Добірка наукової літератури з теми "Aesthetics"

In this Article the author has focused on aesthetical outlook to lead a fantastic life! There will be handful number of people who find aesthetics in every small thing which can be beautified by their own way where that will help them to stay focused and confident in life. The author has absolutely identified and explained everything in a metaphoric way and by way of his imagination where mindfully this subject becomes very effective! The author has given multiple examples in an illustrious manner because of which this small world becomes subjective with appropriate spaces used by him. He has also taken care that this word will not be misused by the people but will be utilized diligently by understanding the concept for their own betterment and the whole life, too!

This thesis is concerned with the spatial contingencies which affect the production and reception of art. The initial argument is premised on 19th century museum architecture and its role in the aesthetic judgement and containment of art. As an idealist formation, the art museum has survived to this day. However, the thesis claims that art is an immanent space which makes sense of the contingencies it contains, and not the other way round. Since the late 1960s, then, artists such as Robert Smithson and Donald Judd have recovered what they term 'architectural afterthought' and 'space as a main aspect of art'. Building on Miwon Kwon's and James Meyer's theories on site-specificity, it is shown that today, the force of this impulse has given way to spatial dispersal, institutional immersion and corporate assimilation. Museums, in turn, have changed with these developments and have incorporated them accordingly. After a short discussion of relevant philosophical spatial concepts, it is further assessed how contemporary art practices make sense of their own space today. It is found, that artists as diverse as Gerhard Richter, James Turrell and Andrea Zittel have set up architectural sites which imbue their constructions with affective contingencies such as analogy, atmosphere and relation. The agency of these works thus furthers the impulse of Smithson and Judd and embodies an immanence of ideal and contingent space. The practice section, finally, stands on its own. It explores experimental sites which exemplify their process, economy of labour and the site-specific or -responsive nature of their display. Their formal configuration is re-organised in the event of each categorical site. In keeping with the claim of the thesis, the forms and (re-)presentations of the work are not awaiting or finalising content but become active productions in themselves.

This thesis addresses the escalation of interest in the senses, across a range of media technological contexts, dating from the mid 1990s. Much of this discourse has focussed on the experiential, particularly intense, multisensory experience of the present. As there are numerous discourses on the senses, technology and affect individually, my concern is to examine some of the intersections between these, in order to reconsider the contemporary significance of aesthetics in media contexts. I develop a ‘hyper/aesthetic’ approach to try to think about aesthetic relations with technology in a nuanced way, opening up a space from which to investigate a variety of relations with technology. Walter Benjamin’s work on the senses and modern technology is useful in this, as is that of two of his commentators, Susan BuckMorss and Miriam Hansen. In providing the outlines of a hyper/aesthetic approach in this thesis, I am, in particular, seeking to complexify understandings of audience reception and meaningmaking, to return some ambivalence to conceptions of the sensory encounter with technology. Hyper/aesthetics is a term that draws together ambivalence, doubling, virtuality, unfamiliarity, innervation, and moving beyond, all concepts that are relevant to the senses and subjectivity. In close readings of case studies drawn from the areas of advertising, computer gaming practices, and new media art, I argue that as well as critiquing their claims to newness, it is also important to attend to the ways in which particular relations with technology exceed or refuse the logic of instrumentality. In particular, these cases consider the emerging aesthetic experiences that technologies of computer gaming and new media art facilitate, and the new subjective possibilities that follow from each. Approaching these studies hyper/aesthetically enables me to go beyond other accounts in appreciating the more experimental character of some of these relations with technology. I particularly focus on the effects and affects generated by encounters with the unfamiliar, including that which is considered strange, ‘unnatural’ or ‘inhuman’, and critically appraise the significance of encounters such as these for the manner in which subjectivity is conceived.

This thesis addresses the escalation of interest in the senses, across a range of media technological contexts, dating from the mid 1990s. Much of this discourse has focussed on the experiential, particularly intense, multisensory experience of the present. As there are numerous discourses on the senses, technology and affect individually, my concern is to examine some of the intersections between these, in order to reconsider the contemporary significance of aesthetics in media contexts. I develop a ‘hyper/aesthetic’ approach to try to think about aesthetic relations with technology in a nuanced way, opening up a space from which to investigate a variety of relations with technology. Walter Benjamin’s work on the senses and modern technology is useful in this, as is that of two of his commentators, Susan BuckMorss and Miriam Hansen. In providing the outlines of a hyper/aesthetic approach in this thesis, I am, in particular, seeking to complexify understandings of audience reception and meaningmaking, to return some ambivalence to conceptions of the sensory encounter with technology. Hyper/aesthetics is a term that draws together ambivalence, doubling, virtuality, unfamiliarity, innervation, and moving beyond, all concepts that are relevant to the senses and subjectivity. In close readings of case studies drawn from the areas of advertising, computer gaming practices, and new media art, I argue that as well as critiquing their claims to newness, it is also important to attend to the ways in which particular relations with technology exceed or refuse the logic of instrumentality. In particular, these cases consider the emerging aesthetic experiences that technologies of computer gaming and new media art facilitate, and the new subjective possibilities that follow from each. Approaching these studies hyper/aesthetically enables me to go beyond other accounts in appreciating the more experimental character of some of these relations with technology. I particularly focus on the effects and affects generated by encounters with the unfamiliar, including that which is considered strange, ‘unnatural’ or ‘inhuman’, and critically appraise the significance of encounters such as these for the manner in which subjectivity is conceived.

In the field of Human computer interaction, currently aesthetics has become one of the most frequently research dimension. Most of the researchers have found the correlation between aesthetics and usability, while some other could not discover the correlation between aesthetics and usability. This irregularity to find the correlation between aesthetics andusability makes to further research on this topic.Also based on the previous studies and empirical analysis, it is unclear the factors and issues that are affecting usability and aesthetics while analyzing the correlation. This thesis clearly discusses about the previous empirical studies on aesthetics and usability, methods followed by authors to find the correlation and the results obtained by the authors. In this study, systematic review method [12] was followed to extract the knowledge from the databases (ACM and Science Direct). Two persons have participated in the review and 13 articles from 1995-2012 are taken into the study. Three research questions are discussed in detail to analyze the correlation between aesthetics and usability and the factors affecting the correlation between aesthetics and usability. Finally this study is concluded, by discussing the reasons for irregularity in the correlation results.