Dissertations / Theses on the topic 'Aesthetic attention'
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Bowden, Alan Mark Christopher. "Aesthetic perception, attention and aesthetic psychology." Thesis, Durham University, 2015. http://etheses.dur.ac.uk/10992/.
Pane, Greta Lynn. "The First Scale of Attention: Linguistic Form and Aesthetic Experience in the Novel." Thesis, Harvard University, 2013. http://dissertations.umi.com/gsas.harvard:10905.
Moubarak, Elizabeth. "A case study of a special needs class: how attention to aesthetic considerations informs learning and individual growth." Thesis, McGill University, 2011. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=104800.
Étude de cas d'une classe d'éducation spécialisée : De quelle façon l'esthétisme influence-t-elle l'apprentissage et le développement personnel?Ce mémoire présente une étude de cas sur la façon dont l'esthétisme influence l'apprentissage et le développement personnel dans une classe d'éducation spécialisée. L'objectif est de mieux comprendre l'environnement évolutif de la classe et de son influence sur les élèves et sur moi-même, l'enseignante de la classe témoin. Le cadre de cette étude était une classe d'éducation spécialisée (B-111), située dans une école secondaire de premier cycle. Onze élèves, une préposée et une enseignante ont pris part à cette étude. Les données ont été recueillies et analysées à partir de méthodes issues des récentes recherches en éducation de l'art et plus précisément, sur l'enseignement à partir de l'art. La littérature sur l'esthétisme, sur la négociation de sens et sur l'apprentissage a servi les besoins de cette étude et les commentaires, les opinions ainsi que les travaux artistiques des participants y sont reliés. La question à savoir si l'esthétisme de la salle de classe crée un sentiment d'appartenance, agissant comme source de motivation sur l'assiduité en classe et sur le respect de l'établissement scolaire a été soulevée. Cette étude de cas démontre l'importance de la création de liens avec les élèves. La connaissance de la nature spécifique de la classe s'avère être un facteur crucial dans la création d'un environnement d'apprentissage sain et équilibré. Cette étude inspirera peut-être les directeurs d'école et les commissions scolaires, les décorateurs d'intérieur et les architectes, lorsque viendra le temps de concevoir les plans architecturaux, la décoration, la construction et l'organisation d'une école ou d'une salle de classe.
Essoukan, epee Hermann. "La Vision poétique du 'Monde' dans les films-essais Méditerranée de Jean-Daniel Pollet, Sans soleil de Chris Marker et Asientos de François L. Woukoache." Electronic Thesis or Diss., Université Grenoble Alpes, 2023. http://www.theses.fr/2023GRALL024.
The present study does not only examine the idea of a cinema that thinks and participates in the poetic thought, as stated by Norman McLaren as: ‟the flowing movement of the film that echoes that of the thought”, but it also argues for the idea of a poetic cinema and a poetics of cinema focused on a new aesthetic of mediation and creation that explores the poetic universe. In addition to engaging in the definition of a cinema of poetry and a poetics of cinema, this study intends to offer a deeper insight into the understanding of certain aesthetic and artistic mechanisms that poetically affect the attention of percept’acteurs (poetic attention) when they are faced with filmic effects/texts and processes that no longer rely on immersion and determining factors such as observed in popular cinemas, entertainment, storytelling, and documentary films. The attention of the percept’acteurs is rather drawn to the visual/perceptual indeterminacy, of the ‟aesthetic walk”, to sound like Jean-Marie Schaeffer and on the ‟poetics of idleness”.The essay-films Méditerranée by Jean-Daniel Pollet, Sans soleil by Chris Marker and Asientos by François L. Woukoache, make the percept’acteurs – a neologism that we use instead of spectator, since these films no longer deal with spectacle – to navigate in a timeless sphere and export them beyond the time, in order to break the relationship they maintain with classic films and to encourage a new look towards the artwork. For these filmmakers of poetry and memory, it’s about an ambivalent way to uproot and bury the word in order to defy conventions and break habits through a poetic and ‟political” vision in the broaden sense (Political-historical) of the world, a new aesthetic, a diy and artistic poaching, leading to a kind of reinvention of the language.Keywords: Essay films, Modern cinematography, a poetic cinema, aesthetic attention, poetic attention, percept’acteurs, artistic creation
Yang, Taoxi [Verfasser], and Ernst [Akademischer Betreuer] Pöppel. "Inhomogeneity of visual space, discontinuity of perceptual time and cultural imprinting as exemplified with experiments on visual attention, aesthetic appreciation and temporal processing / Taoxi Yang ; Betreuer: Ernst Pöppel." München : Universitätsbibliothek der Ludwig-Maximilians-Universität, 2019. http://d-nb.info/119811195X/34.
Homlong, Siri. "The Language of Textiles : Description and Judgement on Textile Pattern Composition." Doctoral thesis, Uppsala : Acta Universitatis Upsaliensis (AUU), 2006. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-7216.
Werner, Petra. "Ett medialt museum : lärandets estetik i svensk television 1956-1969." Doctoral thesis, Södertörns högskola, Estetik, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-30912.
Rooney, Kevin Kelley. "Vision and the experience of built environments: two visual pathways of awareness, attention and embodiment in architecture." Diss., Kansas State University, 2015. http://hdl.handle.net/2097/20597.
Environmental Design and Planning Program
Robert J. Condia
The unique contribution of Vision and the Experience of Built Environments is its specific investigation into the visual processing system of the mind in relationship with the features of awareness and embodiment during the experience of architecture. Each facet of this investigation reflects the essential ingredients of sensation (the visual system), perception (our awareness), and emotions (our embodiment) respectively as a process for aesthetically experiencing our built environments. In regards to our visual system, it is well established in neuroscience that human vision divides into the central and peripheral fields of view. Central vision extends from the point of gaze (where we are looking) out to about 5° of visual angle (the width of one’s fist at arm’s length), while peripheral vision is the vast remainder of the visual field. These visual fields project to the parvo and magno ganglion cells which process distinctly different types of information from the world around us and project that information to the ventral and dorsal visual streams respectively. Building on the dorsal/ventral stream dichotomy, we can further distinguish between focal processing of central vision and ambient processing of peripheral vision. Thus, our visual processing of, and attention to, objects and scenes depends on how and where these stimuli fall on the retina. Built environments are no exception to these dependencies, specifically in terms of how focal object perception and ambient spatial perception create intellectual and phenomenal experiences respectively with architecture. These two forms of visual processing limit and guide our perception of the built world around us and subsequently our projected and extended embodied interactions with it as manifested in the act of aesthetic experience. By bringing peripheral vision and central vision together in a balanced perspective we will more fully understand that our aesthetic relationship with our built environment is greatly dependent on the dichotomous visual mechanisms of awareness and embodiment.
Riley, Matthew. "Attentive listening the concept of Aufmerksamkeit and its significance in German musical thought, 1770-1790 /." Thesis, Boston Spa, U.K. : British Library Document Supply Centre, 2000. http://ethos.bl.uk/OrderDetails.do?did=1&uin=uk.bl.ethos.325815.
Baldissera, Marcia. "Quelles expériences pour quels films? Les temps de notre relation esthétique au monde." Thesis, Paris, EHESS, 2017. http://www.theses.fr/2017EHES0074.
The aim of this thesis is to analyze the aesthetic structure of the cinematographic experience. We depart from a definition of film as an (audio)visual flux with a beginning, an evolution, and an end. From the evidence of this constructive principle, this thesis intends to show how the temporal structure of films generates cognitive differences in the spectators' experience. The notion of “temporal structure” is related to the ordering of shots and sounds within their durations in succession and/or in simultaneity, while the adjective “cognitive” refers to the acquisition process and use of our knowledge. This study is based on Kant's aesthetics, Husserl's phenomenology, Deleuze's cinema analysis, Searle's Intentionality, and Schaeffer's aesthetic and fiction cognition theories, in an interdisciplinary perspective, drawing on cognitive sciences empirical data. It is a comparative analysis of the unfolding of the cinematographic reception process – perception, attention and comprehension – and takes the different times of this reception into account, that is, the relation between the object film and the spectators. The objective is twofold: on the one hand it is a question of uncovering the cognitive implications of the cinematographic technique for the spectators' experience through close consideration of the functions of this technique and the principles which the authors’ Intentionality have inscribed upon it; on the other hand, it is a question of evaluating the scope of these constructive and Intentional principles on contemporary cinema, as recent decades have emphasized the progressive radicalization of filmic rhythm. Cinema becomes as such an example of the temporal structures that uphold our relation to the real world
Leclercq, Christophe. "Experiments in Art and Technology : la question environnementale." Thesis, Paris 1, 2015. http://www.theses.fr/2015PA010663.
The theoretical and practical activity of Experiments in Art and Technology (E.A. T.) raises a number of aesthetic problems - those posed by an organization whose aim was to facilitate and encourage collaboration between artists and engineers, both inside and outside the art world. This thesis investigates the eruption of environmental issues in art and the use made by E.A.T.'s main actors of the ambiguous concept of the environment, a concept which includes not only what surrounds us but also that which can have an influence on us. By juxtaposing and comparing what John Cage, Robert Rauschenberg and Robert Whitman had to say about their practice with key works on the infiltration of technology into our lives, we will identify an environmental approach that is part of an “explicitation” of the contemporary environment by and through art. These artists strive to highlight, through their work, the aesthetic qualities of a natural and artificial environment, the consequences of which cannot leave us untouched or indifferent. The focus on perception in the experience of this environment reflects a common interest in a 'phenomenal physics' which, even if related scientific concerns, also differs significantly from them. It is not only a question of the transformation of this pervasive environment into a perceived space but also a matter of investigating the place and role of the artist in the shaping of the human environment. Thus we see in E.A.T.'s program an activity a form of action-research focused on the individual, which envisages also the possibility not only of living in but of existing with one's environment
Giger, Peter. "Conversation and Figuration from the Horizontality of the 2.0 Decade." Doctoral thesis, Blekinge Tekniska Högskola [bth.se], School of Planning and Media Design, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-00479.
Yang, Wei-Hao, and 楊偉顥. "Exploring the Evaluation Process of Aesthetic Judgment on Logo by Structure Comparison Theory and Attention Driving Mechanism." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/8hqr9w.
國立政治大學
企業管理學系
106
This thesis aimed to ascertain how consumers would evaluate the similarity and make aesthetic judgement between the original logo and the new logo of a brand in the process of a brand’s reform or a brand extension. Through a qualitative interview and three experiments, the study explored the process of consumers' aesthetic comparison and judgment on the aesthetic similarity between logos using the structural alignment theory and attention-driven perspective. In the qualitative in-depth interview, a total of nine aesthetics principles that consumers used in the logo comparison process was elicited and then classified into two categories. The first category is concrete aesthetic principles which include: color, lightness, color harmony, structural symmetry, and balance of structure. The second category is interpretational aesthetic principles which entail: meaning, sense of design, simplicity in the design concept, and modernity. A further analysis of the aesthetic principles and their alignable and non-aligable attributes showed that non-alignabilities outnumbered alignabilities in interpretational aesthetic principles when consumers were given the task to make aesthetic choices. On the other hand, more alignabilities than non-alignabilities were identified in concrete aesthetic principles in consumers’ aesthetic judgment. In addition, the number of alignabilities exceeded that of non-alignabilities in both concrete and interpretational aesthetic principles in the similarity task. Study two was a 2 (concrete aesthetic principle vs. interpretational aesthetic principle) x2 (alignable difference vs. non-alignable difference) factorial experiment designed to test the influence of different design combinations on aesthetic comparison and similarity judgment. The result showed that consumers significantly relied more on alignable difference attributes than on non-alignable difference attributes when asked to evaluate the similarity between the original logo and the new logo, while non-alignable differences had a greater influence on their aesthetics judgment. The study assumed that aesthetic principles would be influenced by the presentation and the evaluation task. Differences between alignable and non-alignable presentations observed in the two tasks under any of the same aesthetic principle were examined. The hypothesis was supported by the result. In the similarity task, differences between alignable and non-alignable presentations under concrete aesthetic principles were bigger than those found under interpretational aesthetics principles. Moreover, in the aesthetic judgment task, differences between alignable and non-alignalbe presentations found under interpretational aesthetics principles were bigger than those under concrete principles. Study Three and Four extended the result of Study Two in the context of brand extension. The assumption of the two experiments was held that the influence of aesthetic principles and alignablities would be moderated by the distance between the categories of the original product and extension product. Generally, consumers relied on alignable difference attributes to compare the similarity of the two logos and non-alignable difference attributes to make aesthetic judgment. Nonetheless, the moderator effect of the distance of the categories of the original and extension products were not significance. The study found that non-alignable difference attributes were more important than alignable ones when making aesthetic judgement. Also, alignable difference attributes played a greater role in similarity judgment. The theoretical contribution of this study is to test the alignabilitiy effect on integrated graphic messages. This study clarified the influence of the relationships between alignable and non-alignable attributes and aesthetics principles. The importance of non-alignable difference attributes will be established only when the attribute content requires high cognitive resources like interpretational aesthetic principles. The commercial applications expected in this study, are to provide new references for logo designs. If a new brand is to incorporate aesthetic elements into its logo design, it is advised to add a unique interpretational aesthetic element. If a company is looking to strengthen the link between its consumers and its existing brands, it may consider employing design elements of its existing brand logo to create an alignable difference.
Chang, Kai-Ting, and 張凱婷. "Impacts of Attentional Capture,Aesthetics Experience and Preference on Recognition Memory." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/89818620005887030814.
輔仁大學
心理學系
96
The appearance of product design may concurrently or sequentially induce multiple cognitive and affective experiences. The cognitive mechanism underlying the affective experience such as preference and aesthetics is of the interest of emotion and cognition theoretical analysis as well as product design. The goal of this study was to determine the impacts of attentional capture, aesthetics experience, and preference on memory performance and to explore the relations among theses variables Three experiments adopting the Remember / Know procedure (Tulving, 1985) examined the relations and impacts of attentional capture, aesthetics experience and preference on the awareness state of recognition memory. Knowing reflects the awareness of the recognized object or knowledge, however, not the recollection of specific or detail information. In contrast, remembering reflects the awareness state that the detail or particular information can be specifically recollected. In addition to the Remember / Know task, different types of encoding were manipulated in three experiments by adopted the paradigm of Ochsner (2000). In Experiment 1, participants were instructed to perform a subjective rating on the degree of attentional capture and aesthetics of each picture. In Experiment 2, participants were instructed to suggest a better size of objects related to the fixed size frame for each picture. In Experiment 3, participants were instructed to judge the color category of the object for each picture. Both experiments 2 and 3 had subjects to perform a task that is not directly relevant to attentional capture, aesthetics and preference. The coding time in experiment 2 was unlimited while that in experiment 3 was limited to 500 ms. Experiment 1 discovered the different degrees of correlations between ratings of attentional capture, aesthetics experience, and preference. Through three experiments, attentional capture showed significant impacts on hit rate of remembering, no matter with what kind of encoding types. Objects with high attentional capture appearance were remembered better than those with medium and low attentional capture. Attentional capture also showed significant impacts on discriminate (d’) of remembering with deep encoding depth (exp 1 and exp 2). High attentional capture leads to better discriminate of remembering performance than medium and low attentional capture. Aesthetics experience had no impact on hit rates of remembering and knowing. However, aesthetics experience affected false alarm rate of knowing. Positive aesthetics experience lead to more knowing responses, although the participants never saw the object before. This effect happened especially when the participant did not directly aware to the aesthetics experiences (exp 2 & exp 3). Preference also showed significant impact on hit rate of remembering responses. Objects with high preference were remembered better than those with medium and low preference, no matter with deep or shallow encoding. Besides, preference also affects false alarm rate and d’ of knowing, with shallow coding, there were lesser false knowing and higher d’ for high and low preferred objects than the medium preferred objects. Subjective ratings of attentional capture is moderately correlated with aesthetics experience and preference (r = 0.66 and 0.71) and aesthetics is highly correlated with preference (r = 0.88), but the impact pattern of these factor on remembering and knowing are different.
Pape, Toni. "Figures of Time : Preemptive Narratives in Recent Television Series." Thèse, 2013. http://hdl.handle.net/1866/10347.
This thesis examines complex narrative temporalities in the recent television series Life on Mars (BBC, 2006-2007), Flashforward (ABC, 2009-2010), and Damages (FX/Audience Network, 2007-2012). The general argument proposes that the renewed technics of television have enabled innovative aesthetic standards and temporal experiences in serial TV fiction. It is subsequently shown that these new aesthetic and experiential qualities of TV fiction are correlative to an increased political and ethical relevance of time. This overall argument is laid out in four major steps. The project first addresses the technics of recent television to show how new technologies have enabled new techniques of experiencing television. Drawing on the philosophy of Gilles Deleuze and Félix Guattari as well as the media theories of Matthew Fuller, Thomas Lamarre, and Jussi Parikka, the complex and productive linkages between technology and techniques will be theorized as an abstract machine which I call the serial machine. The argument then draws on theories of perception and nonrepresentational approaches to art in order to analyze the new qualities of aesthetic experience in serial TV fiction. For this purpose, I develop the central concept of the figure of time understood as the directly felt abstract shape effectuated by a narrative’s movement through time. It will be seen, in a third step, that the figural movements discussed in this thesis concern questions of future-orientation and preemption. All of the narratives in this project anticipate their own ending and take form with respect to this foretold future. They are therefore conceptualized as “preemptive narratives,” in which the future poses an affective rather than epistemological problem. I will show that, in the serial narratives under discussion, the preemptive loop through the future is immediately ontogenetic in that it creates a reality in the present by inducing uncertainty and fear of the future. Finally, the thesis proposes that such affective politics are an element of what Gilles Deleuze calls control societies, in which conditions of life are constantly modulated. Following his writings on control societies and Spinoza’s Ethics, it is argued that the requirements of such a modulatory environment are ethical in nature (rather than moral). Drawing on the work by artists-philosophers Madeline Gins and Arakawa, I elaborate the techniques of attention which sustain an ethics for surviving the control society in the TV series Damages.
Faute de droits d'auteurs pour les captures d'écrans, mon document ne contient pas d'images. Si vous voudriez consulter ma thèse avec les images, veuillez me contacter.
Berteau, Stefan André. "Modeling biophysical and neural circuit bases for core cognitive abilities evident in neuroimaging patterns: hippocampal mismatch, mismatch negativity, repetition positivity, and alpha suppression of distractors." Thesis, 2018. https://hdl.handle.net/2144/27671.