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Artículos de revistas sobre el tema "Cross-cultural aesthetics and concepts"

Autor: Grafiati

Publicado: 4 de junio de 2021

Última modificación: 7 de febrero de 2022

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1

Sobolev, Yuriy. "Aesthetic Ideas and Concepts of the Hindu Tradition: Specific Features and Analogies." Vestnik of Northern (Arctic) Federal University. Series Humanitarian and Social Sciences, no. 3 (July 21, 2021): 119–27. http://dx.doi.org/10.37482/2687-1505-v108.

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This article deals with the main ideas and basic concepts of Hindu aesthetics. The problem area reveals itself in the question of European culture’s perception of Hindu aesthetics. In this connection, the following questions are actualized: what can be considered as original aesthetic conceptions of Hinduism? is it possible to find direct analogies in other cultures? how relevant and correct is the conceptual apparatus describing various aesthetic phenomena? what is the role of the religious thought in the proposed aesthetic context? Proceeding from the historical and cultural position of aest

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2

Zimenko, T. V. "The Concept of Taste in South Korea: Historical, Aesthetical and Philosophical Aspects." Concept: philosophy, religion, culture 4, no. 4 (December 29, 2020): 83–101. http://dx.doi.org/10.24833/2541-8831-2020-4-16-83-101.

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The focus of this paper is on the Korean aesthetic model of taste. In order to investigate the origins of aesthetics in Korea and its current place in Koreans’ lives, it analyzes the key concepts of the Korean aesthetics and spiritual aspects of life for Koreans. In a way to exemplify this cultural system, traditional Korean food is presented as a conceptual representation of the aesthetic experience. Its role in integrating different aspects of meanings and values in everyday lives of Koreans is also discussed. The research subject is studied through the complex lenses: its association with b

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3

Zimenko, T. V. "The Concept of Taste in South Korea: Historical, Aesthetical and Philosophical Aspects." Concept: philosophy, religion, culture 4, no. 4 (December 29, 2020): 83–101. http://dx.doi.org/10.24833/2541-8831-2020-4-16-83-101.

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The focus of this paper is on the Korean aesthetic model of taste. In order to investigate the origins of aesthetics in Korea and its current place in Koreans’ lives, it analyzes the key concepts of the Korean aesthetics and spiritual aspects of life for Koreans. In a way to exemplify this cultural system, traditional Korean food is presented as a conceptual representation of the aesthetic experience. Its role in integrating different aspects of meanings and values in everyday lives of Koreans is also discussed. The research subject is studied through the complex lenses: its association with b

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4

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 aesthe

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5

Pyrova, Tatiana Leonidovna. "Philosophical-aesthetic foundations of African-American hip-hop music." Философия и культура, no. 12 (December 2020): 56–62. http://dx.doi.org/10.7256/2454-0757.2020.12.34717.

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This article is dedicated to the philosophical-aesthetic foundations of African-American hip-hop music of the late XX century. Developed by the African philosopher Leopold Senghor, the author of the theory of negritude, concept of Negro-African aesthetics laid the foundations for the formation of philosophical-political comprehension and development of the principles of African-American culture in the second half of the XX century in works of the founders of &ldquo;Black Arts&rdquo; movement. This research examines the main theses of the aesthetic theory of L. Senghor; traces his impac

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6

Mulia, Prajanata Bagiananda, and D. ,. Dharsono. "EDITING CROSS-CUTTING IN THE FILM HAJI BACKPACKER." Capture : Jurnal Seni Media Rekam 11, no. 1 (November 27, 2019): 104–22. http://dx.doi.org/10.33153/capture.v11i1.2686.

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The aim of this research is the revealing the use of editing cross-cutting formed in Haji Backpacker’s film. This research uses qualitative research method: interpretative analysis formalist aesthetics approach, editing cross-cutting of Karel Reisz through Sergei Eisenstein’s montage theory. This research focuses on studying the aesthetic and the application of editing cross-cutting in Haji Backpacker’s film. Editing cross-cutting observed from the forms, functions, relations of themes, and motivation of existence, until analysis of Sergei Eisenstein’s montage, those are metric, rhythmic, tona

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7

Siuta, Halyna. "Terminology of receptive stylistics: the adaptation of other-disciplinary concepts." Terminological Bulletin, no. 5 (2019): 104–11. http://dx.doi.org/10.37919/2221-8807-2019-5-13.

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Receptive stylistics is the latest trend in the stylistics of text. It studies the mechanisms of text perception, in view of the account time, socio-cultural and individual psychological factors of perception. This integrative model of textology combines the ideas of hermeneutics, phenomenology, receptive aesthetics and poetics, traditional poetics, linguоsynergetics etc. Maximum openness to the researching of the intellectual and communicative nature of the text is reflected in the terminology of receptive stylistics. One of the theoretical platforms of receptive stylistics is receptive aesth

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8

Gannon, Matthew. "The Aesthetic Death Drive of Modernism." differences 31, no. 2 (September 1, 2020): 58–85. http://dx.doi.org/10.1215/10407391-8662174.

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This essay argues not only that Wilhelm Worringer’s concept of the urge to abstraction from his work of art history Abstraction and Empathy (1908) prefigures Sigmund Freud’s notion of the death drive in Beyond the Pleasure Principle (1920) but also that Worringer’s aesthetics of nonrepresentational art solves in advance some key problems that Freud had in accounting for the modernism of his day. Though Worringer and Freud did not appear to ever engage with each other, their two central concepts share a high degree of compatibility, and it is possible to think of Worringer’s urge to abstraction

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9

Astafyeva, Olga N., and Natalia V. Kuzmina. "“Interesting” in the Aesthetic Landscape of the City." Observatory of Culture 15, no. 6 (December 28, 2018): 693–707. http://dx.doi.org/10.25281/2072-3156-2018-15-6-693-707.

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The article examines the aesthetic category of “interesting” as a dominant of urban environment development. The authors try to comprehend this category from the point of view of cultural knowledge. The article includes a theoretical section, where, basing on well-known concepts, the authors outline the principles of embedding the “interesting”, as something aesthetics and artistic, in the postmodern fabric of modern megacities. The analytical part of the article is based on specific examples represented by urban cultural landscapes, by the postmodern clash of art and non-art in urban spac

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10

Frisch, Simon. "The Aesthetics of Flow and Cut in the Way of Film: Towards Transnational Transfers of East Asian Concepts to Western Film Theory." Arts 8, no. 3 (September 16, 2019): 119. http://dx.doi.org/10.3390/arts8030119.

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The general concepts in theorising the aesthetics of film are still rooted in occidental traditions. Thus, thinking about film is dominated by Western terms and aesthetic paradigms—such as “pieces of work”, the representation of reality or regarding the arts as an act of communication. From such an angle, it is difficult to describe different characteristics of the cinematic image, for example, its ephemeral character. In contrast to occidental thinking, the cultural traditions of East Asia are based on the concept of the way (dō or dao), which allow for the description of aesthetics of transi

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11

Heinrich, Falk. "(Big) Data, Diagram Aesthetics and the Question concerning Beauty." MedieKultur: Journal of media and communication research 31, no. 59 (March 8, 2016): 20. http://dx.doi.org/10.7146/mediekultur.v31i59.20084.

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<p class="falk1">The article investigates whether and in which way artistic artefacts deploying big data can be experienced as beautiful. The question is relevant, because the sentiment of beauty indicates besides an immediate sensory valuation also changes in cultural values and epistemic frameworks. The article focuses on artistic data visualisations. It applies concepts of philosophical aesthetics in order to trace an altered notion of beauty and its artistic and cultural implications.</p><p class="falk1">The article’s introductory part presents some examples of data visua

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12

Filipović, Aleksandar. "The origin of the aesthetic elements in traditional forms of Far-eastern martial arts." Issues in Ethnology and Anthropology 9, no. 1 (February 25, 2016): 145. http://dx.doi.org/10.21301/eap.v9i1.8.

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In light of the fact that Far-eastern martial arts have to be viewed as an inseparable part of the cultural traditions of China and Japan, their aesthetic character is tied to traditional cultural concepts which dominate these cultures, such as the concept of the unity of opposites, better known as yin and yang; the concept of the Road (the Tao) as a symbol of continuing self-improvement; the concept of Chi or Qui energy which permeates the cosmos as well as individual beings, etc. These concepts owe their existence and development first and foremost to the religious and philosophical systems

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13

Grubačić, Marko S. "A BRIEF LOOK AT THE PROBLEM OF DEFINING JAPANESE AESTHETIC TERMS, THEIR AUTHENTICITY AND INTERPRETATIONS IN THE TWENTIETH CENTURY (Kratak osvrt na problem definisanja japanskih esteskih pojmova, njihovu autentičnost i interpretacije u XX veku)." Folia linguistica et litteraria X, no. 28 (December 26, 2019): 113–26. http://dx.doi.org/10.31902/fll.28.2019.7.

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This paper deals with the key concepts of Japanese aesthetics, whose peculiarities arose at the intersection of cultural-historical, poetic and literarytheoretical impulses at a time when clear distinctions between literary, visual and applied arts in Japan were absent. The analysis of the assumptions of their emergence - which frequently alternate between political and aesthetic propositions - is conducted by consulting and interpreting relevant sources in order to question or confirm the established interpretations. Keywords: Japanese Aesthetics, fūryū, iki, mono-no-aware, yūgen, nihonjinron

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14

Xie, Xiaolan. "Cultural Aesthetic Comparison of "Three Singing Methods"." Frontiers in Business, Economics and Management 1, no. 2 (April 24, 2021): 15–17. http://dx.doi.org/10.54097/fbem.v1i2.17.

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The art of music is an important part of human culture. Vocal music art is closely related to traditional culture. Different social, historical and cultural factors of different nationalities have injected different ideological and cultural connotations into vocal music art. In their respective cultural atmosphere, vocal music art presents very different forms of expression. The traditional cultural concepts and national psychological consciousness formed under different religious backgrounds affect the traditional artistic concepts and the trend of vocal music art, and finally lead to the dif

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15

C, Porkai Athirai. "Tholkappiyar’s meyppadu and Bharathar’s Rasa – Concepts of Aesthetics." International Research Journal of Tamil 3, no. 3 (July 6, 2021): 47–52. http://dx.doi.org/10.34256/irjt2136.

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Since ancient times, as Tamil and Sanskrit have been exchanging cultural practices, there are similarities in literary and grammatical principles. Many of Tholkappiyar’s literary principles about Meyppadu in aesthetics are found in Bharadhar’s the Sanskrit literary theorist too, who came after Tholkappiyar, in the north. The eight occasions where Meyppadu occurs, according to Tholkappiyar, are seen in Bharadhar’s also. As per Bharadhar Meyppadu is action. The base for the occurrence of these actions is feeling. Rasa is a feeling. Bhava is a Meyppadu. Feeling breaks out of Meyppadu. Bharadhar’s

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16

Singh, Sangeeta, and Martina Maria Keitsch. "Aesthetic Participation for Sustainable Development: A Case Study from Kathmandu, Nepal." Journal of Management and Sustainability 8, no. 4 (November 25, 2018): 96. http://dx.doi.org/10.5539/jms.v8n4p96.

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Art and design are increasingly emphasizing the role of user participation and social inclusion. Some authors claim for example, that art processes should employ creative ideas, abilities and skills of diverse stakeholders. The idea of art as a social sculpture (Beuys) is not new. Art has played an important role for participation of different social groups in common cultural activities for many decades. The role of art, experience and participation in this sense connects Heidegger&rsquo;s interpretation of the artwork, expressed for example, through the significant cultural role of the te

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17

KOLKUTINA, Viktoriia, Lesia SYNIAVSKA, Volodymyr POHREBENNYK, Tetiana KORNISHEVA, and Natalia IAREMCHUK. "Literary Hermeneutics in The Context of Natiosophic Ideas." WISDOM 16, no. 3 (December 28, 2020): 41–52. http://dx.doi.org/10.24234/wisdom.v16i3.394.

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The article looks at the literary hermeneutics in the context of natiosophic ideas by H.-G. Gadamer, S. During, M. Heidegger, E. Smith, E. Said, D. Dontsov. It investigates the freedom-centred nature of nationalism, discovers new meanings of the concept “cultural nationalism”, as well as the key concepts of the natiosophic aesthetics. The research outlines the natiosophic specifics of the interpretation system through the comprehension of the various concepts. It sums up that nationalist interpretation is essentially natiologic (natiosophic), however, it is also literary, with the cohere

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18

Sernelj, Téa. "Different Approaches to Modern Art and Society: Li Zehou versus Xu Fuguan." Asian Studies 8, no. 1 (January 10, 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

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19

Trafí-Prats, Laura. "Girls’ Aesthetics of Existence in/With Hayao Miyazaki’s Films." Cultural Studies ↔ Critical Methodologies 17, no. 5 (October 21, 2016): 376–83. http://dx.doi.org/10.1177/1532708616674996.

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In this article, I analyze the processual aesthetic production of girl subjectivity in/with Hayao Miyazaki’s films through a feminist materialist perspective informed by the writings of Karen Barad, Rosi Braidotti, Donna Haraway, Elizabeth Grosz, and Affrica Taylor. I elaborate on feminist materialist concepts such as those of relational ontology, aesthetics of existence, worldmaking, mythopoesis, queer kin, and gender/sexual difference. With these concepts, I philosophically and ethnographically inquire in/with girl spectators who are interested in the experimentation with new modalities of e

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20

Sernelj, Téa. "Modernization of Beauty in China." Asian Studies 9, no. 2 (May 7, 2021): 165–79. http://dx.doi.org/10.4312/as.2021.9.2.165-179.

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The article explores the socio-political and historical development of the great debate on aesthetics and the aesthetic fever in China during the 20th century. It introduces the main figures of the aesthetic movement and their aesthetic theories. It introduces the period of appropriation of the aesthetic debates to Marxist ideology that prevailed in China after 1949 and lasted until the end of 1970s. The 1980s and 1990s represent a shift in the Chinese aesthetic debate which focused on the adoption of Western aesthetic concepts and paradigms in a more scientific way. The article tackles the pr

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21

Eriksson, Birgit. "The Uses of Art: Contemporary Changes in Cultural Consumption and the Function of Art." Culture Unbound 3, no. 3 (December 21, 2011): 475–88. http://dx.doi.org/10.3384/cu.2000.1525.113475.

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In recent years aesthetics and cosmopolitanism have been linked in new ways. On the one hand, contemporary research in the sociology of art indicates an increasing openness and a potential cosmopolitanism in aesthetic taste and consumption. On the other hand, aesthetic concepts and ideals play an important but often implicit role in some of the theories of globalization and cosmopolitanism that inform cultural studies. By examining the interaction between these two tendencies and relating it to sociological and aesthetic theories, I will discuss the characteristics and the possible social impl

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22

Karam, А. "ESSENTIAL CHARACTERISTICS OF THE PHENOMENA “AESTHETIC COMPETENCE OF PERSONALITY”." Pedagogical education: theory and practice. Psychology. Pedagogy, no. 32 (2019): 81–85. http://dx.doi.org/10.28925/2311-2409.2019.32.11.

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In the article it is revealed the essence of interpretation of the phenomenon of «aesthetic competence» from the point of view of philosophy, psychology, pedagogy, sociology, and cultural studies. Emphasis is placed on the interconnection of synonymous terms «readiness» and «preparedness»: «readiness» is a concept broader than competence and preparedness, which may be single, fragmented, that is, not to provide the full capacity to perform the functions of an activity. The essence of the outlined phenomenon is analyzed through its separate concepts, taking into account their relation: «aesthet

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23

Dziamski, Grzegorz. "Performative nature of aesthetics." DYSKURS. PISMO NAUKOWO-ARTYSTYCZNE ASP WE WROCŁAWIU 26, no. 26 (September 1, 2019): 32–49. http://dx.doi.org/10.5604/01.3001.0012.9886.

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Many lecturers of aesthetics feel that the subject of their lectures is not necessarily aesthetics, but history of aesthetics, the aesthetic views of Plato and Aristotle, Kant and Hegel, Hume and Burke, the British philosophers of taste and German romanticists. Does that mean that aesthetics feeds on its own past, is nurtured by reinterpretations of its classics, defends concepts and categories that inspire no one and do not open new cognitive perspectives? Does it mean that aesthetics is dead today, like Latin or Sanskrit, while its vision of art and beauty is outdated, invalid and totally us

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24

Ngai, Sianne. "Our Aesthetic Categories." PMLA/Publications of the Modern Language Association of America 125, no. 4 (October 2010): 948–58. http://dx.doi.org/10.1632/pmla.2010.125.4.948.

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The recent turn to aesthetics in literary studies has been embraced by some of its advocates as a polemical riposte to critique: a practice increasingly attacked from multiple directions but here specifically for doing artworks the disservice of reducing them to encryptions of history or ideology. But while the new or revived focus on pleasure (and, to a much lesser extent, displeasure)1 has been vaunted for the way in which it seems to circumvent the reduction of artworks to historical or ideological concepts, our aesthetic experience is always mediated by a finite if constantly rotating repe

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25

Sernelj, Téa. "The Problem of the Authenticity of the Aesthetic Concept qiyun shengdong." Asian Studies 9, no. 1 (January 8, 2021): 159–80. http://dx.doi.org/10.4312/as.2021.9.1.159-180.

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The article explores Xu Fuguan’s analysis and interpretation of the concept of qiyun shengdong 氣韻生動, which is considered to be one of the most important, fundamental and complex concepts in Chinese aesthetics and art. It was created by Xie He in the Wei Jin period (220–420 AD), which is marked as a turning point in the development of Chinese aesthetics. The complexity of the concept of qiyun shengdong is reflected in literary works, painting, calligraphy, and music, as well as in literary theory and the theory of painting. According to Xu Fuguan, qi refers to the external features of the artwo

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26

Sernelj, Téa. "The Problem of the Authenticity of the Aesthetic Concept qiyun shengdong." Asian Studies 9, no. 1 (January 8, 2021): 159–80. http://dx.doi.org/10.4312/as.2021.9.1.159-180.

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The article explores Xu Fuguan’s analysis and interpretation of the concept of qiyun shengdong 氣韻生動, which is considered to be one of the most important, fundamental and complex concepts in Chinese aesthetics and art. It was created by Xie He in the Wei Jin period (220–420 AD), which is marked as a turning point in the development of Chinese aesthetics. The complexity of the concept of qiyun shengdong is reflected in literary works, painting, calligraphy, and music, as well as in literary theory and the theory of painting. According to Xu Fuguan, qi refers to the external features of the artwo

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27

Dziamski, Grzegorz. "Performatywny charakter estetyki." DYSKURS. PISMO NAUKOWO-ARTYSTYCZNE ASP WE WROCŁAWIU 26, no. 26 (September 1, 2019): 32–50. http://dx.doi.org/10.5604/01.3001.0012.9866.

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Many lecturers of aesthetics feel that the subject of their lectures is not necessarily aesthetics, but history of aesthetics, the aesthetic views of Plato and Aristotle, Kant and Hegel, Hume and Burke, the British philosophers of taste and German romanticists. Does that mean that aesthetics feeds on its own past, is nurtured by reinterpretations of its classics, defends concepts and categories that inspire no one and do not open new cognitive perspectives? Does it mean that aesthetics is dead today, like Latin or Sanskrit, while its vision of art and beauty is outdated, invalid and totally us

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28

Fritz, Martin. "Hallische Avantgarde. Die Erfindung der Ästhetik und die Ästhetisierung des Christentums." Journal for the History of Modern Theology / Zeitschrift für Neuere Theologiegeschichte 21, no. 1-2 (January 15, 2014): 1–27. http://dx.doi.org/10.1515/znth-2015-0001.

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AbstractAvantgarde in Halle: The Invention of Aesthetics and the Aestheticization of Christianity. The foundation of scholarly aesthetics by the Halle philosopher Alexander Gottlieb Baumgarten and Georg Friedrich Meier in the middle of the 18th century took place within a milieu that was shaped by both pietism and the Enlightenment. Martin Fritz demonstrates that aesthetics in Halle itself can be considered a synthesis of pietism and Enlightenment ideas. The sensualization of basic Christian concepts is of eminent relevance for these aesthetics, in order to reinvent the pietistic striving for

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29

Denil, Mark. "A Disquisition on Cartographic Style and Taste: with Attendant Remarks upon Aesthetics, Clarity, Design, and Mapicity." Cartographic Perspectives, no. 73 (September 1, 2012): 75–88. http://dx.doi.org/10.14714/cp73.711.

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The discussions and findings of the 2012 NACIS Conference Aesthetics of Mapping sessions both turned and stumbled upon the definition of terms like aesthetics, clarity, and style. This paper attempts to situate these key concepts, along with others such as design, taste, and mapicity, in a broad and flexible theoretical framework that will facilitate a useful and applicable understanding. A structure is proposed wherein a map, a rhetorical object which exists under the aegis of mapicity (which is that quality of map-ness that makes a map a map), is brought into being through an aesthetic act o

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30

Rejimon, P. K. "EXPLORING PHILOSOPHY OF ART IN INDIAN APPROACH." International Journal of Research -GRANTHAALAYAH 5, no. 9 (September 30, 2017): 217–23. http://dx.doi.org/10.29121/granthaalayah.v5.i9.2017.2234.

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Art is one of the cultural activities of man through which he reaches his ideas, values, feelings, aspirations and reactions to life. The generic purpose of art is to provide aesthetic experience and enjoyment to the recipient. Art give outlet to the artist himself to reveal and express his innermost aspirations, feelings, sentiments and also the impressions of life. Aesthetics, the branch of philosophy devoted to conceptual and theoretical enquiry into art. Philosophy of Indian art is concerned with the nature of art and the concepts in terms of which individual work of art interpreted and ev

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31

Novikov, Vasily N. "Aesthetics of Interactivity: Between Game and Film. To Watch or to Play?" Journal of Flm Arts and Film Studies 10, no. 1 (March 15, 2018): 54–63. http://dx.doi.org/10.17816/vgik10154-63.

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Abstract: According to recent research, video games are recognized as a new kind of art in the 21st century. Is it possible to distinguish the concepts of "entertainment" and "art" when dealing with this phenomenon? The purpose of this article is to analyze the significance of the game in contemporary society, to characterize the dominant features of "personal management" of a work of art, and to consider the influence of game aesthetics on the language of up-to-date cinema. The digital age, new technologies, computer modeling, and virtual aesthetics modernized the classical thesis of "life as

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32

Novikov, Vasily N. "Aesthetics of Interactivity: Between Game and Film. To Watch or to Play?" Journal of Flm Arts and Film Studies 10, no. 2 (June 15, 2018): 50–60. http://dx.doi.org/10.17816/vgik10250-60.

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According to recent research, video games are recognized as a new kind of art of the 21st century. Is it possible to distinguish the concepts of entertainment and art when dealing with this phenomenon? The purpose of this article is to analyze the significance of the game in contemporary society, to characterize the dominant features of personal management of a work of art, and to consider the influence of game aesthetics on the language of up-to-date cinema. The digital age, new technologies, computer modeling and virtual aesthetics modernized the classical thesis of the life as a game into a

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33

Kitriniaris, Alexandros. "Eco-ontological Systems of Human Interaction: Rethinking Ecology through Aesthetics." Acta Europeana Systemica 4 (July 14, 2020): 83–86. http://dx.doi.org/10.14428/aes.v4i1.57253.

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The object of this paper is to connect ecology with ontology as a complex field of architectural system-based design, and more specifically, as a field worthy of aesthetic consideration. In the post-digital age, globalization seems to be one of the most important consequences for the loss of experience and meaning of space. The modern field of progress ishampered by various ideological stakes relating to the environmental and ecological awareness of place. These preclude the consideration of both the eco-systemic environmental approach, and the potential for cultural and technological evolutio

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34

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

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35

Khoroshilov, D. A. "Digital mind: mediatization of social cognition in culture, science and art." Social Psychology and Society 10, no. 4 (2019): 9–22. http://dx.doi.org/10.17759/sps.2019100402.

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Psychology of social cognition as the construction of the image of the social world requires addition of the concept of deep mediatization (N. Couldry, A. Hepp). In the frames of modern sociology and cultural-historical psychology it should be talked about the mediatized construction of the image of the world, mediated by the language of mass communication. The code of media language — not verbal, but visual — is analyzed in the epistemological and methodological contexts of the visual turn in the humanities. The realization of this trend in Russian psychology is the aesthetic paradigm of the

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Hamblin, Sarah. "Exhausted Montage." Cultural Politics 15, no. 3 (November 1, 2019): 358–71. http://dx.doi.org/10.1215/17432197-7725507.

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This essay argues that the conditions of contemporary finance capitalism have exhausted the revolutionary potential of political modernist aesthetics. The global ’68 conjuncture generated many of the fundamental concepts that continue to underscore how contemporary radical film practice is understood. As such, montage continues to occupy a central place in today’s radical aesthetic imagination, its model of active spectatorship still accepted as a vital expression of an autogestive oppositional politics. However, the economic and political landscape has changed significantly over the last fift

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Woodward, Ashley. "Dispositif, Matter, Affect, and the Real: Four Fundamental Concepts of Lyotard's Film-Philosophy." Film-Philosophy 23, no. 3 (October 2019): 303–23. http://dx.doi.org/10.3366/film.2019.0118.

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Jean-François Lyotard's work remains a largely untapped resource for film-philosophy. This article surveys four fundamental concepts which indicate the fecundity of this work for current studies and debates. While Lyotard was generally associated with the “theory” of the 1980s which privileged language, signs, and cultural representations, much of his work in fact resonates more strongly with the new materialisms and realisms currently taking centre stage. The concepts examined here indicate the relevance of Lyotard's work in four related contemporary contexts: the renewed interest in the disp

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Bernstein, J. M. "Kant and Adorno on Mind and World: From Wild Beauties to Spiral Jetty." New German Critique 48, no. 2 (August 1, 2021): 107–23. http://dx.doi.org/10.1215/0094033x-8989274.

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Abstract Theodor W. Adorno’s governing procedure in Aesthetic Theory is to reconstruct the terms and concepts of traditional aesthetics and the philosophy of art through the actuality of artistic modernism in its various guises. The necessity of this procedure turns on the recognition that modernist art has become a stand-in for the now-wrecked authority of living nature. Adorno contends that “natural beauty,” as elaborated by Immanuel Kant, is the recognition of that now-lost experience of nature, and that art beauty must be thereby interpreted as becoming the reconstructed afterimage of natu

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Zagidullina, Marina. "Mediaesthetics of blank forms: the material basis of cultural nomadism in the era of panmediatization." Przegląd Wschodnioeuropejski 9, no. 2 (November 30, 2018): 293–307. http://dx.doi.org/10.31648/pw.3215.

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The article is devoted to the concept of the “empty form”. This concept is considered from philosophical, communicative, sociological, artistic and cultural points of view. The author follows Aristotle’s philosophy of hylomorphism and “eidos” and its transformation into the 20th century theory of “new materiality” with the “emptiness of the center” and “assemblage of things” concepts, in the modern linguistic approaches and in art and creative industries (i.e. painting, architecture, literature). The metaphor “frame without painting” (G. Zimmel) helps us understand the social potential of the

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Nepsha, Viktor. "Landscape as a Category of Film Aesthetics: Key Approaches." Vestnik of Northern (Arctic) Federal University. Series Humanitarian and Social Sciences, no. 4 (September 21, 2021): 111–21. http://dx.doi.org/10.37482/2687-1505-v122.

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This article examines a variety of approaches to the concept of landscape in the philosophy of film in order to establish terminological accuracy and highlight problematic topics in conversations about space in film aesthetics in particular and to clarify the status and boundaries of the term landscape in philosophical use in general. Three groups of approaches to landscape in the philosophy of film were identified in the course of the study and analysis of literature on this issue: landscape as an auxiliary element for the director/crew/viewer (Béla Balázs, Susan Cathleen Gunn, Chris Lukinbea

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Daugelaite, Aurelija, and Indre Grazuleviciute-Vileniske. "The Relationship between Ethics and Aesthetics in Sustainable Architecture of the Baltic Sea Region." Sustainability 13, no. 4 (February 19, 2021): 2259. http://dx.doi.org/10.3390/su13042259.

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Architecture, as a mean of art and as a factor that physically shapes the environment, undoubtedly serves as a form of expression of ethical attitudes. It combines ethical values and responsibility for solving environmental problems with aesthetic qualities of the built environment. The holistic approach is gaining ground in the paradigm of sustainability, where architectural concepts such as biophilic, biomimetic, resilient, restorative, and others reinforce the idea of coexistence between humans and nature. In the 21st century, sustainability has become a global phenomenon; therefore, contem

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Fritsch-Oppermann, Sybille C. "Metaphors and metaphorical language/s in religion, art and science." Studia Philosophiae Christianae 56, no. 3 (September 30, 2020): 31–50. http://dx.doi.org/10.21697/spch.2020.56.3.02.

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Languages play an essential role in communicating aesthetic, scientific and religious convictions, as well as laws, worldviews and truths. Additionally, metaphors are an essential part of many languages and artistic expressions. In this paper I will first examine the role metaphors play in religion and art. Is there a specific focus on symbolic and metaphoric language in religion and art? Where are the analogies to be found in artistic metaphors and religious ones? How are differences to be described? How do various (philosophical) concepts of aesthetics and theological concepts explain those

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Hron, Irina. "“Speak your word and break!”." European Journal of Scandinavian Studies 50, no. 2 (October 25, 2020): 355–74. http://dx.doi.org/10.1515/ejss-2020-2005.

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AbstractBy tracing an alternative aesthetics of decomposition and fragmentation, this article offers a new understanding of the literary and poetological strategies Knut Hamsun uses to create a disintegrating text cosmos wherein the idea of ‘creation out of nothing’ (creatio ex nihilo) is one key to artistic originality. The article explores the interdependence of different notions of decline and shows that the image of the (biblical) fall is particularly important to the poetics and aesthetic structure of Hamsun’s Hunger (Sult, 1890). Around 1900, ideas of wholeness crumble, a decomposition w

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Werning, Stefan. "Walk-Through Corporate Aesthetics: Design Affordances in Tech Workspaces." Open Cultural Studies 3, no. 1 (January 1, 2019): 428–41. http://dx.doi.org/10.1515/culture-2019-0036.

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Abstract The article at hand analyses the aesthetic dimension of contemporary “tech companies,” particularly how their characteristic rhetoric of creativity, collaboration and disruption is built into the aesthetics of the physical work environments. For that purpose, proceduralist reading and environmental storytelling, usually applied to analyse meaning-making in digital game spaces, are adapted to conduct a comparative spatial affordance analysis on material from Officesnapshots, one of the largest online repositories for workspace documentation. Expanding upon earlier definitions of spatia

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Ouyang, Chao Ying, Ya Jie Xiong, and Lin Li. "Application of Traditional Chinese Decorative Patterns in Ceramics Design." Advanced Materials Research 936 (June 2014): 2329–34. http://dx.doi.org/10.4028/www.scientific.net/amr.936.2329.

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As an important part of traditional Chinese culture, traditional Chinese decorative patterns, to a great extent, symbolise local customs as well as social, political and economic circumstances of China. Ceramics is of both use value and aesthetic value. Decorative patterns facilitate the latter of the two as a main means. Nowadays, designers are facing a great challenge of how to inherit the aesthetics and the spirit of traditional Chinese decorative patterns and how to apply modern design concepts to contemporary ceramics design. This paper investigates the origins, implications, categorizati

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Gandolfi, Enrico. "Beyond Diagonal Sciences: Applying Roger Caillois’s Concepts of Symmetry and Dissymmetry to Journey." Games and Culture 12, no. 4 (September 14, 2016): 361–80. http://dx.doi.org/10.1177/1555412016667342.

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The article aims to problematize the perspective of Roger Caillois beyond the relative more influential Les Jeux et les Hommes for Game Studies and then put the use of his theories to the test. By harnessing the alternative concepts of “symmetry” and “dissymmetry,” which are at the core of his approach, a textual analysis is applied to the high acclaimed video game Journey. Further suggestions from philosophy (“deconstruction” by Derrida), cultural studies (“the circuit of culture”), and game design support the study. Thus, symmetric and dissymmetric features (e.g., mechanics, aesthetics) are

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Ezepue, Ezinne M. "The New Nollywood: Professionalization or Gentrification of Cultural Industry." SAGE Open 10, no. 3 (July 2020): 215824402094099. http://dx.doi.org/10.1177/2158244020940994.

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Nollywood is further gaining popularity due to its transformations, which bear resemblances to the processes of gentrification and professionalization. This is formalizing the industry as well as attracting professionals and instigating existing filmmakers to improve on their art. So far, filmmakers have continued to avail themselves for further trainings, aligning themselves with the emerging new and professionalizing Nollywood. This study is interested in finding out whether these changes within the industry are simply a professionalization process or a regeneration that can potentially gent

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Strukov, Vlad. "The queer coat: Konstantin Goncharov’s fashion, Russian masculinity and queer world building." Critical Studies in Men???s Fashion 6, no. 1 (September 1, 2019): 81–102. http://dx.doi.org/10.1386/csmf_00006_1.

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I re-assess Russian sartorial economics of the 1990s by examining fashion by Konstantin Goncharov, who was credited for styling Russian rock stars and making costumes for artistic projects. I focus on the relationship between queer masculinity and sartorial practice. The former relies on a visual code encompassing a range of multi-platform, cross-media strategies and a network of references. The latter refers to a community of individuals engaged in the production of a characteristic style across different sites. The article proposes the concept of queer world-building, which brings together o

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Kochetkova, Uliana. "Influence of Philosophical and Aesthetic Concepts on the Description of the Acoustic Characteristics of Vowels (Late 17th – Early 20th Centuries)." Vestnik Volgogradskogo gosudarstvennogo universiteta. Serija 2. Jazykoznanije, no. 3 (August 2020): 144–54. http://dx.doi.org/10.15688/jvolsu2.2020.3.13.

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The article deals with the potential explicit or implicit impact of the cultural and scientific tradition on the way of thinking of the researchers in different epochs. The hypothesis is that aesthetic and philosophical thoughts may influence in some way the results of the scientific experiments. The paper follows the order of the research. It starts from the results of vowel acoustics measurements in 19th century and ends by finding their conceptual basis in works of the 17th century. Measuring vowel acoustic characteristics, researchers of the late 19th and early 20th centuries in most of ca

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Weychert, Monika. "Zmieścić się w ramach." Politeja 16, no. 4(61) (January 31, 2020): 243–55. http://dx.doi.org/10.12797/politeja.16.2019.61.14.

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To Stay within the Range. Three Attempts to Define Contemporary Roma Art in Poland The concept of contemporary Roma art was introduced into the critical apparatus of aesthetics by Timea Junghaus in 2007, when she curated Paradise Lost, the first Roma Pavilion at the Venice Biennale, an unprecedented act and a strong political statement. It is therefore more intriguing than ever to observe attempts to redefine the idea of „contemporary Roma art”. A single exhibition – Kali Berga, one event, the same group of artists and the same set of artworks has inspired two contradictory concepts: Woj

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