Journal articles on the topic 'Aesthetic attention'
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1
Okulov, Jaana. "Artificial Aesthetics and Aesthetic Machine Attention." AM Journal of Art and Media Studies, no. 29 (October 15, 2022): 13–28. http://dx.doi.org/10.25038/am.v0i29.534.
Abstract:
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
2
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.
Abstract:
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.
3
Rolke, Bettina, Madeleine Y. Stepper, Verena C. Seibold, and Elisabeth Hein. "Aesthetic Stimuli Attract Visual Spatial Attention." Art and Perception 7, no. 1 (March 6, 2019): 52–81. http://dx.doi.org/10.1163/22134913-20191101.
Abstract:
We investigated the relationship between attention and the aesthetic appearance of visual stimuli. In a first study, we evaluated the aesthetic value of pictures depicting chairs by means of a questionnaire. These pictures were categorized as aesthetic, neutral, or non-aesthetic and used in a second study, in which we employed a dot-probe task and a recognition memory task. In the dot-probe task, two pictures of chairs were presented to the left and to the right of fixation, followed by a dot at one of the chair pictures’ positions. Participants decided at which side the dot had been presented. To investigate the relation between the aesthetic value of the chairs and the orientation of attention, we paired either aesthetic or non-aesthetic pictures with neutral pictures. The results showed that participants reacted faster when the dot appeared at the position of the aesthetic chair than when it appeared at the position of the neutral one. Such a ‘congruency’ effect was absent for non-aesthetic chairs. This interactive pattern of results shows that aesthetic stimuli capture attention. In the recognition memory task, in which participants were asked to decide whether a chair had been presented before or not, aesthetic chairs were more accurately and faster recognized than neutral or non-aesthetic ones. Taken together, these results show that aesthetic stimuli entail prioritized cognitive processing. In a final study, we investigated which particular features of the aesthetic stimuli might be important for this effect by correlating the aesthetic evaluation of the pictures with their Gestalt impression.
4
Wang, Ruoxi. "A Review of the Impact of Aesthetic Experience on Consumers' Purchase Decisions." Highlights in Business, Economics and Management 27 (March 21, 2024): 312–18. http://dx.doi.org/10.54097/c23kp344.
Abstract:
Nowadays, the society is in the era of the awakening of the national aesthetic consciousness, and people are paying more and more attention to their spiritual enjoyment of aesthetics. Especially in the consumption scene, consumers have begun to pay more attention to the aesthetic experience in the purchase process, but the research on aesthetic experience design has not been systematically sorted out. Based on the research of scholars in psychology, art design and brand marketing, this paper analyzes the aesthetic elements that affect aesthetic experience, as well as the differences in aesthetic preferences of different aesthetic power groups, and also analyzes the role of aesthetic experience in different purchase periods of consumption scenarios, as well as the thinking perspective of brands on aesthetic experience design. This paper concludes that products and consumer services with aesthetic elements can bring consumers a universal aesthetic experience, thereby stimulating purchase intention and driving purchase decisions. Based on this, in the future development of brands, people should pay attention to the research and setting of aesthetic experience according to product positioning, and academic research should also dig deeper into the laws of aesthetic experience and verify more detailed operation methods that can be implemented.
5
Wilson, Alan T. "The Virtue of Aesthetic Courage." British Journal of Aesthetics 60, no. 4 (August 1, 2020): 455–69. http://dx.doi.org/10.1093/aesthj/ayaa022.
Abstract:
Abstract Theorists have recently been exploring the prospects for a virtue-centred approach to aesthetics. Virtue aesthetics encourages a re-focusing of philosophical attention onto the aesthetic character traits of agents, in the same way that virtue ethics and virtue epistemology have encouraged us to focus on moral and intellectual traits. In this paper, I aim to contribute to the development of virtue aesthetics by discussing aesthetic courage, the aesthetic analogue of one of the most widely acknowledged moral virtues. In addition to proposing an account of the nature of this trait, I also argue that aesthetic courage is vital for any sort of aesthetically virtuous life. It is not possible to possess any aesthetic virtue without possessing aesthetic courage. It is important, therefore, for any future development of virtue aesthetics to acknowledge the central importance of aesthetic courage.
6
Ortlieb, Stefan A., and Claus-Christian Carbon. "Kitsch and Perception: Towards a New ‘Aesthetic from Below’." Art and Perception 7, no. 1 (March 6, 2019): 1–26. http://dx.doi.org/10.1163/22134913-00001091.
Abstract:
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.
7
Cuccuru, Kathrine. "Aesthetic Attention: A Proposal to Pay It More Attention." Estetika: The European Journal of Aesthetics 55, no. 2 (September 1, 2018): 155. http://dx.doi.org/10.33134/eeja.175.
8
Knapp, Peggy A. "Aesthetic Attention and the Chaucerian Text." Chaucer Review 39, no. 3 (January 1, 2005): 241–58. http://dx.doi.org/10.2307/25094290.
9
Madsen, Clifford K. "Focus of Attention and Aesthetic Response." Journal of Research in Music Education 45, no. 1 (April 1997): 80–89. http://dx.doi.org/10.2307/3345467.
Abstract:
In the present study, focus of attention to musical elements was investigated in an attempt to ascertain which elements are perceived as most prominent in relation to aesthetic response as demonstrated in previous work. One hundred experienced musicians listened to the last 20 minutes of Act I of Puccini's La Bohème. Fifty musicians indicated via the Continuous Response Digital Interface (CRDI) which of five musical elements (Melody, Rhythm, Timbre, Dynamics, or Everything) commanded their attention as they listened throughout the excerpt. Additionally, another 50 subjects, divided into five groups of 10 subjects each, registered their degree of attention for each specific musical element; these subjects had only one element presented on the CRDI dial with instructions to register their degree of attention to this specific element throughout the selection. Results from those subjects who tracked all elements simultaneously indicated that the highest percentage of attention throughout the entire excerpt was registered for Dynamics, followed closely by the elements Everything, Melody, Rhythm, and Timbre. For those subjects who responded to only one element, the highest degree of attentiveness was registered for Melody, followed by the elements Dynamics and Everything. Timbre was next in degree-of-attentiveness rating, and rhythm was by far the lowest. The element Melody was most closely related to aesthetic responsiveness for this Puccini excerpt.
10
Knapp, Peggy Ann. "Aesthetic Attention and the Chaucerian Text." Chaucer Review 39, no. 3 (2005): 241–58. http://dx.doi.org/10.1353/cr.2005.0005.
11
Reed, Pamela G. "A New Nursing Aesthetic." Nursing Science Quarterly 37, no. 1 (December 6, 2023): 33–36. http://dx.doi.org/10.1177/08943184231207381.
Abstract:
Conceptions of the art and aesthetics of nursing traditionally focus on the nurse and nursing practice. My purpose here is to propose a shift in thinking from this traditional focus that dominates the “art of nursing” literature, to consider a new nursing aesthetic that focuses on human beings proper: health as wellbecoming. I present a framework based on everyday aesthetics, feminist aesthetics, and Deweyan perspectives, along with attention to the nursing disciplinary perspective of health and well-being. I conclude with a look ahead to philosophical questions and scientific issues regarding theorizing and scientific inquiry about the health as wellbecoming aesthetic to advance nursing knowledge.
12
Wang, Tingting. "Integration of Red Aesthetic Education into Kindergarten and its Practical Paths." Journal of Contemporary Educational Research 8, no. 3 (March 24, 2024): 205–10. http://dx.doi.org/10.26689/jcer.v8i3.6345.
Abstract:
Red culture has important educational value. The integration of red aesthetics into the kindergarten provides strong support for children to establish correct values and historical views in the multi-cultural environment, and cultivate their creativity and aesthetic consciousness. Red aesthetic education activities should pay attention to the real embodiment of children’s subjectivity and the deep integration of application and practice. Practical paths of red aesthetic education in kindergarten include art activities, multi-field penetration, traditional festivals, and red aesthetic education environment infiltration.
13
Zhang, Pengcheng, Yezi Chen, Yiran Zhu, and Haibin Wang. "Eye region as a predictor of holistic facial aesthetic judgment: An eventrelated potential study." Social Behavior and Personality: an international journal 49, no. 1 (January 6, 2021): 1–13. http://dx.doi.org/10.2224/sbp.9660.
Abstract:
Event-related potentials (ERP) play an important role in the early detection of emotional arousal. Previous studies of aesthetics have shown that the positive component appearing around 200 ms after stimulus (P2) and the larger late positive component (LPC) are closely related to the early stage of aesthetic judgment. We investigated the temporal features of facial aesthetic judgment on the basis of facial features by using the ERP technique. Participants were instructed to predict holistic face aesthetic level based on the regions of eyes, mouth, or nose. Behavioral results show that holistic score predictions based on the eye region were no different to holistic aesthetic ratings. The ERP analysis results show that beautiful eyes and faces elicited a smaller P2 amplitude and LPC amplitude when judging the holistic aesthetic. The P2 effect of facial aesthetics may reflect automatic processing of facial aesthetics and the difference in LPC may be related to motivational attention to facial aesthetics. Because of the similar ERP effect between the holistic facial aesthetic judgment and the aesthetic judgment of eye region, this region may play a significant role in predicting holistic facial aesthetics. The implication is that the eyes are not only a window to the soul, but also a benchmark of beauty.
14
Al Rujaibi, Iman. "Aesthetic Characteristics in the Qurʾān." Ilahiyat Studies 13, no. 1 (June 30, 2022): 119–51. http://dx.doi.org/10.12730/13091719.2022.131.235.
Abstract:
It can be argued that the notion of aesthetics occupies a central place in Islam’s revealed text. Discussing the qualities that characterize the notion of aesthetics has attracted the attention of scholarly tradition. In the Qurʾānic discourse, various qualities can be discerned to characterize aesthetics. To gain a better understanding and to construct a comprehensive image of the Qurʾānic perspective of aesthetic characteristics, the Qurʾān must be taken in its entirety. However, this study is based on the thematic exegesis genre, which aims to present a holistic view of the theme as discussed throughout the entire Qurʾānic text considering selected modern Qurʾānic exegeses, where more attention is given to a number of exegetical aspects considered in thematic exegesis.
15
Biehl-Missal, Brigitte, and Michael Saren. "Atmospheres of Seduction." Journal of Macromarketing 32, no. 2 (February 1, 2012): 168–80. http://dx.doi.org/10.1177/0276146711433650.
Abstract:
This article introduces the concept of the “atmosphere” from aesthetic theory to contribute to critical research on the aesthetic, embodied experience in retailing, and consumption spaces, which has received little attention in the marketing literature. The article draws on the “new aesthetics” of Gernot Böhme which is not a theory of art or the works of art but considers the full range of “aesthetic work” including marketing practices. Contributing to the art-versus-commerce debate, this framework suggests differentiating between atmospheres in the arts and in marketing, and it suggests the continued relevance of Critical Theory. The theoretical background is applied to a Starbucks coffee shop as an example for a seductive consumption atmosphere to make evident issues of aesthetic pleasure and aesthetic manipulation. The concept of the atmosphere helps to consider aesthetics as an active social power in a macromarketing context.
16
Qin, Xiao Chun, Yi Shen, She Gang Shao, and Dan Wang. "Highway Landscape Aesthetic Experience: Perception Principle and Psychological Process." Applied Mechanics and Materials 368-370 (August 2013): 21–26. http://dx.doi.org/10.4028/www.scientific.net/amm.368-370.21.
Abstract:
As the essential public assets for sustainable development, Highway should provide for people not only the enjoyment of convenient and safe transportation, but also the fulfillment of visual pleasure and aesthetic appeal. Taking the highway as the aesthetic object and making the research in aesthetic perception and the process of psychological experience of the aesthetic subject are of great importance to highway landscape planning and design. The aesthetic subject and object of highway landscape are defined and their relationship between the two is explored based on the analysis of characteristics and principles of highway aesthetics in the paper. And the conception of the highway landscape aesthetic field is also introduced. In view of the aesthetic characteristics of highway landscape, the aesthetic process is studied in detail from three phrases of aesthetic expectation and aesthetic attention, aesthetic expansion and aesthetic perception, and aesthetic dispersion. Taking Guangdong Fokai highway for example, the aesthetic psychological expanding process of highway landscape is finally analyzed.
17
Xiao, Lei. "On the Construction of Aesthetic Theories under Multiple Contexts." World Journal of Educational Research 4, no. 3 (August 22, 2017): 460. http://dx.doi.org/10.22158/wjer.v4n3p460.
Abstract:
<p><em>Aesthetics is a comprehensive discipline about aesthetic phenomena with diverse and synthetic research methods. Compared with the general humanity disciplines, aesthetic studies pay more attention to perceptual experience, emotional conformity and psychological collision, and requires more cooperation and assistance of empirical science. This paper starts from different cultures under multiple contexts to expound on aesthetic understandings and perceptions from different aspects.</em><em></em></p>
18
He, Peizhuang, and Xun Pan. "Application of Aesthetic Principles to Road Planting in China." Transportation Research Record: Journal of the Transportation Research Board 1549, no. 1 (January 1996): 99–102. http://dx.doi.org/10.1177/0361198196154900114.
Abstract:
This paper deals specifically with the application of aesthetic principles to road planting and its future development. Consideration of such principles will provide a basis for designers to make suitable applications of road planting for both functional and aesthetic purposes. It is expected that the future will see more attention being paid to road planting aesthetics.
19
Ignatenko, Ekaterina A. "Fashion: aesthetic and social functions." Vestnik of Saint Petersburg State University of Culture, no. 3 (56) (2023): 120–24. http://dx.doi.org/10.30725/2619-0303-2023-3-120-124.
Abstract:
The unity and interrelation of aesthetic and social components of fashion from the standpoint of philosophy is emphasized. The boundaries of the concept of «fashion» are clarified from the point of view of modern science, in relation to which its aesthetic and social functions were analyzed – fashion in the broad sense of the word, in other words, not only vestigial – related to the style of clothing. An excursion into the history of fashion as a marker of social inequality and an indicator of social inequality with attention to the gender aspect of this issue is carried out. The modern problems of the interpenetration of aesthetic and social as fashion changes are touched upon. Much attention is paid to sources related to the Internet, mass media, advertising. It is concluded that in the context of fashion, aesthetics helps society and individuals to build a particular system of views, while society, through certain value attitudes, acquires certain aesthetic ideas.
20
Ngai, Sianne. "Our Aesthetic Categories." PMLA/Publications of the Modern Language Association of America 125, no. 4 (October 2010): 948–58. http://dx.doi.org/10.1632/pmla.2010.125.4.948.
Abstract:
The recent turn to aesthetics in literary studies has been embraced by some of its advocates as a polemical riposte to critique: a practice increasingly attacked from multiple directions but here specifically for doing artworks the disservice of reducing them to encryptions of history or ideology. But while the new or revived focus on pleasure (and, to a much lesser extent, displeasure)1 has been vaunted for the way in which it seems to circumvent the reduction of artworks to historical or ideological concepts, our aesthetic experience is always mediated by a finite if constantly rotating repertoire of aesthetic categories. Any literary or cultural criticism purportedly engaged with aesthetics needs to pay attention to these categories, which are by definition conceptual as well as affective and tied to historically specific forms of communication and collective life. But how does one read an aesthetic category? What kind of object is it, and what methodological difficulties and satisfactions does its analysis pose?
21
Hayward Marcum, Joni. "Reconsidering the Aesthetics of Garbage in Waste Land." Afterimage 48, no. 3 (September 1, 2021): 35–57. http://dx.doi.org/10.1525/aft.2021.48.3.35.
Abstract:
In the 2010 documentary film Waste Land, directed by Lucy Walker and co-directed by João Jardim and Karen Harley, Brazilian-born and Brooklyn-based visual artist Vik Muniz travels to the Jardim Gramacho landfill outside of Rio de Janeiro, Brazil. There, he creates works of art out of material from the landfill with the help of several catadores, or pickers, who work there. Though Muniz’s visual artwork and Walker’s film both form an aesthetic of garbage by making trash the material most central to their work, their redemptive impulses should be questioned, and their use of garbage aesthetics analyzed. Their work simultaneously takes part in and falls short of the political goals of this aesthetic, namely, to focus both visual and political attention on the inequalities faced by marginalized people, places, and materials. In reading Waste Land for the ways in which it both embraces and shirks garbage aesthetics, I will suggest how this aesthetic approach can help interrogate the limitations and possibilities offered by the theorizations of the Anthropocene, Capitalocene, and Chthulucene they intersect with, calling attention to their political and aesthetic qualities.
22
Seifali, Samira, and Asghar Fahimifar. "Quality of Visual Aesthetic Facets in Designing Christian and Islamic Religious Websites." Jurnal Pengajian Media Malaysia 22, no. 1 (May 31, 2020): 17–32. http://dx.doi.org/10.22452/jpmm.vol22no1.2.
Abstract:
This study considers visual aesthetics as a significant contributor to involving the user in online visual communication. It argues that religious websites as an online environment require attention to the impressive communication process. In this study, we focus on how Christian and Islamic religious websites use the five visual aesthetic facets, including Simplicity, Diversity (visual richness), Colourfulness, Typography, and Image on homepages. To address this issue, 10 Christian and Islamic religious websites are selected from the Alexa top religious websites. Using a descriptive-analytics approach, evaluation of visual aesthetics is conducted through a checklist based on the theoretical and empirical literature reviewed on visual aesthetics and website design. It is included some criteria about visual aesthetic items in web design. The results show that Christian and Islamic religious websites have different types of visual aesthetics. Furthermore, Christian websites with high simplicity, low diversity, paying attention to the colour factor, appropriate typography and high-quality images, received the highest overall aesthetics ratings. While Islamic websites, with low simplicity, low diversity, little attention to the colour and typography characteristics, as well as low-quality images, received the low scores.
23
Levin, Kasper. "The Dance of Attention: Toward an Aesthetic Dimension of Attention-Deficit." Integrative Psychological and Behavioral Science 52, no. 1 (January 5, 2018): 129–51. http://dx.doi.org/10.1007/s12124-017-9413-7.
24
Siraj, Fuad Mahbub, and Zikraini Alrah. "The Concept of Islamic Aesthetic of Abdul Hadi WM." KALAM 16, no. 2 (December 31, 2022): 157. http://dx.doi.org/10.24042/klm.v16i2.14648.
Abstract:
This study aims to see how the concept of Islamic aesthetics in the thought of Abdul Hadi WM. Aesthetics is an interesting discourse to study because aesthetics is one of the five branches of philosophy that relate to values that are contained in something or arise from human actions. Although the values contained in aesthetics are very important and are always relevant in human life, the fact is that aesthetics receive less attention in philosophical studies. One reason is the narrow view that aesthetics is only related to art. Abdul Hadi WM sees an important aesthetic in the realm of philosophy and is related to human aesthetic experience. Islamic aesthetics essentially refers to the expression of religious values and can bring awareness to the spiritual realm
25
Zhu, Hancheng, Yong Zhou, Zhiwen Shao, Wenliang Du, Guangcheng Wang, and Qiaoyue Li. "Personalized Image Aesthetics Assessment via Multi-Attribute Interactive Reasoning." Mathematics 10, no. 22 (November 9, 2022): 4181. http://dx.doi.org/10.3390/math10224181.
Abstract:
Due to the subjective nature of people’s aesthetic experiences with respect to images, personalized image aesthetics assessment (PIAA), which can simulate the aesthetic experiences of individual users to estimate images, has received extensive attention from researchers in the computational intelligence and computer vision communities. Existing PIAA models are usually built on prior knowledge that directly learns the generic aesthetic results of images from most people or the personalized aesthetic results of images from a large number of individuals. However, the learned prior knowledge ignores the mutual influence of the multiple attributes of images and users in their personalized aesthetic experiences. To this end, this paper proposes a personalized image aesthetics assessment method via multi-attribute interactive reasoning. Different from existing PIAA models, the multi-attribute interaction constructed from both images and users is used as more effective prior knowledge. First, we designed a generic aesthetics extraction module from the perspective of images to obtain the aesthetic score distribution and multiple objective attributes of images rated by most users. Then, we propose a multi-attribute interactive reasoning network from the perspective of users. By interacting multiple subjective attributes of users with multiple objective attributes of images, we fused the obtained multi-attribute interactive features and aesthetic score distribution to predict personalized aesthetic scores. Experimental results on multiple PIAA datasets demonstrated our method outperformed state-of-the-art PIAA methods.
26
Gao, Jie, and Alessandro Soranzo. "Individual Differences in Aesthetic Preferences for Multi-Sensorial Stimulation." Vision 4, no. 1 (January 6, 2020): 6. http://dx.doi.org/10.3390/vision4010006.
Abstract:
The aim of the current project was to investigate aesthetics in multi-sensorial stimulation and to explore individual differences in the process. We measured the aesthetics of interactive objects (IOs) which are three-dimensional objects with electronic components that exhibit an autonomous behaviour when handled, e.g., vibrating, playing a sound, or lighting-up. The Q-sorting procedure of Q-methodology was applied. Data were analysed by following the Qmulti protocol. The results suggested that overall participants preferred IOs that (i) vibrate, (ii) have rough surface texture, and (iii) are round. No particular preference emerged about the size of the IOs. When making an aesthetic judgment, participants paid more attention to the behaviour variable of the IOs than the size, contour or surface texture. In addition, three clusters of participants were identified, suggesting that individual differences existed in the aesthetics of IOs. Without proper consideration of potential individual differences, aesthetic scholars may face the risk of having significant effects masked by individual differences. Only by paying attention to this issue can more meaningful findings be generated to contribute to the field of aesthetics.
27
Ajíbóyè, Olusegun, Stephen Fọlárànmí, and Nanashaitu Umoru-Ọkẹ. "Orí (Head) as an Expression of Yorùbá Aesthetic Philosophy." Mediterranean Journal of Social Sciences 9, no. 4 (July 1, 2018): 59–70. http://dx.doi.org/10.2478/mjss-2018-0115.
Abstract:
Abstract Aesthetics was never a subject or a separate philosophy in the traditional philosophies of black Africa. This is however not a justification to conclude that it is nonexistent. Indeed, aesthetics is a day to day affair among Africans. There are criteria for aesthetic judgment among African societies which vary from one society to the other. The Yorùbá of Southwestern Nigeria are not different. This study sets out to examine how the Yorùbá make their aesthetic judgments and demonstrate their aesthetic philosophy in decorating their orí, which means head among the Yorùbá. The head receives special aesthetic attention because of its spiritual and biological importance. It is an expression of the practicalities of Yorùbá aesthetic values. Literature and field work has been of paramount aid to this study. The study uses photographs, works of art and visual illustrations to show the various ways the head is adorned and cared for among the Yoruba. It relied on Yoruba art and language as a tool of investigating the concept of ori and aesthetics. Yorùbá aesthetic values are practically demonstrable and deeply located in the Yorùbá societal, moral and ethical idealisms. It concludes that the spiritual importance of orí or its aesthetics has a connection which has been demonstratively established by the Yorùbá as epressed in the images and illustrations used in this paper.
28
Kudaev, Aleksandr Egorovich. "Aesthetic “sense of the world” of Nikolai Berdyaev: origins and approaches to the philosophy of beauty." Философская мысль, no. 5 (May 2020): 61–87. http://dx.doi.org/10.25136/2409-8728.2020.5.32356.
Abstract:
This article analyzes the origins of one of the core problems of philosophical-aesthetic thought of N. Berdyaev – the philosophy of beauty. Importance of the phenomenon of beauty for the formation of its aesthetic concepts and worldview overall is demonstrated. The author determines the main sources that determines the heightened interests towards the phenomenon of beauty, which affected the peculiarities of solution of this problem. Considering the defining character of Berdyaev’s personal and emotional attitude to the surrounding beauty, major attention is given to revelation of this source as most significant for understanding the entire further evolution of his philosophical-aesthetical thought as a whole, as well as establishment of the philosophy of beauty in particular. Therefore, the article reviews a number of life circumstances that defined his aesthetic development, which in the end leads to the fact that the aesthetic component becomes paramount in his worldview, and beauty turns into a universal criteria of assessing other diverse phenomena. The study carries a holistic character, being at the intersection of aesthetics, philosophy, culturology, biographical genre, which determines the applied complex historical-philosophical and philosophical-culturological methodology. This article is first attempt within the national literature to examine and reconstruct the origins of Berdyaev’s aesthetic evolution. The author reveals the key role of the problematic of beauty not only on formation of his aesthetic concept, but philosophical thought overall. Analysis is conducted on the source of Berdyaev’s aesthetic views that drastically affected the development of his philosophy of beauty.
29
Khrenov, Nikolay A. "Aesthetics as a Human Science in the Situation of Culturological Reflection Becoming." Koinon 2, no. 4 (2021): 13–25. http://dx.doi.org/10.15826/koinon.2021.02.4.037.
Abstract:
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.
30
Miao, Haotian, Yifei Zhang, Daling Wang, and Shi Feng. "Multi-Output Learning Based on Multimodal GCN and Co-Attention for Image Aesthetics and Emotion Analysis." Mathematics 9, no. 12 (June 20, 2021): 1437. http://dx.doi.org/10.3390/math9121437.
Abstract:
With the development of social networks and intelligent terminals, it is becoming more convenient to share and acquire images. The massive growth of the number of social images makes people have higher demands for automatic image processing, especially in the aesthetic and emotional perspective. Both aesthetics assessment and emotion recognition require a higher ability for the computer to simulate high-level visual perception understanding, which belongs to the field of image processing and pattern recognition. However, existing methods often ignore the prior knowledge of images and intrinsic relationships between aesthetic and emotional perspectives. Recently, machine learning and deep learning have become powerful methods for researchers to solve mathematical problems in computing, such as image processing and pattern recognition. Both images and abstract concepts can be converted into numerical matrices and then establish the mapping relations using mathematics on computers. In this work, we propose an end-to-end multi-output deep learning model based on multimodal Graph Convolutional Network (GCN) and co-attention for aesthetic and emotion conjoint analysis. In our model, a stacked multimodal GCN network is proposed to encode the features under the guidance of the correlation matrix, and a co-attention module is designed to help the aesthetics and emotion feature representation learn from each other interactively. Experimental results indicate that our proposed model achieves competitive performance on the IAE dataset. Progressive results on the AVA and ArtPhoto datasets also prove the generalization ability of our model.
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Necos, A. N., and V. V. Miroshnichenko. "AESTHETIC ASPECT OF URBOGEOSYSTEMS (REVIEW OF RESEARCHES)." Odesa National University Herald. Geography and Geology 18, no. 2(18) (May 17, 2023): 118–24. http://dx.doi.org/10.18524/2303-9914.2013.2(18).184348.
Abstract:
In the article development of question of aesthetics of municipal environment is traced from times of resolution of problem to present time. Considerable attention spared by research within the framework of structural geography. Plenty of new directions and methods of research of aesthetic aspect of urbogeosystem is marked.
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Matthews-Kozanecka, Maja, Ewa Baum, and Ewa Mojs. "Polemics around facial aesthetic medicine." Journal of Face Aesthetics 5, no. 2 (February 10, 2023): 94–102. http://dx.doi.org/10.20883/jofa.60.
Abstract:
Facial aesthetic medicine is a young component of aesthetic medicine that raises a lively polemic on a number of issues on both medical and ethical grounds. The main focus of (non‑therapeutic) aesthetics turns to the improvement and correction of the face and neck to get from what is good to an even better, more beautiful, aesthetically pleasing, younger face. However, when qualifying a patient for aesthetic treatments, it is important to approach the issue holistically, to pay attention to all aspects: psychological state, social and cultural conditions and a holistic attitude towards life. Any worrying symptoms should not be underestimated. Thus, the practitioner of aesthetic medicine should always bear in mind two very topical truths of ancient origin: primum non nocere and salus aegroti suprema lex.
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Belov, Vladimir N. "Art and culture: Aesthetic ideas of V.E. Sesemann." Vestnik of Saint Petersburg University. Philosophy and Conflict Studies 38, no. 2 (2022): 231–41. http://dx.doi.org/10.21638/spbu17.2022.207.
Abstract:
The article provides an analysis of the aesthetic views of one of an interesting and original, but still, unfortunately, little studied Russian philosopher, V.E. Sesemann (1884–1963). Aesthetics occupied a leading position in Seseman’s philosophical constructions, while remaining fully embedded in the philosophy of the Russian thinker. Continuing the traditions of transcendental philosophy, Sesemann considers aesthetics as a general theoretical discipline that combines all private and separate studies of the theme of beauty. As in his theory of knowledge, the fundamental element of his aesthetics is the phenomenon of experience, which is the general pre-subject basis of Sesemann’s entire philosophical system. At the same time, however, aesthetic experience, in contrast to experience as such, is experience of a special kind. When identifying the specifics of aesthetic experience, the Russian philosopher attaches special importance to the study of the problem of form, which explains his attention to the work of Russian formalists. Arguing with the formalists and the German art theorist Heinrich Wölfflin and defending the nature of the form as lively and rhythmic, he also sees the positive aspects of these teachings. Sesemann develops his aesthetic ideas in a discussion with contemporary aesthetic theories. It is emphasized that Sesemann addressed the problems of aesthetics throughout his life and expressed his views on a variety of aesthetic problems: from theoretical and methodological to concrete practical and even applied ones. In his aesthetic concept, the Russian philosopher Vasily Emilevich Seseman tries to productively synthesize neo-Kantian and phenomenological approaches.
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Napadysta, V. G., and O. D. Rykhlitska. "AESTHETICS OF EVERYDAY LIFE: THEMATIC VARIATIONS AND RESEARCH PROSPECTS." UKRAINIAN CULTURAL STUDIES, no. 1(10) (2022): 16–19. http://dx.doi.org/10.17721/ucs.2022.1(10).03.
Abstract:
The article considers the peculiarities of the formation and thematic evolution of the aesthetics of everyday life. Emphasis is placed on the fact that the orientation of classical aesthetic theory on the artistic sphere left out of the attention of researchers non-artistic sources of aesthetic expe- rience, and the versatility of the phenomenon of everyday life, its connotation with trivial, boring, routine, repetitive created certain prejudices for seeing the aesthetic component in everyday practices and recognizing the existence of objects of aesthetic experience among its material world. The scientific interest of aesthetic theory innovators, who expanded their creative search beyond the traditional research field, was initially fo- cused mainly on design. Inclusion in the thematic palette of aesthetic research of design, natural environment opened the possibility of considering everyday practices as sources of aesthetic experience and caused a kind of "new turn" in aesthetic theory, which in turn led to the initiation and institutionalization of a new field of research – everyday aesthetics. In the context of its research is the variability of the material world, daily practices that ensure the functioning of a person as an individual in everyday life – gastronomic, physical, home improvement, organization of life, social contacts – regulatory stability, habitual strategies for com- municating with others, and also routine daily activities – eating, walking, bathing, etc. It is emphasized that the variable saturation of the thematic field of everyday aesthetics, as a new direction in modern aesthetic theory, re- quires not only horizontal expansion of vectors of aesthetic research, but also theoretical clarification / justification / agreement on the content of the concepts of "everyday life" and "aesthetic" in the aesthetics of everyday life to delineate the boundaries of thematic definition and struc- ture of its subject field. The application of the optics of cultural analysis regarding the origins and formation of aesthetics of everyday life as a separate direction, its thematic field and various interpretations of it will contribute not only to the systematization of knowledge about the path of formation and devel- opment of aesthetics of everyday life, but also to a deeper understanding of its potential as a productive theoretical basis in the process of aes- theticizing everyday life.
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Wessels, W. "Justice and Beauty in South African Homiletics: A Postcolonial Contribution of Improvisation and Creativity." Acta Theologica Supp, no. 29 (November 30, 2020): 176–94. http://dx.doi.org/10.18820/23099089/actat.sup29.10.
Abstract:
In recent South African homiletics, two major themes have experienced overwhelming attention: prophetic preaching and aesthetics. Prophetic preaching endeavours to seek social, political, and economic justice. Aesthetic homiletics considers beauty for preaching. In this article, I grapple with the convergences and divergences of justice and beauty in South African homiletics. With the hope of opening new avenues for future endeavours, I also reflect on both prophetic preaching and aesthetic homiletics from a post-colonial perspective.
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Wang, Kai, Shasha Lv, Yongzhen Ke, Jing Guo, and Ruikun Wang. "Image Aesthetic Description Based on Semantic Addition Transformer Model." International Journal of Cognitive Informatics and Natural Intelligence 15, no. 4 (October 1, 2021): 1–14. http://dx.doi.org/10.4018/ijcini.20211001.oa14.
Abstract:
Image aesthetic quality assessment has been a hot research topic in the field of image analysis during the last decade. Most recently, people have proposed comment type assessment to describe the aesthetics of an image using text automatically. However, existing works have rarely considered the quality of the aesthetic description. In this work, we propose a novel neural image aesthetic description network framework, named Deep Image Aesthetic Reviewer (DIAReviewer), based on Semantic Addition Transformer Model, the learning of Residual Network, and the Attention Mechanism in a single framework. Beyond that, we design a Semantic Addition module to compromise the image feature and semantic information to focus on the comment quality, such as fluency and complexity. We introduce a new image dataset named Aesthetic Review Dataset (ARD), which contains one or more aesthetic comments for each image. Finally, the experimental results on ARD show that our model outperforms other methods in content complexity and sentence fluency of aesthetic descriptions.
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Li, Weiwei. "Analysis on the Influence of Western Ecological Aesthetics on Environmental Design of China’s “Beautiful Countryside”." Journal of Environmental and Public Health 2022 (August 16, 2022): 1–11. http://dx.doi.org/10.1155/2022/1271825.
Abstract:
At this stage, the promotion of China's agricultural revitalization plan has provided new demands for the development of agricultural construction. In the process of urban and rural planning, more and more attention has been paid to the protection of rural traditional culture and aesthetic values, as well as the requirements of characteristic aesthetics. In recent years, as we pay more and more attention to the environmental protection ability and aesthetic ability of rural life, we also pay more attention to improving the rural environment, promoting rural rejuvenation, and paying attention to shaping the livable space quality of rural living environment to meet the needs of modern life and soul. “Beautiful countryside” is one of the modern development concepts explicitly put forward by China, which advocates the harmonious symbiosis aesthetic idea of “harmony between man and nature.” Building a beautiful countryside is the key point of rejuvenating the countryside, and the exploration of rural aesthetics is also the important significance of realizing the great rejuvenation goal of China's rural areas. Environmental design in the construction of “beautiful countryside” is a major decision and historical task for building a new countryside in China, and building landscape design suitable for the needs of rural development is the current requirement of social development. The article firstly analyzes the challenges and opportunities of China’s “beautiful countryside” environmental construction; secondly, by digging into the philosophical ideas of deep ecology, ecological aesthetics, and the relationship between man and land in the West, it analyzes the application strategies and practical methods of these practical philosophies. It provides corresponding theoretical and practical enlightenment for my country’s “beautiful countryside” environmental design strategy.
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Hotta, Tracey A. "Attention to Infection Prevention in Medical Aesthetic Clinics." Plastic Surgical Nursing 38, no. 1 (2018): 17–24. http://dx.doi.org/10.1097/psn.0000000000000215.
39
Borrelli, Arianna. "Symmetry, beauty and belief in high-energy physics." Approaching Religion 7, no. 2 (November 29, 2017): 22–36. http://dx.doi.org/10.30664/ar.67711.
Abstract:
This paper engages with the aesthetics of knowl-edge, both in its sense as the connection between knowledge and ‘aesthetic’ judgements of beauty, or ugliness, and of the many ‘aesthetic’ – that is to say sensually perceivable – dimensions of knowledge, which are always to be seen to be constituting an epistemic factor in its production and consumption. On the one hand I analyse how in recent decades the connection between beauty and truth has been systematically employed to both inspire and guide research in high-energy physics; at the same time I also show how this use of aesthetic judgement only reveals its constitutive role in physics research when paying attention to the broad range of aesthetic strategies employed for expressing scientific knowledge.
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Pałęga, Anna K. "Creative Engagement in Everyday Life – Learning from Aesthetic Experience." Creativity. Theories – Research - Applications 2, no. 2 (November 1, 2015): 212–26. http://dx.doi.org/10.1515/ctra-2015-0021.
Abstract:
Abstract In recent years the concept of aesthetics has become broader and more focused on the aesthetic experience resulting from the interaction between the person and the environment. A lot has been written about the way people experience settings that are explicitly designed as sites for aesthetic engagement, such as museums and art galleries, but very little attention has been given to ordinary people and how they make sense of such experiences in their everyday lives. This research study explores the everyday aesthetic experiences that lay people find meaningful in their daily encounters through a phenomenological approach. The findings indicate that everyday aesthetic experiences result from being open to creatively engage, are a blend of serendipitous events and planned encounters and a significant dimension of lived experience.
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Dai, Zetian, Tan Wee Hoe, Shoushan Wang, and Juan Xue. "Tactile Perception in Aesthetic Evaluation: A Systematic Review." Journal of Aesthetic Education 57, no. 4 (December 1, 2023): 98–124. http://dx.doi.org/10.5406/15437809.57.4.06.
Abstract:
Abstract The haptic sense is an essential component of aesthetic evaluation that is often overlooked in today's mobile internet age. Unlike hearing and vision, the sense of touch is less widely transmitted. Unfortunately, most aesthetic theories and explanations have focused solely on the visual and auditory senses, with minimal attention given to tactile evaluation. To address this gap in knowledge, we have collected studies on tactile aesthetics within the framework of experimental aesthetics from 2000 to 2022. After statistical generalization, our findings suggest the following: The criteria for evaluating tactile aesthetics were mostly dichotomous, that is, positive (like/appreciation/pleasure) and negative (dislike/disgust/unpleasant). Tactile aesthetics predominantly involved the toucher dimension (synesthesia/need for touch/touch pattern) and the touch sample dimension (shape/type/texture), with the commonly overlooked factors of “need for touch” and “touch pattern.” Some studies did not restrict the shape and material of the touch samples. Based on our findings, we have systematically summarized and concluded what tactile factors influence aesthetic evaluation and have analyzed future research trends.
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Kanupriya, Aashish Handa, and Kanwalpreet Kaur Bhullar. "Esthetic Conservative Procedures in Dentistry." Journal of Pharmaceutical Research International 35, no. 34 (December 24, 2023): 18–30. http://dx.doi.org/10.9734/jpri/2023/v35i347478.
Abstract:
In contemporary society, aesthetics holds significant sway in shaping an individual's identity. The prominence of one's face, especially the mouth and teeth, has intensified the attention given to dental aesthetics. Consequently, dentistry has shifted its focus from solely preventing and treating diseases toward a need-based approach centered on aesthetic enhancement. Presently, a person's smile greatly influences their aesthetic appeal, and any dental affliction jeopardizing it often leads to diminished self-esteem and this significantly affects the overall health, both physically and mentally, of the patient. It's imperative to give importance to maintaining the natural structure of teeth to ensure functional form and integrity in addition to aesthetics.
To gather pertinent information on this subject, a thorough exploration was conducted using PubMed and related reviews. This article aims to delve into both fundamental principles and recent advancements in conservative aesthetic dentistry, highlighting various treatment options for common clinical scenarios. The primary objective is to ensure patients receive optimal care and treatment.
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Pyrova, Tatiana Leonidovna. "Philosophical-aesthetic foundations of African-American hip-hop music." Философия и культура, no. 12 (December 2020): 56–62. http://dx.doi.org/10.7256/2454-0757.2020.12.34717.
Abstract:
This article is dedicated to the philosophical-aesthetic foundations of African-American hip-hop music of the late XX century. Developed by the African philosopher Leopold Senghor, the author of the theory of negritude, concept of Negro-African aesthetics laid the foundations for the formation of philosophical-political comprehension and development of the principles of African-American culture in the second half of the XX century in works of the founders of “Black Arts” movement. This research examines the main theses of the aesthetic theory of L. Senghor; traces his impact upon cultural-political movement “Black Art”; reveals which position of his aesthetic theory and cultural-political movement “Black Arts” affected hip-hop music. The author refers to the concept of “vibe” for understanding the influence of Negro-African aesthetics upon the development of hip-hop music. The impact of aesthetic theory of Leopold Senghor upon the theoretical positions of cultural-political movement “Black Arts” is demonstrated. The author also compares the characteristics of the Negro-African aesthetics and the concepts used to describe hip-hop music, and determines correlation between them. The conclusion is made that the research assessment of hip-hop music and comparative analysis of African-American hip-hop with the examples of global hip-hop should pay attention to the philosophical-aesthetic foundations of African-American hip-hop and their relation to Negro-African aesthetics, which differs fundamentally from the European aesthetic tradition.
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Alcaráz León, María José. "Anticipating Aesthetic Transformations in the Face of Climate Change." AM Journal of Art and Media Studies, no. 33 (April 15, 2024): 1–15. http://dx.doi.org/10.25038/am.v0i28.593.
Abstract:
Recently, within the field of Environmental Aesthetics, there has been some attention paid to how taking into consideration the environmental impact of Global Climate Change (GCC) generates new problems and issues. Among different questions that Environmental Aesthetics needs to face under the impact of GCC, we can distinguish, at least methodologically, those which address the impact of GCC in the aesthetic experience of the environment we currently inhabit and those concerned with the possible aesthetic character that future environments might possess as a result of GCC. In this article, I would like to focus on how to characterize the possible impact that the awareness of GCC may have on the aesthetic experience of current environments. In particular, I would like to clarify this issue by exploring the roles that knowledge, forward-looking emotions, and imagination play in this experience.
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Law, Christopher. "“Common Informality”." liquid blackness 6, no. 1 (April 1, 2022): 34–47. http://dx.doi.org/10.1215/26923874-954655.
Abstract:
Abstract This article explores how two key problems of philosophical aesthetics, temporality and form, are rethought in Fred Moten's consent not to be a single being trilogy. The article proposes that Moten's work is notable for its refusal to affirm a link between aesthetic experience, or aesthesis, and the future-bound possibility of political community. This refusal distinguishes Moten's work both from the political philosophy underlying Immanuel Kant's aesthetics and from the dialectical critique of Kant found in contemporary theoretical work prioritizing formal experimentation. The article contends instead that Moten's work is shaped by a sustained attention to “informal” patterns of aesthetic experience, for which the graphic materiality of writing functions as a privileged index. The article then explores the political and temporal implications of writing's materiality in two essays from Moten's Black and Blur. To pursue this task, it draws on Walter Benjamin's understanding of philological interpolation and argues that Moten's work, particularly in its insistence on “renomination” rather than conceptual creation, can likewise be understood as philological. The article concludes, however, by showing how the idea of linguistic freedom advanced in recent philological work is complicated by Moten's recognition of a link between predication and blackness.
46
Wawrytko, Sandra A. "Aesthetics of Attentional Networks: Chinese Harmony and Greek Dualism." Journal of Chinese Philosophy 47, no. 1-2 (March 3, 2020): 12–30. http://dx.doi.org/10.1163/15406253-0470102005.
Abstract:
Two forms of perception rise in aesthetic experience, corresponding to two complementary attentional networks in the bilateral brain identified by neuroscientists. Not all cultures have valued these perceptions equally. Traditional Chinese culture adheres to the Hybrid Brain model that integrates the stimulus-driven and task-driven modes of attention, as demonstrated by its positive assessment of emotions in human nature, sensuousness in Nature, and the nondualism of humans within Nature. In contrast, the dualistic aesthetics of ancient Greek culture espouses a hierarchical privileging of task-driven attention, characterized by a mistrust of emotion, a deep-seated fear of Nature, and an egocentric/anthropocentric perspective.
47
Turenko, Vitalii. "SPECIFICS OF DEVELOPMENT OF AESTHETICS STUDIES: BETWEEN SOVIET AND CHINESE MARXISM." Bulletin of Taras Shevchenko National University of Kyiv. Philosophy, no. 7 (2022): 56–60. http://dx.doi.org/10.17721/2523-4064.2022/7-10/11.
Abstract:
The article reveals the features of the formation and functioning of aesthetic research in such two areas of Marxism as Soviet and Chinese. The study identified three key stages in the development of aesthetics in Soviet Marxism – the pre-war (the 1920s and 1930s), late Stalinism and the Khrushchev thaw, and the late period (1970-1980s). It should be noted that in the context of Soviet Marxism, the key tasks were that aesthetics becomes influential and in-demand science, included in the program of "technical progress" and "education of the builder of communism", important ideological, aesthetic, and applied field of philosophy. Therefore, in addition to the fact that purely ideological works were developed within the framework of aesthetic discourse, aesthetics itself in Soviet Marxism was able to develop thanks to contacts with semiotics, psychology, anthropology, cultural history, and sociology. Relying on a selective stream of translations of Western philosophies of art, Soviet aesthetics is beginning to resonate with global trends, which is facilitated by the unspoken consensus of the idea of aesthetics as a part of philosophical and humanitarian knowledge that has its own autonomy. Proved that in China culture and the cultural revolution are inextricably linked with the Marxist projects of critiquing capitalist modernity and building alternative modernity. Aesthetics and culture also were at the center of attention in Chinese Marxist circles. In this respect, the diverse practices and designs of Chinese Marxism are similar to those of Western Marxism or an equally distinct variety of Euro-American Marxist intellectual enterprises. Aesthetic Marxism in China had a dual mission – to criticize the internal contradictions of revolutionary hegemony and to offer a constructive vision of culture in a post-revolutionary society. This is the value of Chinese aesthetic Marxism, the implications of which go beyond China proper in the world of global cultural criticism. Moreover, being non-Western, Chinese aesthetic Marxism deliberately questioned the inherent Eurocentrism of Marxism. If this Eurocentrism is to be challenged and problematized, the questions posed by Chinese aesthetic Marxists cannot be ignored.
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Van Keulen, Jolien. "Aesthetic Proximity." TV Formats and Format Research 5, no. 9 (August 1, 2016): 93. http://dx.doi.org/10.18146/2213-0969.2016.jethc105.
Abstract:
Implications of the transnationalisation of television are often studied by focusing on the localisation of the content of formatted programmes. Although television is essentially an audio-visual medium, little attention has been paid to the aesthetic aspects of television texts in relation to transnationalisation and formatting. Transnationalisation of production practices, such as through formatting, implies a transnational aesthetic. At the same time, aspects of style are specific to place, culture or audience. In this article, the localisation of stylistic programme elements is explored using a comparison of two reality format adaptations. It is argued that style plays an important role in the expression of the local in a transnational industry.
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Faltesek, Daniel. "Big Argumentation?" tripleC: Communication, Capitalism & Critique. Open Access Journal for a Global Sustainable Information Society 11, no. 2 (August 15, 2013): 402–11. http://dx.doi.org/10.31269/triplec.v11i2.464.
Abstract:
Big Data is nothing new. Public concern regarding the mass diffusion of data has appeared repeatedly with computing innovations, in the formation before Big Data it was most recently referred to as the information explosion. In this essay, I argue that the appeal of Big Data is not a function of computational power, but of a synergistic relationship between aesthetic order and a politics evacuated of a meaningful public deliberation. Understanding, and challenging, Big Data requires an attention to the aesthetics of data visualization and the ways in which those aesthetics would seem to depoliticize information. The conclusion proposes an alternative argumentative aesthetic as the appropriate response to the depoliticization posed by the popular imaginary of Big Data.
50
Faltesek, Daniel. "Big Argumentation?" tripleC: Communication, Capitalism & Critique. Open Access Journal for a Global Sustainable Information Society 11, no. 2 (August 15, 2013): 402–11. http://dx.doi.org/10.31269/vol11iss2pp402-411.
Abstract:
Big Data is nothing new. Public concern regarding the mass diffusion of data has appeared repeatedly with computing innovations, in the formation before Big Data it was most recently referred to as the information explosion. In this essay, I argue that the appeal of Big Data is not a function of computational power, but of a synergistic relationship between aesthetic order and a politics evacuated of a meaningful public deliberation. Understanding, and challenging, Big Data requires an attention to the aesthetics of data visualization and the ways in which those aesthetics would seem to depoliticize information. The conclusion proposes an alternative argumentative aesthetic as the appropriate response to the depoliticization posed by the popular imaginary of Big Data.