Relevant bibliographies by topics / From (Aesthetics)

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

Academic literature on the topic 'From (Aesthetics)'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "From (Aesthetics)"

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Scott, Sarah. "From Genius to Taste." Journal of Jewish Thought & Philosophy 25, no. 1 (2017): 110–30. http://dx.doi.org/10.1163/1477285x-12341281.

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I reconstruct the aestheticism of Martin Buber in order to provide a new way of framing his moral philosophy and development as a thinker. The evolution of Buber’s thought does not entail a shift from aesthetics to ethics, but a shift from one aspect of aesthetics to another, namely, from taking genius to be key to social renewal, to taking taste to be key. I draw on Kantian aesthetics to show the connection between Buber’s aesthetic concerns and his moral concerns, and to defend the notion that a certain aesthetic orientation may be just what is needed for moral response.
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Ortlieb, Stefan A., and Claus-Christian Carbon. "Kitsch and Perception: Towards a New ‘Aesthetic from Below’." Art and Perception 7, no. 1 (2019): 1–26. http://dx.doi.org/10.1163/22134913-00001091.

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Although kitsch is one of the most important concepts of twentieth-century art theory, it has gone widely unnoticed by empirical aesthetics. In this article we make a case that the study of kitsch is of considerable heuristic value for both empirical aesthetics and art perception. As a descriptive term, kitsch appears like a perfect example of hedonic fluency. In fact, the frequently invoked opposition of kitsch and art reflects two types of aesthetic experience that can be reliably distinguished in terms of processing dynamics: a disfluent one that promises new insights but requires cognitive elaboration (art), and a fluent one that consists of an immediate, unreflective emotional response but leaves us with what we already know (kitsch). Yet as a derogatory word, kitsch draws our attention to a general disregard for effortless emotional gratification in modern Western aesthetics that can be traced back to eighteenth-century Rationalism. Despite all efforts of Pop Art to embrace kitsch and to question normative values in art, current models of aesthetic liking—including fluency-based ones—still adhere to an elitist notion of Modern art that privileges style over content and thereby excludes what is essential not only for popular taste and Postmodern art but also for premodern artistic production: emotionally rich content. Revisiting Fechner’s (Vorschule der Aesthetik, 1876) criticism of highbrow aesthetics we propose a new aesthetic from below (Aesthetik von Unten) that goes beyond processing characteristics by taking content- and context-related associations into account.
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Elwazani, Salim. "Purposing aesthetics in historic preservation: advocating, signifying, and interpreting aesthetics." Virtual Archaeology Review 12, no. 24 (2021): 66. http://dx.doi.org/10.4995/var.2021.13812.

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<p>Aesthetics is a pillar consideration in historic preservation. Yet, purposing aesthetics for historic preservation ends seems to lag behind the opportunities. Utterly subjective, aesthetics poses challenges for the preservation community worldwide to moderate, accommodate, and purpose aesthetics in heritage programs. The challenges revolve around the assessment of aesthetical purposing in three domains. These domains include the community disposition towards accommodating aesthetics (advocacy), the criteria and strategies for assessing the aesthetic value of historic resources (signification), and, the standards for treating historic resources in preservation projects (interpretation). This study, therefore, assesses the trends for purposing aesthetics in historic preservation thought and practice through three platforms: advocating aesthetics, signifying aesthetics, and interpreting aesthetics. The study completed literature content analysis on aesthetics in general and aesthetics in historic preservation in particular. Further, because of the perspective of the study, the works of international and country preservation programs provided information relevant to advocacy, signification, and interpretation of aesthetics that have been refined by classification, comparison, and exemplification methods. Among others, these works include those of the International Council on Monuments and Sites (ICOMOS) and the U.S. National Historic Preservation Program in the National Park Service. The study culminated with general and platform-specific conclusions. First, as the three proposed platforms (advocacy, signification, and interpretation) maintain structural and serial relationships, they constitute a relevant and feasible framework for assessing aesthetical purposing. Second, as the aesthetical purposing assessment followed a broad, international perspective, the conclusions of the study are commensurate with the selective scope of information used from international and country preservation programs. Third, the contribution to aesthetical purposing at each of the three platforms can be measure only in general, and at times, subjective terms.</p><p><strong>Highlights:</strong></p><ul><li><p>Proposing aesthetical advocacy, aesthetical signification, and aesthetical interpretation as a platform framework to assess the purposing of aesthetics was feasible.</p></li><li><p>As aesthetical purposing was approached from a broad, international perspective, the conclusions of the study commensurate with the selective scope of information used.</p></li><li><p>The contribution to aesthetical purposing at each of the three platforms is hard to measure; however, the indications point to uneven contribution.</p></li></ul>
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Spector, Tami I. "Nanoaesthetics: From the Molecular to the Machine." Representations 117, no. 1 (2012): 1–29. http://dx.doi.org/10.1525/rep.2012.117.1.1.

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Rooted in the history of the representation of benzene, this paper examines the evolution of nanoaesthetics from the 1985 discovery of buckminsterfullerene forward, including the aesthetics of molecular machines and scanning probe microscopy (SPM). It highlights buckminsterfullerene's Platonic aesthetics, the aesthetic relationship of nanocars and molecular switches to Boyle's seventeenth-century mechanistic philosophy and twentieth-century machine aesthetics, and the photographic aesthetics of SPM.
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Ortlieb, Stefan A., Werner A. Kügel, and Claus-Christian Carbon. "Fechner (1866): The Aesthetic Association Principle—A Commented Translation." i-Perception 11, no. 3 (2020): 204166952092030. http://dx.doi.org/10.1177/2041669520920309.

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Most of the groundbreaking works of Gustav Theodor Fechner (1801–1887), who paved the way for modern experimental psychology, psychophysics, and empirical aesthetics, are so far only available in German. With the first full text translation of Fechner’s article on The Aesthetic Association Principle ( Das Associationsprincip in der Aesthetik), we want to fill in one of the blank spots in the reception of his Aesthetics from Below (Aesthetik von Unten). In his 1866 article, Fechner devises a fundamental principle that accounts for the role of associations in the formation of aesthetic preferences. Based on concrete everyday examples and thought experiments, he demonstrates how aesthetic choices are largely shaped by the observer’s learning history (associative factors) rather than by an object’s formal properties (direct factors). Fechner’s Aesthetic Association Principle has lost nothing of its initial relevance as the role of content and personal meaning is still grossly underrated in theory and practice of empirical aesthetics today.
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Breton, Rob. "From Politics to Pope: An Account of the Group Aesthetic." Humanities 8, no. 1 (2019): 32. http://dx.doi.org/10.3390/h8010032.

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This paper discusses the study of Chartist and working-class literatures, noting that the pronounced development of aesthetic criticism in these areas uncomfortably corresponds with the rejection of “aesthetics” in other fields. Chartist, working-class, and laboring-class scholars have broken free from monolithically sociological or political readings that only a generation ago too often dismissed artistic endeavors as, at best, merely a re-accenting of the mainstream. Current studies focus on the aesthetic innovations that emerged out of working-class entanglements with mainstream counterparts. The paper argues that the rejection of “aesthetics” generally fails to recognize marginalized and group aesthetics (including the critical work done on marginalized and group aesthetics) and specifically what it meant for a political cohort—the Chartists are my example—to think aesthetically.
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Sattler, Janyne. "Middleway aesthetics: an aesthetical way to say nothing about aesthetics." Revista de Filosofia Aurora 27, no. 40 (2015): 375. http://dx.doi.org/10.7213/aurora.27.040.ao06.

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This is a very brief sketch on Wittgenstein’s “middle” writings about aesthetical appreciation and aesthetical attitude concerning the objects of art. Even if it takes the Tractarian conception of ‘aesthetics’ as a starting point, the paper is focused on Wittgenstein’s (second-hand) class-notes taken from his Lectures on Aesthetics and a very specific remark reported by Moore, brought from the Philosophical Occasions, where “reasons” for aesthetical persuasion and correction are said to be like those offered in “discussions in a court of law”. At the end, not much is left for aesthetical appreciation and for aestheticsitself but a certain kind of contextual, circumstantial “appeal to the judge”.
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Kester, Grant H. "Learning from Aesthetics." Art Journal 56, no. 1 (1997): 20–25. http://dx.doi.org/10.1080/00043249.1997.10791797.

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Kuletin-Ćulafić, Irena. "From the Big Mac and Ikea society to the environmental aesthetics, smart cities and storytelling architecture." SAJ - Serbian Architectural Journal 11, no. 3 (2019): 441–62. http://dx.doi.org/10.5937/saj1903441k.

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Our global society is encountering different challenges of the twentyfirst century. Our cities are in the process of constant transformation influenced by urbanisation, globalisation, advanced technologies, environmental and ecological changes, social, political and economic crises. While corporative capitalism has flourished, world population is growing and our cities are sprawling, architecture is reaching almost utopian visions and the boundaries of aesthetics are becoming more and more loose and permeable. Today our contemporary society lives and acts aesthetically. From art, architecture, music, religion, politics, communication, technological gadgets, homes, gardens, clothes, cuisine to sport and life coaching, everything is a subject to aesthetical consideration. Aesthetical consideration of architecture and urbanism in a constantly changing world demands critical and interactive approaches, that will not only deal with theoretical aesthetic opinions, but also the practical ones. Accordingly, this paper seeks to discuss aesthetical problems of contemporary architecture and urban planning from global, environmental, technological and social points of view. Nature is no longer seen as a paradigmatic object of aesthetic experience, but as our unique collective environment upon which we humans depend. Therefore architecture emerges etic and aesthetic approaches in order to reconsider burden of our cities and possible ways of their future development.
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Hegenbart, Sarah. "The Participatory Art Museum: Approached from a Philosophical Perspective." Royal Institute of Philosophy Supplement 79 (October 2016): 319–39. http://dx.doi.org/10.1017/s1358246116000400.

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AbstractThis chapter introduces the participatory art museum and discusses some of the challenges it raises for philosophical aesthetics. Although participatory art is now an essential part of museological programming, an aesthetic account of participatory art is still missing. The chapter argues that much could be gained from exploring participatory art, as it raises fundamental challenges to our understanding of issues in aesthetics, such as the nature of aesthetic experience, the value of art, and the role of the spectator. Moreover, participatory art fundamentally questions the status of the museum as an exhibition space for contemporary art practices.
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Dissertations / Theses on the topic "From (Aesthetics)"

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Huynh, Boi Tran. "Vietnamese Aesthetics From 1925 Onwards." University of Sydney. Sydney College of the Arts, 2005. http://hdl.handle.net/2123/633.

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Twentieth century art in Viêt-Nam underwent immense changes due to the nation�s encounters with the West, through colonialism and two great wars. This thesis examines the significant impact of architecture, clothing painting and sculpture on the development of Vietnamese aesthetics. The very public nature of architecture and clothing will be used as a cultural backdrop for the changing aesthetic ideals in painting and sculpture. The thesis examines the aesthetic merits of Socialist Realism, introduced after reunification in 1975, in particular, its relationship to the art of the Republic of Vie�t- Nam (South Viêt-Nam) from 1954 to 1975. Vietnamese post-war art historians have consistently omitted the significant cultural developments of this period in their writings. A study of this distinctive era will clarify aesthetic changes in the last decades of the twentieth century. After a long period of isolation and ideological constraint, remarkable cultural changes occurred when Viêt-Nam re-established contact with the outside world. This thesis will present the subsequent changes in aesthetics, as an attempt to balance tradition and modernity, within the context of market reforms and the internationalisation of Vietnamese art. These events had a significant impact on the contemporary art market in Viêt-Nam. Through the changes that art history has noted, this thesis argues that the interactions with outsiders were either an impetus or a pressure for changes in Vie�t-Nam�s drive for modernity.
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Steinberg, Marc A. "Emerging from flatness : Murakami Takashi and superflat aesthetics." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=33929.

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This thesis is an examination of the concept and the term "superflat" as it is elaborated by the Japanese artist Murakami Takashi in his writings, in the exhibition he curated under the same name, and in his own art.<br>Its aim is to contextualize Murakami's project on one hand in terms of a similar attempt to define a Japanese national aesthetic in the early 20 th century, and on the other in terms of the 1990's tendency to return to Edo Japan to find the "origins" of Japan's postmodernity.<br>Murakami's own art is then turned to in order to both elaborate on and test the aesthetic of Japanese art he calls the superflat. This examination of Murakami's art permits the formulation of an aesthetics of Japanese contemporary art and animation even as it will afford an understanding of the "cultural logic" of the digital age that informs Murakami's argument.<br>Questions important to this project are: Is the articulation of a local aesthetics possible in this globalizing age? What are the aesthetic traits of the digital age? How should the superflat---as both idea and project---be interpreted?
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Kopkas, Jeremy M. "Soundings: Musical Aesthetics in Music Education Discourse from 1907 to 1958." Digital Archive @ GSU, 2011. http://digitalarchive.gsu.edu/eps_diss/81.

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In this dissertation I examine the discourse of music educators as it relates to musical aesthetics in the United States from the creation of the Music Supervisors’ Conference in 1907 to the year of the publication of Basic Concepts of Music Education: The Fifty-Seventh Yearbook of the National Society for the Study of Education, Part 1 in 1958. The purpose of this dissertation is to show that philosophical discussion, especially in relation to musical aesthetics, was much more comprehensive than previously acknowledged. The conventional view that the arguments supporting music education were primarily utilitarian is a limited interpretation of the discourse prior to 1958. In actuality, arguments about music extended beyond its practical social, economic, and political utility. Additional aesthetic theories guided the field and girded ideas of musical understanding and informed instruction. A better understanding of the discourse of this period contributes to more informed conversations about musical aesthetics and its relation to music education. Utilizing philosophical analysis and archival research, I argue in this dissertation that the philosophical discourse relating to musical aesthetics was rich, varied, insightful, and pervasive. The evidence in this dissertation refutes the standard interpretation which eschews the possibility of discourse on aesthetics taking place prior to 1958. I show that there was deeper philosophical analysis than what is currently acknowledged by those who presently make the claim that what was intended to happen generally in the field of music education and during instruction was solely guided by utilitarian philosophy. In other words, it expands the current understanding of philosophical discourse relating to musical aesthetics in music education before the Music Education as Aesthetic Education movement that is argued to begin with the publication of Basic Concepts.
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Locke, Brian. "Zemlinsky's fragmentary string quartet from 1927, edition, analysis and aesthetics." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ28608.pdf.

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Harsh, Mary Anne. "From muse to militant francophone women novelists and surrealist aesthetics /." Columbus, Ohio : Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1199254932.

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Li, Hongyi. "From Present to Transcendental: Xian Chang Aesthetics in Sixth-Generation Films." Ohio University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1596752736472154.

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Small, Douglas Robert John. "Dementia's jester : the Phantasmagoria in metaphor and aesthetics from 1700-1900." Thesis, University of Glasgow, 2013. http://theses.gla.ac.uk/4212/.

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In 1792, the inventor and illusionist Paul Philidor unveiled the ‘Phantasmagoria’ to the people of Paris. Coined by combining the Greek words ‘phantasma’ (appearance, vision, ghost) and ‘agora’ (assembly), Philidor had intended the name to suggest a vast crowd of the undead, a riotous carnival of phantoms. He promised his audience that, using the projections of a magic lantern and other ingenious mechanical devices, he would show them the illusory shapes of ghosts and monsters, reunite lovers separated by death, and call fiends out of hell. However, this exhibition of illusory spectres was to become something far more than a mere footnote in the history of Romantic popular entertainment. The Phantasmagoria was to assume a metaphorical function in the mindscape of the period; this cavalcade of spectres was to come to serve as an image for not only the fantastic terrors of dreams and hallucinations, but also for the unbounded creative power of the imagination. Besides this, the metaphor of the phantasmagoria was to subsume into itself an idea which had its origin in the ‘Curiosity Culture’ of the previous century: the curious collection. As time wore on, this Curious – or Phantasmagorical – collection became a symbol by which writers of the late Nineteenth Century could signal their resistance to bourgeois conformity and their own paradoxical celebration and rejection of consumer culture. This work examines the evolution of the Phantasmagoria metaphor as well as the development of its associated aesthetic: the aesthetic of the curious collection – the collection of weird and fabulous objects that astonishes the senses and confuses the mind, erasing the boundaries between reality and fantasy.
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Spaulding, Eric M. "The patient as art a critique from aesthetics of the transhumanist proposition /." Deerfield, IL : Trinity Graduate School, 2007. http://dx.doi.org/10.2986/tren.006-1561.

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McGuinn, Jacob. "To reversal : aesthetics and poetics from Kant to Adorno, Blanchot, and Celan." Thesis, Queen Mary, University of London, 2017. http://qmro.qmul.ac.uk/xmlui/handle/123456789/30719.

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This thesis reads radical indeterminacy into the reflective judgements of Kant's Critique of the Power of Judgement through points of connection between Kant's aesthetics and the philosophies and writing of Theodor Adorno and Maurice Blanchot. These re-situate the 'ends' of Kantian aesthetics in the historical situation of the 1960s and 1970s. In turn, this historicising of Kantian aesthetics reinterprets its original content. Such double reading - from Kant forwards, and back to Kant - is configured through what I call 'reversal': the indeterminacy of aesthetic reflection calls for a reverse 'reading' of itself which is not self-defeatingly determined by the aesthetic. Kant thus gives us the vocabulary for re-reading his aesthetics of reflection, and from this other indeterminacies of reflection, despite his attempt to organise and explain reflective relations through consistently with philosophical form through judgement. To read Kant outside his or any philosophy's economy, the task demanded by Adorno's theory and Blanchot's writing, asks for poetic readers and writers such as their near-contemporary, Paul Celan. They understand Celan's poetry as making legible how Kant's aesthetic might be thought reflectively, thus showing that the indeterminacy Kant attributes to reflection can be aesthetically experienced without being effaced by the philosophical judgement implying that indeterminacy. This turn back, the turn of verse, forms the hinge between Adorno's and Blanchot's dialectical and political thinking, allowing the common sense, the un-institutionalised 'we' Kant thinks ratifies aesthetic judgement, to remain negative or 'unavowable'. Aesthetics still structures the reading of poetry, but such poetry makes the indeterminate implications of Kantian aesthetics legible. 'Disconnection' becomes the organising principle for reflection and politics, implied by but now freed from aesthetic judgement, made visible by a poetry of 'reversal'. We conclude by finding the development of these ideas in two major elegists of Celan, Geoffrey Hill and Jeremy Prynne.
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McIntire, William. "Living as sublimated dying : understanding aesthetics and ethics from Freud and Nietzsche." Thesis, University of Warwick, 2016. http://wrap.warwick.ac.uk/88893/.

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This thesis aims to examine the connection between aesthetic and ethical valuations. Nietzsche and Freud both claim that values are symptoms of underlying psychical constitutions. I elicit an original understanding of aesthetic and ethical valuations through a synthesis of their works. Beginning with drive theory, I argue that the death-drive is an entropic principle guiding all psychical life. Another original contribution is my conceptualization of Eros as reducible to the death-drive as the means by which the death-drive manifests itself as a homeodynamic process in open systems. I argue, fundamentally, that the way our drives are expressed in the world entail vicissitudes that are more or less incorporative of stimuli and content as a means of mastery. There is a bifurcation of drive expression concerning incorporation, which I articulate as being egodystonically oriented, as in the case of defense mechanisms; or egosyntonically oriented, as in the case of sublimation. Sublimation is the only indirect vicissitude that can be regarded as egosyntonic because it involves neither repression nor disavowal. Unlike other vicissitudes, then, sublimation is the vicissitude by which Nietzsche’s emphasis on incorporation is realized. Following my analysis of the various vicissitudes, I demonstrate that there is accordingly a bifurcation of valuations. While most ethical theories involve repudiations of self-interest (our primary drives or inclinations), Nietzsche wants us to return to an incorporation of self-interest and an infusion of it into our relations. His arguments against the ethical theories of Kant and Schopenhauer echo precisely his arguments against their aesthetic theories regarding disinterestedness. I thus discuss the ethical as a corollary of the aesthetic. I conclude describing what it means for aesthetic and ethical valuations to emerge from egosyntonic vicissitudes, and I argue that the Übermensch is ultimately an archetype of egosyntonic relating. Nietzsche illustrates this with the metaphor of dancing.
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Books on the topic "From (Aesthetics)"

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Redeeming philosophy from metaphysics to aesthetics. American Maritain Association Publications, distributed by The Catholic University of america Press, 2014.

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Aesthetics and subjectivity from Kant to Nietzsche. Manchester University Press, 1990.

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Askin, Ridvan. Speculations V: Aesthetics in the 21st Century. punctum books, 2014.

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Arun, Mukherjee. Oppositional aesthetics: Readings from a hyphenated space. TSAR Publications, 1994.

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Bowie, Andrew. Aesthetics and subjectivity: From kant to nietzsche. Manchester Univ Press, 2003.

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Townsend, Dabney. Aesthetics: Classic readings from the Western tradition. 2nd ed. Wadsworth/Thomson Learning, 2001.

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Aesthetics after metaphysics: From mimesis to metaphor. Routledge, 2012.

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Prowler, David. A telegram from Marcel Duchamp. Readymade Press, 1990.

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Tilghman, Benjamin R. Wittgenstein, ethics, and aesthetics: The view from eternity. State University of New York Press, 1991.

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Art and embodiment: From aesthetics to self-consciousness. Clarendon Press, 1993.

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Book chapters on the topic "From (Aesthetics)"

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Mattes, Mark. "Luther’s Theological Aesthetics." In From Wittenberg to the World. Vandenhoeck & Ruprecht, 2018. http://dx.doi.org/10.13109/9783666531262.291.

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Mazzalovo, Gérald. "Historical Foundations: From Experimental Aesthetics to Postmodernism." In Brand Aesthetics. Palgrave Macmillan UK, 2012. http://dx.doi.org/10.1057/9781137025609_4.

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Brown, Frank Burch. "Conclusion: Aesthetics from the Standpoint of Theology." In Religious Aesthetics. Palgrave Macmillan UK, 1990. http://dx.doi.org/10.1007/978-1-349-10021-7_8.

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Tännsjö, Torbjörn. "Reasons from Justice and Aesthetics." In From Reasons to Norms. Springer Netherlands, 2009. http://dx.doi.org/10.1007/978-90-481-3285-0_7.

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Sütterlin, Christa. "From Sign and Schema to Iconic Representation. Evolutionary Aesthetics of Pictorial Art." In Evolutionary Aesthetics. Springer Berlin Heidelberg, 2003. http://dx.doi.org/10.1007/978-3-662-07142-7_5.

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Sugiyama, Takashi. "Herder on “Sentio, Ergo Sum”: Seen from His Remarks on the Color Harpsichord." In Computational Aesthetics. Springer Japan, 2018. http://dx.doi.org/10.1007/978-4-431-56844-5_3.

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Breidbach, Olaf. "The Beauties and the Beautiful — Some Considerations from the Perspective of Neuronal Aesthetics." In Evolutionary Aesthetics. Springer Berlin Heidelberg, 2003. http://dx.doi.org/10.1007/978-3-662-07142-7_3.

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Ruoff, Cynthia. "Le Véritable Saint Genest: From Text to Performance." In Phenomenology and Aesthetics. Springer Netherlands, 1990. http://dx.doi.org/10.1007/978-94-009-2027-9_16.

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Ray, Sitansu. "Indian and Western Music: Phenomenological Comparison from Tagore’s Viewpoint." In Phenomenology and Aesthetics. Springer Netherlands, 1990. http://dx.doi.org/10.1007/978-94-009-2027-9_21.

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Venclova, Tomas. "A Journey from Petersburg to Istanbul." In Brodsky’s Poetics and Aesthetics. Palgrave Macmillan UK, 1990. http://dx.doi.org/10.1007/978-1-349-20765-7_8.

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Conference papers on the topic "From (Aesthetics)"

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Guliani, RB Singh. "Bridge Aesthetics: Two examples from India." In IABSE Symposium, Vancouver 2017: Engineering the Future. International Association for Bridge and Structural Engineering (IABSE), 2017. http://dx.doi.org/10.2749/vancouver.2017.1406.

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"Exploring the Contemporary Visual Usages of Chinese Character Aesthetics: A Perspective from Aesthetic Economy." In April 19-20, 2018 Kyoto (Japan). Higher Education And Innovation Group, 2018. http://dx.doi.org/10.17758/heaig2.h0418461.

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Dayem, Adam. "Translational Aesthetics." In 2016 ACSA International Conference. ACSA Press, 2016. http://dx.doi.org/10.35483/acsa.intlp.2016.1.

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These drawings are part of ongoing design research exploring how computational drawing techniques can be used to create aestheticized spatial propositions. Operating in the abstracted two-dimensional realm of architectural representation, they are intended to create architectural ideas composed of form, light, and color. This research has been carried out in various design studios and visual studies classes over the past two years. The series drawings shown here is from one specific course – a first-year undergraduate visual studies course taught at Pratt Institute. The framework of a first-year course presents particular opportunities and limitations in relation to the research agenda.
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Hosu, Vlad, Dietmar Saupe, Bastian Goldluecke, et al. "From Technical to Aesthetics Quality Assessment and Beyond." In MM '20: The 28th ACM International Conference on Multimedia. ACM, 2020. http://dx.doi.org/10.1145/3423268.3423589.

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Zhang, Andy S. J. "Teaching Computer Aided Product Design With Aesthetic Considerations." In ASME 2005 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. ASMEDC, 2005. http://dx.doi.org/10.1115/detc2005-85531.

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This paper presents a study on how to utilize the computer based 3-dimensional parametric solid modeling software to integrate aesthetics into the lectures of product design related courses of a mechanical engineering curriculum to improve teaching and learning. The study indicates that when aesthetics were properly introduced into the classrooms of product design related courses; it created an environment that stimulated students’ imagination and creativity therefore enhancing their learning experience. When teaching product design courses, instruction tends to be focused on the underlying engineering requirements related to the product. Little is taught in the classroom about the aesthetic aspects of the product. As a result, the products created from the student’s design projects are mostly functional but not necessarily visually appealing. To address this issue, in teaching design-related courses, students were told to play the roles of both designers and consumers. After learning the basics of aesthetics, students were encouraged to inject their own aesthetic evaluations, considering themselves as customers, into the design process. This allowed the students to put more attention on the human elements (aesthetics) of their design. As a result, the students’ design projects have dramatically improved in content and in forms. The advances in computer based 3D parametric modeling software has made the integration of aesthetics into the engineering design curriculum possible. Both AutoDesk’s Inventor and PTC’s Pro Engineer Wildfire software packages were used in the classrooms. With the software’s enhanced spline and surface features, students were able to try different forms or shapes to generate the desired aesthetic effects that they weren’t able to create in the past.
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Sisdianto, Panji. "Manekung as a Method from The Teaching of Sunda to Annihilation Mind." In International Conference on Aesthetics and the Sciences of Art. Bandung Institute of Technology, 2020. http://dx.doi.org/10.51555/338633.

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Sieu, Brandon, and Marina Gavrilova. "Person Identification from Visual Aesthetics Using Gene Expression Programming." In 2019 International Conference on Cyberworlds (CW). IEEE, 2019. http://dx.doi.org/10.1109/cw.2019.00053.

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Qiao, Xiuqiang. "Art Appreciation and Collection from the Perspective of Aesthetics." In Proceedings of the 2018 8th International Conference on Management, Education and Information (MEICI 2018). Atlantis Press, 2018. http://dx.doi.org/10.2991/meici-18.2018.124.

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Riswarie, Ardhana, and Irma Damajanti. "Mapping and Exploring the Therapeutic Uses of Art: Case Study in Visual Art Students’ Final Assignment from 2012 to 2017." In International Conference on Aesthetics and the Sciences of Art. Bandung Institute of Technology, 2020. http://dx.doi.org/10.51555/338635.

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Dai, Yuxuan. "Study on Livable City Construction from the Perspective of Eco-aesthetics." In Proceedings of the 1st International Symposium on Innovation and Education, Law and Social Sciences (IELSS 2019). Atlantis Press, 2019. http://dx.doi.org/10.2991/ielss-19.2019.2.

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Reports on the topic "From (Aesthetics)"

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Baca, Julie, Daniel Carruth, Alex Calhoun, Michael Stephens, and Christopher Lewis. Challenges in evaluating efficacy of scientific visualization for usability and aesthetics. Engineer Research and Development Center (U.S.), 2021. http://dx.doi.org/10.21079/11681/40800.

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This paper presents the results of a study to evaluate the efficacy of scientific visualization for multiple categories of users, including both domain experts as well as users from the general public. Efficacy was evaluated for understanding, usability, and aesthetic value. Results indicate that aesthetics play a critical, but complex role in enhancing both user understanding and usability.
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Lee, Seung-Eun, and Alyson VanderPloeg. Neural Underpinnings of Aesthetic Experience: What Can We Learn from Neuroaesthetics? Iowa State University, Digital Repository, 2017. http://dx.doi.org/10.31274/itaa_proceedings-180814-1747.

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Seifert, Christin, Tianyu Cui, and Veena Chattaraman. How Much Can Brands Deviate from their Brand Aesthetic? The Moderating Role of Brand’s Luxury Statu. Iowa State University, Digital Repository, 2017. http://dx.doi.org/10.31274/itaa_proceedings-180814-355.

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Rutherford, Janice. The bungalow aesthetic : the social implications of a nationwide phenomenon viewed from the perspective of a small town. Portland State University Library, 2000. http://dx.doi.org/10.15760/etd.3179.

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Sarofim, Samer. Developing an Effective Targeted Mobile Application to Enhance Transportation Safety and Use of Active Transportation Modes in Fresno County: The Role of Application Design & Content. Mineta Transportation Institute, 2021. http://dx.doi.org/10.31979/mti.2021.2013.

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This research empirically investigates the need for, and the effective design and content of, a proposed mobile application that is targeted at pedestrians and cyclists in Fresno County. The differential effect of the proposed mobile app name and colors on the target audience opinions was examined. Further, app content and features were evaluated for importance and the likelihood of use. This included design appeal, attractiveness, relevance, ease of navigation, usefulness of functions, personalization and customization, message recipients’ attitudes towards message framing, and intended behaviors related to pedestrian, cyclist, and motorist traffic safety practices. Design mobile application features tested included image aesthetics, coherence and organization, and memorability and distinction. Potential engagement with the mobile app was assessed via measuring the users’ perceived enjoyment while using the app. The behavioral intentions to adopt the app and likelihood to recommend the app were assessed. The willingness to pay for purchasing the app was measured. This research provided evidence that a mobile application designed for pedestrians and cyclists is needed, with high intentions for its adoption. Functions, such as Safety Information, Weather Conditions, Guide to Trails, Events for Walkers and Bikers, and Promotional Offers are deemed important by the target population. This research was conducted in an effort to increase active transportation mode utilization and to enhance the safety of vulnerable road users. The public, city administrators, transportation authorities, and policy makers shall benefit from the results of this study by adapting the design and the features that are proposed in this research and were found appealing and useful for the target vulnerable road user groups. The need of the proposed mobile application and its main functions are established, based on the results of this research, which propagates further steps of implementation by city administrators and transportation authorities.
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Avery, Michael L., and Martin Lowney. Vultures. U.S. Department of Agriculture, Animal and Plant Health Inspection Service, 2016. http://dx.doi.org/10.32747/2016.7008749.ws.

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Black and turkey vultures cause problems in several ways. The most common problems associated with vultures are structural damage, loss of aesthetic value and property use related to offensive odors and appearance, depredation to livestock and pets, and air traffic safety. Management of these diverse problems often can be addressed by targeting the source of the birds causing the problem, namely the roost where the birds spend the night. Often the roost itself is the problem, such as when birds roost on a communication tower and foul the equipment with their feces or when they roost in a residential area. Several methods are available for roost dispersal. Vultures are protected by the Migratory Bird Treaty Act, and are managed by the federal government. Vultures may be harassed without federal permits, but can be killed only after obtaining a Migratory Bird Depredation Permit from the U.S. Fish and Wildlife Service. State wildlife agencies may require state permits prior to killing migratory birds.
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Kelly, Luke. Lessons Learned on Cultural Heritage Protection in Conflict and Protracted Crisis. Institute of Development Studies (IDS), 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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Cox, Jeremy. The unheard voice and the unseen shadow. Norges Musikkhøgskole, 2018. http://dx.doi.org/10.22501/nmh-ar.621671.

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