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1
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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Oh, Seung Min, Cheol Woo Lee, Soo Ik Lee, and Bong Cheol Kim. "Analysis of Side Effects from Cosmetic Procedures with Botulinum Toxin." Korean Association For Laser Dernatology And Trichology 1, no. 1 (2020): 17–21. http://dx.doi.org/10.46738/aesthetics.2020.1.1.17.
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Kreft, Lev. "How to defend aesthetics?" SAJ - Serbian Architectural Journal 7, no. 2 (2015): 27–36. http://dx.doi.org/10.5937/saj1501027k.
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Milan Damnjanović (1924-1994) published his aesthetic opus in the context of (Yugoslav) Marxist "overcoming" (Aufhebung) of aesthetics and of aesthetics' self-criticism expressed as the "crisis of aesthetics". To oppose both of these critical positions and at the same time reform aesthetics' ability to treat all aesthetic phenomena, but still keep art in special focus, he introduced the problem of immediacy of experience of the world by a human being. In his article "The Problem of Immediacy and Mediation in Marx's Thought" (1970) Damnjanović wanted to demonstrate the primacy of aesthetic dimension in immediacy and immediate mediation/reflection which can support philosophy's legitimate claim to organize it as an open system, and aesthetics' solidity as a discipline of such system. To achieve this purpose, he introduced an intertwined argumentation which combines his reading of Marx's philosophy of labour from Paris Manuscripts and from Capital with Helmut Plessner's esthesiology and Paul Valery's esthésique. To revisit Damnjanović's defence of the Whole, of philosophical systematicity, and of aesthetics' autonomous position as a discipline is an opportunity to argue that he pointed into the right direction, be it in taking Plessner and Valéry for support, or, in taking fundamental philosophical problem of immediacy/mediation as a foundation stone of the status of aesthetics.
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Loginova, Marina V. "Ethno-aesthetics in the system ethnic culture: theoretical and methodological aspect." Finno-Ugric World 13, no. 2 (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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Shen, Min, and Liangqiu Lv. "On Translation of Electric Power English from the Perspective of Translation Aesthetics." Journal of Language Teaching and Research 8, no. 5 (2017): 934. http://dx.doi.org/10.17507/jltr.0805.13.
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The translation of electric power English is getting prominent with the expanding of national grid and frequent exchanges of power industry among countries. From the perspective of translation aesthetics, electric power English translation is a language transformation activity that combines science and art together. Beginning with introduction to translation aesthetics theory and electric power English, under three criteria for judging aesthetic value of electric power English, this paper shall probe into the beauty of accuracy, conciseness, rhetoric and logic of electric power English and its translation. On the basis of analysis, translation techniques are proposed to represent these beauties in light of translation aesthetics.
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Shusterman, Richard, Nelson Goodman, Arthur C. Danto, Agnes Heller, and Ferenc Feher. "Saving Art from Aesthetics." Poetics Today 8, no. 3/4 (1987): 651. http://dx.doi.org/10.2307/1772574.
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Rancière, Jacques. "From Politics to Aesthetics?" Paragraph 28, no. 1 (2005): 13–25. http://dx.doi.org/10.3366/para.2005.28.1.13.
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Süner, Ahmet. "A critical evaluation of Heidegger’s criticism of aesthetics in ‘The Origin of the Work of Art’." Journal of European Studies 47, no. 1 (2016): 21–33. http://dx.doi.org/10.1177/0047244116676686.
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This paper examines and critiques Heidegger’s repudiation of aesthetics in his essay ‘The Origin of the Work of Art’ and claims that his alternative approach to artworks in the essay must be understood as a theory of aesthetics and, more particularly, of aesthetic use, which delineates the inseparability of senses and sensations. The paper analyses Heidegger’s explicit remarks on aesthetics in the epilogue, discusses his criticism of the aesthetic thing-interpretation at the beginning of the essay and concludes with some critical observations on Heidegger’s own aesthetics. While critical of Heidegger’s separation of the equipment from the artwork, the paper claims that Heidegger’s significant contribution to the field of aesthetics must be sought in his focus on the attenuation of the subjective element in aesthetic experience.
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Loesberg, Jonathan. "Kant's Aesthetics and Wilde Form." Victoriographies 1, no. 1 (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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Benčin, Rok. "Metaphorical and metonymical equality: From a rhetoric of society to an aesthetics of politics." Maska 32, no. 185 (2017): 52–58. http://dx.doi.org/10.1386/maska.32.185-186.52_1.
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The notion of the division of the sensible allows Jacques Rancière to suspend and redraw the lines between the politics of aesthetics and the aesthetics of politics, as well as between forms of political and aesthetic equality. The essay discusses Rancière’s work from a different angle, namely the distinction of two rhetorical figures, metaphor and metonymy, following Ernesto Laclau’s use of Gérard Genette’s reading of Proust as a model for his political theory. Outlining Rancière’s own use of the two figures as political models as well as his readings of Proust, the essay traces the differences between the rhetoric of society (Laclau) and the aesthetics of politics (Rancière).
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Erjavec, Aleš. "Art and aesthetics: Three recent perspectives." SAJ - Serbian Architectural Journal 4, no. 2 (2012): 142–59. http://dx.doi.org/10.5937/saj1202142e.
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The author sketches the development of the relationship between art and aesthetics in the recent past. As his starting point, he takes the position that artists established in the sixties in relation to philosophical aesthetics. In his view 1980 represented a historical threshold as concerns transformations both in art and its philosophy. He then discusses three theories of art and aesthetics - Nicolas Bourriaud's "relational aesthetics" from the nineties, Jacques Rancière's aesthetic project from the following decade, and the very recent "theory of contemporary art" developed by Terry Smith. In author's opinion, these three aesthetic or art theories not only disprove the pervasive opinion that contemporary aesthetics understood as philosophy of art is once more separated from contemporary art and the art world, but also manifest their factual import and impact in contemporary discussions on art.
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Novakovic, Marko. "Renewal of aisthesis in contemporary aesthetics." Theoria, Beograd 62, no. 2 (2019): 17–34. http://dx.doi.org/10.2298/theo1902017n.
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The main subject of this work is the new aesthetics of atmospheres promoted in the last decades of 20th century by Gernot B?hme. Aesthetics of the atmospheres is a consequence of revival of aesthesis in contemporary aesthetics. The concept of atmospheres changes the model of perception from mechanical-cognitivistic to pathic and existential: perception is not grasping the sensitive qualities of things, but bodily sensing ourselves in the presence of atmospheres filling space or environment. Traditional concept of aisthesis and aesthetics as a science of sensitive knowledge provides a model for contemporary aesthetics and renewal of interest for sensitivity and perception in problems related to nature and aestheticized life world and politics. The task of contemporary aesthetic theory is to analyse the full range aesthetic work and aesthetic experiences using concept of atmospheres, not only related to works of art, but to nature and everyday life as well. In the context of contemporary theories of appreciation of nature, this type of aesthetic theory belongs to aesthesical model. According to this model, sensing oneself in the presence of aesthetic object in nature or art is the principal feature of every aesthetic experience.
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Maras, Srdjan. "The erotic/aesthetic quality seen from the perspective of Levinas’s ethical an-archaeology." Filozofija i drustvo 31, no. 1 (2020): 98–107. http://dx.doi.org/10.2298/fid2001098m.
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This paper emphasizes the place and the role of the aesthetic quality and the role of the erotic in Levinas?s project that deals with ethical an-archaeology. Despite Levinas?s categorical statements that there are irreconcilable differences between ethics and aesthetics, i.e. between ethics and the erotic, above all, it is emphasized here that these differences do not represent a stark or sharp contrast, but quite contrary, they often constitute a subversive ontological element. On the other hand, somewhat unexpectedly, with its ethical anti-aestheticism Levinas?s ?noncontemporary? thought appears to be, at the same time, both significant and critical, elementary, emancipatory and contemporary in relation to present-day reactionary reactualization and revitalization of the aesthetic quality which mechanically proceeds to develop on the margins of Levinas?s emancipatory past.
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Andrade, Rodrigo Soares de. "Amelogenesis Imperfecta from Diagnosis to Rehabilitation-A Case Report." International Journal of Clinical Case Reports and Reviews 7, no. 03 (2021): 01–06. http://dx.doi.org/10.31579/2690-4861/127.
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During odontogenesis, enamel is normally synthesized as an extracellular matrix, a phenomenon known as amelogenesis. The failure of this process can lead to malformation of dental enamel, called Amelogenesis Imperfecta (AI). AI, by causing a qualitative and/or quantitative deficiency of dental enamel, presents characteristics such as hypersensitivity, unsatisfactory aesthetics, reduced vertical dimension, anterior open bite, plaque accumulation, and greater susceptibility to caries and gingivitis. Thus, our objective is to report a case of AI, describing the main characteristics of the disease, the diagnosis and the rehabilitative treatment plan, aiming to improve the patient's aesthetics and reestablishing the function of the stomatognathic system. Patient M.A.S.B., female, 5 years old, leucoderma, was admitted at the University of Patos de Minas Dental Clinic with a complaint of pain in the teeth. During the clinical interview, the person in charge reported that the child's teeth had the same defects as those of her mother and brother. During clinical examination it was observed: generalized loss of tooth structure, color change, rough surfaces and hypersensitivity. Treatment involved restorations with glass ionomer cement and composite resin, extraction of residual roots from the maxillary incisors, and confection of a functional and aesthetic space maintainer. Early diagnosis associated with the correct treatment plan is essential for a more conservative approach focused on preventing the effects of AI. In advanced cases, restoring function and aesthetics is paramount to improve the patient's quality of life.
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Gabriela, RĂȚULEA. "VANGUARDIST AESTHETICS: FROM HISTORICAL VANGUARDISM TO NEO-VANGUARDISM." SERIES VII - SOCIAL SCIENCES AND LAW 13(62), no. 1 (2020): 75–80. http://dx.doi.org/10.31926/but.ssl.2020.13.62.1.8.
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These article aims to provide the evolution of the vanguardistpoint of view on aesthetics. Vanguardismcalled into question modern and classical artistic methods and especially, aesthetical assumptions of modernity. If historical vanguardism exaggerated a series of the features of modernity, neo-vanguardism refuses the cult of novelty and rejects the permanent nihilism.
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Markovic, Slobodan, and Suncica Zdravkovic. "Introduction to the special issue on visual aesthetics." Psihologija 50, no. 3 (2017): 213–17. http://dx.doi.org/10.2298/psi1703213m.
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Visual aesthetics encompasses the studies of the relationship between vision and various aesthetic phenomena - from the beauty ratings of simple visual patterns to the appreciation of visual art, from the preference for natural objects and scenes to the preference for products of human creativity, from the aesthetic effects of culture to the aesthetic effects of biology, from the universal aesthetic sensitivity to the individual differences in taste, and so on. In this special issue ten papers reported the most recent studies on very different subjects related to visual aesthetics.
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Żakowska, Lidia. "Visualization, modelling and analyzing of transport space in cities from the aspect of aesthetics evaluation." Budownictwo i Architektura 13, no. 1 (2014): 203–11. http://dx.doi.org/10.35784/bud-arch.1940.
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Author claims that protection of transport space environment covers all actions which enhance aesthetics of this space and which upgrades its visual properties. Protection of transport environment which is realized in a constant care of visual effect, creates a new approach to transport sustainable development research. The considerations on aesthetical evaluation in transportation are presented based on visualization methods, first at classical two-dimensional approach of linear perspective and finally in form of four-dimensional intelligent digital models of virtual space. Transport environment visualization characteristics and their perception in relation to aesthetic properties are studied, also the new emerging science of visualization is described, and finally the future directions of visualization in urban transportation development are predicted.
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Sernelj, Téa. "Different Approaches to Modern Art and Society: Li Zehou versus Xu Fuguan." Asian Studies 8, no. 1 (2020): 77–98. http://dx.doi.org/10.4312/as.2020.8.1.77-98.
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Proceeding from the inseparable relation between ethics and aesthetics in traditional (and often also modern) Chinese thought, this article aims to illuminate two important approaches to the aesthetic foundations of Chinese modernity. The relation between the individual and society, which is a core question of modern ethics, is reflected in most of the ethical theories of 20th century China. In this context, the article first presents Li Zehou’s theory of aesthetics and his definition of aesthetic experience. In this way, it aims to illuminate Li’s interpretation of modern art and society, and to posit it into a contrastive position to Xu Fuguan’s ethico-aesthetic theories, especially the ones regarding modernity and Western culture. The basic approaches applied by these two important modern Chinese scholars reveal great differences in attitude towards the spiritual and material development of humanity in the 20th century, which is especially interesting since they are both rooted in the abovementioned belief that ethics cannot be separated from aesthetics. Besides, Li Zehou sincerely admired Xu Fuguan’s work on traditional Chinese aesthetics and referred to his comprehension of general concepts of traditional Chinese aesthetics in many of his own works dealing with aesthetics.
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Preston, Yan Wang. "Forest re-seen: From the metropolis to the wilderness." Journal of Contemporary Chinese Art 7, no. 2-3 (2020): 345–66. http://dx.doi.org/10.1386/jcca_00033_1.
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Rooted in practice-based research, the article uses the author’s artistic work as a springboard to discuss wider issues of ecology restoration, rewilding and environmental aesthetics. The first section of the article critically reviews and contextualizes the author’s eight-year photographic project, Forest, which investigates the politics of nature restoration projects in two new Chinese cities. Hinged upon contemporary environmental awareness and canonical photography aesthetics such as the topographic, the documentary and the storytelling, the Forest project pictorially and dialectically discusses the complexities of urban nature while beginning to accept urbanized China as a possible homeland. Extending the notion of constructed nature to an international context, within the global conversation efforts of re-naturalization and rewilding, the second section of the article analyses the inherent contradictions of rewilding in the post-wild world. The rewilded landscapes, the neo-wilderness, are brought into attention as a physical space to be investigated. The third section of the paper returns to its roots as practice-based research and tries to understand the neo-wilderness from the perspectives of landscape aesthetic traditions of both the West and China. The article finds commonality between three generations of representative western and male environmental photographers in their aesthetic choices and their philosophical grounding towards the sublime, pristine nature, as well as the binary between nature and culture. Finally, after a cautious discussion around the potential mis-use of Chinese traditional landscape aesthetics within contemporary landscape photography, the article points out the need to find alternative landscape aesthetics in order to critically investigate the meaning of nature now, with the constructed, rewilded landscapes as a crux for artists to produce an informed pictorial understanding.
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Roddy, Stephen, and Dermot Furlong. "Embodied Aesthetics in Auditory Display." Organised Sound 19, no. 1 (2014): 70–77. http://dx.doi.org/10.1017/s1355771813000423.
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Aesthetics are gaining increasing recognition as an important topic in auditory display. This article looks to embodied cognition to provide an aesthetic framework for auditory display design. It calls for a serious rethinking of the relationship between aesthetics and meaning-making in order to tackle the mapping problem which has resulted from historically positivistic and disembodied approaches within the field. Arguments for an embodied aesthetic framework are presented. An early example is considered and suggestions for further research on the road to an embodied aesthetics are proposed. Finally a closing discussion considers the merits of this approach to solving the mapping problem and designing more intuitively meaningful auditory displays.
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Kent, Alexander J. "From a Dry Statement of Facts to a Thing of Beauty: Understanding Aesthetics in the Mapping and Counter-Mapping of Place." Cartographic Perspectives, no. 73 (September 1, 2012): 37–60. http://dx.doi.org/10.14714/cp73.592.
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Aesthetics plays a key role in cartographic design and is especially significant to the representation of place, whether by the state, the community, the crowd, or the artist. While state topographic mapping today demonstrates a rich diversity of national styles, its evolution (particularly since the Enlightenment) has led to the establishment of a particular aesthetic tradition, which has recently been challenged by counter-mapping initiatives and through map art. This paper explores the function of aesthetics in the cartographic representation of place. It offers an analysis of the aesthetic value of topographic maps and suggests how an appropriate wielding of the aesthetic language of cartography can communicate a sense of place more effectively.
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Hubbard, Kevin. "Collaboration in aesthetics." Journal of Aesthetic Nursing 8, no. 6 (2019): 301–2. http://dx.doi.org/10.12968/joan.2019.8.6.301.
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Following on from his presentation at the Journal of Aesthetic Nursing's 2019 conference, Kevin Hubbard explores the idea of collaboration in aesthetics, discussing how his team use social media and training opportunities to connect with others
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Daeng Pasiga, Burhanuddin Daeng, Rasmidar Samad, and Rini Pratiwi. "Relationship of Oral Aesthetic Assessment according to Self Perception with Oral Malocclusion Condition of High School Students in Sidrap District, South Sulawesi Indonesia." Brazilian Dental Science 22, no. 4 (2019): 450–57. http://dx.doi.org/10.14295/bds.2019.v22i4.1712.
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Self-perception of dental aesthetics needs to be considered in planning orthodontic treatment because it is known that everyone has a self-perception of different oral esthetic conditions. Objective: To assess the state of malocclusion based on self-perception of dental aesthetics using the Oral Aesthetic Subjective Impact Score (OASIS); to determine the relationship of self-perceptions of oral aesthetics and the state of malocclusion from the results of clinical examinations using the Dental Aesthetic Index (DAI). Material and Methods: Research subjects were middle school students aged between 14-18 years as many as 187 students. For oral aesthetic assessment using the OASIS index questionnaire, and to evaluate the aesthetic and anatomical components of the malocclusion clinic using the Dental Aesthetic Index (DAI). Results: The prevalence of malocclusion according to Dental Aesthetic Index (DAI) showed that mild / normal malocclusion (59.9%), moderate malocclusion (33.4%), severe malocclusion (5.7%), and very severe malocclusion (1%). The prevalence of self-perception of oral aesthetics was 54.6% judging good. The results of the analysis with logistic regression tests showed that there was a significant (p<0.001) relationship between self-perception of oral aesthetics using the OASIS index and malocclusion status using the DAI index. Conclusion: Based on the results of this study, there was a significant relationship (p <0.01) between oral aesthetic self perception and malocclusion status of high school students.KeywordsOral aesthetic perception; Oral aesthetic subjective impact score; Dental aesthetic index.
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Kawalec, Anna. "What Philosophical Aesthetics Can Learn from Applied Anthropology." Symposion 7, no. 1 (2020): 41–53. http://dx.doi.org/10.5840/symposion2020714.
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Through a detailed case study of investigations on beauty, I demonstrate that a thoughtful consideration of empirical evidence can lead to the disclosure of the fundamental assumptions entrenched in a philosophical discipline. I present a contrastive examination of two empirically oriented approaches to art and beauty, namely, the anthropology of art and the anthropology of aesthetics. To capture these two different ways of interpreting the available evidence, I draw upon a debate between Alfred Gell and Jeremy Coote on the understanding of beauty and art in the Dinka community. Following Gell, I reveal that the Western-centric predilection of Coote, who uses traditional aesthetic categories, leads to his failure to grasp the functional and causal roles of beauty in the social relations of the Dinka. In more general terms, my study reveals the inherent limitations of aesthetics as developed in the Western tradition and its Kantian legacy. Being steadily driven towards purely abstract and speculative concepts, such as ‘work of art,’ Western aesthetics has lost the ability to account for the causal role of beauty in social relations. By contrasting this approach with Gell’s anthropological approach to art, I indicate those fundamental assumptions of aesthetics as a philosophical discipline that apparently confine it to a particular cultural context, compromising its ability to account for the universal human condition. As my study illustrates, this limitation could be overcome by a thoughtful and unprejudiced examination of empirical evidence.
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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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Dirgualam, Oki, Dadang Suganda, Buky Wibawa, and Kunto Sufianto. "ESTETIKA PERMAINAN MUSIK BARAT PADA BIG BAND SALAMANDER." Paradigma: Jurnal Kajian Budaya 11, no. 1 (2021): 99. http://dx.doi.org/10.17510/paradigma.v11i1.420.
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<p>This article describes the aesthetics of the big band jazz music by Salamander Big Band. Aesthetics is a study of the processes that occur in three basic elements: aesthetic objects, aesthetic subjects, and aesthetic values related to aesthetic experiences, aesthetic properties, and attractive and unattractive parameters. This paper presents the basic elements of western music aesthetics, especially big band jazz music, and how Salamander Big Band can implement the aesthetic values of western jazz big band music in the music played. This research uses a qualitative approach with a descriptive analysis method. Through a process of appreciation, habituation, additional insight into jazz music and continuous and consistent practice, Salamander Big Band members can adapt to cultures from outside Indonesia's popular music culture, namely playing American big band music with the right aesthetic.</p>
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Huang, Furong. "Translation Aesthetics in Children’s Literature." Theory and Practice in Language Studies 7, no. 12 (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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Rosenbrück, Jonas. "Toward an Aesthetics of Obscurity: From Baumgarten to Blanchot." Comparative Literature 72, no. 1 (2020): 83–102. http://dx.doi.org/10.1215/00104124-7909994.
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Abstract This article analyzes the notions of clarity and obscurity in the work of Alexander Gottlieb Baumgarten and Maurice Blanchot, arguing that the latter’s thought of the “other night” proposes a radical reversal, indeed, a corruption, of Baumgarten’s founding of aesthetics as an ocularcentric discipline governed by clarity. Baumgarten, laying the groundwork for much of the “distribution of the sensible” that dominated the field of aesthetics after him, conceives of the poem as the paradigmatic instance of an aesthetic cognition of the sensible that is founded on the triad of clarity, attention, and liveliness. He thus opposes the poem to both the obscure fundus animae, the ground of the soul, and to utopian poetry, neither of which can be poetized. By contrast, Blanchot’s literature dissolves this triple foundation into a writing of obscurity, distracted fatigue, and a “death resurrected”; literature opens aesthetics to that which had been constitutively excluded at its founding moment. The clarifying powers of the poet-aesthetician are replaced by passive “fascination” and a “passion of the image” that delimits a radically different, countercosmic, and thus utopian space of literature.
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Grant, Lyle K. "Sustainability: From Excess to Aesthetics." Behavior and Social Issues 19, no. 1 (2010): 7–47. http://dx.doi.org/10.5210/bsi.v19i0.2789.
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Weggeman, Mathieu, Irene Lammers, and Henk Akkermans. "Aesthetics from a design perspective." Journal of Organizational Change Management 20, no. 3 (2007): 346–58. http://dx.doi.org/10.1108/09534810710740173.
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Berque, Augustin. "From Flood Control to Aesthetics." International Journal of Water Resources Development 25, no. 4 (2009): 585–91. http://dx.doi.org/10.1080/07900620903281815.
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Jacobsen, Thomas. "Bridging the Arts and Sciences: A Framework for the Psychology of Aesthetics." Leonardo 39, no. 2 (2006): 155–62. http://dx.doi.org/10.1162/leon.2006.39.2.155.
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The investigation of aesthetic processing has constituted a longstanding tradition in experimental psychology, of which experimental aesthetics is the second-oldest branch. The status of this psychology of aesthetics, the science of aesthetic processing, is briefly reviewed here. Building on this heritage and drawing on a host of related scientific disciplines, a framework for a strongly interdisciplinary psychology of aesthetics is proposed. It is argued that the topic can be fruitfully approached from at least seven different perspectives, each with multiple levels of analysis: diachronia, ipsichronia, mind, body, content, person and situation. Eventually, this work may coalesce into a unified theory of aesthetic processing.
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Hulatt, Owen. "The Dialectics of Aesthetic Agency: Revaluating German Aesthetics from Kant to Adorno." British Journal for the History of Philosophy 21, no. 6 (2013): 1240–43. http://dx.doi.org/10.1080/09608788.2013.852968.
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정은정. "Zhang Lu’s Film Aesthetics from the Viewpoint of Neo-realism’s Aesthetic Orientation." Contemporary Film Studies 9, no. 2 (2013): 61–88. http://dx.doi.org/10.15751/cofis.2013.9.2.61.
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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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&nbsp; 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. &nbsp;
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Luke, Timothy W. "Art and the Environmental Crisis: From Commodity Aesthetics to Ecology Aesthetics." Art Journal 51, no. 2 (1992): 72. http://dx.doi.org/10.2307/777398.
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Toufani, Samrand, John Philip Stanton, and Tendai Chikweche. "The importance of aesthetics on customers’ intentions to purchase smartphones." Marketing Intelligence & Planning 35, no. 3 (2017): 316–38. http://dx.doi.org/10.1108/mip-12-2015-0230.
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Purpose The purpose of this paper is to examine how potential purchasers of a personal information, communication and entertainment device such as a smartphone, perceive the aesthetics of such a product. It then examines whether appreciation of the product’s aesthetics influences their purchase intention through different dimensions of perceived value drawn from perceptions of the product’s aesthetics, or whether there is a direct relationship from aesthetics to purchase intention. Design/methodology/approach Mixed methods consisting of two focus groups, a pilot and large online surveys were used for instrument confirmation and data collection. Data were analysed and hypotheses were tested using partial least squares structural equation modelling techniques. Findings Aesthetics’ primary effect on purchase intention is not direct, but rather indirect through perceived social and to a lesser extent, perceived emotional value while the importance of aesthetics on perceived functional value is far less. There was also support for a formative approach in the construction of an aesthetics scale with the identification of four different latent factors of aesthetics. Research limitations/implications This study is product specific but should be extendable to the product category. The possibility of other variables affecting the aesthetic appreciation of a product also needs consideration. Practical implications The study provides managers with insights on how aesthetics can be used to strengthen purchase intention in terms of both product development and promotional strategies. Aesthetics’ appeal to social and emotional perceived values, rather than functional value, provides guidance on how to use aesthetics in promotional campaigns. Originality/value Despite the richness of the literature on aesthetics, only a limited number of studies have researched the factors influencing aesthetic appreciation of a product and the effect on purchase intention. This research expands knowledge in the area thereby providing new insights on the influence of aesthetics on marketing.
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Poškaitė, Loreta. "Everyday Aesthetics in the Dialogue of Chinese and Western Aesthetic Sensibilities." Dialogue and Universalism 30, no. 3 (2020): 225–44. http://dx.doi.org/10.5840/du202030344.
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The paper examines the intercultural dimension of everyday aesthetics which was promoted by one of its most important Chinese proponents Liu Yuedi as a search for dialogue between various aesthetic traditions, in particular, those from the East and West. The aim of the paper is to explore some parallels between the traditional Chinese and contemporary Western aesthetic sensibilities, by looking for their common values and concepts which are gaining prominence in the discourse of everyday aesthetics. It begins with a survey of the contributions of Chinese and Western scholars; the survey concerns the relevance of Chinese (Confucian and Daoist) traditional aesthetics for everyday aesthetics, and examines particular features of the nature of perception in everyday aesthetics which is common to Chinese and Western artistic activities, aesthetic discourses and their conceptualizations. In the second section I discuss the “intercultural” concept of atmosphere as the de-personalized or “transpersonal”/intersubjective, vague and all-inclusive experience of the situational mood and environmental wholeness. I explore and compare the reflection of its characteristics in Western scholarship and Chinese aesthetics, especially in regard to the aural perception and sonic sensibility. The final section provides a comparative analysis of few examples of the integration of music into the environmental or everyday surrounding—in Daoist philosophy and Chinese everyday aesthetics, and Western avant-garde art (precisely, musical composition by John Cage 4’33). The analysis is concentrated on the perception of music in relation to the experience of atmosphere and everyday aesthetics, as they were defined in the previous sections. The paper challenges the “newness” of everyday aesthetics, especially if it is viewed from the intercultural perspective, and proposes the separation of its discourses into the investigation of its past and present.
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Bouchaud, Jean-Philippe. "Models of Randomness and Complexity, from Turbulence to Stock Markets." Leonardo 41, no. 3 (2008): 239–43. http://dx.doi.org/10.1162/leon.2008.41.3.239.
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Inspired by the increasing complexity of statistical models for turbulence and stock markets, the author presents some reflections on the very notion of a model and illustrates some relations between physics and aesthetics. He argues that aesthetic emotions arise from a delicate balance between regularity and surprise.
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Chare, Nicholas. "Fugitive Aesthetics: Embodiment, Sexuality and Escape from Alcatraz." Paragraph 38, no. 1 (2015): 37–54. http://dx.doi.org/10.3366/para.2015.0145.
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This essay builds on Jacques Rancière's exploration of the relationship between aesthetics and politics to analyse queer sexuality in Don Siegel's prison film Escape from Alcatraz. The film both illustrates and embodies what Rancière refers to as a redistribution of the sensible, an opening up of a new way of making sense of the world. In Escape from Alcatraz this sense-making is bound up with same-sex desire. Rancière is usually concerned with aesthetic practices linked to class struggle. This essay, however, examines how Rancière's ideas are also illuminating in relation to subjugated sexual experiences.
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Lane, Jeremy F. "Emancipation from Work or Emancipation through Work? Aesthetics of Work and Idleness in Recent French Thought." Nottingham French Studies 55, no. 1 (2016): 79–95. http://dx.doi.org/10.3366/nfs.2016.0140.
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In Le Capitalisme cognitif (2007), Yann Moulier Boutang argues that, under Post-Fordism, workers are expected to invest ever more of their creative, affective, and cognitive powers in their labours. These eminently human qualities, he maintains, are inherently resistant to capture and exploitation by capitalism. Hence, their integration into the capitalist system risks provoking that system's downfall, heralding the emergence of an Aesthetic State in which work itself will be modelled on disinterested creative activity and genuine emancipation will follow. Moulier Boutang is a leading representative of the French brand of néo-opéraïste thought and his work typifies the manner in which néo-operaïstes understand the relationships between work, aesthetics, and political emancipation. This is an understanding that stands in stark contrast to the work of Jacques Rancière. For Rancière, emancipation can only come through an escape from work, in moments of idleness that are prefigured in the disinterested nature of aesthetic experience. This article will examine the nature and stakes of this striking contrast between Moulier Boutang's ‘aesthetics of work’ and Rancière's ‘aesthetics of idleness’, between the former's belief in the possibility of emancipation through work and the latter's focus on the possibilities of emancipation from work