Bibliografie tematiche / Aesthetic movement (Art)

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Letteratura scientifica selezionata sul tema "Aesthetic movement (Art)"

Autore: Grafiati

Pubblicato: 4 giugno 2021

Ultima modifica: 28 luglio 2024

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Articoli di riviste sul tema "Aesthetic movement (Art)"

Humphries, Stacey, Jacqueline Rick, Daniel Weintraub e Anjan Chatterjee. "Movement in Aesthetic Experiences: What We Can Learn from Parkinson Disease". Journal of Cognitive Neuroscience 33, n. 7 (1 giugno 2021): 1329–42. http://dx.doi.org/10.1162/jocn_a_01718.

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Abstract Visual art offers cognitive neuroscience an opportunity to study how subjective value is constructed from representations supported by multiple neural systems. A surprising finding in aesthetic judgment research is the functional activation of motor areas in response to static, abstract stimuli, like paintings, which has been hypothesized to reflect embodied simulations of artists' painting movements, or preparatory approach–avoidance responses to liked and disliked artworks. However, whether this motor involvement functionally contributes to aesthetic appreciation has not been addressed. Here, we examined the aesthetic experiences of patients with motor dysfunction. Forty-three people with Parkinson disease and 40 controls made motion and aesthetics judgments of high-motion Jackson Pollock paintings and low-motion Piet Mondrian paintings. People with Parkinson disease demonstrated stable and internally consistent preferences for abstract art, but their perception of movement in the paintings was significantly lower than controls in both conditions. The patients also demonstrated enhanced preferences for high-motion art and an altered relationship between motion and aesthetic appreciation. Our results do not accord well with a straightforward embodied simulation account of aesthetic experiences, because artworks that did not include visual traces of the artist's actions were still experienced as lower in motion by Parkinson patients. We suggest that the motor system may be involved in integrating low-level visual features to form abstract representations of movement rather than simulations of specific bodily actions. Overall, we find support for hypotheses linking motor responses and aesthetic appreciation and show that altered neural functioning changes the way art is perceived and valued.

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Gaydos,, H. Lea Barbato. "The Cocreative Aesthetic Process: A New Model for Aesthetics in Nursing". International Journal of Human Caring 7, n. 3 (aprile 2003): 41–45. http://dx.doi.org/10.20467/1091-5710.7.3.41.

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The cocreative aesthetic process is a new model to describe aesthetics in nursing. The process has four aspects: engagement, mutuality, movement, and new form. This description of an aesthetic process in nursing has some features in common with other descriptions of the art of nursing and adds to these in significant ways. Importantly, the cocreative aesthetic process demonstrates the necessity of both caring and holism to the art of nursing. This model can be used to evaluate the presence of nursing as art in selected situations.

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Huang, Ya. "Comparative Analysis of Aesthetic Emotion of Dance Movement: A Deep Learning Based Approach". Computational Intelligence and Neuroscience 2022 (21 luglio 2022): 1–10. http://dx.doi.org/10.1155/2022/5135495.

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Dance is a unique art with the human body movement as the main means, but dance is not limited to the human body movement itself. Like any art, dance is the product of human social behavior and a romantic behavior of human thoughts and emotions in the virtual world. Dances with different characteristics will also reflect different aesthetics, different cultural psychology, different living styles, and emotional trajectories of different times and different nationalities. People rely on the image of dance artists to develop and inherit the profound ideological connotation and philosophy of life. Viewers may form their own diversified and unique aesthetic characteristics. In the new era, in order to better promote the development, communication, and dissemination of dance art, it is very necessary to analyze and explore the connotation and aesthetic characteristics of dance art. Only through specific movements can the value and ideological connotation of works be expressed. Therefore, this paper comparatively analyzes dance movement aesthetic emotion based on deep learning. Experimentations are performed to systematically analyze the models from various perspectives. Findings of the evaluation show that CAP and CNN are effective models that can successfully extract high-level emotional features. The method proposes and effectively selects the best models among the five standard models based on key features and is, therefore, suitable in predicting the dancer’s emotion and for the analysis of the dance movement in the future.

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Defrančeski, Jan. "Environmental Aesthetics and Land Art". Pannoniana 6, n. 1 (12 dicembre 2022): 9–34. http://dx.doi.org/10.32903/p.6.1.1.

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In this paper, the author reflects on the relationship between environmental aesthetics and land art. By considering their historical development, the author first addresses the terminology problem which prompted him to understand land art as a hypernym – i.e. a term that semantically encompasses other art practices (e.g. “Earth art”, “Earthworks”, “Site art”, “Arte Povera”, “Environment(al) art”, and “Ecological art”). Moreover, by considering certain features of land art (e.g. integration, interruption, involvement, implementation, and imagining), the author proposes a thesis according to which land art represents not only a contemporary art movement but also a new form of the aesthetic experience of nature. In the further development of this thesis, the author focuses on two aesthetic principles of land art – participation and entropy – which in the history of aesthetic theory have been almost non-existent, pushed to the margins, or completely neglected. Finally, by finding solid theoretical foundations for this thesis in Ronald W. Hepburn’s ground-breaking essay “Contemporary Aesthetics and the Neglect of Natural Beauty” (1984), as well as some land art projects (e.g. Robert Smithson, Spiral Jetty, 1970), the author emphasises the strong theoretical connection between environmental aesthetics and land art.

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Reed, Corey. "Signifying the Sound: Criteria for Black Art Movements". Journal of Aesthetic Education 57, n. 4 (1 dicembre 2023): 36–59. http://dx.doi.org/10.5406/15437809.57.4.03.

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Abstract “Black art” is often understood as being inherently political. In examining two major Black arts movements, the Harlem Renaissance and the Black Arts movement, many of the works attributed to those periods fit the description of “political art” but not all of them. Black art movements are not defined exclusively by similar styles or methodologies, like Expressionism or Surrealism, either. Instead, Black art movements are complex movements that blend social, political, and aesthetic criteria. In this article, I list seven conditions that I take to be jointly sufficient for a Black art movement to be signified as such. In this assertion, I also argue that this current era, paralleling the Black Lives Matter movement, is worthy of Black art movement signification, if we update the mediums by which the conditions are met in the Harlem Renaissance and the Black Arts movement.

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Zhu, Yifan. "The Influence of the French New Wave Movement on Contemporary World Art Film Creation". Communications in Humanities Research 3, n. 1 (17 maggio 2023): 670–74. http://dx.doi.org/10.54254/2753-7064/3/20220555.

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The French New Wave is one of the three major aesthetic movements in the world film history. The "New Wave" films shocked the world, causing the "New Wave" film movements in America, Europe, Asia and other countries to emerge one after another, triggering a worldwide film aesthetic revolution. The French "New Wave" has a profound impact on modern films. This paper focuses on grasping the emergence, development, prosperity and decline of the French "New Wave" film aesthetics, paying attention to live broadcast and process documentaries, analyzing the artistic skills of the New Wave film to shape characters, effectively summarizing the influence of the French New Wave movement on contemporary world artistic film creation, so as to find out some rules of film development and provide a necessary reference system for contemporary world film art creation, And explore the development direction of Chinese film in the future.

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Wildt, Franziska. "Aesthetics of Resistance: On the Politics of Aesthetic Thought in Hegel’s Theory of Art and Peter Weiss’ Novel The Aesthetics of Resistance". AM Journal of Art and Media Studies, n. 22 (15 settembre 2020): 1–13. http://dx.doi.org/10.25038/am.v0i22.385.

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hrough a confrontation of Hegel’s Lectures On Aesthetics and Peter Weiss’ novel The Aesthetics of Resistance this paper criticizes the theory of aesthetics for its lack of aesthetic thinking. Hegel’s theory of aesthetics is introduced as a paradigmatic case of this problem, while The Aesthetics of Resistance is read as an attempt to “re-aestheticize” the thought of aesthetics. Following a brief introduction and contextualization of the problem within the theoretical discourse on “aestheticization”, Hegel’s theory is analyzed and then contrasted to The Aesthetics of Resistance. The analysis is carried out in three steps, which correspond to three forms in which Hegel’s lectures represent the movement that leads from the aesthetic form of art to the – in his view – no longer aesthetic form of aesthetics. This analysis is finally confronted with a reading of The Aesthetics of Resistance that reverses the movement delineated by Hegel’s theory through aestheticizing aesthetics. Article received: April 28, 2020; Article accepted: June 23, 2020; Published online: September 15, 2020; Original scholarly paper

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Sernelj, Téa. "Modernization of Beauty in China". Asian Studies 9, n. 2 (7 maggio 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 problem of Chinese society on the verge of the millennium, and problematizes the consumerism of art and attitudes towards aesthetics in general.

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Chen, Changhai. "New Aesthetic Characteristics Emerging in the Digital Cinema Era". International Journal of Education and Humanities 2, n. 1 (25 gennaio 2022): 1–6. http://dx.doi.org/10.54097/ijeh.v2i1.224.

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Digital film technology has constantly transformed and enhanced the fundamental aesthetic elements in the traditional aesthetic categories of film aesthetics during its gradual penetration into the film art system, enabling these fundamental aesthetic elements to take on new forms and appearances that enrich the artistic communication of film and mark This is a sign of artistic advancement. The fusion of old and new technologies in synergy with the original film system has also accelerated the development of digital film technology as an aesthetic model, and in adapting to the original film art system, digital film aesthetics has produced aesthetic implications that transcend the original system, in terms of virtual images, spatial and temporal concepts, narrative modes, sound and picture relationships, and movement characters. They all exhibit new aesthetic characteristics that are distinct from traditional film aesthetics in terms of virtual images, spatial and temporal concepts, narrative modes, sound and image relationships, movement characteristics, and interactive methods. When one examines existing discussions on digital cinema in China and globally, it is easy to see that they primarily focus on expanding the audiovisual expression of images and on the study of the expressive power and image effects of digital special effects, while research on expanding film concepts and expanding film aesthetics is superficial, or even nonexistent. From a film aesthetics standpoint from the standpoint of film aesthetics, as digital technology has gradually displaced traditional modes of film production and concepts, audience viewing styles, and human aesthetic concepts, the aesthetics of digital film under the new digital technology can be a new construction in terms of time and space, reality, narrative techniques, virtual reality, and aesthetic acceptance. Based on established film theories and aesthetic notions, this study will seek to develop film aesthetics in the digital era, highlighting the study's uniqueness and systemic character in light of shifting aesthetic categories and the incorporation of new aspects in digital cinema.

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Chapakdee, Thanom. "Art of Engagement: Visual Art of Thailand in Global Contexts". International Journal of Creative and Arts Studies 3, n. 1 (29 dicembre 2017): 21. http://dx.doi.org/10.24821/ijcas.v3i1.1832.

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This paper on the topic of Art of Engagement: Visual Art of Thailand in Global Contexts, attempts to explore that “global contexts” is transformed because of the impacts rapid change in economics, politics, society and culture. Globalization based on the notion of Global art and transform Thai art scene into the state of international art movement such as Installation art, Performance art, Community art, i.e. these movement becomes the mainstream of art since 1980s. This kind of movement which artist has created the art objects, space, time and sphere as a model of sociability which audiences can participate with people in community as relational art practice. The relational art becomes the space of exchange and participants can share experienced of taste, aesthetic, criticism which it’s related to art objects and sphere of community. This paper will explains that relational art is in the process of art of engagement. That is why art has become the community engagement which art objects and practical based are of the relational art and relational aesthetics.

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Tesi sul tema "Aesthetic movement (Art)"

Steinberg, Marc A. "Emerging from flatness : Murakami Takashi and superflat aesthetics". Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=33929.

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This thesis is an examination of the concept and the term "superflat" as it is elaborated by the Japanese artist Murakami Takashi in his writings, in the exhibition he curated under the same name, and in his own art.
Its aim is to contextualize Murakami's project on one hand in terms of a similar attempt to define a Japanese national aesthetic in the early 20 th century, and on the other in terms of the 1990's tendency to return to Edo Japan to find the "origins" of Japan's postmodernity.
Murakami's own art is then turned to in order to both elaborate on and test the aesthetic of Japanese art he calls the superflat. This examination of Murakami's art permits the formulation of an aesthetics of Japanese contemporary art and animation even as it will afford an understanding of the "cultural logic" of the digital age that informs Murakami's argument.
Questions important to this project are: Is the articulation of a local aesthetics possible in this globalizing age? What are the aesthetic traits of the digital age? How should the superflat---as both idea and project---be interpreted?

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Anderson, Anne. "The High Art Maiden: Edward Burne-Jones and the girls on the Golden Stairs : women and British aestheticism c.1860-1900". Thesis, University of Exeter, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.367380.

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Ferone, Jennifer. "Women and China Painting at the Turn of the Twentieth Century: An Analysis of the Influence of The Art Amateur and The Art Interchange". Akron, OH : University of Akron, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=akron1163640056.

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Thesis (M.A.)--University of Akron, School of Family and Consumer Science: Clothing, Textiles, and Interiors, 2006.
"December, 2006." Title from electronic thesis title page (viewed 08/20/2007) Advisor, Virginia Gunn; Faculty readers, Sandra Buckland, Teena Jennings-Rentenaar; Director, School of Family and Consumer Science, Richard Glotzer; Dean of the College, James M. Lynn; Dean of the Graduate School, George R. Newkome. Includes bibliographical references.

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Merrill, Linda. "The diffusion of aesthetic taste Whistler and the popularization of aestheticism, 1875-1885 /". Boston Spa, U.K. : British Library Document Supply Centre, 1985. http://ethos.bl.uk/OrderDetails.do?did=1&uin=uk.bl.ethos.338119.

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St, George Paul Angelo. "An Investigation into the aesthetic codes and strategies used within visual art to represent and construct space, time and movement". Thesis, London Metropolitan University, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.536737.

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Laforge, Frédéric. "De la question éthique à l'esthétique /". Thèse, Chicoutimi : Université du Québec à Chicoutimi, 2003. http://theses.uqac.ca.

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Monroy, Agamez Ernesto Eduardo. "The role of motion smoothness, synchrony, and culture in aesthetic perception of human movement : from the method of production to the method of choice". Thesis, Brunel University, 2018. http://bura.brunel.ac.uk/handle/2438/16426.

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Research on aesthetic perception of dance has been recently generating considerable interest within the field of Psychology of Aesthetics. There are, however, a number of methodological and conceptual gaps in our knowledge such as the application of the method of production, as well as understanding the role of motion smoothness, synchronous movement, and cultural factors in aesthetic perception. The present basic research addresses those gaps through five psychological experiments. In study 1, participants generated static sequences of images according their preference. Smooth continuation of meaningful objects was preferred when considering implied motion. In study 2, participants sorted images into moving sequences that they would like to see. Participants liked movements with smooth motion. In study 3, participants rated different schematic video animations depicting two dancers. Participants preferred smooth movements preformed in synchrony. In study 4, participants rated video animations depicting different types of motion performed by human body or abstract shapes. Participants preferred smooth synchrony. In study 5, British and Japanese participants watched synchronous and asynchronous actual dance video clips, rated the videos according their aesthetic judgement and answered questionnaires about motivations and individualism/collectivism. British participants preferred asynchronous dance while Japanese participants preferred synchronous dance. Studies 1 and 2 applied the method of production for the first time to study aesthetic preference for human movement, studies 1 to 4 support the neurocognitive model of aesthetic appreciation in the performing arts. Study 5 supports our cultural hypothesis: British participants preferred asynchrony (in line with analytical perceptual style, Western focus on individual movements), whereas Japanese participants preferred synchrony (holistic style, Eastern focus on group movement). Convergence between the neurocognitive model and the cultural hypothesis is discussed. The present research opens new lines of research in perception of human movement and performing arts: the method of production, motion smoothness, synchrony, and cross-cultural aesthetics.

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Kirkham, Nicola. "J18 : movements towards an ethico-aesthetic paradigm". Thesis, University of the Arts London, 2009. http://ualresearchonline.arts.ac.uk/5790/.

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This thesis offers a materialist account of political action from the perspective of the aesthetic, focusing on a global day of action, protest and carnival staged to coincide with the G8 Summit on June 18th 1999. An event known as J18. Part One begins with a review of contemporary literature concerning the sociologies of contemporary political movements, theories of space and locality provided by geography, analyses of public interventions by art practice as well as the tactical deployment of media and writing related specifically to the cultural politics of anti-capitalism. The theory and methods chapter surveys historic shifts in thinking about political action, through an attendant Marxist epistemology, through three key events: the Paris Commune, the Russian Revolution and May 1968. The search for a materialist understanding of political action feeds the act of drawing together empirical material from J18 by way of the data gathering process and the reciprocal development of a critical framework used as a method of interpretation. In Part Two a multi-centred account of the event is narrated by way of micro-examples that are each affectively attuned to, and constitutive of the events happening.

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Chen, Shangyu. "Popular art and political movements an aesthetic inquiry into Chinese pictorial stories /". online access from Digital dissertation consortium, 1996. http://libweb.cityu.edu.hk/cgi-bin/er/db/ddcdiss.pl?9701484.

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Gao, Minglu. "The '85 Movement Avant-garde art in the post-Mao era /". online access from Digital dissertation consortium, 1999. http://libweb.cityu.edu.hk/cgi-bin/er/db/ddcdiss.pl?9960497.

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Libri sul tema "Aesthetic movement (Art)"

Lambourne, Lionel. The Aesthetic Movement. London: Phaidon, 1996.

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Walter, Hamilton. The aesthetic movement in England. New York: Garland, 1986.

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Walter, Hamilton. The aesthetic movement in England. New York: Garland, 1985.

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Museum, Victoria and Albert, Musée d'Orsay e M.H. de Young Memorial Museum, a cura di. The cult of beauty: The aesthetic movement 1860-1900. London: V&A Publishing, 2011.

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1949-, Bolger Doreen, e Metropolitan Museum of Art (New York, N.Y.), a cura di. In pursuit of beauty: Americans and the Aesthetic movement. New York: Metropolitan Museum of Art, 1986.

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1854-1934, Gilbert Alfred, a cura di. Alfred Gilbert's aestheticism: Gilbert amongst Whistler, Wilde, Leighton, Pater and Burne-Jones. Burlington, VT: Lund Humphries, 2006.

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Godwin, Edward William. E.W. Godwin: Aesthetic movement architect and designer. A cura di Soros Susan Weber, Arbuthnott Catherine e Bard Graduate Center for Studies in the Decorative Arts. New Haven: Yale University Press published for the Bard Graduate Center Studies in the Decorative Arts, New York, 1999.

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Museum, Victoria and Albert, a cura di. Artistic circles: Design & decoration in the aesthetic movement. London: V&A Pub., 2010.

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Naylor, Gillian. The arts and crafts movement: A study of its sources, ideals and influence on design theory. 2^a ed. London: Trefoil Publications, 1990.

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Palaces of Art: Whistler and the Art Worlds of Aestheticism (Symposium) (2011 Freer Gallery of Art). Palaces of art: Whistler and the art worlds of aestheticism. Washington, DC: Smithsonian Institution Scholarly Press, 2011.

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Capitoli di libri sul tema "Aesthetic movement (Art)"

Chau, Christina. "Three Key Influences of the Kinetic Aesthetic: Henri Bergson, László Moholy-Nagy and Naum Gabo". In Movement, Time, Technology, and Art, 97–120. Singapore: Springer Singapore, 2017. http://dx.doi.org/10.1007/978-981-10-4705-3_6.

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Strunck, Christina. "Ein erster Überblick über englisch-deutsche Kunstkontakte im Zeitraum 1660–1727: Künstler- und Objektmobilität, Reisenarrative, Kunstaufträge mit Bezug zum Hosenbandorden und deutsch-englische Kontakte in der Monumentalmalerei". In Neues von der Insel, 289–325. Berlin, Heidelberg: Springer Berlin Heidelberg, 2024. http://dx.doi.org/10.1007/978-3-662-66949-5_14.

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ZusammenfassungThis article gives the first overview of a hitherto almost unexplored field, British-German artistic exchange in the period between 1660 and 1727. This period was characterized by a dynastic crisis of the Stuart monarchy that finally led to the establishment of the Hanoverian dynasty in Great Britain. The text focuses on five fields of inquiry: (1) the discussion of works of art and architecture in travel narratives, (2) artistic commissions related to the Order of the Garter, (3) travelling artists and the careers of German artists who settled permanently in England, (4) the movement of objects from Britain to Germany and vice versa, (5) the depiction of German-English contacts and the cross-cultural reception of aesthetic models in monumental painting.

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Chau, Christina. "Systems Aesthetics: A Key Polemic in Contemporary Kinetic Art History". In Movement, Time, Technology, and Art, 57–73. Singapore: Springer Singapore, 2017. http://dx.doi.org/10.1007/978-981-10-4705-3_4.

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Agustín, Óscar García. "The Aesthetics of Social Movements in Spain". In Street Art of Resistance, 325–48. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-63330-5_14.

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Asavei, Maria Alina. "Contemporary Aesthetic Mysticism and Religious Revitalization Movements". In Art, Religion and Resistance in (Post-)Communist Romania, 137–84. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-56255-7_6.

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Lloyd, Declan. "Douglas Coupland, Pop Art and the Aesthetes of Apocalypse". In Authors and Art Movements of the Twentieth Century, 147–78. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003342564-5.

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Fielding, James Matthew. "Ethics and Aesthetics Are One: Wittgenstein and the Avant-Garde". In The Movement of Thought: Wittgenstein on Time, Change and History, 253–73. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-29261-3_6.

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Durán-Vélez, Ana Isabel. "In-Situ Aesthetics as Local Politics: Gilbert Simondon and the 21N Protest Movement". In Violence and Resistance, Art and Politics in Colombia, 21–38. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-10326-1_2.

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"PERCEPTUAL AND AESTHETIC ASPECTS OF THE MOVEMENT RESPONSE". In Toward a Psychology of Art, 74–89. University of California Press, 2010. http://dx.doi.org/10.1525/9780520353190-006.

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Calvo-Merino, Beatriz. "Dance, Expertise, and Sensorimotor Aesthetics". In Brain, Beauty, and Art, 199–202. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197513620.003.0039.

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The article reviewed in this chapter discusses how questions initially originated in cognitive neuroscience can be answered with collaborations with nonscientific disciplines, such as performing arts. The author describes the first study that showed dancer’s brain activity when observing dance movements. By investigating how the expert brain works, they demonstrated the important role of sensorimotor processing for movement perception, emotion perception, and aesthetic judgment. This work opened a channel of communication between neuroscientists and performing artists, enabling conversations that have generated novel questions of interest to both disciplines. The chapter discusses three fundamental insights: the importance of prior experience for perception, the importance of motor representations for perception, and the existence of a system for embodied aesthetics. Finally, the author provides some consideration on neuroscientists’ capacity to dissect the aesthetic experience and how this knowledge can be absorbed by the performing artist during the artistic and choreographic process.

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Atti di convegni sul tema "Aesthetic movement (Art)"

Monteiro, Caique Cahon. "Aesthetic Experience and Digital Culture: New Flows in The Space of Art Exhibition". In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.67.

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Artistic institutions are traditionally places of cultural and social memory reverberation. Such spaces have a character of institutionalisation of the cultural market. Contemporary works of art and the exhibition format are factors that shape the possibilities of consumption and experience from visitors within these spaces. By taking advantage of the artifices of their time, art and artists appropriate new digital Technologies, digital culture contextualizes this movement, interweaving new paradigms in the exhibition spaces of museums, galleries and cultural centres. It is clear that the artistic production that involves digital media at some level creates increasingly subjective and hybrid paths between machine and human in the processes. This occurs not only in the scope of raw material and in the production of their poetics and narratives, but also in every present social context, of consumption, access, and dissemination of artistic works. In the last 10 years there has been a growing number of public in cultural institutions in Brazil (data from IPEA - Institute for Applied Economic Research), this curve does not resemble any increase in investment in public policies, improvement in education or culture. This rate of increase in visitors to cultural spaces is like the increase in access to mobile devices and use of the internet and social networks, perhaps, at some level, it shows that internet access and digital culture may be enabling an environment of spontaneous dissemination for the artistic market in Brazil. With the advent of smartphones and the constant use of this technology in various moments of leisure and work, the habit of taking a picture from any work of art has become something normalised in institutions. This process can create different media flows that reformulate the visitor's experience in front of the exhibition space. In this way, the traditional and passive spectator subject is mixed with the user subject present in digital culture, with its agency potential and sharing capacity. Although these photographs present themselves in society as a cultural product, their visualisation and distribution extend to a computational level. This master's research project proposes to establish dialogues between the field of communication and the arts, especially digital culture, and aesthetic experience. The object of study is the production of photographic images made by visitors to cultural exhibitions through smartphones and shared on the Instagram social network. Through the use of artificial intelligence, it will be possible to analyse hundreds of images from the Instagram social network that were taken at the Banco do Brasil Cultural Centre, located in the city of Rio de Janeiro, Brazil (Brazilian institution with the highest number of visitors in the last 5 years). This qualitative and quantitative analysis enables a reflection on the contemporary media character present in art exhibition spaces and the observation of new experiences between public, work, and digital culture.

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Mitchell, Thomas J., Jess Thom, Matthew Pountney e Joseph Hyde. "The Alchemy of Chaos: A Sound Art Sonification of a Year of Tourette’s Episodes". In ICAD 2019: The 25th International Conference on Auditory Display. Newcastle upon Tyne, United Kingdom: Department of Computer and Information Sciences, Northumbria University, 2019. http://dx.doi.org/10.21785/icad2019.040.

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Touretteshero is the name of a organisation that aims to raise awareness of Touette’s syndrome by sharing and celebrating the creativity and humour of the involuntary vocal and movement tics that characterise the condition. This paper documents the development of a Touretteshero project called The Alchemy of Chaos, a sound art piece that translates a year of intensive ticcing episodes (or ‘ticcing ﬁts’) into a six minute soniﬁcation. The work emphasises both the faithful representation of data and the aesthetic sound quality, drawing techniques and ideas from sound design for ﬁlm, which is often used to convey information about a visual scene in ways that can be used for sonﬁcation. Speciﬁcally, the work uses Chion’s elements of auditory setting: short punctual sounds that can express locations with minimal sonic references. Sound parameters are also classiﬁed into groups that have ‘data signiﬁcance’ and those that do not, with aesthetic interventions limited to those parameters that do not impact on data transparency. The resulting piece was included within a keynote talk at the Royal Albert Hall in the UK and the paper includes a qual-itative reﬂection on the work and the potential value that sound design techniques for film can bring to the auditory display community.

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DiPaola, Steve, Sara Salevati, Kristin M. Carlson e Thecla Schiphorst. "Movement Awareness through Emotion Based Aesthetic Visualisation". In Electronic Visualisation and the Arts. BCS Learning & Development, 2016. http://dx.doi.org/10.14236/ewic/eva2016.27.

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Hong, Luo, Kang Xinyan, Li Sheng e Zhou Yangmengliu. "Studying Tian Hock Keng's architectural heritage through the lens of interaction through digital design". In 14th International Conference on Applied Human Factors and Ergonomics (AHFE 2023). AHFE International, 2023. http://dx.doi.org/10.54941/ahfe1003222.

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The history of human civilization has formed a large number of precious architectural heritage, which reflects a country's achievements in engineering technology, social development, culture, art, etc. This architectural heritage also covers the concepts of architectural design planning. However, with the changes in the environment and the influence of human activities, cultural heritage is inevitably eroded and destroyed. The distribution of architectural cultural heritage is wide and large, and the resources for architectural protection are given priority to projects with higher value, and it is impossible to cover all. Under the background of the digital age, the digital preservation and dissemination of cultural heritage have gradually become an inevitable trend. Digital cultural heritage technologies supported by technologies such as virtual reality, augmented reality, and 3D modeling provides rich means for digital recording, preservation, display, and inheritance of cultural heritage, and expand the connotation of traditional cultural heritage protection.Virtual reality technology has been widely used in the protection and dissemination of architectural cultural heritage. As a national key cultural relics protection unit in Singapore, THK has a long history and rich ancient architectural resources. The research aims to digitally preserve THK from inevitable physical damage by creating 3D interactive models, which can restore the historical, cultural, and aesthetic value of THK's architectural heritage. With breakthroughs in perceptual interaction technology in recent years, the mode of natural interaction in VR has more possibilities. This research mainly focuses on the application of natural interaction modes based on eye and hand movement tracking on architectural cultural heritage dissemination. Meanwhile, it also explores the application in the dissemination of architectural cultural heritage and summarizes the interactive designing strategy. As the eye movement and hand movement tracking modules are applied to the virtual interactive display of THK, we have the following objectives. Firstly, we will analyze the characteristics of information dissemination which is in various forms in natural interaction. Moreover, we will validate design strategies for natural interactions with experiments, optimizing the user experience of the audience who are experiencing the interaction. Particularly, the 3D interactive mode can interactively transport users back in time. Although both the aesthetic elements and the architectural space have evolved through time, users can still interact with them. To experience the history and culture, target users can watch and interact with THK digital architecture models on their mobile phones from anywhere. This study can improve the impact of information spreading and make helpful explorations of the digital dissemination method of cultural heritage, as well as have positive effects on the distribution of spatial structural information and historical and cultural information about architectural heritage.

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Zhang, Liguo, Yalong Zhu, Achref Benarab, Yusen Ma, Yuxin Dong e Jianguo Sun. "DP-Font: Chinese Calligraphy Font Generation Using Diffusion Model and Physical Information Neural Network". In Thirty-Third International Joint Conference on Artificial Intelligence {IJCAI-24}. California: International Joint Conferences on Artificial Intelligence Organization, 2024. http://dx.doi.org/10.24963/ijcai.2024/863.

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As a typical visual art form, Chinese calligraphy has a long history and aesthetic value. However, current methods for generating Chinese fonts still struggle with complex character shapes and lack personalized writing styles. To address these issues, we propose a font generation method for Chinese Calligraphy based on diffusion model incorporating physical information neural network (PINN), which is named DP-Font. Firstly, the multi-attribute guidance is combined to guide the generation process of the diffusion model and introduce the critical constraint of stroke order in Chinese characters, aiming to significantly improve the quality of the generated results. We then incorporate physical constraints into the neural network loss function, utilizing physical equations to provide in-depth guidance and constraints on the learning process. By learning the movement rule of the nib and the diffusion pattern of the ink, DP-Font can generate personalized calligraphy styles. The generated fonts are very close to the calligraphers' works. Compared with existing deep learning-based techniques, DP-Font has made significant progress in enhancing the physical plausibility of the model, generating more realistic and high-quality results.

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Iranfar, Maryam, e Hourakhsh Ahmad Nia. "The Synthesis of Ethics and Aesthetics in Modern Movement of Architecture: ‘Truth’ Theory as an Assessment Tool". In 4th International Conference of Contemporary Affairs in Architecture and Urbanism – Full book proceedings of ICCAUA2020, 20-21 May 2021. Alanya Hamdullah Emin Paşa University, 2021. http://dx.doi.org/10.38027/iccaua2021235n17.

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Architects and designers are obligated to think comprehensively to create aesthetically pleasing buildings together with functional features. The modern movement of architecture represents a dramatic movement in the buildings design to create a different functional and new architecture. There is a debate about the priority of beauty (aesthetics) and functionality (ethics) in this architectural style and leads to ambiguity in evaluating ethics and aesthetics. Hence, the study aims to understand the relationship between ethics and aesthetics value in architecture's modern movement. This study hypothesizes that there is a significant relationship between ethical and aesthetical values through the functionality of modern architecture. The study has proposed a conceptual model to be applied in future studies on different case studies. This is through assessment tools to evaluate the presence of ethics and aesthetics in modern architectural style.

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Ngo Thi Thanh, Quy, e Minh Nguyen Thi Hong. "Vietnamese Proverbs: Values Preserved in Modern Society". In GLOCAL Conference on Asian Linguistic Anthropology 2020. The GLOCAL Unit, SOAS University of London, 2020. http://dx.doi.org/10.47298/cala2020.4-4.

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Vietnamese proverbs has created long-lasting values which are being passed on to the modern society with numerous passions. These values include humanistic values confirming the human position in life. They also comprise social values and human philosophy as well as aesthetic values. Therefore, typical proverbs of the Viet people which have beem transferred to the younger generations via literary works such as Việt điện u linh (A collection of Vietnamese misteries) in the 14th century, Lĩnh Nam chích quái (A selection of the Viet extraordinary stories) in the 15th century are still being passed on until the present days. With the foundation of traditional Vietnamese proverbs, modern proverbs have undergone profound changes as seen in modern life through different forms of media including printed and audiovisual media as well as internet. It is obvious that traditional proverbs has regenerated in the new appearance. Proverbs are reproduced in modern literary works. Proverbs are also recreated and transformed in prose, poetry and drama. The movement and development of proverbs in our modern society confirm their deep values of the traditional culture. Writers, journalists and artists of other art forms have not only received the art tradition of word use of the ancestors but more importantly they have inherited the culural environment, humanistic values and life philosophies in order to transfer to the next generations. Henceforth, in the modern society Vietnamese proverbs are not obliterated but remain their vitality with different forms and have been of the Vietnamese people’s favourite.

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Thurow, Susanne, Dennis Del Favero, Michael Scott-Mitchell, Michael Ostwald e Helena Grehan. "Augmenting Creative Symbiosis Using a Cyber-Physical Aesthetic". In 28th International Symposium on Electronic Art. Paris: Ecole des arts decoratifs - PSL, 2024. http://dx.doi.org/10.69564/isea2023-88-full-thurow-et-al-cyber-physical-aesthetic.

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Creative arts organizations are constituted by intricate symbiotic relationships between diverse stakeholders, including creatives, technicians, software programmers and producers. These thrive when facilitated by clear, seamless and swift communication. Cyber-physical systems can support such exchange yet require careful aesthetic design. Inspired by Manuel DeLanda’s philosophical framework, the paper introduces iModel, a new networked modelling system that facilitates operatic rehearsal design via an interactive cyber-physical spatial aesthetic. After mapping its conceptual framework, we detail iModel’s architecture and functionalities that provide a shared workspace for distributed teams. iModel is capable of assimilating diverse data formats and enabling real-time manipulation and seamless previsualization of complex interactions between all components of operatic production, including orchestration of set ensembles, video content, cast movements and lighting design, all synchronized with the musical score. The paper reflects on iModel’s real-world application in 2022 in the design and technical production departments at Opera Australia, Australia’s largest performing arts organization. We conclude with a reflection on the coalescence of philosophy, art and technology as a powerful conduit for catalyzing creative practice toward realizing new symbiotic imaginaries on and beyond the screen.

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Elias, Larissa, e Maria Luisa Garrido. "The conception of “fashion-sculpture” in Rei Kawakubo’s costumes for the choreography “Scenario”(1997)". In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.118.

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“The Rei Kawakubo's fashion-sculpture” is an ongoing Master's project, developed at the Postgraduate Program in Visual Design at the Federal University of Rio de Janeiro. The research is centered on the study of the costumes (and its relationship with movements and spatiality) created by the japanese fashion designer Rei Kawakubo for the dance performance “Scenario” (1997), by the american dancer and choreographer Merce Cunningham (1919-2009). The costumes were adapted from the spring-summer Collection “Body meets dress, dress meets body”, designed by Rei and launched by her brand Comme des Garçons in 1997. Rei Kawakubo is appointed as one of the most important conceptualist fashion designers of contemporary. Visionary, avant-garde, timeless, are some of the adjectives attributed to her. Her work is also called anti-fashion. Through a series of visual deconstructions, her creations address – directly or indirectly – themes such as feminism and gender identity. The “Body meets dress, dress meets body” Collection and the costumes of “Scenario” invest in an aesthetic that explores unusual possibilities of relationships between body and dress; an aesthetic which aims to deform the forms. At play, ideas that problematize the conventional contours and movements of the body: disproportionate volumes, silhouette misalignments, inversions of perspective, asymmetries, automatism, blurring of boundaries between body and dress, dress as an object. In this arena the suggestion of the notion of “fashion-sculpture” is born. A notion that is intended to be formulated from the work and for the understanding of the work. The investigation is developed from case study methodologies combined with a process of practical experimentation, which takes place simultaneously in the fields of art and design. In the scope of theoretical reflections it is proposed an approximation with the understanding of sculpture as a compound of sensations according to the Deleuze and Guattari conception in the essay “Percept, affect and concept”. The research seeks to establish a connexion between the sculptural compositions produced by the body-costume ensemble in Cunningham's choreography and the symbolic image of a stone sculpture that is at the origin of the concept of Über-Marionette designed by Gordon Craig. Finally, we try to think about possible relationships between the shapes of the costumes and some characteristic aspects of the grotesque body, such as ambivalences, oppositions, irregularities, described by Mikhail Bakhtin in his concept of grotesque realism. The costumes of the “Scenario” dance performance – in which the highlighted aspects can be observed exemplarily – are a strong expression of the idea of “fashion-sculpture”. In this communication, fragments of the show will be presented. In them, it can be seen that the alignment of the dancers, in pairs or trios, reconfigures in the space the volume composed of body and dress. The clothes created by Kawakubo for the Collection proposed the redesign of the body. This proposal is radicalized in the choreography: with the movement of the body-dress set in space, distortions and ambiguities are intensified. Theatricality is introduced and dramatic sculptural compositions are formed. With the theatrical game, the object function of the garment is also evidenced.

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Hobby, Kimberly, Kristin M. Carlson e Dane Wheaton. "Rehabilitating Experience: Designing an Aesthetic and Movement-based Game for Physical Therapy". In Electronic Visualisation and the Arts (EVA 2017). BCS Learning & Development, 2017. http://dx.doi.org/10.14236/ewic/eva2017.38.

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Rapporti di organizzazioni sul tema "Aesthetic movement (Art)"

Klengel, Susanne. Pandemic Avant-Garde Urban Coexistence in Mário de Andrade’s Pauliceia Desvairada (1922) after the Spanish Flu. Maria Sibylla Merian Centre Conviviality-Inequality in Latin America, dicembre 2020. http://dx.doi.org/10.46877/klengel.2020.30.

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The radical aesthetic of the historical avant-garde movements has often been explained as a reaction to the catastrophic experience of the First World War and a denouncement of the bourgeoisie’s responsibility for its horrors. This article explores a blind spot in these familiar interpretations of the international avant-garde. Not only the violence of the World War but also the experience of a worldwide deadly pandemic, the Spanish flu, have moulded the literary and artistic production of the 1920s. In this paper, I explore this hypothesis through the example of Mário de Andrade’s famous book of poetry Pauliceia desvairada (1922), which I reinterpret in the light of historical studies on the Spanish flu in São Paulo. An in-depth examination of all parts of this important early opus of the Brazilian Modernism shows that Mário de Andrade’s poetic images of urban coexistence simultaneously aim at a radical renewal of language and at a melancholic coming to terms with a traumatic pandemic past.

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