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1
Konanchuk, Svetlana. „MODERN AESTHETIC EDUCATION: CURRENT PROBLEMS AND MAIN TRENDS“. Man and Education, Nr. 2 (75) (2023): 86. http://dx.doi.org/10.54884/s181570410026348-7.
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The article discusses the main problems and trends in the development of modern aesthetic education in Russia. It is noted that Russian aesthetic education is currently undergoing a number of positive innovative transformations associated with the processes of strengthening the virtual component in artistic culture and the social sphere. A number of scientific events, such as international conferences and the Russian Aesthetic Congress, held over the past five years, have served as an active incentive for the development of theoretical and practical aesthetics and aesthetic education. The current trends of modern aesthetics are identified: neuroesthetics, cultural aesthetics, environmental aesthetics, somaesthetics and synesthetic area, which have a stimulating effect on the development of aesthetic education. The special role and prospects of using synesthetic methodologies in modern aesthetics and aesthetic education are indicated, since in the conditions of digitalization of culture, synesthesia as a phenomenon of nonverbal associative thinking becomes one of the main means of preserving the integrity of world perception, an important method of developing flexibility of thinking and the ability of imagination.
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Du, Wei. „Aesthetic utilitarianism: heritage of modern Chinese aesthetics“. Neohelicon 43, Nr. 2 (31.08.2016): 529–42. http://dx.doi.org/10.1007/s11059-016-0359-4.
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Qu, Weicheng. „Modern Chinese Scholars' Perspectives on Zhuangzi's Aesthetics“. Communications in Humanities Research 4, Nr. 1 (17.05.2023): 491–96. http://dx.doi.org/10.54254/2753-7064/4/20220741.
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Modern Chinese scholars of Zhuangzi's aesthetics can be illustrated by the words of Liu Shaojin in Zhuangzi and Chinese Aesthetics. The aesthetic significance of the book Zhuangzi is not a theoretical summary of beauty and art as objects, but rather, when it comes to its 'Dao', it's understanding of The aesthetic significance of Zhuangzi's book is not a theoretical summary of beauty and art, but a coincidence between its experience and realm of 'Tao' and the aesthetic experience and realm of art. Because of this coincidence, later generations naturally transposed these philosophical questions with aesthetic overtones to the understanding of the aesthetic characteristics of art, thus giving new meaning to Zhuangzi's philosophical propositions. In this sense, people believe that the literary and artistic thoughts and aesthetic theories contained in Zhuangzi are not distinguished by the correctness of their conclusions, but by the illuminating, suggestive, and profound way in which they touch upon the issues in the course of their exposition. This suggests that Chinese scholars have a dialectical approach to Zhuangzi's philosophical aesthetics, and that needs a careful look at examples like Zhili Shu with a critical eye in modern times.
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Shevchuk, Dmytro, und Kateryna Shevchuk. „Aesthetics and Politics“. Symposion 10, Nr. 2 (2023): 261–73. http://dx.doi.org/10.5840/symposion202310215.
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The paper examines the relationship between aesthetics and politics. In modern humanities, we can find few conceptions of this relationship. These conceptions are not only part of political philosophy or political theory, but also a methodological instrument for analyzing modern politics and aesthetics. They provide an opportunity to understand both the features of contemporary politics and the state of modern aesthetic theory in light of the significant changes that have affected both of these spheres. This article analyzes the main models of the relation between aesthetics and politics. We intend to explore the conception of an aesthetic representation by Frank Ankersmit, the conception of aesthetics as politics by Jacques Rancière, and the conception of the emancipation of society by Gianni Vattimo.
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Ortlieb, Stefan A., Werner A. Kügel und Claus-Christian Carbon. „Fechner (1866): The Aesthetic Association Principle—A Commented Translation“. i-Perception 11, Nr. 3 (Mai 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.
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Sernelj, Téa. „Different Approaches to Modern Art and Society: Li Zehou versus Xu Fuguan“. Asian Studies 8, Nr. 1 (10.01.2020): 77–98. http://dx.doi.org/10.4312/as.2020.8.1.77-98.
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Proceeding from the inseparable relation between ethics and aesthetics in traditional (and often also modern) Chinese thought, this article aims to illuminate two important approaches to the aesthetic foundations of Chinese modernity. The relation between the individual and society, which is a core question of modern ethics, is reflected in most of the ethical theories of 20th century China. In this context, the article first presents Li Zehou’s theory of aesthetics and his definition of aesthetic experience. In this way, it aims to illuminate Li’s interpretation of modern art and society, and to posit it into a contrastive position to Xu Fuguan’s ethico-aesthetic theories, especially the ones regarding modernity and Western culture. The basic approaches applied by these two important modern Chinese scholars reveal great differences in attitude towards the spiritual and material development of humanity in the 20th century, which is especially interesting since they are both rooted in the abovementioned belief that ethics cannot be separated from aesthetics. Besides, Li Zehou sincerely admired Xu Fuguan’s work on traditional Chinese aesthetics and referred to his comprehension of general concepts of traditional Chinese aesthetics in many of his own works dealing with aesthetics.
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Ortlieb, Stefan A., und Claus-Christian Carbon. „Kitsch and Perception: Towards a New ‘Aesthetic from Below’“. Art and Perception 7, Nr. 1 (06.03.2019): 1–26. http://dx.doi.org/10.1163/22134913-00001091.
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Although kitsch is one of the most important concepts of twentieth-century art theory, it has gone widely unnoticed by empirical aesthetics. In this article we make a case that the study of kitsch is of considerable heuristic value for both empirical aesthetics and art perception. As a descriptive term, kitsch appears like a perfect example of hedonic fluency. In fact, the frequently invoked opposition of kitsch and art reflects two types of aesthetic experience that can be reliably distinguished in terms of processing dynamics: a disfluent one that promises new insights but requires cognitive elaboration (art), and a fluent one that consists of an immediate, unreflective emotional response but leaves us with what we already know (kitsch). Yet as a derogatory word, kitsch draws our attention to a general disregard for effortless emotional gratification in modern Western aesthetics that can be traced back to eighteenth-century Rationalism. Despite all efforts of Pop Art to embrace kitsch and to question normative values in art, current models of aesthetic liking—including fluency-based ones—still adhere to an elitist notion of Modern art that privileges style over content and thereby excludes what is essential not only for popular taste and Postmodern art but also for premodern artistic production: emotionally rich content. Revisiting Fechner’s (Vorschule der Aesthetik, 1876) criticism of highbrow aesthetics we propose a new aesthetic from below (Aesthetik von Unten) that goes beyond processing characteristics by taking content- and context-related associations into account.
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He, Kailin. „Research on Marketing Strategy Formulation and Optimization of Korean Wave Idol Market under Modern Aesthetic Changes“. SHS Web of Conferences 181 (2024): 01014. http://dx.doi.org/10.1051/shsconf/202418101014.
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The modern aesthetic is on the path of continuous innovation, and the modern aesthetic has been part of the cause of the expansion of consumerism for a long time. The marketing strategy of Korean idols has been developed and optimized to a certain extent in this context. In order to study the development and optimization of the Korean idol market in the context of modern aesthetics, this paper investigates the changes and optimization of the marketing strategies of the second-generation girl group “Girls Generation” in the early and late stages and summarizes the impact of modern aesthetics on their marketing strategies. It also suggests how the marketing strategy can be optimized more flexibly and effectively under modern aesthetics, such as accelerating the input and output of information, enhancing market research, and optimizing innovation. These three aspects are used to develop and optimize the marketing strategy with modern aesthetics in mind. The conclusion is that the modern aesthetic, the rise of consumerism, compared to the previous distinctive combination of styles and personalized marketing strategy companies more focused on the development of multiple styles, and more “consumer” as the focus, and reduce the proportion of the combination itself.
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Dai, Chuang. „Philosophical-aesthetic reflection in China in the century: Wang Guowei and Zong Baihua“. Философская мысль, Nr. 12 (Dezember 2020): 15–29. http://dx.doi.org/10.25136/2409-8728.2020.12.34614.
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This article is dedicated to examination of the philosophical-aesthetic reflection in China in the XX century, and the impact of European aesthetics upon the development and transformation of the traditional Chinese aesthetics. The article employs the method of historical and cultural with elements of structural analysis of aesthetic text of the modern Chinese philosophers. In the XX century, a number of Chinese thinkers made attempts of reforming the traditional Chinese aesthetics, complementing it with the viewpoint of European philosophy. The article examines the paramount aesthetic thoughts of the modern Chinese philosophers Wang Guowei and Zong Baihua, and determines the impact of European philosophy upon them. The scientific novelty of this study lies in assessing the impact of the concepts of European aesthetics upon self-reflection and development of Chinese aesthetics in the context of cross-cultural problematic. It is demonstrated that Chinese modern aesthetics in many ways retains its connection with the tradition, which determines its specificity and imparts peculiar semantic symbolism. The conclusion is made that in the XX century, Chinese philosophers sought to complement the existing traditional Chinese reflection on art, which is based mostly on the ideas of Taoism and Buddhism, with what can be referred to as the Western viewpoint, associated with a scientific approach and scientific interpretation. Another vector in the area of humanistic understanding of the phenomenon of art was related to the attempts of interpretation of the European aesthetic thought from through the prism of Chinese traditional philosophy. The philosopher Wang Guowei tried to incorporate the European aesthetics into the scientific problematic of China. The philosopher Zong Baihua wanted to synthesize the Chinese and European aesthetic theories, and create what he believed is the modern Chinese aesthetics.
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Kholodynska, Svitlana. „THE CREATIVE WORK OF BORIS VIAN WITHIN FRENCH HUMANITIES OF THE 1940s–1960s“. UKRAINIAN CULTURAL STUDIES, Nr. 1(12) (2023): 29–33. http://dx.doi.org/10.17721/ucs.2023.1(12).07.
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In the second half of the 20th century, discussions around the understanding of crisis phenomena that permeated all spheres of human life became more frequent, in particular, the spheres of art and aesthetics were also touched upon. The crisis in the artistic sphere was connected with the general cultural crisis of the late 19th and early 20th centuries, the decline of spirituality, and the relativization of values, primarily moral and aesthetic. Analysis of the crisis in the sphere of artistic practice and aesthetics of the 20th century was the subject of scientific research by several representatives of Polish aesthetics of the second half of the 20th century: R. Ingarden, S. Morawski, B. Dziemidok, and others. The primary attention of these thinkers was devoted to the understanding of transformational processes in modern artistic creativity and the analysis of its influence on aesthetics with a clear emphasis on the importance of the axiological perspective. A thorough analysis of the problems of the crisis in artistic creativity and aesthetics of the 20th century can be found in the works of S. Morawski. He studied the causes and consequences of transformations in artistic creativity since the beginning of the 20th century, in particular, the consequences for the formation of the modern axiosphere, and its role in changing modern aesthetic consciousness. However, S. Morawski's prediction regarding the replacement of aesthetics with anti-aesthetics was not confirmed. On the contrary, art that implements aesthetic values has survived, although the range of aesthetic values has increased significantly. Modern philosophy of art is open to the most controversial artistic proposals. This is because it breaks with those normative principles that limit freedom. The most important thing, however, is that normative and descriptive aesthetics always have an axiological character, which all representatives of Polish aesthetics emphasized in the second half of the 20th century.
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Shevchuk, Kateryna. „"CRISIS OF ART" AND "CRISIS OF AESTHETICS" IN RESEARCH OF POLISH HUMANITIES OF THE SECOND HALF OF THE 20th CENTURY“. UKRAINIAN CULTURAL STUDIES, Nr. 1(12) (2023): 25–28. http://dx.doi.org/10.17721/ucs.2023.1(12).06.
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In the second half of the 20th century, discussions around the understanding of crisis phenomena that permeated all spheres of human life became more frequent, in particular, the spheres of art and aesthetics were also touched upon. The crisis in the artistic sphere was connected with the general cultural crisis of the late 19th and early 20th centuries, the decline of spirituality, and the relativization of values, primarily moral and aesthetic. Analysis of the crisis in the sphere of artistic practice and aesthetics of the 20th century was the subject of scientific research by several representatives of Polish aesthetics of the second half of the 20th century: R. Ingarden, S. Morawski, B. Dziemidok, and others. The primary attention of these thinkers was devoted to the understanding of transformational processes in modern artistic creativity and the analysis of its influence on aesthetics with a clear emphasis on the importance of the axiological perspective. A thorough analysis of the problems of the crisis in artistic creativity and aesthetics of the 20th century can be found in the works of S. Morawski. He studied the causes and consequences of transformations in artistic creativity since the beginning of the 20th century, in particular, the consequences for the formation of the modern axiosphere, and its role in changing modern aesthetic consciousness. However, S. Morawski's prediction regarding the replacement of aesthetics with anti-aesthetics was not confirmed. On the contrary, art that implements aesthetic values has survived, although the range of aesthetic values has increased significantly. Modern philosophy of art is open to the most controversial artistic proposals. This is because it breaks with those normative principles that limit freedom. The most important thing, however, is that normative and descriptive aesthetics always have an axiological character, which all representatives of Polish aesthetics emphasized in the second half of the 20th century.
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Onishchenko, E. I. „POLISH AESTHETIC DISCOURSE OF THE 20TH CENTURY: INTERPRETATION OF INTERPRETATIONS“. UKRAINIAN CULTURAL STUDIES, Nr. 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.
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Suwignyo, Heri. „LINTASAN PEMIKIRAN ESTETIKA PUISI INDONESIA MODERN (THE PERIOD OF ORIENTATION MINDED INDONESIAN’S MODERN POETRY AESTHETIC)“. JURNAL BAHASA, SASTRA DAN PEMBELAJARANNYA 3, Nr. 2 (01.03.2018): 210. http://dx.doi.org/10.20527/jbsp.v3i2.4554.
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AbstractThe Period of orientation minded Indonesian’s modern poetry aesthetic. The orientationminded Indonesian’s modern poetry aesthetic leads to aesthetic theory of harmony,deviation, and emancipatory. The conception of poetry by Sanusi Pane, Rustam Effendi’spoems appearance, and the sonnets by M. Yamin which have soul about nationalism,have relation to harmony of pantun and syair’s asthetic. Mind of deviation aestheticmarked by Chairil’s free poetry that emphasized the depth of the meaning rather thanlinguistic devices. Emancipatory aesthetic found by credo Sutardji that liberating wordsfrom the hegemony of meaning. Remy Silado offering the mbeling poem’s aesthetic asan integral part of the aesthetics of Indonesian’s contemporary poetry. Those minded isvery useful for the construction of the historiography Indonesian’s modern poetryaesthetic which is until right now still through emptyness.Keywords: indonesian poetry aesthetics, aesthetic harmony, aesthetic deviation,aesthetic emancipatoryAbstrakLintasan Pemikiran Estetika Puisi Indonesia Modern. Orientasi pemikiran estetika puisiIndonesia modern mengarah pada teori estetika harmoni, deviasi, dan emansipatori.Konsepsi sajak oleh Sanusi Pane, penampilan sajak-sajak Rustam Effendi, dan sonetasonetayang berjiwa kebangsaan M. Yamin secara harmoni masih terikat pada estetikapantun dan syair. Pemikiran estetika deviasi ditandai oleh kemunculan puisi-puisibebas Chairil yang menekankan pada kedalaman makna daripada sarana kebahasaan.Pemikiran estetika emansipatori ditemukan pada kredo Sutardji yang membebaskankata dari penjajahan makna. Remy Silado menawarkan estetika puisi mbeling sebagaibagian integral dari estetika puisi Indonesia kontemporer. Itu semua sangat bergunauntuk penyusunan historiografi estetika puisi Indonesia modern yang hingga saat inimasih mengalami kekosongan.Kata-kata kunci: estetika puisi Indonesia, estetika harmoni, estetika deviasi,estetika emansipatori
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Shuangyu, Xue. „World Relational Aesthetics: A Modern-Day Continuation of Theological Aesthetics1“. Contemporary Chinese Thought 51, Nr. 1 (02.01.2020): 70–78. http://dx.doi.org/10.1080/10971467.2020.1768762.
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Meng, Fanjun, und Yushui Liang. „A New Interpretation of the Essence of Aesthetic Experience: From the Perspective of Cognitive Neuroaesthetics and Aesthetic Anthropology“. Journal of Aesthetic Education 56, Nr. 4 (01.12.2022): 97–120. http://dx.doi.org/10.5406/15437809.56.4.07.
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Abstract In the transformation from classical to modern aesthetics, the proposition and exploration of aesthetic experience constitutes one of the major dimensions of various aesthetic problems. Pragmatic aesthetics, phenomenological aesthetics, hermeneutic aesthetics, analytical aesthetics, and new pragmatic aesthetics have comprehensively analyzed and discussed aesthetic experience. Through the construction and deconstruction of aesthetic experience in aesthetic history, the study of the key concept seems to have come to a certain predicament. This is mainly reflected in the fact that the subjective and objective attribute of experience remains unclear, and the material base of aesthetics is not solid enough. In this regard, cognitive neuroscience and anthropology provide new ways to understand aesthetic experience. From the perspective of aesthetic anthropology, the study on aesthetic experience is rooted in a broad field and serves as a solid material basis for its objectification. Cognitive neuroaesthetics explains the psychological mechanism of aesthetic experience. Together, they provide an opportunity for the study on aesthetic experience to enter a new realm. Moreover, the new interpretation of the essence of aesthetic experience will help to improve the theory and practice of aesthetic education.
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Draskic-Vicanovic, Iva. „Aesthetics as analysis of mind experience“. Filozofija i drustvo 26, Nr. 3 (2015): 617–28. http://dx.doi.org/10.2298/fid1503617d.
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The paper presents an at tempt to shed light on causes and circum stances which brought about foundation of aesthetics in 18th century as discipline which analyzes mind experience. Author recognizes key importance of 17th century epistemology for constitution of modern aesthetics, principally idea of subjectivity, subject-object relation problem and new method - philosophical introspection. Special place in modern aesthetics, according to author, deserves aesthetic theory of Francis Hutcheson who defines beauty as phenomenal quality of subjective experience of human mind.
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Froy, Thomas. „Everyday Aesthetics - Review“. Aesthetic Investigations 5, Nr. 2 (31.01.2023): 229–31. http://dx.doi.org/10.58519/aesthinv.v5i2.13535.
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This article reviews the volume 'Everydayness: Contemporary Aesthetic Approaches', edited by Lisa Gombini and Adrián Kvokačka. Thomas Froy assesses the relation, explored by the contributing authors, between the notion of the 'everyday' and the field of aesthetics, focussing on questions about the 'who' and the 'what' of everyday aesthetics, and its place in the modern world.
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Wilkoszewska, Krystyna. „Aesthetic experience in the nature-culture continuum: The biological dimension of pragmatist aesthetics“. SAJ - Serbian Architectural Journal 7, Nr. 2 (2015): 47–56. http://dx.doi.org/10.5937/saj1501047w.
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In 1930 American pragmatist philosopher John Dewey introduced into aesthetics a relatively new idea of experience. Living in modern time Dewey offered non-modernist way of thinking which especially in the field of aesthetics seems to be more adequate to our time than the modern ideas of aesthetic experience and autonomy of art. After short presentation of Dewey's philosophy of aesthetics I would like to show its inner dimensions that are fully developed today: ecological, evolutionary and transhuman tendencies, experience as interaction, soma and sensuous perspective.
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Dourley, John. „Jung, a mystical aesthetic, and abstract art“. International Journal of Jungian Studies 7, Nr. 1 (02.01.2015): 4–18. http://dx.doi.org/10.1080/19409052.2014.924687.
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On the question of aesthetics, Jung makes a clear distinction between aestheticism and aesthetics. He dismissed the former as lacking substance and moral commitment, but allows that his psychology can never usurp but can contribute to a depth aesthetic. On close examination, this aesthetic rests on the manifestation of the archetypal in all forms of creativity. As such, it is closely related to the spiritual and religious. Modern expressionist and abstract art was consciously influenced by the apophatic mystical tradition to which Jung himself was drawn. Kandinsky and Arp are significant representatives of this tradition who were influenced by mystical experience – especially that of Jacob Boehme, one of Jung's key intellectual ancestors. The paper works to identify the rudiments of a Jungian aesthetic and show its compatibility with the work and theory of Kandinsky, Arp and the expressionist/abstract project.
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Biskoivski, Lawrence J. „Politics Versus Aesthetics: Arendt's Critiques of Nietzsche and Heidegger“. Review of Politics 57, Nr. 1 (1995): 59–89. http://dx.doi.org/10.1017/s0034670500019938.
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Several recent commentaries on Hannah Arendt's political thought have suggested strong connections and affinities between Arendt and Nietzsche or between Arendt and various later Nietzschean, aestheticist, or postmodernist thinkers. But a close reading of Arendt's critiques of Nietzsche and Heidegger suggests that an overemphasis on the more Nietzschean or aesthetic aspects of Arendt's work risks obscuring some vital distinctions Arendt makes or preserves concerning politics and aesthetics. More significantly, the Nietzschean or aestheticist interpretation of Arendt tends to conceal or distort Arendt's actual, highly original, and more promising response to various facets of the modern political condition.
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Grubor, Nebojsa. „Baumgarten‘s foundation of modern aesthetics“. Filozofija i drustvo 26, Nr. 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).
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S. Foroozani, Seyedeh, und Bahee Hadaegh. „Moderno kazalište iz estetskih perspektiva“. Anafora 10, Nr. 1 (2023): 149–72. http://dx.doi.org/10.29162/anafora.v10i1.7.
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Modern aesthetics is fascinated by the quality of empirical expressions in art, where the most unattainable forms of experiences seek refuge to survive through temporal dialectics. Whereas modern art endeavors to transcend its inherent experience of suffering through negating the sociopolitical reality of the imposed suppressive pain, Theodor Adorno’s Aesthetic Theory associates itself with the study of a non‐discursive form of experience that refers to the transient nature of a multilayered truth, compromising a self‐reflexive and subjectively temporal essence, to which all aesthetic questions terminate. Correspondingly, the current paper aims at approaching Eugene O’Neill’s mental theater from a new perspective, acknowledging the significance of temporal dialectics in modern aesthetics. Accordingly, the current research studies Eugene O’Neill’s Long Day’s Journey into Night based on the elements of temporal dialectics and aesthetic negation, confirming the significance of these elements in detecting the ultimate aesthetic truth in the works of literature.
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Nia, Hourakhsh Ahmad, und Rokhsaneh Rahbarianyazd. „Aesthetics of Modern Architecture: A Semiological Survey on the Aesthetic Contribution of Modern Architecture“. Civil Engineering and Architecture 8, Nr. 2 (April 2020): 66–76. http://dx.doi.org/10.13189/cea.2020.080204.
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Chen, Shan. „The Imaginative Impulse: Philosophies of Film and Chinese Aesthetic Sensibilities“. Journal of Chinese Film Studies 1, Nr. 2 (27.10.2021): 399–414. http://dx.doi.org/10.1515/jcfs-2021-0023.
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Abstract This article investigates the similarities between inherent Chinese aesthetic sensibilities and modern cinematic thought and introduces Chinese films’ exploration of oriental film aesthetics during the “seventeen-year period” (1949–1966). It serves to remind us that in seeking to understand the developmental trajectory and driving forces behind Chinese film art, it is important to examine the changes in and contexts of modern Chinese modes of thought—especially artistic thought—so as to reveal the aesthetic sensibilities of modern Chinese films; the true nature of their artistic inheritance; and their foundation and potential for modern transformations. The article makes an original Chinese contribution to the creation of a new film aesthetics for future images in the era of artificial intelligence.
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Grubor, Nebojsa. „Hermeneutics of taste Gadamer’s critique of Kant’s aesthetics in truth and method“. Theoria, Beograd 59, Nr. 3 (2016): 23–33. http://dx.doi.org/10.2298/theo1603023g.
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The Article explains Gadamer?s critique of Kant?s aesthetics in Truth and Method (1960). The paper first examines basics characteristics of Kant?s foundation of modern aesthetics (I). This is followed by consideration Gadamer?s interpretations of the process of the subjectivization of aesthetics in Kant?s Third Critique (II). Finally, it considers critique of abstraction aesthetic consciousness and conception of aesthetic differentiation as Gadamer?s attempt to through analysis of Kant?s theory of taste complete its own hermeneutics of art (III).
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Turner, Frederick. „The Crisis in Modern Aesthetics“. Performing Arts Journal 11, Nr. 2 (1988): 7. http://dx.doi.org/10.2307/3245640.
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Rao, V. „Hindu Modern: Considering Gandhian Aesthetics“. Public Culture 23, Nr. 2 (01.04.2011): 377–94. http://dx.doi.org/10.1215/08992363-1161958.
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Nannini, Alessandro. „Ancient or modern? Alexander G. Baumgarten and the coming of age of aesthetics“. Filozofija i drustvo 26, Nr. 3 (2015): 629–51. http://dx.doi.org/10.2298/fid1503629n.
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The aim of this essay is to examine Baumgarten?s conception on the history of aesthetics and on his role in it. In the first part, I analyze the way in which Baumgarten?s aesthetic innovation has been perceived by two of his disciples, namely Georg Conrad Winckelmann and Georg Andreas Will. While the former puts the emphasis on the modernity of aesthetics, Will seems more inclined to attribute the birth of aesthetics to ancient philosophers. Despite this apparent disagreement, my thesis is that the basic positions of the two authors are very similar and find their rationale in Baumgarten?s peculiar treatment of the issue. Consequently, I set out to inquire into Baumgarten?s theory, in the attempt to better understand his reconstruction of the empirical history of aesthetics. My purpose is to see how this empirical history is framed within a more systematic history which establishes its guidelines and marks its turning points. Eventually, I take into account the possible implications of this position with regard to the question of the origin of aesthetics.
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Huang, Taochen. „Literature Review on the Study of Modernity in Tragic Aesthetics“. Communications in Humanities Research 14, Nr. 1 (20.11.2023): 322–28. http://dx.doi.org/10.54254/2753-7064/14/20230512.
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Tragic aesthetics, a field of study encompassing profound explorations of human suffering and volition, has played a crucial role in the development of human artistic and cultural expressions from ancient Greek times to the present day. With the continuous evolution and advancement of modern society, the concept of modernity has gradually intertwined with the ideal and aesthetics of tragedy. Modernity introduces new ideas, values, and aesthetic perspectives that have progressively influenced the realm of tragic art and aesthetics. This paper focuses on the manifestations of modernity in the evolution of Tragic Aesthetics theory. Employing a literature research approach, it microscopically summarizes the research related to the modernity of Tragic Aesthetics and macroscopically traces the historical development of modern Tragic theory. After summarizing and analyzing relevant works and literature, the paper concludes that research on the modernity of Tragic Aesthetics is relatively scarce, and the understanding of the relationship between modernity and Tragic Aesthetics in the available literature often remains superficial and preliminary. Therefore, there is still significant research space in this area.
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Lisovetc, Irina, und Boris Orlov. „Urban Art Practices in the Vision of Projective Aesthetics“. AM Journal of Art and Media Studies, Nr. 22 (15.09.2020): 77–84. http://dx.doi.org/10.25038/am.v0i22.389.
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Modern urban art practices (public art, street art, flash mob, performance, etc.), are engaged in a radical aesthetic transformation of everyday life. The problem of projective aesthetics is taken as a variant of the praxis of modern aesthetics. Projective aesthetics suggests that one should mark out art projects which are created in the real aesthetic experience and which represent topical cultural issues in daily human life. Being the subject of projective aesthetics, the main examples of that kind are the projects of actual art in the urban environment. It is a group of artifacts at the border of art and everyday life that is called urban art practices. This article is devoted to the study of the features and possibilities of projective aesthetics in relation to contemporary urban art. Interacting with the developing practical aesthetics – environmental and urbanistic – the projective aesthetics allows us to include in the philosophical discourse the urban culture where actual art practices work. In the relations between urban art and projective aesthetics a special place is given to the idea and practice of potentiations (Epstein’s concept). According to this concept, the potential of the contemporary city is revealed by means of art for creating a polylogue for intertwining various aspects and forms of city life and for developing a rhizome of urban culture. City art practices, being a phenomenon of everyday life, represent in a single image all aspects of everyday life – from political, ethnic, national, and regional to aesthetic and artistic meanings. Article received: April 25, 2020; Article accepted: June 30, 2020; Published online: September 15, 2020; Review article
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Xu, Jing. „On the applied value of traditional Chinese aesthetics in modern illustration design“. OOO "Zhurnal "Voprosy Istorii" 2023, Nr. 9-1 (01.09.2023): 236–43. http://dx.doi.org/10.31166/voprosyistorii202309statyi23.
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The purpose of this article is to study the applied value of traditional Chinese aesthetics in modern illustration design, as well as to identify the features of combining traditional and modern aesthetic principles in creating illustrations.
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Okulov, Jaana. „Artificial Aesthetics and Aesthetic Machine Attention“. AM Journal of Art and Media Studies, Nr. 29 (15.10.2022): 13–28. http://dx.doi.org/10.25038/am.v0i29.534.
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The aesthetics of artificial intelligence is often viewed in relation to the qualities of their generated expressions. However, aesthetics could have a broader role in developing machine perception. One of the main areas of expertise in aesthetics is the understanding of feature-based information, which involves how the aesthetics of sensory features can cause affective changes in the perceiver, and the other way around – how affective states can give rise to certain kinds of aesthetic features. This two-way link between aesthetic features and affects is not yet well-established in the interdisciplinary discussion; however, according to perceptual psychology, it fundamentally constructs the human experience. Machine attention is an emerging technique in machine learning that is most often used in tasks like object detection, visual question answering, and language translation. Modern use of technology most often focuses on creating object-based attention through linguistic categories, although the models could also be utilized for nonverbal attention. This paper proposes the following perceptual conditions for aesthetic machine attention: 1) acknowledging that something appears (aesthetic detection); 2) suspension of judgment (aesthetic recognition); and 3) making the incident explicit with expression (aesthetic identification and amplification). These aspects are developed through an interdisciplinary reflection of literature from the fields of aesthetics, perceptual psychology, and machine learning. The paper does not aim to give a general account of aesthetic perception but to expand the interdisciplinary theory of aesthetics and specify the role of aesthetics among other disciplines at the heart of the technological development of the human future. Article received: May 10, 2022; Article accepted: July 15, 2022; Published online: October 15, 2022; Original scholarly paper
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Manuel, Peter. „Music as symbol, music as simulacrum: postmodern, pre-modern, and modern aesthetics in subcultural popular musics“. Popular Music 14, Nr. 2 (Mai 1995): 227–39. http://dx.doi.org/10.1017/s0261143000007455.
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Postmodern aesthetics has come to be recognised as a salient feature of much popular culture, including music. Urban subcultures, and especially migrant subcultures, may have inherent inclinations toward postmodern aesthetics, while at the same time retaining ties to modern and even pre-modern cultural discourses. The syncretic popular musics created by such subcultures may reflect these multiple cultural orientations by combining postmodern and more traditional characteristics. Thus, for example, punk rock and rap music can be seen to combine postmodern techniques of pastiche, bricolage and blank irony with modernist socio-political protest. Similar eclecticisms can also be found in the musics of some urban migrant subcultures, whose syncretic musics, like their senses of social identity, often self-consciously juxtapose or combine ancestral homeland traditions with the most contemporary cosmopolitan styles and attitudes. Interpretations of such musics may call for a particularly nuanced appreciation of the distinct aesthetic modes which may coexist in the same work.
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Ya, Song. „A Study on Creation Principles of Five-storied Pagoda: From the Perspective of Eco-aesthetics“. Studies in Linguistics and Literature 5, Nr. 4 (18.10.2021): p53. http://dx.doi.org/10.22158/sll.v5n4p53.
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The novel-Five-storied Pagoda-written by Japanese novelist Koda Rohan manifestly presents ecological consciousness from the perspective of the natural principle, the holistic principle, and the harmonious principle, which are the three principles of ecological aesthetics. By perceiving the harmonious atmosphere among man and nature, individuals themselves, individuals, and society in texts, we can learn that Koda Rohan insisted on traditional Japanese aesthetics and prospectively reflected on the modern aesthetic ideology of Japanese society after Meiji Restoration. This paper explores the aesthetic features of—Five-storied Pagoda—by analyzing text expression from a new angle, and probes into the relationship with the three principles of eco-aesthetics. It is aimed to determine the consensus between eastern aesthetics and ecological aesthetics, and it can be inferred that the consensus will, to a great extent, make a special contribution to enriching the construction of ecological aesthetics.
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Teukolsky, Rachel. „Modernist Ruskin, Victorian Baudelaire: Revisioning Nineteenth-Century Aesthetics“. PMLA/Publications of the Modern Language Association of America 122, Nr. 3 (Mai 2007): 711–27. http://dx.doi.org/10.1632/pmla.2007.122.3.711.
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John Ruskin's Modern Painters V (1860) and Charles Baudelaire's “The Painter of Modern Life” (1863) are contemporaneous texts that both champion modern painters. Yet the two have rarely been considered together; while Ruskin's work is usually taken to represent a moralistic Victorianism, Baudelaire's essay is a foundational text of aesthetic modernism. This article compares the two texts in order to arrive at a more accurate, descriptive sense of nineteenth-century aesthetics, especially at the mid-century moment when “the modern” emerges as an aesthetic value in both England and France. Ruskin and Baudelaire are shown to propose surprisingly similar aesthetic theories, in part because they negotiate the same traumas of modernity, such as the derailment of religion and the commodification of the material world. Positioned on the ruins of Romanticism, each text intimates an idea of the modern that is not quite modernism but is, in fact, eminently Victorian.
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He, Guang Qing. „The Aesthetic View of the Chinese Urban Landscape Design“. Applied Mechanics and Materials 584-586 (Juli 2014): 587–94. http://dx.doi.org/10.4028/www.scientific.net/amm.584-586.587.
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The modern city landscape not only as a window of the image of the city, but also an important manifestation of architectural aesthetics. Concern landscape characteristics in China's development, further analysis and design point of aesthetic consciousness and aesthetic spirit. Therefore, in view of the aesthetic characteristics of traditional and modern landscape, this paper attempts to explore the sustainable development of the visual system.
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Khrenov, Nikolay A. „Aesthetics as a Human Science in the Situation of Culturological Reflection Becoming“. Koinon 2, Nr. 4 (2021): 13–25. http://dx.doi.org/10.15826/koinon.2021.02.4.037.
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The article aims to correlate aesthetics with the science of culture, which is increasingly attracting attention at the turn of the XX–XXI centuries. This correlation can give rise to a whole scientific direction, which could be called cultural aesthetics. In this case, arguments are needed. The fact is that the science of culture today attracts other humanities with its universality and ability to integrate knowledge existing in other sciences. It would seem that this trend in integration does not correspond to the processes of modern science, in which, at the later stages of history, the emphasis was placed not on integration but differentiation. Aesthetics is no exception here. Both philosophy and aesthetics of the twentieth century fragmented into several directions. Nevertheless, as the article proves, in the history of aesthetics and, more precisely, at its early stages, there was an aesthetic system that defined all kinds of aesthetics. This is an ontological aesthetic that excludes the separation of the aesthetic into a separate sphere. Having arisen in antiquity, ontological aesthetics became the aesthetics of being. The aesthetic did not have independence, as it would be in the aesthetics of the New Time, and was a sign of being itself. It was this aesthetic system that had an exceptional universalism. In the history of culture, such a manifestation of the aesthetic constantly returned but still did not become decisive. However, the closer to the twentieth century, the more evident the need for the integration of isolated trends becomes. Having an advantage in integration processes, ontological aesthetics becomes consonant with the science of culture, or rather, with the integrative potential that this science contains. It is this circumstance that should be taken into account by enthusiasts who develop the problems of cultural aesthetics.
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Hales, Steven D. „AUDIOPHILE AESTHETICS“. American Philosophical Quarterly 54, Nr. 2 (01.04.2017): 195–208. http://dx.doi.org/10.2307/44982136.
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Abstract What little work has been done on high fidelity/audiophile aesthetics uniformly agrees that the aesthetic aim of high fidelity is to achieve maximum transparency—the degree to which the listening experience is qualitatively identical to hearing the live instruments. The present paper argues that due to modern recording techniques, transparency is often impossible and may not be the proper aesthetic goal even in cases of documentary recordings. Instead, audiophilia should be understood as a broadly pluralist artistic endeavor that aims at an idealized generation of a musical event. This positive conception serves to explain away certain debates among audiophiles themselves.
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Kormin, Nikolai Aleksandrovich. „I. Kant: perfection within the structure of the aesthetic field of metaphysics“. Философия и культура, Nr. 3 (März 2021): 22–55. http://dx.doi.org/10.7256/2454-0757.2021.3.35612.
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The subject of this research is the interrelation between aesthetics and metaphysics as it is reflected in the Kantian transcendentalism. In the “Critique of Judgment”, Kant assumes that the representation of perfection does not correlate with such on the sense of delight; thus, in the first introduction to the “Critique of Judgment”, he is far from considering the solutions to the problem of interrelation between perfection and aesthetic sense of delight persuasive. However, the attitude towards perfection transforms in Kant's later works, the analysis of which demonstrates that the idea of perfection, in essence, is conceived as the method for founding the entire aesthetics, its initial category of the beautiful that coincides with the meaning of the aesthetic perfection the beauty is genuine. The metaphysics of perfection, contained in considered Kant’s work, offers a new perspective on the categorical apparatus of Kantian aesthetics, formed in the “Critique of Judgment”, and broadens the representation on Kantian aesthetics as part of transcendental metaphysics. The concept of perfection implies various aspects of metaphysical research, retaining its immanent qualities in the aesthetics. In predication as an act of modern aesthetic expression, it is difficult to determine any stages and structures that can correlate specifically to perfectionism. The question concerning the field of such correlations remains controversial, inclusive of modern Russian philosophy.
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Saito, Yuriko. „Everyday aesthetics and world-making“. Contrastes. Revista Internacional de Filosofía 25, Nr. 3 (19.01.2021): 35–54. http://dx.doi.org/10.24310/contrastescontrastes.v25i3.11567.
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The project of world-making is carried out not only by professional world-makers, such as designers, architects, and manufacturers. We are all participants in this project through various decisions and judgments we make in our everyday life. Aesthetics has a surprisingly significant role to play in this regard, though not sufficiently recognized by ourselves or aestheticians. This paper first illustrates how our seemingly innocuous and trivial everyday aesthetic considerations have serious consequences which determine the quality of life and the state of the world, for better or worse. This power of the aesthetic should be harnessed to direct our cumulative and collective enterprise toward better world-making. Against objections to introducing a normative dimension to everyday aesthetics, I argue for the necessity of doing so and draw an analogy between everyday aesthetics and art-centered aesthetics which has dominated modern Western aesthetics discourse.
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Braiterman, Zachary. „Joseph Soloveitchik and Immanuel Kant's Mitzvah-Aesthetic“. AJS Review 25, Nr. 1 (April 2001): 1–24. http://dx.doi.org/10.1017/s0364009400012228.
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In the following pages, I will address the relationship between Jewish thought and aesthetics by bringing Joseph Soloveitchik into conversation with Immanuel Kant, whose Critique of Judgment remains an imposing monument in the history of philosophical aesthetics. While Buber and Rosenzweig may have been more accomplished aesthetes, Soloveitchik's aesthetic proves closer to Kant's own. In particular, I draw upon the latter's distinction between the beautiful and the sublime and the notion of a form of indeterminate purposiveness without determinate purpose. I will relate these three figures to Soloveitcchik's understanding of halakhah and to the ideal of performing commandments for their own sake (li-shemah). The model of mitzvah advanced by this comparison is quintessentially modern: an autonomous, self-contained, formal system that does not (immediately) point to extraneous goods, such as spiritual enlightenment, personal morality, or social ethics. The good presupposed by this system proves first and foremost “aesthetic.” That is, immanent to the system. Supererogatory goods enter into the picture only afterward as second-order effects.
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Zhang, Ruili, Yong Qin und Tairan Wu. „The Use of Traditional Chinese Aesthetics in Modern Television Advertising and Consumer Perception“. Studies in Art and Architecture 3, Nr. 1 (März 2024): 45–50. http://dx.doi.org/10.56397/saa.2024.03.06.
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This paper investigates the impact of traditional Chinese aesthetics in modern television advertising on consumer perception. Utilizing a mixed-methods approach, the study combines qualitative content analysis of television advertisements with a quantitative survey of consumer responses. The findings reveal a significant positive correlation between the incorporation of traditional aesthetic elements, such as calligraphy, traditional music, and historical motifs, and consumer engagement. Advertisements featuring these elements are perceived as more appealing and memorable, eliciting stronger emotional responses and enhancing brand perception. The study highlights the importance of cultural sensitivity in advertising and demonstrates the potential of traditional aesthetics to create a distinctive brand image and foster consumer loyalty. The research contributes to the understanding of the role of traditional aesthetics in contemporary advertising and offers insights for marketers seeking to incorporate cultural elements into their campaigns.
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Mohammad Nasser AL-Arifi, Tahani. „Phenomenology as an approach to seeing the aesthetics of ugliness in contemporary art designs“. Al-Academy, Nr. 110 (15.12.2023): 315–50. http://dx.doi.org/10.35560/jcofarts1307.
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With a descriptive and analytical approach, it discusses the concept of phenomenology as an approach to seeing the aesthetics of ugliness as one of the concepts associated with the aesthetic experience in contemporary art designs, as it is the result of communication between artistic production and the recipient, which leads to creating a state of aesthetic pleasure. A phenomenological method is used to uncover the aesthetics of ugly and to connect ugliness and beauty since ugliness in aesthetics incorporates beauty as a modern aesthetic vision from the phenomenological perspective. The study investigated aesthetics as a phenomenon of perception, sensory knowledge, and the aesthetic response to the production of designs in contemporary art, represented by achieving a status of aesthetic pleasure, and the phenomenological approach can be applied to see the aesthetics of ugliness in contemporary design, and there is a relationship between the aesthetics of ugliness and the aesthetic experience in producing contemporary design, and it reached the possibility of applying the phenomenological approach to appreciation and criticism with an aesthetic vision of ugliness, by transforming the influence of phenomenological thought as a method into an aesthetic concept. To build the design for a more in-depth vision in a new analytical reading, and to have a merit in the study and production of designs that began with the art of the event and ended as digital art with technical effects, with its components (intentionality).
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Han, Jingjing, und Hushinaidi Bin Hamid. „Innovative Application of Traditional Chinese Opera Elements in Modern Dramatic Costume Design“. Academic Journal of Science and Technology 11, Nr. 2 (12.06.2024): 126–28. http://dx.doi.org/10.54097/911sm911.
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In the field of drama, especially in clothing design, designers are actively exploring how to combine traditional opera elements with modern drama to create clothing images that are both rich in traditional charm and in line with contemporary audience aesthetics. This innovation not only inherits traditional culture, but also challenges and extends modern aesthetics. Traditional Chinese opera elements, as an important component of Chinese culture, provide rich inspiration and materials for modern drama costume design with their unique symbolic meanings and aesthetic characteristics. The article conducts research on the innovative application of traditional Chinese opera elements in modern theatrical costume design, in order to enrich theatrical images and provide new paths and possibilities for the dissemination and inheritance of traditional culture in contemporary society.
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Koshelenko, L. V., und L. V. Toropov. „The system of education of aesthetic culture of students engaged in physical education and sports“. Scientific and educational basics in physical culture and sports, Nr. 1 (27.09.2021): 36–41. http://dx.doi.org/10.57006/2782-3245-2021-1-1-36-42.
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The analysis of Russian literature, the study of work experience allow us to identify two main directions of the formation of aesthetic culture of modern student youth. The first is the education of aesthetic taste, assessments and aesthetic feelings; the second is the study and description of the experience of forming the aesthetic culture of students in the system of educational measures carried out. In educational and labor activity, students can form an aesthetic culture of appearance, tools, behavior, thinking, organization. In the household sphere aesthetics of the environment, attitudes and behavior, appearance, health. In the field of recreation aesthetics of thinking, behavior, appearance, attitudes, sports and health.
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Loginova, Marina V. „Ethno-aesthetics in the system ethnic culture: theoretical and methodological aspect“. Finno-Ugric World 13, Nr. 2 (12.07.2021): 169–79. http://dx.doi.org/10.15507/2076-2577.013.2021.02.169-179.
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Introduction. The article deals with the study of theoretical and methodological foundations of ethno-aesthetics as a “cultural code” of an ethnos through a systematic approach to solving the problem of the ratio of ethno-culture and ethno-aesthetics. The aim of the study is a philosophical analysis of ethno-aesthetics to determine the semantic potential of the symbolic capital of ethnic culture. Materials and Methods. The logic of the research, ascending from the abstract (definition of ethno-aesthetics) to the exact (ethno-futurism), is based on a systemic approach. It distinguishes the following methods: dialectical (ethno-aesthetics at the level of the singular, particular and universal), comparative-historical (transformation of ethno-aesthetic values); structural and functional (ethno-aesthetics as an open system of aesthetic values that serve as “markers” of ethnic originality). Results and Discussion. The author denotes the theoretical and methodological aspects of ethno-aesthetics in the modern conditions of being of an ethnos: ethno-aesthetic values, aesthetic ontology of ethnos, expression in ethno-aesthetics of the “spirit of a people”. In the ethnic world-picture the expression of the concept “spirit of the people” allows to highlight the levels of ethno-aesthetics in ethnoculture: substantial (aesthetic consciousness, aesthetic values that reflect/express the “spirit of a people”); functional-historical (transforming system of aesthetic relations and aesthetic experience of an ethnos). The author notes the relationship of ethno-aesthetic values with mentality, the “spirit of a people”, the deep layers of ethnic consciousness (traditions, rites, beliefs, mythological representations, archetypes), art as a system of creating symbolic images. The dialectics of single, special and universal with regard to aesthetic values distinguishes ethno-aesthetics as the level of being of special, which at the same time combines (values and creative potential of an ethnos in world exploration) and determines the specifics of understanding and interpretation by an ethnos the basic values (the beautiful, the tragic, the comic, etc.) and its fixation in the language. The source of aesthetic ontology is the experiencing by an ethnos life, nature, labour, creativity, which have creative and harmonizing potential. Conclusion. The author interprets ethno-aesthetics as an integral part of aesthetics, which creates a philosophical theory of an ethnos aesthetic relationship to the world (nature, art, labour), reflects the process of formation and development of aesthetic sensuality and aesthetic consciousness, the value of the world.
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Ibrahim Al asqha, Shatha. „Islamic Art Aesthetics and modern philosophy“. المجلة العلمیة لجمعیة امسیا – التربیة عن طریق الفن 7, Nr. 26 (01.04.2021): 1318–87. http://dx.doi.org/10.21608/amesea.2021.178608.
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Shalvarova, Kateryna, und Olga Sova. „Modern educational literature: Aesthetics and functionality“. Art and education, Nr. 3 (2021): 46–51. http://dx.doi.org/10.32405/2308-8885-2021-3(101)-46-51.
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Chell, Samuel L. „Jazz aesthetics and modern literary criticism“. Popular Music and Society 15, Nr. 3 (September 1991): 67–74. http://dx.doi.org/10.1080/03007769108591444.
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Yurenkova, L. R., A. A. Andreeva, N. V. Svistkova und Yu V. Shcherbakova. „Technical aesthetics in modern mechanical engineering“. Glavnyj mekhanik (Chief Mechanic), Nr. 10 (10.10.2023): 605–11. http://dx.doi.org/10.33920/pro-2-2310-03.
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The article discusses the methodology of developing the concept of a modern machine to bring its design into visual harmony. The analysis of various techniques of artistic design, including the construction of a geometric perspective of the product being created, shows that its use contributes to enhancing the expressiveness of the image being created. It is emphasized that when creating the latest model of technology, a close contact of the designer, technologist and designer is necessary, when each understands the task of the other. Only then is it possible to create a promising worldclass product in terms of technical characteristics, shape, style and aesthetic solutions