981-13-0239-8_10.

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Wilkinson, Robert. "Nishida, Aesthetics, and the Limits of Cultural Synthesis." In Intercultural Aesthetics, 69–86. Dordrecht: Springer Netherlands, 2009. http://dx.doi.org/10.1007/978-1-4020-5780-9_6.

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Coleman, Elizabeth Burns. "Cross-Cultural Aesthetics and Etiquette." In Social Aesthetics and Moral Judgment, 180–95. 1 [edition]. | New York : Taylor & Francis, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781315148496-11.

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Sperling, Alison. "Radiating Exposures." In Cultural Inquiry, 41–62. Berlin: ICI Berlin Press, 2020. http://dx.doi.org/10.37050/ci-17_03.

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The brief explorations of radiation exposures presented within this essay draw primarily from nuclear art and culture and contribute to the field of nuclear aesthetics, which has long been fixated on the problem of visibility and the representation of nuclear residues. The examples draw primarily from photographic technologies and other aesthetic registers that capture visual residues of radiation. The challenges of nuclear aesthetics are also political and social. This constellation of objects and inquiries is meant to explore the fraught political, environmental, and social relations between radiation, visibility, toxicity, through the concept of exposure. They offer feminist glimpses into other ways of thinking exposure, as it develops in relation to (often imperceptible) toxicity that is not inscribed into a logic that partitions the passive victim of suffering from some pure or unaffected subject. They are examples that are both forms of exposure specific to the nuclear while also, perhaps, helping to expose more nuanced and complex ways of understanding forms of exposure that extend beyond nuclearity.
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Zhao, Lu, and Haimin Sun. "Technical Aesthetics Strategy of Information Visualization." In Cross-Cultural Design. Interaction Design Across Cultures, 302–11. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-06038-0_22.

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Wagner, Ulrike. "Everyday Aesthetics and the Practice of Historical Reenactment." In Cultural Inquiry, 113–20. Berlin: ICI Berlin Press, 2022. http://dx.doi.org/10.37050/ci-21_12.

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Throughout his career, Stanley Cavell’s subject has been the ordinary: what Ralph Waldo Emerson would call ‘the near, the low, the common’. Cavell provides compelling insights into Emerson’s efforts to locate philosophy within the flow of everyday life. He examines how Emerson renews common thinking, citations, and fragments from the works of others by means of his ‘aversive thinking’: his technique of turning writing back upon itself. While taking Cavell’s Emerson readings as its point of departure, this essay switches Cavell’s philosophical angle for a philological one. I suggest that Emerson’s engagement with contemporary debates concerning the historical reading of sacred and secular literature (the Bible, Homer, Shakespeare) formed his own practice of reworking literatures of various origins and recasting aesthetics in major ways.
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Conference papers on the topic "Cultural aesthetics"

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Kuznetsova, T. "SOCIO-CULTURAL DYNAMICS OF FASHION." In Aesthetics and Hermeneutics. LCC MAKS Press, 2022. http://dx.doi.org/10.29003/m2569.978-5-317-06726-7/157-163.

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Fashion as a social and aesthetic phenomenon of modern culture and art. Fashion affects mechanisms as a regulator of people's behavior in their relationships in all spheres of society. Special attention is paid to the importance of fashion for different categories of people and its place in the formation and linguistic awareness of the cultural picture of the world. What is its power and why is the phenomenon noticed by such philosophers as G. bloomer, J. Baudrillard or R. Barth? Fashion is a cultural phenomenon that affects the formation of values and forms a factor in the socio-cultural life of society. Fashion manifests itself through verbal forms, but it can also influence the spiritual world of a person,being a source of various cultural norms.
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Khrenov, N. "AESTHETIC HERMENEUTICS: PARADIGMAL NETWORK." In Aesthetics and Hermeneutics. LCC MAKS Press, 2022. http://dx.doi.org/10.29003/m2537.978-5-317-06726-7/19-22.

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In the situation of the emergence of new and activation of existing Humanities, the interaction between them changes. So, today, when there is an intensive development of the science of culture, the relationship between aesthetics and art studies is changing. The science of art, having reached the status of “normal science”, seeks toexpand the concept of its subject. Such a science as cultural studies,as well as such philosophical areas as hermeneutics and phenomenology, meet this need.
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Ustiugova, E. "STYLIZATION PHENOMENON FROM THE PERSPECTIVE OF HERMENEUTICS." In Aesthetics and Hermeneutics. LCC MAKS Press, 2022. http://dx.doi.org/10.29003/m2544.978-5-317-06726-7/51-55.

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Stylisation is a communicative formation where many levels of meaning and forms intersect. The range of interpretation strategies is driven by the historical and cultural context,which sets out its requirements and assessment criteria. Stylisation can be seen as dialogue, intertext, game, aesthetic visibility, simulacrum, creative expression, as a technique that is part of the foundation of a particular style (classicism or modernity), the action of the linguistic system of culture itself, as a communicative space for total transformation (postmodern). If stylisation is based on the principle of directed communication between style, styliser and reci pient, stylisation as a structural principle of the text becomes a medium and the reci pient becomes a co-creator improvising on the basis of the structure of the message. The interpretation of the author's stylised message is carried out in playing activities on the boundaries of cultural codes. In the postmodern space characterised by the absence of a super code, stylisation operates in a quasi-subject situation,which is based on the principle of correlation and mismatch. Postmodern stylisation is not interpreted,as the reci pient becomes a co-participant in an event in which the recipient does not create or decipher the text tobe read, but produces the context of the intertextual game of code collision.
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Smirnova, N. "AESTHETIC ANALYSIS' METHODOLOGY: POST-NON-CLASSICAL HERMENEUTICS." In Aesthetics and Hermeneutics. LCC MAKS Press, 2022. http://dx.doi.org/10.29003/m2538.978-5-317-06726-7/23-25.

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Post-non-classical hermeneutics' constituents as neo-Kantian philosophy's, psychoanalytical reflection's, and N. Chomsky's conception of generative grammars' cognitive synthesis have been examined in this paper. Non-adequacy of post-modern absolutization of the so-called “interpretation freedom” of cultural artifacts under the “author's death” conditions has been clearly demonstrated.
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Durac, Livia. "Aesthetics and Creativity. Identity Configurations." In World Lumen Congress 2021, May 26-30, 2021, Iasi, Romania. LUMEN Publishing House, 2022. http://dx.doi.org/10.18662/wlc2021/21.

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Reflecting on human attitude towards reality, together with deciphering the emotional code that accompanies it, has configured - in time – the aesthetic universe, open to human reflection, creation, and evaluation. Aesthetics appears through the way in which consciousness reacts and capitalises upon things in nature and society, or which belong to human subjectivity, including on artistic work, which have an effect on sensitiveness due to their harmony, balance and grandeur. As a fundamental attribute of the human being, creativity is the engine of cultural evolution, meaning the degree of novelty that man brings in his ideas, actions, and creations. Aesthetical values, together with the other types of values, contribute to what society represents and to what it can become, hence motivating human action and creation. Their role is to create a state of mind that encourages the cohesion, cooperation, and mutual understanding of the society. Integrating a chronological succession of the evolution of the concepts that objectify its structure, its aesthetics and creativity, this article stresses the synergetic nature of the two dimensions of human personality, paving the way to beauty, as a form of enchantment of the human spirit.
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Prameswari, Intan, and Haruo Hibino. "Indonesian Cultural Design Concept: Analysis on Association of Indonesians’ Design Perception and Culture." In International Conference on Aesthetics and the Sciences of Art. Bandung, Indonesia: Bandung Institute of Technology, 2020. http://dx.doi.org/10.51555/338630.

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Bulycheva, E. "“MYTHOLOGICAL” AND “POETIC”: ON THE PROBLEM OF MYTHOPOETICS IN THE FINE ARTS OF THE 20TH CENTURY." In Aesthetics and Hermeneutics. LCC MAKS Press, 2022. http://dx.doi.org/10.29003/m2563.978-5-317-06726-7/134-137.

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The multidimensionality of the visual arts of the twentieth century due to the radicalism of manifestations can be studied more reliably through the current field of interdisciplinary approaches including the analytics of mythopoetics. As a theoretical model for studying the mythopoetic work basis appears tobe a point of intersection of related cultural codes. Fine art while relying on the structural units of myth does not copy them directly,but translates them into the language of plastic images and enriches them with its specific stable elements. In this context they are equivalent tothe elements of the structure of the myth. The “poetic” in the free flight of imagination plays with the metaphorical nature of images tearing them away from reality. The “mythological” for all the whimsical and metaphorical images is experienced and perceived by the subject as an absolute reliable reality. The main feature of the mythopoetics of the visual arts of the 20th century is that the range of this interaction in the allegorical nature of images predetermines the variability and plurality of mythopoetic models that are used by artists.
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Radomski, W. "Bridge Aesthetics – Functional and Structural Needs versus Architectural Imagination." In IABSE Symposium, Wroclaw 2020: Synergy of Culture and Civil Engineering – History and Challenges. Zurich, Switzerland: International Association for Bridge and Structural Engineering (IABSE), 2020. http://dx.doi.org/10.2749/wroclaw.2020.0135.

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<p>Relations between structural form as well as service function of bridges and their aesthetics are analysed. Irrespective of their scale bridges always affect their surroundings or landscape. Therefore, they not only have an engineering and economic meaning but also a social and a cultural one. In some cases, especially older bridges have an additional symbolic or a historic meaning. Contemporary trends concerning bridge aesthetics are discussed. Commonly modern bridge structures ideas are controversial – their forms often seem to be more important than their service function and classical aesthetic principles are rather rarely observed. Presented problems are exemplified by bridge structures in Poland and in other countries. Conclusions concerning the relations between the bridge aesthetics and bridge function are formulated. Some remarks on the future trends in the bridge engineering are also presented.</p>
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Avdulov, Alexandre. "Understanding Wabi and Sabi in the Context of Japanese Aesthetics." In The Asian Conference on Cultural Studies 2022. The International Academic Forum(IAFOR), 2022. http://dx.doi.org/10.22492/issn.2187-4751.2022.3.

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Chen, Huixian. "Death Aesthetics in Japanese Love Movies." In 8th International Conference on Education, Language, Art and Inter-cultural Communication (ICELAIC 2021). Paris, France: Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.220306.064.

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Reports on the topic "Cultural aesthetics"

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Томашевський, Володимир Володимирович, Лілія Вікторівна Саприкіна, and Анна Петрівна Ємельова. Formation of Future Designers’ Aesthetic Culture as a Pedagogical Problem. КДПУ, 2021. http://dx.doi.org/10.31812/123456789/4989.

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The results of theoretical research of the process of formation of future designers’ aesthetic culture are outlined in the article. A modern state of problem status of the formation of future designers’ aesthetic culture is analyzed in scientific and pedagogical discourse. The theoretical analysis of the formation process of future designers’ aesthetic culture as a pedagogical problem is made. The formation process of future designers’ aesthetic culture as self-organizing system is characterized. The principles which characterize the role of vocational education in the formation of aesthetic culture of future specialists in the sphere of design are determined. Scientific and pedagogical support of the formation process of future designers’ aesthetic culture.
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Trettin, L. D., C. H. Petrich, and J. W. Saulsbury. Environmental resources of selected areas of Hawaii: Cultural environment and aesthetic resources. Office of Scientific and Technical Information (OSTI), January 1996. http://dx.doi.org/10.2172/206950.

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Kelly, Luke. Lessons Learned on Cultural Heritage Protection in Conflict and Protracted Crisis. Institute of Development Studies (IDS), April 2021. http://dx.doi.org/10.19088/k4d.2021.068.

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This rapid review examines evidence on the lessons learned from initiatives aimed at embedding better understanding of cultural heritage protection within international monitoring, reporting and response efforts in conflict and protracted crisis. The report uses the terms cultural property and cultural heritage interchangeably. Since the signing of the Hague Treaty in 1954, there has bee a shift from 'cultural property' to 'cultural heritage'. Culture is seen less as 'property' and more in terms of 'ways of life'. However, in much of the literature and for the purposes of this review, cultural property and cultural heritage are used interchangeably. Tangible and intangible cultural heritage incorporates many things, from buildings of globally recognised aesthetic and historic value to places or practices important to a particular community or group. Heritage protection can be supported through a number of frameworks international humanitarian law, human rights law, and peacebuilding, in addition to being supported through networks of the cultural and heritage professions. The report briefly outlines some of the main international legal instruments and approaches involved in cultural heritage protection in section 2. Cultural heritage protection is carried out by national cultural heritage professionals, international bodies and non-governmental organisations (NGOs) as well as citizens. States and intergovernmental organisations may support cultural heritage protection, either bilaterally or by supporting international organisations. The armed forces may also include the protection of cultural heritage in some operations in line with their obligations under international law. In the third section, this report outlines broad lessons on the institutional capacity and politics underpinning cultural protection work (e.g. the strength of legal protections; institutional mandates; production and deployment of knowledge; networks of interested parties); the different approaches were taken; the efficacy of different approaches; and the interface between international and local approaches to heritage protection.
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Lyzanchuk, Vasyl. THE CHARITABLE ENERGY OF THE JOURNALISTIC WORD. Ivan Franko National University of Lviv, February 2022. http://dx.doi.org/10.30970/vjo.2022.51.11415.

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The article investigates the immortality of books, collections, including those, translated into foreign languages, composed of the publications of publications of worldview journalism. It deals with top analytics on simulated training of journalists, the study of events and phenomena at the macro level, which enables the qualitative forecast of world development trends in the appropriate contexts for a long time. Key words: top, analytics, book, worldview journalism, culture, arguments, forecast.The article is characterized intellectual-spiritual, moral-aesthetic and information-educational values of of scientific and journalistic works of Professor Mykola Hryhorchuk “Where are you going, Ukraine?” and “Freedom at the Barricades”. Mykola Ivanovych’s creative informational and educational communication are reviews, reviews, reviews and current works of writers, poets, publicists. Such as Maria Matios, Vira Vovk, Roman Ivanychuk, Dmytro Pavlychko, Yuriy Shcherban, Bohdan Korsak, Hryhoriy Huseynov, Vasyl Ruban, Yaroslav Melnyk, Sofia Andrukhovych. His journalistic reflections are about memorable events of the recent past for Ukrainians and historical figures are connected with them. It is emphasized that in his books Mykola Hryhorchuk convincingly illuminates the way to develop a stable Ukrainian immunity, national identity, development and strengthening of the conciliar independent state in the fight against the eternal Moscow enemy. Among the defining ideological and political realization of the National Idea of Ukrainian statehood, which are mentioned in the scientific and journalistic works of M. Hryhorchuk, the fundamental ones – linguistic and religious – are singled out. Israel and Poland are a clear example for Ukrainians. In these states, language and religion were absolutized and it is thanks to this understanding of the essence of state-building and national identity that it is contrary to many difficulties achieve the desired life-affirming goal. The author emphasizes that any information in the broadest and narrow sense can be perceived without testing for compliance with the moral and spiritual mission of man, the fundamental values of the Ukrainian ethnic group, putting moral and spiritual values in the basis of state building. The outstanding Ukrainian philosopher Hryhoriy Skovoroda emphasized: “Faith is the light that sees in the darkness…” Books by physicist Mykola Hryhorchuk “Where are you going, Ukraine?” and “Freedom at the Barricades” are illuminated by faith in the Victory over the bloody centuries-old Moscow darkness.
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