Готові списки джерел за темами / Aesthetics

Добірка наукової літератури з теми "Aesthetics"

Автор: Grafiati
Опубліковано: 4 червня 2021
Оновлено: 23 серпня 2023

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Зміст

  1. Статті в журналах
  2. Дисертації
  3. Книги
  4. Частини книг
  5. Тези доповідей конференцій
  6. Звіти організацій

Статті в журналах з теми "Aesthetics":

1

Popovic, Una. "Baumgarten on the sublime: Aesthetics and ethics." Theoria, Beograd 63, no. 3 (2020): 129–39. http://dx.doi.org/10.2298/theo2003129p.

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In this paper, Baumgarten?s account of the sublime will be inspected with regard to the category of aesthetic greatness (magnitudo aesthetica), and in view of his analysis of aesthetic subjectivity. The Sublime is here shown to be the topic within which Baumgarten aims to prove the inner connection between aesthetics and ethics, or, more precisely, that the aesthetic domain is intrinsically related to moral acts and decision-making. My analysis will primarily focus on Baumgarten?s Aesthetics, but it will also include his other works, like Metaphysics and Ethics, as well as the comparison with Pseudo-Longinus?s text On the Sublime. My research should indicate one possible interpretation of Baumgarten?s project, such that it would not discard its purpose, the autonomy of aesthetical domain, but which could, at the same time, determine the relations of aesthetics with other forms of human thought.
2

Jansen, F. J. Billeskov. "The Aesthete's Aesthetics." Orbis Litterarum 52, no. 6 (December 1997): 373–86. http://dx.doi.org/10.1111/j.1600-0730.1997.tb00038.x.

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3

Elwazani, Salim. "Purposing aesthetics in historic preservation: advocating, signifying, and interpreting aesthetics." Virtual Archaeology Review 12, no. 24 (January 19, 2021): 66. http://dx.doi.org/10.4995/var.2021.13812.

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<p>Aesthetics is a pillar consideration in historic preservation. Yet, purposing aesthetics for historic preservation ends seems to lag behind the opportunities. Utterly subjective, aesthetics poses challenges for the preservation community worldwide to moderate, accommodate, and purpose aesthetics in heritage programs. The challenges revolve around the assessment of aesthetical purposing in three domains. These domains include the community disposition towards accommodating aesthetics (advocacy), the criteria and strategies for assessing the aesthetic value of historic resources (signification), and, the standards for treating historic resources in preservation projects (interpretation). This study, therefore, assesses the trends for purposing aesthetics in historic preservation thought and practice through three platforms: advocating aesthetics, signifying aesthetics, and interpreting aesthetics. The study completed literature content analysis on aesthetics in general and aesthetics in historic preservation in particular. Further, because of the perspective of the study, the works of international and country preservation programs provided information relevant to advocacy, signification, and interpretation of aesthetics that have been refined by classification, comparison, and exemplification methods. Among others, these works include those of the International Council on Monuments and Sites (ICOMOS) and the U.S. National Historic Preservation Program in the National Park Service. The study culminated with general and platform-specific conclusions. First, as the three proposed platforms (advocacy, signification, and interpretation) maintain structural and serial relationships, they constitute a relevant and feasible framework for assessing aesthetical purposing. Second, as the aesthetical purposing assessment followed a broad, international perspective, the conclusions of the study are commensurate with the selective scope of information used from international and country preservation programs. Third, the contribution to aesthetical purposing at each of the three platforms can be measure only in general, and at times, subjective terms.</p><p><strong>Highlights:</strong></p><ul><li><p>Proposing aesthetical advocacy, aesthetical signification, and aesthetical interpretation as a platform framework to assess the purposing of aesthetics was feasible.</p></li><li><p>As aesthetical purposing was approached from a broad, international perspective, the conclusions of the study commensurate with the selective scope of information used.</p></li><li><p>The contribution to aesthetical purposing at each of the three platforms is hard to measure; however, the indications point to uneven contribution.</p></li></ul>
4

Guss, Aleksandra. "Aesthetics of Law." McGill GLSA Research Series 1, no. 1 (November 22, 2021): 1–17. http://dx.doi.org/10.26443/glsars.v1i1.137.

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The aesthetics of law appears as one of the parts of the philosophy of law that focuses on the relationship between law and aesthetical values, in their broadest sense. The aesthetics of law can be closed in its three dimensions: external, internal and the approach defined as "law as a tool of aestheticization”. This division was made from the perspective of the subject of research, which is the law. The third dimension refers to the law as "tool of aestheticization” of everyday life, which indicates the aesthetic function of law, implemented mainly by legal regulation and the legal norms they contain, which are the determinants of what is aesthetic. We can distinguish three basic fields in which the law can affect the aestheticization of everyday life: 1) legal norms that set and promote certain aesthetic standards, 2) legal norms that serve to protect and preserve aesthetic values and 3) the field where law, as an instrument of politics, can be used to fight against certain aesthetic values that are inconsistent with the ideology promoted by the ruling class – the so-called art in the service of state power. The first group of norms is used to make the overall „pretty” but when interpreting such legal regulations, can be concluded that there’s something more than only this - that it’s promoting aesthetic standards and values through legal norms. The policy of many countries focuses on introducing legal regulations aimed at ensuring the aesthetics of the landscape of their cities. The article aims to present the implementation of the third approach to the aesthetics of law in Poland and discussing legal measures and activities undertaken to ensure the aesthetics of the landscape.
5

Onishchenko, E. I. "POLISH AESTHETIC DISCOURSE OF THE 20TH CENTURY: INTERPRETATION OF INTERPRETATIONS." UKRAINIAN CULTURAL STUDIES, no. 1 (2) (2018): 25–29. http://dx.doi.org/10.17721/ucs.2018.1(2).05.

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The article is devoted to the analysis of the Polish aesthetic discourse of the twentieth century and the prospects for its interpretation in the Ukrainian aesthetics, particularly in the works by Kateryna Shevchuk, defended at the department of ethics, aesthetics and culture studies of Taras Shevchenko National University of Kyiv. These research greatly extend the idea of the aesthetic canon of the Polish thought, classically represented by the aesthetics R. Ingarden and W. Tatarkiewicz and reveal the names of virtually unknown in Ukraine Polish scientists, including special interest is the legacy of L. Blaustein, M. Wallis, H. Elzenberg and G. Ossowski. In particular, this perspective covers traditional for the twentieth century aesthetics problems, including psychology of art, collective aesthetic experience, ratio, fantasy, and imagination. Also, new interpretive perspectives of sublime and ugly, aesthetical experience are opened. The theoretical orientations of the Polish scholars, in one way or another, were connected with the cornerstones of the aesthetic science - its subject, the conceptual-categorical apparatus, the structure of aesthetic consciousness, the phenomenon of artistic creativity, the specific nature of art, and others. In the process of conceptual concretization, in the field of Polish aesthetics a number of problems have been rather clearly distinguished, among which the special attention of practically all of its leading representatives has attracted the phenomenon of aesthetical experience. K. Shevchuk’s investigation opens up an opportunity, at least in the format of a secondary interpretation, to join the research of the Polish scholars, whose work proved to be a giant "white spot" for the Ukrainian aestheticians. Introducing actually unexplored concepts Polish scientists to the modern Ukrainian aesthetic theory not only facilitates the opening of "unknown pages" in the history of the twentieth century aesthetics, but also makes actual mark of new approaches to the analysis of classical problems, the relevance of which will never be a subject of doubt.
6

Ortlieb, Stefan A., Werner A. Kügel, and Claus-Christian Carbon. "Fechner (1866): The Aesthetic Association Principle—A Commented Translation." i-Perception 11, no. 3 (May 2020): 204166952092030. http://dx.doi.org/10.1177/2041669520920309.

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Most of the groundbreaking works of Gustav Theodor Fechner (1801–1887), who paved the way for modern experimental psychology, psychophysics, and empirical aesthetics, are so far only available in German. With the first full text translation of Fechner’s article on The Aesthetic Association Principle ( Das Associationsprincip in der Aesthetik), we want to fill in one of the blank spots in the reception of his Aesthetics from Below (Aesthetik von Unten). In his 1866 article, Fechner devises a fundamental principle that accounts for the role of associations in the formation of aesthetic preferences. Based on concrete everyday examples and thought experiments, he demonstrates how aesthetic choices are largely shaped by the observer’s learning history (associative factors) rather than by an object’s formal properties (direct factors). Fechner’s Aesthetic Association Principle has lost nothing of its initial relevance as the role of content and personal meaning is still grossly underrated in theory and practice of empirical aesthetics today.
7

Kirwan, James. "Aesthetics Without the Aesthetic?" Diogenes 59, no. 1-2 (February 2012): 177–83. http://dx.doi.org/10.1177/0392192112469478.

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8

Hickman, Rechard, and Fraser Smith. "Reviews Editorial: Aesthetics, aesthetic." Journal of Art & Design Education 13, no. 1 (June 1994): 87. http://dx.doi.org/10.1111/j.1476-8070.1994.tb00361.x.

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9

Greiman, Jennifer. "Democratic Aesthetics, Aesthetic Democracy." American Literary History 35, no. 1 (February 1, 2023): 400–410. http://dx.doi.org/10.1093/alh/ajac234.

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Abstract This essay reviews four new books, each of which assesses the prospects of contemporary democracy in the face of wide-ranging crises—from the legacies of settler colonialism to the resurgence of right-wing nationalism—and finds possibilities for democratic renewal in aesthetic orientations and practices. Taken together, Jason Frank’s The Democratic Sublime (2021), Andrés Fabián Henao Castro’s Antigone in the Americas (2021), Michael Steinberg’s The Afterlife of Moses (2022), and Elisabeth Anker’s Ugly Freedoms (2022) suggest that the aesthetic turn in democratic theory most closely associated with the work of Jacques Rancière has been decisive. But if democratic theorists now fully embrace the centrality of creativity, performative assembly, and affective attachment and aversion to democratic renewal, they do not fully agree on the more fundamental question of whether democracy is a stable form that has aesthetic features or whether it is constitutively aesthetic—in other words, whether its people comes into being in moments of materialization with no prior referent.If contemporary political theorists . . . have found better prospects for the revitalization of democratic politics in collective performance and creative resistance than in . . . legal and political institutions, this shows how seriously . . . democratic thought has come to take democracy’s aesthetic dimensions.
10

Scott, Sarah. "From Genius to Taste." Journal of Jewish Thought & Philosophy 25, no. 1 (May 23, 2017): 110–30. http://dx.doi.org/10.1163/1477285x-12341281.

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I reconstruct the aestheticism of Martin Buber in order to provide a new way of framing his moral philosophy and development as a thinker. The evolution of Buber’s thought does not entail a shift from aesthetics to ethics, but a shift from one aspect of aesthetics to another, namely, from taking genius to be key to social renewal, to taking taste to be key. I draw on Kantian aesthetics to show the connection between Buber’s aesthetic concerns and his moral concerns, and to defend the notion that a certain aesthetic orientation may be just what is needed for moral response.
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Статті в журналах Дисертації Книги

Дисертації з теми "Aesthetics":

1

Kornberg, Kristin, and Olivia Svensson. "Durable aesthetics : The aesthetic function of apparel." Thesis, Högskolan i Borås, Akademin för textil, teknik och ekonomi, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-14773.

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The thesis is based on the background of the speed of fashion and mass consumption of apparel, and how fashion-based items do not fulfill the premises of apparel on a long-term basis – the premises mainly being expression of identity. The purpose of the study is to examine the notion of durable aesthetics in relation to the premises consumers have for apparel. The research intends to answer questions of what the premises of apparel are and how it relates to durable aesthetics, what these garments can look like and what implications these answers might have in development of long-term apparel. The study is based on earlier research of fashion theory and consumption culture, and eleven qualitative interviews with perspectives from both consumers and apparel companies. Based on the consumer perspective, the aesthetic function of apparel is identified as something communicative – mainly conveying personality. Garments that are aesthetically appealing over time are always of good quality and fulfills the aesthetic function the consumers have. Based on the company perspective, garments with durable aesthetics are always in line with the companies’ DNA and the consumer segment. The conclusion is that apparel with durable aesthetics is versatile – it can be basic or expressive. The criterion in both cases is that the expression must be in line with a consumers’ aesthetic function, which is established through personality and core style. Companies can achieve a wide product range with durable aesthetics if they are consequent to their company DNA.
Uppsatsen tar utgångspunkt i snabbheten av mode och masskonsumtion av kläder, och det faktum att modebaserade produkter inte uppfyller premisserna för kläder på lång sikt – premisser vilket huvudsakligen är att uttrycka identitet. Studiens syfte är därför att undersöka termen varaktig estetik i relation till premisserna för kläder. Undersökningen syftar till att besvara frågor kring dagens premisser för kläder och hur dessa relaterar till varaktig estetik, hur dessa kläder kan se ut och vilka implikationer svaren skulle kunna ha i utveckling av hållbara kläder. Uppsatsen baseras på tidigare forskning inom modevetenskap och konsumtionskulturteori, samt elva kvalitativa intervjuer med perspektiv från både konsumenter och klädföretag. Baserad på konsumentperspektivet, är estetiska funktioner något kommunikativt – huvudsakligen att uttrycka personlighet. Kläder som är estetiskt tilltalande över tid är alltid av hög kvalité och uppfyller konsumentens estetiska funktioner. Företagsperspektivet visar att kläder med varaktig estetik alltid är i linje med företagets DNA och kundsegment. Slutsatsen är att kläder med varaktig estetik är mångsidigt – det kan vara både basic och uttrycksfullt. Kriteriet i båda fall är att uttrycket måste stämma överens med konsumentens estetiska funktion, vilket baseras på personlighet och kärnstil. Företag kan uppnå ett brett produktsortiment med varaktig estetik förutsatt att dem håller sig till företagets DNA.
2

Gebers, Adrian. "Aesthetics of systems / Systems of aesthetics." Thesis, The University of Sydney, 2013. http://hdl.handle.net/2123/11964.

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This paper investigates the role artists play in maintaining their legitimacy through participating in various roles across the entire art world by tracing the careers of selected artists with expanded practices. Where actions are performed on behalf of artists, artists lose the ability to represent themselves and even participate in their own disenfranchisement. Systems and systems aesthetics are first explored before the art world itself is revealed as a system. The positions that artists take up in the system is explored through the careers of various artists, including those that work as curators, writers and gallerists, challenging the hegemony that threatens to manipulate the system and remove the independence of the art object.
3

Chan, Ching-yan Janet. "On digital aesthetics scrutinizing aesthetic studies in the digital era /." Click to view the E-thesis via HKUTO, 2004. http://sunzi.lib.hku.hk/hkuto/record/B30681893.

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4

Spoor, Iris P. "Defending Perceptual Objectivism: A Naturalistic Realist Analysis of Aesthetic Properties." University of Cincinnati / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1511799160442784.

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5

Hupli, Teemu. "Reconsidering aesthetics : concepts and the aesthetic in Kosuth, Greenberg and Kant." Thesis, University of Westminster, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.433866.

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6

Cubitt, Sean. "Digital aesthetics." Thesis, Liverpool John Moores University, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.402843.

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7

Berrios, Ruben Ernesto. "Nietzsche's aesthetics." Thesis, University of Southampton, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.327365.

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8

Fulmer, Tracy. "BLIND AESTHETICS." Miami University / OhioLINK, 2002. http://rave.ohiolink.edu/etdc/view?acc_num=miami1002992074.

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9

Vollbrecht, Tracy. "Adaptive Aesthetics." Kent State University Honors College / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ksuhonors1525685379561019.

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10

Cumming, Mitchel Spider. "Recessional Aesthetics." Thesis, The University of Sydney, 2019. http://hdl.handle.net/2123/20641.

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With this paper, I consider my operation of independent, artist run institutions (ARIs) as a constitutive element of my broader artistic practice, resisting a Kantian model of ‘disinterested’ aesthetics that would seek to keep the two ontologically distinct. Through a reading of Jacques Derrida’s deconstructionist text on Kant’s parergon, I identify that the various labours required to maintain spaces of exhibition have a peripheral impact on a viewer’s experience within this space, and can thus be used by the artist to (re)shape the terms of aesthetic encounter. I examine a range of critical approaches that have engaged art’s backstage labour as a site of practice, beginning with the Marxist Feminist performances of Mierle Laderman Ukeles. Cautious of a model that would simply valorise this labour by converting it into recognisable visual forms, I then explore the subtler collaborative practice of Christopher D’Arcangelo and Peter Nadin, as well as the recent work of Jessie Bullivant. In these latter forms, I locate the potential of an embedded approach to art labour that works from within its functional position: a political gesture that seeks to regain agency over the ontological context in which one’s work appears. Building on these precedents, I then propose my own operation of ARIs as a durational form of such artistic self-determination: a ‘Recessional Aesthetics’ that labours invisibly in art’s backstage to produce an appropriate context for its subsequent appearance. To close the paper, I discuss an exhibition platform developed specifically for the MFA, which operated from my studio on campus. This experimental ARI format, informed by Marcel Duchamp’s works in glass, utilised the window as a conceptual and optical tool for display, in an attempt to allow my necessarily peripheral labour of aesthetic hosting to be glimpsed in recess.
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Книги з теми "Aesthetics":

1

Śarmā, Haradvārī Lāla. Indian aesthetics and aesthetic perspectives. Meerut: Mansi Prakashan, 1990.

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2

Manns, James W. Aesthetics. Armonk, N.Y: M.E. Sharpe, 1998.

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3

Goldblatt, David, Lee B. Brown, and Stephanie Patridge. Aesthetics. Edited by David Goldblatt, Lee B. Brown, and Stephanie Patridge. 4 [edition]. | New York : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315303673.

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4

Lyas, Colin. Aesthetics. London: UCL Press, 1997.

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5

Maynard, Patrick, and Susan L. Feagin. Aesthetics. Oxford: Oxford University Press, 1997.

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6

Kit Wah Man, Eva, and Jeffrey Petts. Comparative Everyday Aesthetics. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2023. http://dx.doi.org/10.5117/9789463723367.

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Leading international scholars present analysis and case studies from different cultural settings, East and West, exploring aesthetic interest and experience in our daily lives at home, in workplaces, using everyday things, in our built and natural environments, and in our relationships and communities. A wide range of views and examples of everyday aesthetics are presented from western philosophical paradigms, from Confucian and Daoist aesthetics, and from the Japanese tradition. All indicate universal features of human aesthetic lives together with their cultural variations. Comparative Everyday Aesthetics is a significant contribution to a key trend in international aesthetics for thinking beyond narrow art-centered conceptions of the aesthetic. It generates global discussions about good, aesthetic, everyday living in all its various aspects. It also promotes aesthetic education for personal, social, and environmental development and presents opportunities for global collaborative projects in philosophical aesthetics.
7

Jennifer, McMahon, ed. Aesthetics and material beauty: Aesthetics naturalized. New York: Routledge, 2007.

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8

McMahon, Jennifer A. Aesthetics and material beauty: Aesthetics naturalized. London: Routledge, 2007.

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9

Zangwill, Nick, and Andy Hamilton. Scruton's aesthetics. Houndmills, Basingstoke, Hampshire ; New York, NY: Palgrave Macmillan, 2012.

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10

Machon, Josephine. (Syn)aesthetics. London: Palgrave Macmillan UK, 2009. http://dx.doi.org/10.1057/9780230236950.

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Частини книг з теми "Aesthetics":

1

Zhang, Jing. "“Aesthetics” and “Aesthetic Emotions”." In Key Concepts in Chinese Thought and Culture, 51–64. Singapore: Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-16-0496-6_5.

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2

Welsch, Wolfgang. "Aesthetics beyond aesthetics." In Aesthetics and the Philosophy of Art, 3–24. Abingdon, Oxon; New York: Routledge, 2021.: Routledge India, 2021. http://dx.doi.org/10.4324/9781003094401-2.

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3

Evans, J. Claude, Elizabeth A. Behnke, and Edward S. Casey. "Aesthetics." In Contributions to Phenomenology, 16–20. Dordrecht: Springer Netherlands, 1997. http://dx.doi.org/10.1007/978-94-017-5344-9_3.

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4

Turner, Phil. "Aesthetics." In Human–Computer Interaction Series, 109–30. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-70653-5_5.

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Roald, Tone. "Aesthetics." In Encyclopedia of Critical Psychology, 55–57. New York, NY: Springer New York, 2014. http://dx.doi.org/10.1007/978-1-4614-5583-7_7.

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Marenbon, John. "Aesthetics." In Encyclopedia of Medieval Philosophy, 1–8. Dordrecht: Springer Netherlands, 2018. http://dx.doi.org/10.1007/978-94-024-1151-5_13-2.

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Gooch, Jan W. "Aesthetics." In Encyclopedic Dictionary of Polymers, 22. New York, NY: Springer New York, 2011. http://dx.doi.org/10.1007/978-1-4419-6247-8_306.

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Wilkinson, Leland. "Aesthetics." In Statistics and Computing, 99–163. New York, NY: Springer New York, 1999. http://dx.doi.org/10.1007/978-1-4757-3100-2_7.

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9

Francis, Penny. "Aesthetics." In Puppetry: A Reader in Theatre Practice, 121–44. London: Macmillan Education UK, 2012. http://dx.doi.org/10.1007/978-0-230-35683-2_7.

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van Gigch, John P. "Aesthetics." In Metadecisions, 287–305. Boston, MA: Springer US, 2003. http://dx.doi.org/10.1007/978-1-4615-0097-1_12.

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Тези доповідей конференцій з теми "Aesthetics":

1

Radeev, A. "FOR A NEW AESTHETICS, OR BACK TO AESTHETIC EXPERIENCE." In Aesthetics and Hermeneutics. LCC MAKS Press, 2022. http://dx.doi.org/10.29003/m2546.978-5-317-06726-7/58-60.

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The paper examines the main forms of “new aesthetics” and reveals the relationship of these forms with the analysis of aesthetic experience. It is argued that attention to the procedural nature of aesthetic experience, attention tothe moments of aesthetic experience, the introduction of a concept of aesthetic experience as a sensory experience of a multi ple form opens up some prospects for productivity in the history, theory and practice of aesthetics.
2

Kondratyev, E. A. "AESTHETIC AND HERMENEUTIC RESEARCHS IN THE CONTEXT OF CONTEMPORARY PHILOSOPHY." In Aesthetics and Hermeneutics. LCC MAKS Press, 2022. http://dx.doi.org/10.29003/m2535.978-5-317-06726-7/11-13.

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The article is devoted to the problem of the relationship of the hermeneutic method with modern aesthetic theories, which interpret in different ways the central categories of aesthetics: aesthetic experience, mediality, environment, aesthetic meaning. The possibilities of dialogue of various interpretative strategies influencing the process of forming a system of new aesthetic categories are analyzed, the hermeneutic aspects of the analytical and pragmatist approaches are compared.
3

Durac, Livia. "Aesthetics and Creativity. Identity Configurations." In World Lumen Congress 2021, May 26-30, 2021, Iasi, Romania. LUMEN Publishing House, 2022. http://dx.doi.org/10.18662/wlc2021/21.

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Reflecting on human attitude towards reality, together with deciphering the emotional code that accompanies it, has configured - in time – the aesthetic universe, open to human reflection, creation, and evaluation. Aesthetics appears through the way in which consciousness reacts and capitalises upon things in nature and society, or which belong to human subjectivity, including on artistic work, which have an effect on sensitiveness due to their harmony, balance and grandeur. As a fundamental attribute of the human being, creativity is the engine of cultural evolution, meaning the degree of novelty that man brings in his ideas, actions, and creations. Aesthetical values, together with the other types of values, contribute to what society represents and to what it can become, hence motivating human action and creation. Their role is to create a state of mind that encourages the cohesion, cooperation, and mutual understanding of the society. Integrating a chronological succession of the evolution of the concepts that objectify its structure, its aesthetics and creativity, this article stresses the synergetic nature of the two dimensions of human personality, paving the way to beauty, as a form of enchantment of the human spirit.
4

Sorokovikova, V. "COGNITIVE TURNS IN HUMANITARIAN KNOWLEDGE AND THEIR INTERPRETATION IN THE AESTHETIC THEORY." In Aesthetics and Hermeneutics. LCC MAKS Press, 2022. http://dx.doi.org/10.29003/m2570.978-5-317-06726-7/164-167.

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The article clarifies aspects of the relationship between aesthetics and art history. The specific features of the modern artistic and aesthetic picture of the world, the influence on them of cognitive turns in the humanitarian knowledge are determined. The study comprehends educational tasks in the process of teaching the courses “History of Art” and “Aesthetics” to students of a music university.
5

Kelly, Michael, Victoria Vesna, Paul Fishwick, Andrew Vande Moere, and Kenneth Huff. "The state of aesthetic computing or info-aesthetics." In ACM SIGGRAPH 2009 Art Gallery. New York, New York, USA: ACM Press, 2009. http://dx.doi.org/10.1145/1667265.1667312.

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6

Song, Boyuan, and Huajie Sui. "Historic Architecture and Aesthetic Reconstruction of Guqin Aesthetics." In International Conference on Education, Management, Computer and Society. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/emcs-16.2016.520.

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7

Fang, Yuan, Zhisheng Zhang, and Zhijie Xia. "Evaluation of Camera APP Interface Element Layout Based on Interface Aesthetics Model." In 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1001954.

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With the popularity of large-screen smartphones, more and more mobile applications are appearing in the market. However, there are few studies on the comprehensive aesthetics of these application interfaces. In order to effectively evaluate the comprehensive aesthetics of the app interface and provide a reference for App interface design. By studying the characteristics of mobile application interfaces and combining expert opinions, this study selects six of the 13 interface aesthetics indicators proposed by Ngo as the criteria for evaluating the aesthetics of mobile interfaces in this paper, they are balance, symmetry, sequence, simplicity, density and regularity. By using a series of algorithms to quantify these six indicators and introducing hierarchical analysis (AHP) to calculate the weight of each aesthetic indicator, the comprehensive aesthetic value of the App interface is finally obtained. Therefore, this paper proposes a method for evaluating the comprehensive aesthetics of App interfaces. Moreover, this paper takes the interfaces of six photography applications as examples, and calculates their comprehensive aesthetic value by abstracting the App interface elements into different rectangles, and after optimizing the design of the interface with the lowest value, the comprehensive aesthetics of its interface is calculated again, and the results show that the comprehensive aesthetics of the optimized App interface is higher than the comprehensive aesthetics of the original interface. This verifies the effectiveness of the method for evaluating the comprehensive aesthetics of App interfaces and helps designers to improve the design of existing application interfaces.
8

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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9

Kolomiets, G. "ON THE QUESTION OF MUSICAL HERMENEUTICS IN AESTHETICS." In Aesthetics and Hermeneutics. LCC MAKS Press, 2022. http://dx.doi.org/10.29003/m2548.978-5-317-06726-7/65-69.

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The report assumes a dialogue between aesthetic and art history methods of interpreting a piece of music. Musical hermeneutics in art criticism, guided by a more historical, educational and detailed approach, is complemented by an anthropo-axiological method in aesthetics.
10

Takho-Godi, E. "ABOUT ALEKSEI F. LOSEV, NIKOLAY V. SAMSONOV, FRENCH WRITER ON AESTHETICS CHARLES LALO AND LITERARY CRITIC YULY I. AIKHENWALD." In Aesthetics and Hermeneutics. LCC MAKS Press, 2022. http://dx.doi.org/10.29003/m2539.978-5-317-06726-7/26-31.

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The paper raises the question about Aleksei F. Losev's consideration of the fate of impressionism”, “dogmatism” and “sociology” in the aesthetic works of Charles Lalo and about the influence on Losev's “mythological-physiognomic” method of philosophizing immanent, descriptive-psychological criticism of Yu.I. Aikhenwald. The author revealed biographical background of Losev's assimilation of Charles Lalo and Aikhenwald's aesthetic judgments in the 1910s. The hypothesis is put forward about the intermediary between them - Nikolay V. Samsonov, wholectured on aesthetics at Moscow University.

Звіти організацій з теми "Aesthetics":

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

Baca, Julie, Daniel Carruth, Alex Calhoun, Michael Stephens, and Christopher Lewis. Challenges in evaluating efficacy of scientific visualization for usability and aesthetics. Engineer Research and Development Center (U.S.), May 2021. http://dx.doi.org/10.21079/11681/40800.

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This paper presents the results of a study to evaluate the efficacy of scientific visualization for multiple categories of users, including both domain experts as well as users from the general public. Efficacy was evaluated for understanding, usability, and aesthetic value. Results indicate that aesthetics play a critical, but complex role in enhancing both user understanding and usability.
3

de Leeuw, Evelyne. Urban aesthetics and equitable health impact. Centre for Health Equity Training, Research and Evaluation, 2021. http://dx.doi.org/10.53714/qhog1238.

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4

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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5

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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6

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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7

Ryan, Robert L. Social science to improve fuels management: a synthesis of research on aesthetics and fuels management. St. Paul, MN: U.S. Department of Agriculture, Forest Service, North Central Research Station, 2005. http://dx.doi.org/10.2737/nc-gtr-261.

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8

Best, Kelly L. Reddy, Kelsie N. Doty, and Denise Nicole Green. Fashioned Bodies in Roller Derby League Logos: An Intersectional Analysis of Race, Gender, Body Size, and Aesthetics. Ames (Iowa): Iowa State University. Library, January 2019. http://dx.doi.org/10.31274/itaa.8420.

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9

Lapolla, Kendra, Jaclyn Gordyan, and Brian Lapolla. Critiquing Design Aesthetics in Collaborative Fashion Creation: Design Conversations with a Fashion Designer, an Architect, and Art Director. Ames: Iowa State University, Digital Repository, 2014. http://dx.doi.org/10.31274/itaa_proceedings-180814-901.

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10

Jestratijevic, Iva, and Nancy Ann Ann Rudd. The Body to Die for: Appearance Aesthetics, Body Measurements, and BMI Analysis of a Female and Male Runway Models (2012�2018). Ames (Iowa): Iowa State University. Library, January 2019. http://dx.doi.org/10.31274/itaa.8427.

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