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Journal articles on the topic 'Cultural aesthetics'
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1
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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Duncum, Paul. "The Aesthetics of Cultural Studies." Journal of Aesthetic Education 41, no. 4 (December 1, 2007): 113–17. http://dx.doi.org/10.2307/25160257.
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Ashfaq, Muḥammad, and Manzoor Aḥmad. "Impact of Qur’ān upon Aesthetics and its Evolution: A Religio-Cultural Discourse." Journal of Islamic Thought and Civilization 10, no. 101 (June 2020): 212–34. http://dx.doi.org/10.32350/jitc.101.12.
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This paper intends to know how Qur’ānic Scripture influenced prevailing values of art and aesthetics with an exclusive Islamic worldview and contribution. It is an important aspect of Islamic civilization which may be studied from the very beginning of Islamic history along with later developments examining critically various characteristics of Islamic aesthetics. Employing analytical method, we came to know Qur’ānic Scripture as a precursor of Islamic aesthetics and raison d'être for Islamic culture and civilization. It functions as super hand in the Islamic cultural ingredient changing ideas and thought totally or partially ameliorating prevailing social standards. This discourse makes it clear that the Islamic foundation of aesthetics is one of the contemporary matter of the Prophetic era. By dint of this study, one may become familiar with the concept that how art and aesthetics were welcomed, customized, innovated and transferred after their infiltration as per Islamic norms inculcating values. Islamic civilization warmly welcomed to any alien sorts of aesthetic reflection trimming its irrelevancy off in the light of Tawḥīd showing harmony exercising within its own domain, identity and unique weltanschauung. Hence, Qur’ānic Scripture vis-à-vis Islamic aesthetics has self-explanatory evidences of its origin, distinctive historical promotion and its identity in different cultural diversity.
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Dai, Chuang. "Philosophical-aesthetic reflection in China in the century: Wang Guowei and Zong Baihua." Философская мысль, no. 12 (December 2020): 15–29. http://dx.doi.org/10.25136/2409-8728.2020.12.34614.
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This article is dedicated to examination of the philosophical-aesthetic reflection in China in the XX century, and the impact of European aesthetics upon the development and transformation of the traditional Chinese aesthetics. The article employs the method of historical and cultural with elements of structural analysis of aesthetic text of the modern Chinese philosophers. In the XX century, a number of Chinese thinkers made attempts of reforming the traditional Chinese aesthetics, complementing it with the viewpoint of European philosophy. The article examines the paramount aesthetic thoughts of the modern Chinese philosophers Wang Guowei and Zong Baihua, and determines the impact of European philosophy upon them. The scientific novelty of this study lies in assessing the impact of the concepts of European aesthetics upon self-reflection and development of Chinese aesthetics in the context of cross-cultural problematic. It is demonstrated that Chinese modern aesthetics in many ways retains its connection with the tradition, which determines its specificity and imparts peculiar semantic symbolism. The conclusion is made that in the XX century, Chinese philosophers sought to complement the existing traditional Chinese reflection on art, which is based mostly on the ideas of Taoism and Buddhism, with what can be referred to as the Western viewpoint, associated with a scientific approach and scientific interpretation. Another vector in the area of humanistic understanding of the phenomenon of art was related to the attempts of interpretation of the European aesthetic thought from through the prism of Chinese traditional philosophy. The philosopher Wang Guowei tried to incorporate the European aesthetics into the scientific problematic of China. The philosopher Zong Baihua wanted to synthesize the Chinese and European aesthetic theories, and create what he believed is the modern Chinese aesthetics.
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Fischer-Lescano, Andreas. "Sociological Aesthetics of Law." Law, Culture and the Humanities 16, no. 2 (July 1, 2016): 268–93. http://dx.doi.org/10.1177/1743872116656777.
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Aesthetic theory has the potential to develop a sensorium for the rational and arational forces of law. But the aesthetic knowledge of law is underdeveloped. That is why this article proposes a self-reflective sociological aesthetics of law that is capable of acknowledging human and social forces. The article unfolds its argument in three steps: first, it outlines the main approaches in the field of “law and aesthetics”; second, it connects these approaches in legal aesthetics with sociological and philosophical discussions on aesthetics; and, third, it suggests what distinctive contributions such a connection could make to jurisprudence and legal practice.
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Kruglova, Tatyana A. "Intellectual Map of Domestic Aesthetics: To the Results of the Work of the Second Russian Congress of Aesthetics." Koinon 2, no. 3 (2021): 194–212. http://dx.doi.org/10.15826/koinon.2021.02.3.036.
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The article is an overview of a prominent scientific event — The Second Russian Congress of Aesthetics (Yekaterinburg, July 2021). The paper assesses the state of aesthetics as a scientific and educational discipline throughout its history of the Soviet and post-Soviet periods. The article highlights four stages of the Soviet history of aesthetics. The first stage, the 1930s, received following K. Clark, the nomination “return of aesthetics”, which was associated with the general conservative turn of the Stalinist cultural policy, the creation of the socialist realist canon, the program of building socialism, the denial of the functionalism of the previous (avant-garde) stage. The “return of aesthetics” had not only a political and pragmatic content but contributed to the saturation of Soviet culture with fragments of the classical heritage, primarily the philosophical one. At the second stage (late Stalinism), there was a rollback of aesthetics in the direction of extreme political instrumentalization. During a short period of the “thaw,” aesthetics began to go behind public liberal discourse, yielding leadership to journalism and art criticism. At the stage of the “long seventies”, aesthetics becomes an influential and in-demand scientific discipline, included in the program of “technical progress” and “education of the builder of communism”, important ideological, aesthetic, and applied tasks are assigned to aesthetics since it is expected to influence all spheres of life. Aesthetics as philosophy and science develops, responding to contacts with semiotics, psychology, anthropology, cultural history, and sociology. Relying on the selective stream of translations of Western art philosophy, Soviet aesthetics begins to resonate with world trends, which is facilitated by the tacit consensus of the idea of aesthetics as a part of philosophical and humanitarian knowledge that has its autonomy. The state of aesthetics in the 1990s and early 2000s is qualified as a change of scientific generations and the emergence of new groups of professionals in aesthetic and artistic knowledge, not related to academic aesthetics, forming their conceptual vision of the development of art and aesthetics relations. The current state of aesthetics was diagnosed with a brief description of the last 15 years, when contacts with foreign aesthetic schools became regular and academic aesthetics began to be in demand in master’s educational programs, intellectual venues for festivals, and biennials of contemporary art, and cultural management programs. A large portion of the article is devoted to the analysis of the composition of the participants, their professional interests and competencies, the frequent concepts discussed in the sections, the structure of polemical problems, and crosscutting topics of all congress participants.
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Bao, Yu, and Bao Hui Xu. "Architectural Art Design in Visual Field of Ecological Aesthetics." Applied Mechanics and Materials 522-524 (February 2014): 1734–37. http://dx.doi.org/10.4028/www.scientific.net/amm.522-524.1734.
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This paper introduces the architectural art design based on ecological aesthetics. The philosophical foundation, thinking ways and research methods of ecological aesthetics are described detailedly. The architectural art design which absorbs the advantages of ecological aesthetics shows the beauty of architecture. This is beneficial attempt from three aspects, namely whole vision, cultural ecology and aesthetic participation. All these research promote the development of architectural art design.
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Zimenko, T. V. "The Concept of Taste in South Korea: Historical, Aesthetical and Philosophical Aspects." Concept: philosophy, religion, culture 4, no. 4 (December 29, 2020): 83–101. http://dx.doi.org/10.24833/2541-8831-2020-4-16-83-101.
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The focus of this paper is on the Korean aesthetic model of taste. In order to investigate the origins of aesthetics in Korea and its current place in Koreans’ lives, it analyzes the key concepts of the Korean aesthetics and spiritual aspects of life for Koreans. In a way to exemplify this cultural system, traditional Korean food is presented as a conceptual representation of the aesthetic experience. Its role in integrating different aspects of meanings and values in everyday lives of Koreans is also discussed. The research subject is studied through the complex lenses: its association with both the gastronomic taste, which comprises organoleptic perception and aesthetic judgements, and the semiotic aspect of culture, represented by basic units thereof – words. The optics of the interdisciplinary outlook of this method suggests a new approach to viewing Korean aesthetic of taste. The research shows that scientific approach to aesthetics was first adopted in Korea in the 1930s under the cospicuous cultural influence of the Japanese colonial rule; the ideas formed at that time still remain important aesthetic concepts. The study proposes that meot should be viewed as the most important and representative concept in Koreans’ everyday aesthetic experience. The cultural and historical analysis of Korean gastronomic culture suggests there is a number of specific cultural and cosmogonic meanings that were typical of the royal cuisine during the Joseon era and demonstrates how certain Korean dishes are endowed with aesthetic and existential values today.
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Zimenko, T. V. "The Concept of Taste in South Korea: Historical, Aesthetical and Philosophical Aspects." Concept: philosophy, religion, culture 4, no. 4 (December 29, 2020): 83–101. http://dx.doi.org/10.24833/2541-8831-2020-4-16-83-101.
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The focus of this paper is on the Korean aesthetic model of taste. In order to investigate the origins of aesthetics in Korea and its current place in Koreans’ lives, it analyzes the key concepts of the Korean aesthetics and spiritual aspects of life for Koreans. In a way to exemplify this cultural system, traditional Korean food is presented as a conceptual representation of the aesthetic experience. Its role in integrating different aspects of meanings and values in everyday lives of Koreans is also discussed. The research subject is studied through the complex lenses: its association with both the gastronomic taste, which comprises organoleptic perception and aesthetic judgements, and the semiotic aspect of culture, represented by basic units thereof – words. The optics of the interdisciplinary outlook of this method suggests a new approach to viewing Korean aesthetic of taste. The research shows that scientific approach to aesthetics was first adopted in Korea in the 1930s under the cospicuous cultural influence of the Japanese colonial rule; the ideas formed at that time still remain important aesthetic concepts. The study proposes that meot should be viewed as the most important and representative concept in Koreans’ everyday aesthetic experience. The cultural and historical analysis of Korean gastronomic culture suggests there is a number of specific cultural and cosmogonic meanings that were typical of the royal cuisine during the Joseon era and demonstrates how certain Korean dishes are endowed with aesthetic and existential values today.
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Pyrova, Tatiana Leonidovna. "Philosophical-aesthetic foundations of African-American hip-hop music." Философия и культура, no. 12 (December 2020): 56–62. http://dx.doi.org/10.7256/2454-0757.2020.12.34717.
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This article is dedicated to the philosophical-aesthetic foundations of African-American hip-hop music of the late XX century. Developed by the African philosopher Leopold Senghor, the author of the theory of negritude, concept of Negro-African aesthetics laid the foundations for the formation of philosophical-political comprehension and development of the principles of African-American culture in the second half of the XX century in works of the founders of “Black Arts” movement. This research examines the main theses of the aesthetic theory of L. Senghor; traces his impact upon cultural-political movement “Black Art”; reveals which position of his aesthetic theory and cultural-political movement “Black Arts” affected hip-hop music. The author refers to the concept of “vibe” for understanding the influence of Negro-African aesthetics upon the development of hip-hop music. The impact of aesthetic theory of Leopold Senghor upon the theoretical positions of cultural-political movement “Black Arts” is demonstrated. The author also compares the characteristics of the Negro-African aesthetics and the concepts used to describe hip-hop music, and determines correlation between them. The conclusion is made that the research assessment of hip-hop music and comparative analysis of African-American hip-hop with the examples of global hip-hop should pay attention to the philosophical-aesthetic foundations of African-American hip-hop and their relation to Negro-African aesthetics, which differs fundamentally from the European aesthetic tradition.
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Bozzi, Nicola. "Tagging Aesthetics." A Peer-Reviewed Journal About 9, no. 1 (August 4, 2020): 70–81. http://dx.doi.org/10.7146/aprja.v9i1.121490.
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Social media have given social movements unprecedented tools for self-representation, however emancipatory identity politics are drowned out by the white noise of neoliberal self-branding practices. In response to this highly- aestheticised, de-politicised environment, we need a cultural re-negotiation of online categorisation. Rather than focusing on networks, this essay frames tagging as an everyday gesture of social media users that participates in the collective performance of identity. I argue this performance gives way to the materialisation of 'cultural avatars' – collective identity figures that lie beyond coherent representation and can reinforce reductive social stereotypes or inspire politically critical figurations. Apart from offering a cultural critique of tagging itself, the essay discusses a range of creative approaches to tagging that de-naturalise processes of online categorisation by drawing critical attention towards them.
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Pryba, Russell. "Two Modes of Contemporary Pragmatist Aesthetics." Contemporary Pragmatism 12, no. 1 (June 16, 2015): 1–9. http://dx.doi.org/10.1163/18758185-01201001.
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This paper identifies two central modes of discourse in contemporary pragmatist aesthetics: Cultural Emergentism and Experiential Somaesthetics. Whereas Cultural Emergentism focuses on developing a non-reductive ontology of culture, Experiential Somaesthetics preserves the traditional pragmatist emphasis on embodied experience and examines the place that the care and cultivation of the living soma has in improving our aesthetic transactions.
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Zhen, Zhen, Kai Jin, Xi Zhen, and Ming Meng. "Study on the Campus Public Art under the Influence of Taoist Aesthetics." Applied Mechanics and Materials 99-100 (September 2011): 1331–34. http://dx.doi.org/10.4028/www.scientific.net/amm.99-100.1331.
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This paper investigates the connotation of Taoist aesthetics and applies it to the creation of public art on campus so as to help the campus take on cultural and aesthetics connotation. It also points out that with the influence of Taoist aesthetics public art on campus is of rich aesthetic connotation, which mainly consists of the harmony between man and nature, harmony and coexistence and the beauty of harmony.
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Loesberg, Jonathan. "Kant's Aesthetics and Wilde Form." Victoriographies 1, no. 1 (May 2011): 79–95. http://dx.doi.org/10.3366/vic.2011.0008.
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Although Wilde was convicted of Gross Indecency, not of having written questionable literature, critics frequently take his trial as a trial of his literature and his theories, and, in a sense, they are oddly enough right since, at key moments, the difficult of reading Wilde's writing becomes manifest in the difficulty of reading what occurs in the trials. That reading difficulty results from the alignment between Wilde's aestheticism and the ostensibly straighter Kantian aesthetics, a theory Wilde queered only by clarifying its paradoxes. Through a comparative reading of Kant's and Wilde's theories of natural and aesthetic beauty and the manifestation of Wilde's theory in The Picture of Dorian Gray (1891), this article will show how the ambiguities in Wilde's trial result from his insistence on a connection between his theoretical paradoxes and what he called his perverse desires, a connection that enriches both aesthetic theory and our understanding of the cultural significance of his trial.
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Sobolev, Yuriy. "Aesthetic Ideas and Concepts of the Hindu Tradition: Specific Features and Analogies." Vestnik of Northern (Arctic) Federal University. Series Humanitarian and Social Sciences, no. 3 (July 21, 2021): 119–27. http://dx.doi.org/10.37482/2687-1505-v108.
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This article deals with the main ideas and basic concepts of Hindu aesthetics. The problem area reveals itself in the question of European culture’s perception of Hindu aesthetics. In this connection, the following questions are actualized: what can be considered as original aesthetic conceptions of Hinduism? is it possible to find direct analogies in other cultures? how relevant and correct is the conceptual apparatus describing various aesthetic phenomena? what is the role of the religious thought in the proposed aesthetic context? Proceeding from the historical and cultural position of aesthetic knowledge as it is presented in the European tradition, key approaches to the phenomenon of the aesthetic are shown, with the ideas of classical German philosophy – the cradle of aesthetic science (A. Baumgarten, I. Kant) – at the centre. The marked heterogeneity of aesthetic knowledge indicates its problematic status in the European historical-philosophical discourse and at the same time allows one to see, against its background, the harmonious place of aesthetics in Hindu culture. It mainly concerns the peculiarities of religious and worldview systems. Further, the paper studies the similarities and differences between the theoretical and ritual ideas and practices in Christianity and Hinduism. In particular, what they have in common is the importance of “threshold people” – liminal personae – in the spiritual life of society. Among the radical differences is the natural embedding of aesthetics in the religious system of India, while for European aesthetics, the religious world is just one of the spheres of the aesthetic. Using the method of comparative text analysis with reference to leading Russian orientalists and foreign researchers (V. Shokhin, D. Zilberman, E. Torchinov, R. Guénon, N. Gupta), the author takes a number of concepts as an example to demonstrate identity of religious and aesthetic ideas in Hindu and European cultures, as well as a possibility of mutual “cultural translation” of such basic concepts as aesthetics, the aesthetic, rasa and bhava.
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Hoang Thi My, Nhi. "Characteristics of traditional Japanese Aesthetics from the View of Orient Classical Aesthetics." Journal of Science Social Science 66, no. 2 (May 2021): 29–36. http://dx.doi.org/10.18173/2354-1067.2021-0022.
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Japanese aesthetics was formed very early, and had absorbed classical Oriental thought with its own speciality. Since ancient times, aesthetic concepts had appeared and always played an important role in shaping the Japanese artists’ style of composition and Japanese cultural life, and particularly flourished in Heian period. These aesthetics norms had paved the way for the later development of a unique and rich Japanese aesthetic system. The paper aims to clarify the role of Oriental philosophy, religion and ideology, as well as the ingenious continuation of the Japanese in forming a unique aesthetics of the nation. Besides, the article analyzes the characteristics of beauty such as deficiencies and emotional suppression, intimacy and lofty, sacred and worldly, and fragile fate. Based on those analyses, the paper explains the relationships between Japanese aesthetics and other typical aesthetics such as China and India. The research results will be the theoretical basis contributing to deciphering the characteristics of Japanese culture viewing from a traditional perspective.
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Tribot, Anne-Sophie, Julie Deter, and Nicolas Mouquet. "Integrating the aesthetic value of landscapes and biological diversity." Proceedings of the Royal Society B: Biological Sciences 285, no. 1886 (September 5, 2018): 20180971. http://dx.doi.org/10.1098/rspb.2018.0971.
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As a cultural ecosystem service, the aesthetic value of landscapes contributes to human well-being, but studies linking biodiversity and ecosystem services generally do not account for this particular service. Therefore, congruence between the aesthetic perception of landscapes, ecological value and biodiversity remains poorly understood. Here, we describe the conceptual background, current methodologies and future challenges of assessing landscape aesthetics and its relationship with biodiversity. We highlight the methodological gaps between the assessment of landscape aesthetics, ecological diversity and functioning. We discuss the challenges associated with connecting landscape aesthetics with ecological value, and the scaling issues in the assessment of human aesthetics perception. To better integrate aesthetic value and ecological components of biodiversity, we propose to combine the study of aesthetics and the understanding of ecological function at both the species and landscape levels. Given the urgent need to engage society in conservation efforts, this approach, based on the combination of the aesthetic experience and the recognition of ecological functioning by the general public, will help change our culture of nature and promote ecologically oriented conservation policies.
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Hung, Yung-Shan, and Shih-Fen Yeh. "The Aesthetics of Curriculum and Taoism." International Journal of Chinese Education 2, no. 1 (2013): 54–69. http://dx.doi.org/10.1163/22125868-12340013.
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Abstract Inspired by the understanding of curriculum as aesthetic text, study on the aesthetics of curriculum has attracted more and more interests in Taiwan. Based on the cultural lens of Taoism, this article aims to explore the theory and implementation of aesthetics of curriculum in a case study. The study found the aesthetics of Taoism in the curriculum can be understood from the aesthetics of relation, and the aesthetics of simplicity and plainness, which lead to the reconstruction of the way of “Being” in education. The aesthetics of curriculum from a Taoist perspective sheds important light on educational reform. In the era of globalization, we should reconsider the implications of curriculum by looking back on and reviving our culture.
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Loginova, Marina V. "Ethno-aesthetics in the system ethnic culture: theoretical and methodological aspect." Finno-Ugric World 13, no. 2 (July 12, 2021): 169–79. http://dx.doi.org/10.15507/2076-2577.013.2021.02.169-179.
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Introduction. The article deals with the study of theoretical and methodological foundations of ethno-aesthetics as a “cultural code” of an ethnos through a systematic approach to solving the problem of the ratio of ethno-culture and ethno-aesthetics. The aim of the study is a philosophical analysis of ethno-aesthetics to determine the semantic potential of the symbolic capital of ethnic culture. Materials and Methods. The logic of the research, ascending from the abstract (definition of ethno-aesthetics) to the exact (ethno-futurism), is based on a systemic approach. It distinguishes the following methods: dialectical (ethno-aesthetics at the level of the singular, particular and universal), comparative-historical (transformation of ethno-aesthetic values); structural and functional (ethno-aesthetics as an open system of aesthetic values that serve as “markers” of ethnic originality). Results and Discussion. The author denotes the theoretical and methodological aspects of ethno-aesthetics in the modern conditions of being of an ethnos: ethno-aesthetic values, aesthetic ontology of ethnos, expression in ethno-aesthetics of the “spirit of a people”. In the ethnic world-picture the expression of the concept “spirit of the people” allows to highlight the levels of ethno-aesthetics in ethnoculture: substantial (aesthetic consciousness, aesthetic values that reflect/express the “spirit of a people”); functional-historical (transforming system of aesthetic relations and aesthetic experience of an ethnos). The author notes the relationship of ethno-aesthetic values with mentality, the “spirit of a people”, the deep layers of ethnic consciousness (traditions, rites, beliefs, mythological representations, archetypes), art as a system of creating symbolic images. The dialectics of single, special and universal with regard to aesthetic values distinguishes ethno-aesthetics as the level of being of special, which at the same time combines (values and creative potential of an ethnos in world exploration) and determines the specifics of understanding and interpretation by an ethnos the basic values (the beautiful, the tragic, the comic, etc.) and its fixation in the language. The source of aesthetic ontology is the experiencing by an ethnos life, nature, labour, creativity, which have creative and harmonizing potential. Conclusion. The author interprets ethno-aesthetics as an integral part of aesthetics, which creates a philosophical theory of an ethnos aesthetic relationship to the world (nature, art, labour), reflects the process of formation and development of aesthetic sensuality and aesthetic consciousness, the value of the world.
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Patella, Giuseppe. "Aesthetics, Culture, Dialogue." Culture and Dialogue 2, no. 1 (July 23, 2014): 107–17. http://dx.doi.org/10.1163/24683949-00201006.
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What is the relevance of organizing knowledge in distinct conceptual fields when everything has become cultural with no distinct areas anymore? Is, for example, Western traditional aesthetics as an autonomous cognitive discipline always relevant in the age of multiculturalism? This essay argues, albeit controversially, that the perspective of socalled cultural studies has opened new doors by adopting a more radically pluralistic and inclusive approach – one whereby aesthetic categories are thought in terms of cultural practices. Despite the many defects of such culture-related studies – such as their eclecticism, lack of scientific rigor, or methodological unreliability – the challenges of today’s multicultural society demand that we pay more attention at all levels to the roles played by difference and dialogue with otherness. This includes overcoming any form of ethnocentricity in our cognitive cultural disciplines; incorporating new topical horizons, whether economic, political or social; and rethinking the very nature of value, meaning and way of life.
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Duncum, Paul. "The Aesthetics of Cultural Studies (review)." Journal of Aesthetic Education 41, no. 4 (2007): 113–17. http://dx.doi.org/10.1353/jae.2007.0034.
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Heyd, Thomas. "Rock Art Aesthetics and Cultural Appropriation." Journal of Aesthetics and Art Criticism 61, no. 1 (February 2003): 37–46. http://dx.doi.org/10.1111/1540-6245.00090.
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Daugelaite, Aurelija, and Indre Grazuleviciute-Vileniske. "Aesthetics of Sustainability and Architecture: An Overview." Architecture and Urban Planning 16, no. 1 (January 1, 2020): 48–55. http://dx.doi.org/10.2478/aup-2020-0008.
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Abstract Sustainable development – development that meets the needs of the present-day societies without compromising the possibilities of the future societies to meet their needs – became the predominant paradigm of planning policies. This concept with its environmental, social, economic and cultural dimensions has been applied to the field of architecture since the end of the 20th century. However, numerous researchers still notice technological and ecological orientation of sustainable architecture and the lack of attention to its cultural, place-based and aesthetics aspects. The question may be asked if it is possible to distinguish the aesthetics of sustainable architecture. Thus, this research analyses the question of sustainability aesthetics and the ways that it is expressed in the field of architecture. In order to reach this aim: the quantitative and qualitative literature review on the questions of sustainability aesthetics and sustainability aesthetics in architecture was performed; the discussion of the notion of sustainability aesthetics and the aesthetic trends of sustainable architecture was developed based on the results of literature analysis.
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Astafyeva, Olga N., and Natalia V. Kuzmina. "“Interesting” in the Aesthetic Landscape of the City." Observatory of Culture 15, no. 6 (December 28, 2018): 693–707. http://dx.doi.org/10.25281/2072-3156-2018-15-6-693-707.
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The article examines the aesthetic category of “interesting” as a dominant of urban environment development. The authors try to comprehend this category from the point of view of cultural knowledge. The article includes a theoretical section, where, basing on well-known concepts, the authors outline the principles of embedding the “interesting”, as something aesthetics and artistic, in the postmodern fabric of modern megacities. The analytical part of the article is based on specific examples represented by urban cultural landscapes, by the postmodern clash of art and non-art in urban space, by event communications and other forms of urban culture representation. The study resulted in designation of one of the main problems of modern cities: as a result of their excessive saturation with “interesting”, there can be observed a growing cultural and aesthetic insensitivity to the “interesting” among their citizens.From the methodological point of view, the study revealed that, in interpretation of modern phenomena of socio-cultural reality, it is not enough to proceed from the basic principles of a particular science. So, the interdisciplinary approach, as a methodological resource in demand today, allows revealing, by the example of the concept of “interesting”, the interconnection and interdependence of the methodological approaches of aesthetics and culturology for studying the cultural environment of modern cities.The authors analyze the “interesting” as an instrument of influencing on the cultural environment of the city and the perception of its text. As a result, the “interesting” intensifies the nonlinearity and fractality of urban space. On the example of Russian cities development, the article reveals that the formation of a new cultural environment is always connected not only with changing of artistic design solutions or/and aesthetics trends. The authors prove that the need for “interesting” widens the frames of the subject field of aesthetics. The “interesting” is moving to the center of interdisciplinary cultural studies.
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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.
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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.
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Kormin, Nikolai Aleksandrovich. "Kant's Critique of Pure Reason: Aesthetics Inside and Outside of Transcendental Aesthetics." Философия и культура, no. 9 (September 2022): 28–86. http://dx.doi.org/10.7256/2454-0757.2022.9.38829.
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The subject of the research is the features of Kant's "Critique of Pure Reason", which contribute to the methodological acquisition of aesthetic identity, they are generated through the transition to harmony of higher cognitive abilities, set the prospect of revealing how art is possible, and declare themselves in a specific experience of color and ideality of perfection and other concepts significant for aesthetics. Transcendental aesthetics, within which the first semantic images of aesthetics as a science and cultural form are formed, as a singular a priori of the history of art, as well as the structure of the coloristic discourse of criticism, reduces any objectivity of color and reveals the essential structures of its subjective experience. Kant, with one purely transcendental rhythm of reflection in the first Critique, revealed the conditions for the possibility of the aesthetic, raised the question of what makes all art possible; the transcendental undertaking itself manifested both timelessness and temporality behind their work in art.In the Critique of Pure Reason, the concept of perfection is analyzed outside of transcendental aesthetics, where a more or less definite description of perfection is given, which is directly related to the aesthetic facet of the transcendental meaning of the world. Its exceptional importance for understanding Kantian aesthetics is due to the fact that the metaphysics of perfection in late Kant allows us to rethink the critical approach to identifying the structures of aesthetic judgment in the third "Critique".
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Mudra, I. Wayan, I. Gede Mugi Raharja, and I. Wayan Sukarya. "Estetika Visual Kriya Keramik Berornamen Wayang Khas Bali." Gondang: Jurnal Seni dan Budaya 5, no. 1 (April 6, 2021): 53. http://dx.doi.org/10.24114/gondang.v5i1.21036.
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The Balinese puppets in the traditional paintings as a cultural heritage has inspired Balinese craftsmen created ceramic works of aesthetic value. The efforts these craftsmen can be read as resistance to entry the ceramic works from outside and the production of the ceramic art in Indonesia that ignore Indonesian characters. This study aims to discuss the aesthetics of visuals ceramic works that apply Balinese puppets ornaments. The data collection method by observation and documentation. The results showed that the aesthetics of the ceramic craft products with Balinese puppets ornaments seen from unity, harmony, symmetry, balance, and contrast are quite good, although not yet optimal. Besides, the visual aesthetics of the ceramic works have not displayed good complexity, so the beauty that obtained was not optimal. The visual aesthetic assessment of this work was subjective in nature, so it was possible that there will be different judgments. The conclusion that aesthetics can be achieved by elevating the cultural traditions of the past and at the same time as a form of appreciation for that culture and become a differentiator amid the rise of Chinese ceramics in Indonesia.
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Frueh, Joanna. "Vaginal Aesthetics." Hypatia 18, no. 4 (2003): 137–58. http://dx.doi.org/10.1111/j.1527-2001.2003.tb01416.x.
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Based on the premise that ugliness looms large in both cultural and women's consciousness of vaginas, I create a representation of the vagina's beauty as rich and sweet. Smell, taste, and touch play predominant roles as I use scholarly analysis and my own autobiographical narratives and poems and poetic language in order to redress the vagina's culturally inherited ugliness.
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Braiterman, Zachary. "Joseph Soloveitchik and Immanuel Kant's Mitzvah-Aesthetic." AJS Review 25, no. 1 (April 2001): 1–24. http://dx.doi.org/10.1017/s0364009400012228.
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In the following pages, I will address the relationship between Jewish thought and aesthetics by bringing Joseph Soloveitchik into conversation with Immanuel Kant, whose Critique of Judgment remains an imposing monument in the history of philosophical aesthetics. While Buber and Rosenzweig may have been more accomplished aesthetes, Soloveitchik's aesthetic proves closer to Kant's own. In particular, I draw upon the latter's distinction between the beautiful and the sublime and the notion of a form of indeterminate purposiveness without determinate purpose. I will relate these three figures to Soloveitcchik's understanding of halakhah and to the ideal of performing commandments for their own sake (li-shemah). The model of mitzvah advanced by this comparison is quintessentially modern: an autonomous, self-contained, formal system that does not (immediately) point to extraneous goods, such as spiritual enlightenment, personal morality, or social ethics. The good presupposed by this system proves first and foremost “aesthetic.” That is, immanent to the system. Supererogatory goods enter into the picture only afterward as second-order effects.
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Morgan, Benjamin. "Aesthetics." Victorian Literature and Culture 46, no. 3-4 (2018): 559–62. http://dx.doi.org/10.1017/s1060150318000232.
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Nazir, Faisal. "POSTCOLONIAL AESTHETICS: AFFECT, AFFECTION OR AFFECTATION?" Journal of Social Sciences and Humanities 58, no. 1 (June 30, 2019): 13–23. http://dx.doi.org/10.46568/jssh.v58i1.26.
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This article analyzes the concept of postcolonial aesthetics as developed and debated by such critics as Bill Ashcroft, Elleke Boehmer and Robert Young. In particular, it critiques Ashcroft’s theorization of the postcolonial aesthetics in his article ‘Towards a Postcolonial Aesthetics’ and recommends an alternative approach to the conceptualization of postcolonial aesthetics with reference to Muhammad Hasan Askari’s essay on Ahmed Ali’s novel Twilight in Delhi. It questions Ashcroft’s emphasis on the hybrid linguistic makeup of the postcolonial text as the source of the particular aesthetic effects of the text and emphasizes the need for differentiating between affection– the writer’s deep sense of engagement with and involvement in the narrative – and affectation – a clever use of native words and expressions by the writer to authenticate his or her cultural identity – in discussing the affective dimension of a postcolonial text. The article argues that the aesthetic impact of the postcolonial text is produced by the intensity of experience and emotional involvement of the postcolonial writer (affection) as opposed to being produced by creative wordplay and mixing of local and foreign languages (affectation). Thus, the article contributes to the ongoing debates about the aesthetic dimension of postcolonial literature.
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Shorkend, Daniel. "Artistic Formalism in Relation to Sport." International Journal of Social Science Studies 7, no. 2 (February 20, 2019): 71. http://dx.doi.org/10.11114/ijsss.v7i2.4081.
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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.
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Huang, Furong. "Translation Aesthetics in Children’s Literature." Theory and Practice in Language Studies 7, no. 12 (December 3, 2017): 1327. http://dx.doi.org/10.17507/tpls.0712.22.
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Despite the fact that children’s literature is an important branch of the literary polysystem, it was neglected as a peripheral subject for long. It is not until in recent years that much attention is increasingly poured into it due to the rapid development of economy and booming cross-cultural exchanges. Currently, the newly-developed children’s literature is gradually occupying a dominant position and winning children’s favor. Translated works are no exception. Numerous classic children’s literary works from abroad are translated and retranslated. People tend to care much about translation activities, yet forget to formulate the theoretical framework. The thesis attempts to explore how to incorporate translation aesthetics into children’s literature translation. Children’s literature is characterized by its artistry, which is no doubt linked to children’s unique disposition. Children’s rich imagination, their acute sense of color, rhythm and children-favored animated images, etc. should be given priority in the process of translation. Based on Liu Miqing’s interpretation of translation aesthetics, the thesis will be developed from the perspective of the aesthetic object, the aesthetic subject and their respective aesthetic constituents. Further discussion is given as to the realization of aesthetic transference and representation in translating children’s literature under the guidance of translation aesthetics.
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Lin, Wen Chia. "Study on Community Empowerment by Conversation Art and Design." Applied Mechanics and Materials 584-586 (July 2014): 132–37. http://dx.doi.org/10.4028/www.scientific.net/amm.584-586.132.
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Community is a basic element of living field. However, due to the influence and intervention of modernization, the original life styles and traditional cultures of Taiwan’s rural areas have vanished gradually. Since the Council for Cultural Affairs (CCA), Executive Yuan promoted the policy of Community Empowerment in 1994, there have been plenty of discussions related to the topic.Aiming at the operation and combination of Local Aesthetics and Art Community, the cultural policies such as Cultural Citizenship and Civil Aesthetic Movement have made Art into the Community a famous topic in the artistic fields and community construction.Through long-term participation in the construction of Tugou Community , the study reviews the modes, implementations, positions and values of art issues during the integration of Community Empowerment and Art over the years, and analyzes the spirits and meanings behind the issues. The progress of community aesthetics is mentioned in the study, which not only emphasizes on the Publicity and Participation of art empowerment, but also observes the influence of artworks on aesthetic experience of residents and become the technique applied in the space planning and building. It expects to propose a methodology or epistemology on seeking for local aesthetics and practices on life and art for Taiwan’s community empowerment in the future.
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Wang, Huizhong. "Investigation and Exploration of traditional decorative window grills in Northern Jiangxi Province—— taking Heshe ancient village as an example." Advances in Education, Humanities and Social Science Research 2, no. 1 (September 20, 2022): 216. http://dx.doi.org/10.56028/aehssr.2.1.216.
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This paper investigated all kinds of window grille styles in Heshe ancient village, and summarized main characteristics including the themes of different window grille tyles. The cultural meaning and structural aesthetic significance, especially the inspiration of their cultural connotations for modern architectural structure aesthetics indicated by these window grilles were also explored.
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Wang, Huizhong. "Investigation and Exploration of traditional decorative window grills in Northern Jiangxi Province—— taking Heshe ancient village as an example." Advances in Education, Humanities and Social Science Research 1, no. 2 (September 20, 2022): 216. http://dx.doi.org/10.56028/aehssr.1.2.216.
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This paper investigated all kinds of window grille styles in Heshe ancient village, and summarized main characteristics including the themes of different window grille tyles. The cultural meaning and structural aesthetic significance, especially the inspiration of their cultural connotations for modern architectural structure aesthetics indicated by these window grilles were also explored.
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R, Kumaraguruparan. "Dravidian Aesthetics - the foremost of Indian Aesthetics." International Research Journal of Tamil 4, S-5 (August 25, 2022): 230–40. http://dx.doi.org/10.34256/irjt22s536.
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The influences of contemporary events on the field of study and society on speakers of Dravidian languages such as Tamil indicate the primacy of Dravidian ideology. Scholars in other countries look at the functioning of the Dravidian movement in the political, social, and cultural spheres behind the Tamil aesthetics of Dravidian aesthetics being at the forefront of Indian aesthetics. The Czechoslovakian multi-linguist recalls in the interview the Sanskrit-Tamil linguistic exchanges, the unity, and other differences. The contribution of Dravidian culture to Indianization is revealed through the media interviews of Sri Lankan Tamil scholar Karthikesu Sivathambi. There is an explanation of the understanding of Tamil consciousness. Accordingly, the Dravidian movement developed by rejecting the Sanskrit tradition, the North Indian tradition, the Bhakti tradition, etc. Aside from religion, which is a feature of the past, the temple towers, the Nataraja image, the bhakti literature, etc., must be regarded as the active contribution of the Tamils, who were fully absorbed in Indian culture. These aspects were not adopted because of the atheistic, rationalist, and anti-Brahmin elements of the Dravidian movement. BC 100- AD 250 lays claim to Sangam literature, the Pre-Bhakti period literature. The central theme of the article was that the Dravidian movement regarded it as belonging to Tamils who did not have the Sanskrit tradition. It is understood that the contributions of Periyar and others led to the development of the Dravidian cultural ideology. Experts in other languages expound on Dravidian aesthetics. Malayalam scholar K. Ayyappa Panicker praises the Thinai doctrine of Tamil as a rare wealth of knowledge not found in the languages of the world. Not all Sanskrit language texts are based on the orthodox tradition they also include books.
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Ray, Larry. "Social Theory, Photography and the Visual Aesthetic of Cultural Modernity." Cultural Sociology 14, no. 2 (May 11, 2020): 139–59. http://dx.doi.org/10.1177/1749975520910589.
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Social theory and photographic aesthetics both engage with issues of representation, realism and validity, having crossed paths in theoretical and methodological controversies. This discussion begins with reflections on the realism debate in photography, arguing that beyond the polar positions of realism and constructivism the photographic image is essentially ambivalent, reflecting the ways in which it is situated within cultural modernity. The discussion draws critically on Simmel’s sociology of the visual to elucidate these issues and compares his concept of social forms and their development with the emergence of the photograph. Several dimensions of ambivalence are elaborated with reference to the politics and aesthetics socially engaged photography in the first half of the 20th century. It presents a case for the autonomy of the photographic as a social form that nonetheless has the potential to point beyond reality to immanent possibilities. The discussion exemplifies the processes of aesthetic formation with reference to the ‘New Vision’ artwork of László Moholy-Nagy and the social realism of Edith Tudor Hart.
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Gupta, Meenu A. "Aesthetics of Representing Cultural Paradigms in Rushdie." Journal of Humanities, Arts and Social Science 4, no. 2 (September 8, 2020): 99–108. http://dx.doi.org/10.26855/jhass.2020.07.003.
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Incirlioglu, Emine Onaran, and Zerrin G. Tandogan. "Cultural Diversity., Public Space, Aesthetics and Power." European Journal of Intercultural studies 10, no. 1 (April 1999): 51–61. http://dx.doi.org/10.1080/0952391990100105.
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Huggins, Winston. "Caribbean Cultural Aesthetics: A New York Experience." Caribbean Quarterly 42, no. 4 (December 1996): 11–18. http://dx.doi.org/10.1080/00086495.1996.11672087.
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