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Статті в журналах з теми "Aesthetics, Modern":

1
Rao, V. "Hindu Modern: Considering Gandhian Aesthetics." Public Culture 23, no. 2 (April 2011): 377–94. http://dx.doi.org/10.1215/08992363-1161958.
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2
Grubor, Nebojsa. "Baumgarten‘s foundation of modern aesthetics." Filozofija i drustvo 26, no. 3 (2015): 599–616. http://dx.doi.org/10.2298/fid1503599g.
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The paper explains Baumgarten?s foundation of modern aesthetics as the science of sensible cognition. The paper first examines mentalistic paradigm in modern philosophy as an intellectual background of Baumgarten?s philosophy and aesthetics (I). This is followed by consideration of Baumgarten?s definitions of aesthetics from Philosophical meditations of pertaining to some matters concerning poetry (1735), Metaphysics (1739) and Aesthetics (1750) (II). Finally, it considers Baumgarten?s definition of aesthetics as the science of sensible cognition starting from Leibniz?s theory of different stages of knowledge (III).
3
Turner, Frederick. "The Crisis in Modern Aesthetics." Performing Arts Journal 11, no. 2 (1988): 7. http://dx.doi.org/10.2307/3245640.
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4
Chell, Samuel L. "Jazz aesthetics and modern literary criticism." Popular Music and Society 15, no. 3 (September 1991): 67–74. http://dx.doi.org/10.1080/03007769108591444.
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5
Du, Wei. "Aesthetic utilitarianism: heritage of modern Chinese aesthetics." Neohelicon 43, no. 2 (August 2016): 529–42. http://dx.doi.org/10.1007/s11059-016-0359-4.
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6
Rees, Thomas D. "The surgery of aesthetics: A modern dilemma." Aesthetic Plastic Surgery 15, no. 1 (December 1991): 99–104. http://dx.doi.org/10.1007/bf02273841.
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7
Frisby, David. "The Aesthetics of Modern Life: Simmel's Interpretation." Theory, Culture & Society 8, no. 3 (August 1991): 73–93. http://dx.doi.org/10.1177/026327691008003005.
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8
Davey, Nicholas. "Gadamer’s Poetics: A Critique of Modern Aesthetics." Journal of Aesthetics and Phenomenology 2, no. 2 (July 2015): 239–42. http://dx.doi.org/10.1080/20539320.2015.1104949.
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9
Dumm, Thomas L. "II. The Politics of Post-Modern Aesthetics." Political Theory 16, no. 2 (May 1988): 209–28. http://dx.doi.org/10.1177/0090591788016002003.
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10
Erjavec, Aleš. "Art and Aesthetics: From Modern to Contemporary." Diogenes 59, no. 1-2 (February 2012): 148–57. http://dx.doi.org/10.1177/0392192112469472.
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Дисертації з теми "Aesthetics, Modern":

1
Armstrong, Kevin Anthony. "Aesthetics/ethics, two modern views." Electronic thesis or dissertation, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/MQ37936.pdf.
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2
Schmid, Erica. "Fail Better: The Aesthetics of Contemporary Criticism." Dissertations, Temple University Libraries, 2014. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/274890.
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Анотація:
English
Ph.D.
Though literature and literary study have needed defense for most of their respective histories, the current crisis in academic literary study and the humanities more generally has forced scholars into the uncomfortable position of selling their disciplines and simultaneously warning students about the risks involved in earning what the dominant public considers to be "useless" degrees. The paradox, of course, is that dissuading would-be studiers is both ethical and destructive: it is necessary to inform students of the frightful instability of careers in literary study, but doing so renders such careers even more unstable. While some argue that the decline of the discipline is a result of practices within the discipline, I suggest that the root of the problem lies in the dominant discourse, which forces scholars to defend the discipline according to dominant notions of success. Using Frank Lentricchia's "Last Will and Testament of an Ex-Literary Critic" as a hinge between discussions of the value of literary study and elaborations of the antisocial thesis in queer theory, I contend that the discipline is not socially valued for the same reason it is socially valuable: it facilitates the pleasure of experiencing and envisioning new possibilities in and through the circulation of discourse. Since this aim does not (easily) translate into wealth accumulation or employability, it does not read as "success" and therefore the discipline has difficulty being socially valued. Rather than explaining the various benefits of earning a degree in literature, I argue that the discipline should embrace (its) failure as both a challenge to and re-imagining of dominant notions of success.
Temple University--Theses
3
Kitamura, Katie. "The aesthetics of vulgarity and the modern American novel." Electronic Thesis or Dissertation, Birkbeck (University of London), 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.424932.
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4
Felstead, Kenneth Desmond 1945. "The metaphysical grounds for the modern relationship between aesthetics and ethics." Monash University, School of Literary, Visual and Cultural Studies, 2001. http://arrow.monash.edu.au/hdl/1959.1/8648.
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5
Grahn, Emma. "A study in GUI aesthetics for modern pixel art games." Student thesis, Blekinge Tekniska Högskola, Sektionen för datavetenskap och kommunikation, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-5423.
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The clarity and usability of the graphical user interface is very important for the enjoyment of a digital game. Pixel art is an art style with low resolution consisting of a precise placing of pixels, the smallest unit of colour that a screen can display. Pixel art has the potential of being cheap, easy to make and nostalgic, but it takes some skill to handle. However the great weakness of pixel art is displaying letters, and small details with clarity. So is there a place for pixel art in modern games? This thesis will discuss how pixel art games could use their GUI and HUDs to create beautiful games without losing clarity. The aim of this study is to is to compare different games GUI in a systematic way and discuss whether the artists have succeeded in their design of the GUI to give the player a pleasant game experience. A second aim is to find a series of recommendations on how to build a GUI with the least possible intrusion on on a narrative driven game. The main question is how can the GUI be designed and drawn to fit a modern pixel art game without causing a distracting discord to the pixel art style?
Tydlighet och användarvänlighet, i det grafiska användargränssnittet är en mycket viktig del för att göra ett digitalt spel omtyckt. Pixelgrafik är en grafisk stil i låg upplösning som består av en genomtänkt placering av pixlar, de minsta representationen av färg som en skärm kan visa. Pixelgrafik har potentialet att vara billigt, lätt att skapa och nostalgiskt, men den kräver teknik att använda. Den här uppsatsen diskuterar hur pixelgrafik kan använda sitt användargränssnitt och ”Heads up display” för att skapa vackra spel utan att förlora tydlighet.
6
POLIZZO, ANA PAULA. "THE MODERN AESTHETICS OF THE LANDSCAPE: ROBERTO BURLE MARX’S POETICS." PublishedVersion, PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2009. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=17068@1.
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Анотація:
COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR
A arte dos jardins comparada com as outras artes é extremamente ambígua:ela se constrói com a própria natureza, e, no entanto, desta deve se afastar por intermédio de um gesto que a torna jardim e que a isola da extensão que o cerca. O jardim é uma realidade frágil uma vez que lida com o mundo transitório e efêmero das plantas, com o ciclo de vida, com a mutabilidade, com a temporalidade bem marcada, diferente da obra de arte estática. Sob esta perspectiva, muitos autores são incisivos ao indicar Roberto Burle Marx como definidor de uma estética moderna de paisagem, incorporando o espírito da pesquisa plástica às soluções dos jardins. Colocam suas produções como descobertas de uma nova forma de arte intelectual, uma linguagem moderna, harmonizando valores geométricos e de ordem com os valores instáveis da natureza. Esse processo de trabalho pressupõe uma forma articulada de visão, que considera o jogo entre constantes e variantes: a definição formal do espaço (que busca um foco extremamente visual na composição, como numa tela em que os elementos possuem uma lógica intrínseca), o conhecimento das espécies com a compreensão do movimento e a dimensão do tempo no jardim. Estas composições paisagísticas passam a constituir uma unidade, uma experiência própria e autônoma possuidora de lógica interna, ainda que ligadas a uma extensão e a um movimento infinitamente mais vasto da natureza como um todo. Há um intercâmbio de vertentes na noção da paisagem: o ordenamento construído através da arte, numa coexistência com o princípio eterno de natureza. Através da manobra de introduzir a natureza estetizada na arquitetura, se estabelecia uma maneira de realizar a conciliação entre arquitetura e natureza, ora possibilitando uma unidade compositiva, ora ressaltando a distância entre os dois elementos insistindo em sua recíproca exterioridade.
Garden art, if compared to other kinds of art, can be extremely ambiguous: it is built with nature although it should get away from it through a gesture which makes it a garden and that isolates it from the surrounding extension. The garden is a fragile reality since it deals with the transitory and ephemeral world of the plants, with a life cycle, with mutability, with well established temporality, different from static art. Under this perspective, many authors are incisive to point Roberto Burle Marx as a definer of landscape modern aesthetics, joining the spirit of plastic research to garden solutions. They state his productions as discoveries of a new form of intellectual art, a modern language, harmonizing geometric and order values with unstable values from the nature. This work process presupposes an articulated point of view, which considers the role played by the constant and variables: the formal definition of space (which seeks for an extremely visual focus in the composition, just as on a canvas where the elements have an intrinsic logic), the knowledge of species as the understanding of the movement, and the time dimension in the garden. These landscape compositions start to constitute a unit, an autonomous and own experience having internal logic, despite being connected to an extension and to an infinitely wider movement of the nature as a whole. There is a strand exchange related to landscape knowledge: the planning built through art, in a coexistence with the eternal principal of nature. By introducing aestheticized nature into architecture, a way of carrying out the reconcilement between architecture and nature was established, sometimes enabling a compositional unit, and sometimes enhancing the distance between the two elements instituted in its reciprocal externality.
7
Sohn, Won Jung. "In search of another eye : mimesis, Chinese aesthetics, post-modern theatre." Electronic Thesis or Dissertation, University of London, 2011. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.542434.
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Although a new tradition of non-mimetic theatre has secured a place in Western theatre history, I find that existing critical vocabularies fail to embrace various theatrical forms of today. Alternative frames of discussion are sought after, and I propose that a culturally distinct one will open up possibilities of perceiving contemporary performances in different ways. In this thesis I turn to the aesthetics of Chinese painting. The Western concept of mimesis in theatre is seen as being strictly related to the verbal aspects of the drama rather than the performed spectacle. Turning to paintings as a lens through which to look at theatre enables one to focus on the extra-textual aspects of performance. At the same time, looking at painting directs one to the issue of ways of seeing, which is fundamental to theatre. Looking at Chinese paintings will disclose the unique Chinese ways of seeing that affected their artistic creation and reception, as well as what different concepts of representation prevailed. In this thesis I trace the mimetic foundations of Western theatre by investigating the writings of Plato and Aristotle as well as looking at Classical Greek painting, its modern reflections and counteractions. I then propose the aesthetics of Chinese painting as an alternative lens through which to look at contemporary non-mimetic theatre. Focusing on landscape and literati paintings of the Sung era I examine how adopting this lens initiates a mode of perception that differs significantly from the Western. Finally, I explore the validity of Chinese aesthetics as a critical device with which to look at contemporary non-mimetic theatre, case-studying selected theatre performances of Tadeusz Kantor and Forced Entertainment
8
Brennan, Mary Kate. "Nietzsche on Suffering, Affirmation, and Modern Tragedy." Dissertations, Temple University Libraries, 2019. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/593202.
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Анотація:
Philosophy
Ph.D.
As an artform, tragedy is deeply perplexing. On the one hand, it depicts events that are painful, depressing, and difficult to watch. On the other hand, it is a genre that has been continually replicated, revered, and enjoyed throughout history. I examine Nietzsche’s response to this problem. Nietzsche, I argue, develops a clear response to the paradox of tragedy: Tragedy is valuable because, even though (or precisely because) it is painful to watch, it allows us to affirm life. Interestingly, Nietzsche’s discussion of tragedy is filled with numerous mentions of Shakespeare. I argue that Nietzsche’s comments on Shakespeare emphasize the historically sensitive nature of Nietzsche’s theory of life affirmation. While Nietzsche might seem to be delivering a universal, trans-historical account of life affirmation, his comments on Shakespeare make it clear that life affirmation functions differently in different times and cultures.
Temple University--Theses
9
Fokt, Simon. "Defining art culturally : modern theories of art : a synthesis." Electronic Thesis or Dissertation, University of St Andrews, 2013. http://hdl.handle.net/10023/3675.
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Numerous theories have attempted to overcome the anti-essentialist scepticism about the possibility of defining art. While significant advances have been made in this field, it seems that most modern definitions fail to successfully address the issue of the ever-changing nature of art raised by Morris Weitz, and rarely even attempt to provide an account which would be valid in more than just the modern Western context. This thesis looks at the most successful definitions currently defended, determines their strengths and weaknesses, and offers a new, cultural definition which can preserve the good elements of other theories, solve or avoid their problems, and have a scope wide enough to account for art of different times and cultures. The resulting theory is a synthetic one in that it preserves the essential institutionalism of Dickie's institutional views, is inspired by the historical and functional determination of artistic phenomena present in Levinson's historicism and Beardsley's functionalism, and presents the reasons for something becoming art in a disjunctive form of Gaut's cluster account. Its strengths lie in the ability to account for the changing art-status of objects in various cultures and at various times, providing an explanation of not only what is or was art, but also how and why the concept 'art' changes historically and differs between cultures, and successfully balancing between the over-generalisations of ahistorical and universalist views, and the uninformativeness of relativism. More broadly, the cultural theory stresses the importance of treating art as a historical phenomenon embedded in particular social and cultural settings, and encourages cooperation with other disciplines such as anthropology and history of art.
10
Tsoulou, Marina-Georgia. "Philosophical approaches to classical ballet and modern dance." Electronic Thesis or Dissertation, University of Warwick, 2003. http://wrap.warwick.ac.uk/50522/.
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My primary concern in this thesis is to develop a framework in which classical and modern dance can be analyzed and assessed in philosophical terms. This should not be understood as an endeavour to create a system of values according to which dance should be criticized. What is being attempted is to describe and characterize dance with the tools provided by different aesthetic theories. Moreover dance, and especially ballet (due to its more solid and concrete structure and form), is used as a test - βάσανος (vasanos) in Greek - to help discern the limitations of existing aesthetic theories. At the same time the different criteria that each theory puts forward to identify a work of art are related to the notion of movement, which is central to dance. This process not only enables us to distinguish the elements of this complex form of human action, but also becomes the starting point for the elaboration of a reconfiguration of aesthetic concepts that will enable a sophisticated analysis of the phenomenon of dance. The underlying question throughout is "What makes a particular movement sequence a piece of dance rather than, for example, a piece of gymnastics?" complemented by the question "What makes an everyday life movement a dance movement?" These issues are addressed by considering how the various aesthetic theories can help us make the above distinctions. The different forms of dance are correlated with the aesthetic theories presented. The first notion I consider in this context is mimesis with special reference to Jean-Georges Noverre's account of dance, which has its roots in Aristotle's Poetics. Secondly I consider the notion of beauty - its independence from such notions as 'purposiveness', its lack of 'interest' - as analysed in Kant's Critique of Judgment. The expressive element of dance is explored in the context of R.G. Collingwood's expressivism and John Maftin's inflection of it in relation to dance. Attention to movement leads directly to the notion of form, which is explored in dialogue with André Levinson and Margaret H'Doubler. The thesis concludes by sketching an outline of a new way of approaching, understanding and hence potentially even experiencing dance (as a viewer). Dance is a carrier of a multiplicity of meanings with various contents. In the majority of cases a dance performance seeks to communicate a message to an audience. It is being suggested that dance constitutes a type of language, a communicational system, which has mimetic, expressive and formal elements. The notion of language is understood in later Wittgenstein terms. It is argued that dance comprises a 'form of life.' The elements of this system are facial expressions, movements of hands and arms, shifting of the body; all these reveal to us the quality of experience and feelings of the moving persona. Dance should be understood and appreciated in this particular context.

Книги з теми "Aesthetics, Modern":

1
Welsch, Wolfgang. Undoing aesthetics. London: Sage Publications, 1997.
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2
Genette, Gérard. Essays in aesthetics. Lincoln: University of Nebraska Press, 2005.
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3
Ruskin, John. Modern painters. London: Andre Deutsch, 1987.
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4
Ruskin, John. Modern painters. London: Deutsch, 1989.
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5
Ruskin, John. Modern painters. Edited by David Barrie. New York: Knopf, 1987.
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6
Wyss, Beat. Hegel's art history and the critique of modernity. Cambridge, U.K: Cambridge University Press, 1999.
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7
Hollingsworth, Andrew. Danish modern. Layton, UT: Gibbs Smith, 2008.
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8
Marra, Michael F. Modern Japanese aesthetics: A reader. Honolulu: University of Hawaiʻi Press, 1999.
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9
Dickie, George. The century of taste: The philosophical odyssey of taste in the eighteenth century. New York: Oxford University Press, 1996.
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10
Valle-Inclán, Ramón del. La lámpara maravillosa. 4th ed. Madrid: Espasa Calpe, 1995.
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Статті в газетах з теми "Aesthetics, Modern":

1
Hlywa, E. "Modern Russian Terrorism." Вільна думка, 1 April–12 May 2014.
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Частини книг з теми "Aesthetics, Modern":

1
Kockelmans, Joseph J. "Modern Aesthetics." In Phaenomenologica, 23–34. Dordrecht: Springer Netherlands, 1985. http://dx.doi.org/10.1007/978-94-009-5067-2_2.
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2
Bell, Clive. "Form in Modern Painting." In Aesthetics, 23–25. 4 [edition]. | New York : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315303673-7.
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3
Goldstein, Philip. "Aesthetics and Reading." In Modern American Reading Practices, 33–49. New York: Palgrave Macmillan US, 2009. http://dx.doi.org/10.1057/9780230617827_3.
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4
Slotkin, Joel Elliot. "Introduction: Representing Evil in Early Modern England." In Sinister Aesthetics, 1–21. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-52797-0_1.
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Naini, Farhad B. "Facial Proportions: Classical Canons to Modern Craniofacial Anthropometry." In Facial Aesthetics, 18–44. West Sussex, UK: John Wiley & Sons, Ltd., 2013. http://dx.doi.org/10.1002/9781118786567.ch2.
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Kinnaman, Ted. "Aesthetics before Kant." In A Companion to Early Modern Philosophy, 572–85. Malden, MA, USA: Blackwell Publishing Ltd, 2008. http://dx.doi.org/10.1002/9780470998847.ch37.
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Sager, Jenny. "The Aesthetics of Spectacle." In The Aesthetics of Spectacle in Early Modern Drama and Modern Cinema, 23–49. London: Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137332400_2.
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Tilghman, B. R. "Modernism, Modern Aesthetics and Wittgenstein." In Wittgenstein, Ethics and Aesthetics, 1–20. London: Palgrave Macmillan UK, 1991. http://dx.doi.org/10.1007/978-1-349-21174-6_1.
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Ginsberg, Warren. "Dante’s Aesthetics of Being." In Late Medieval and Early Modern Studies, 155–73. Turnhout: Brepols Publishers, 2000. http://dx.doi.org/10.1484/m.lmems-eb.3.1791.
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10
Goldstein, Philip. "Conclusion: From Aesthetics to Reading Practices." In Modern American Reading Practices, 133–37. New York: Palgrave Macmillan US, 2009. http://dx.doi.org/10.1057/9780230617827_9.
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Тези доповідей конференцій з теми "Aesthetics, Modern":

1
Mccarthy, Cameron. "UNDERSTANDING THE WORK OF AESTHETICS IN MODERN LIFE." In 30th International Academic Conference, Venice. International Institute of Social and Economic Sciences, 2017. http://dx.doi.org/10.20472/iac.2017.030.021.
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2
Zhang Hanning, Xu Ji-feng, and Wang Qian. "On the characteristics of technological aesthetics in modern furniture." In 2009 IEEE 10th International Conference on Computer-Aided Industrial Design & Conceptual Design. IEEE, 2009. http://dx.doi.org/10.1109/caidcd.2009.5374988.
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3
Gintere, Ieva. "ART SPACE: AN INNOVATIVE DIGITAL GAME OF MODERN AESTHETICS." In 13th annual International Conference of Education, Research and Innovation. IATED, 2020. http://dx.doi.org/10.21125/iceri.2020.0388.
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4
Ouyang, Fangxin, and Huilian Chen. "Technological Aesthetics of Modern Architecture as an Expression of Structure." In 2017 3rd International Forum on Energy, Environment Science and Materials (IFEESM 2017). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/ifeesm-17.2018.55.
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5
Yuan, Xiaowei. "The Inspiration of Ancient Aesthetics on Modern Jewelry Design Take a Case Study of the Song Dynasty Aesthetics." In 2nd International Conference on Contemporary Education, Social Sciences and Humanities (ICCESSH 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/iccessh-17.2017.136.
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6
Murtaza, Saima. "Nabokov’s Lolita: Externalization of Contemporary Mind in the Configuration of Hedonistic Aesthetics." In 6th International Conference on Modern Approach in Humanities. acavent, 2018. http://dx.doi.org/10.33422/6mah.2018.11.21.
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7
Hoffart, Johannes, Dragan Milchevski, and Gerhard Weikum. "AESTHETICS." In CIKM '14: 2014 ACM Conference on Information and Knowledge Management. New York, NY, USA: ACM, 2014. http://dx.doi.org/10.1145/2661829.2661835.
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8
Gintere, Ieva. "Fusing Art Game And Edugame: An Innovative Digital Game Of Modern Aesthetics." In 11th International Conference on Education and Educational Psychology. European Publisher, 2020. http://dx.doi.org/10.15405/epiceepsy.20111.20.
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9
Zhu, Ruoqian. "The Effects of Simultaneity and Modern Aesthetics on the Fragmentation of Information." In 2020 3rd International Conference on Humanities Education and Social Sciences (ICHESS 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.201214.478.
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10
Zhai, Changhong. "Research on Advertisement Translation from the Dual Perspective of Teleology a Reception Aesthetics." In 2015 International Conference on Education Reform and Modern Management. Paris, France: Atlantis Press, 2015. http://dx.doi.org/10.2991/ermm-15.2015.78.
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Звіти організацій з теми "Aesthetics, Modern":

1
Harris, M. Environmental Baseline File: Aesthetics. Office of Scientific and Technical Information (OSTI), February 1999. http://dx.doi.org/10.2172/761994.
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2
Kumfert, G., and T. Epperly. Modern Tools for Modern Software. Office of Scientific and Technical Information (OSTI), October 2001. http://dx.doi.org/10.2172/15002233.
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3
Bierma, Tineke. Concrete poetry : the influence of design and marketing on aesthetics. Portland State University Library, January 2000. http://dx.doi.org/10.15760/etd.5321.
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4
Goetzmann, William, Elena Mamonova, and Christophe Spaenjers. The Economics of Aesthetics and Three Centuries of Art Price Records. Cambridge, MA: National Bureau of Economic Research, August 2014. http://dx.doi.org/10.3386/w20440.
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5
Lee, Breanne. Modern Zen. Ames: Iowa State University, Digital Repository, 2013. http://dx.doi.org/10.31274/itaa_proceedings-180814-578.
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6
O'Neill, Michael. U.K. Defense Policy: Modern Forces for the Modern World. Fort Belvoir, VA: Defense Technical Information Center, January 1999. http://dx.doi.org/10.21236/ada386030.
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7
Gorton, Gary, Toomas Laarits, and Tyler Muir. 1930: First Modern Crisis. Cambridge, MA: National Bureau of Economic Research, January 2019. http://dx.doi.org/10.3386/w25452.
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8
Buichik, A. G. QUESTIONS OF MODERN SCIENCE. PSYCHOLOGICAL CULTURAL STUDIES AS A NEW SCIENCE, QUESTIONS OF MODERN SCIENCE Vol. 11, 2016, 2016. http://dx.doi.org/10.18411/buichik-ag-doi-8.
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9
FOREIGN TECHNOLOGY DIV WRIGHT-PATTERSONAFB OH. Modern Weaponry (Selected Articles). Fort Belvoir, VA: Defense Technical Information Center, June 1991. http://dx.doi.org/10.21236/ada238911.
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10
Esposito, Christine. Fuels planning: science synthesis and integration; social issues fact sheet 15: Landscape change and aesthetics. Ft. Collins, CO: U.S. Department of Agriculture, Forest Service, Rocky Mountain Research Station, 2006. http://dx.doi.org/10.2737/rmrs-rn-21-v15.
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