Journal articles on the topic 'Aesthetic core'
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1
Grubor, Nebojsa. "The relation between the beauty and the sublime in Hartmann′s aesthetics." Theoria, Beograd 63, no. 3 (2020): 159–67. http://dx.doi.org/10.2298/theo2003159g.
Abstract:
The text examines the relationship between the beauty and the sublime in Hartmann?s aesthetics. According to the basic assumption of Hartmann?s aesthetics, the sublime, like all other aesthetic values, are subordinated to the beauty. The text shows that the relationship between the beauty and the sublime in Hartmann?s aesthetics is complex and that beauty formally includes the sublime, but that the sublime in terms of fixing aesthetic content is the core of aesthetic issues.
2
Gan, Shen Qi, and Hong Zhang. "The Discussion of the Concept of Sustainable Development of Ecological Architectural Aesthetics." Advanced Materials Research 598 (November 2012): 8–11. http://dx.doi.org/10.4028/www.scientific.net/amr.598.8.
Abstract:
This paper introduces the basic concepts of ecological aesthetic, pointing out that the ecological aesthetic comes from population, resources, environment and other factors, understanding the natural beauty from the harmonious compatibility between man and nature, the environment, perception, greatly improving the aesthetic value of taste. This paper introduces the core categories、aesthetic standards and the three characteristics of ecological architectural aesthetics in detail, interpret the ecological architecture and its aesthetic theory.
3
Chitturi, Ravindra. "Design for Affect: A Core Competency for the 21st Century." GfK Marketing Intelligence Review 7, no. 2 (November 1, 2015): 16–21. http://dx.doi.org/10.1515/gfkmir-2015-0012.
Abstract:
Abstract Consumers purchase products with the objective of reducing pain, increasing pleasure or both. Product aesthetics primarily contribute to enhancing consumer pleasure, and utilitarian attributes, such as product functionality, primarily help reduce consumer pain. So the question is how consumers choose between the goals of reducing pain and enhancing pleasure. In the case of functional dominance, consumers attach greater importance to fulfilling their minimum utilitarian needs over their minimum hedonic ones. By contrast, if consumers have to choose between two products, and one product meets their minimum functional requirement but exceeds their minimum aesthetic expectations, while the other meets their minimum aesthetic expectations but exceeds their minimum functional requirement, they select the product with superior aesthetics. A balanced design with an optimal combination of attributes and emotional experiences will reach a greater price on the market and insure higher profits.
4
Wang, Lingyu, Yingchuan Li, and Mingzhu Fang. "Aesthetic Education Curriculum Construction and Innovation In The New Engineering Education:An example of teaching an art appreciation aesthetics education course." Advances in Education, Humanities and Social Science Research 1, no. 1 (May 9, 2022): 369. http://dx.doi.org/10.56028/aehssr.1.1.369.
Abstract:
The cultivation of creative ability is the core element of the cultivation of new engineering talents, and the cultivation of creative and aesthetic ability should not be missing at the same time as the cultivation of innovative technical ability. This paper takes the art appreciation course as an example to build and innovate the construction of aesthetic education courses in the new engineering education:based on aesthetics, the traditional classical aesthetic cases are used to establish a multidisciplinary integration of creative and aesthetic knowledge system; through the design of Innovative aesthetic case , the students' innovative aesthetic thinking ability is cultivated, and finally the innovative aesthetic quality of new engineering talents is improved, completing the sublimation from aesthetic education to innovative aesthetic education.
5
Ma, Liyao. "Sensing the Poetic Habitat – A Study of Middle School Chinese Teaching from the Perspectives of Life Aesthetics." Journal of Contemporary Educational Research 5, no. 12 (December 27, 2021): 205–9. http://dx.doi.org/10.26689/jcer.v5i12.2872.
Abstract:
The concept of life aesthetics reflects an individual’s cry for life and pursuit of beauty, inspiring individuals to discover their spiritual home, sense their poetic habitat, and enjoy the beauty of life flowing from their fingertips. Chinese education, viewed through the lens of life aesthetics, is founded on the natural characteristics of life, stimulating the aesthetic sense of individual life through the allure of language, and teaching students to view life through the aesthetic lens as well as from an understanding of life’s essence. Teachers and students are required to take an aesthetic view of life as theoretical guidance, based on core Chinese literacy, with textbook contents serving as carriers and classroom instruction as the position, closely connected to students’ actual lives, in order to help stimulate aesthetic experience among students, improve their aesthetic ability through aesthetic activities, and thus establish a correct view of life.
6
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.
7
Barry, Charlotte D. "Uncovering Meaning Through the Aesthetic Turn: A Pedagogy of Caring." International Journal of Human Caring 12, no. 2 (March 2008): 19–23. http://dx.doi.org/10.20467/1091-5710.12.2.19.
Abstract:
The purpose of this paper is to describe a pedagogical approach to uncovering meaning in narratives of nursing practice through the natural turn to the aesthetic. Nurses in practice, accustomed to moving at warp speed, often come back to graduate programs seeking another way of being. The pedagogical challenge for faculty is to provide an opening for students to slow down and to find meaning in their nursing. The challenge for students is to experience new ways of being. Aesthetics is the realm of opening in which students can fully engage in valuing meaning and connecting to their core beliefs.
8
Sang, Fade, and Yuan Xu. "Research on the Current Situation and Improvement Strategies of Aesthetic Education in Music Classrooms in Primary and Secondary Schools in China." Modern Economics & Management Forum 3, no. 1 (February 15, 2022): 14. http://dx.doi.org/10.32629/memf.v3i1.648.
Abstract:
The development of society requires higher and higher quality of talents, and the demand for comprehensive literacy talents keeps rising. And using music aesthetic education as a means to continuously improve the music aesthetic quality of a new generation of young people and establish the concept of music aesthetics is an important entry point to improve the quality of all people. The teaching of music in primary and secondary schools should take aesthetic education as the core, and improve the quality of music teaching as the key, and gradually take correct art and music aesthetics as the way to learn, and apply the knowledge learned to life and their own improvement and development, so as to realize the beautiful ideal of harmonious and stable development of human society. This is the need for aesthetic education, and it is an issue that should be at the heart of the current situation. Aesthetic education is a cross-cutting discipline between art and education, and it plays an important role in building an education system for comprehensive training, forming a noble sentiment and a sound personality in students, and promoting the improvement of aesthetic ability in music.
9
Yang, Yanyu. "Research on Orff Music Teaching Model based on the Cultivation of Students' Aesthetic Ability." BCP Education & Psychology 10 (August 16, 2023): 50–54. http://dx.doi.org/10.54691/bcpep.v10i.5199.
Abstract:
The core idea of Orff's music education system is localization, original nature and practicality. It is a kind of music that people must participate in, that is, people participate in it not as listeners, but as performers. Its purpose is to stimulate the vitality of every participant. Music education, fundamentally speaking, is the education of artistic aesthetics, not a pure skill training. Aesthetics is a kind of perceptual knowledge and a universal emotional need of human beings. People understand and observe the object world through images in aesthetic activities. In order to cultivate students' aesthetic ability and grasp the main line of aesthetic experience, aesthetic experience must be regarded as the most important value of music education. By studying Orff's music teaching mode based on the cultivation of students' aesthetic ability, this paper explores how to apply effective strategies such as rhythm reading in singing course, trying basic movements in rhythm teaching and using Orff instruments in appreciation class, so that students can integrate into and enjoy music class through various means and effective forms. Excavate students' inner needs and interests, and form musical aesthetic ability.
10
Zhihong Li, Yanhui Wang, and Fanjun Meng. "Aesthetic Cognitive Module Theory: A Core Structure." Journal of Aesthetic Education 52, no. 2 (2018): 71. http://dx.doi.org/10.5406/jaesteduc.52.2.0071.
11
Sernelj, Téa. "Different Approaches to Modern Art and Society: Li Zehou versus Xu Fuguan." Asian Studies 8, no. 1 (January 10, 2020): 77–98. http://dx.doi.org/10.4312/as.2020.8.1.77-98.
Abstract:
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.
12
Veale, David M., and Christina Lambrou. "The Importance of Aesthetics in Body Dysmorphic Disorder." CNS Spectrums 7, no. 6 (June 2002): 429–31. http://dx.doi.org/10.1017/s1092852900017922.
Abstract:
ABSTRACTIt is hypothesized that body dysmorphic disorder (BDD) patients are firstly more “aesthetical,” an attribute much like being musical, which varies between different individuals. This results in a greater emotional response to more attractive individuals and placing greater value on the importance of appearance in their identity compared with healthy individuals. Some BDD patients may have greater aesthetic perceptual skills. This is manifested in their education or training in art and design. Secondly, BDD patients may have higher aesthetic standards than the rest of the population. Their failure to achieve an unrealistic aesthetic standard is at the core of BDD, leading to severe distress and handicap.
13
Varandas, Maria José. "Estética Natural e Ética Ambiental, Que Relação?" Philosophica: International Journal for the History of Philosophy 20, no. 39 (2012): 131–39. http://dx.doi.org/10.5840/philosophica201220398.
Abstract:
This paper defends that environmental aesthetics provides a consistent basis for environmental philosophy, whereas aesthetic value plays an important role in the defense and preservation of natural areas. For several environmental philosophers the natural beauty is an inherent part of the ethical concern. Leopold States that “a thing is right when it tends to preserve the integrity, the balance and the beauty of the biotic community”. Notwithstanding, aesthetic value is still not a central issue in the environmental debate. On the other hand, the “positive aesthetics” (Allen Carlson), which is a recent approach that reevaluates “positively” natural beauty in the ethical context, obtains a core of objections. This paper sketches a few arguments defending the contiguity between environmental aesthetics and environmental ethics: (i) the emotional perception of inclusiveness and engagement on the aesthetics appreciation of nature; (ii) the feelings of grace and love to ward nature inherent to the nature’s aesthetic appreciation which according Kant announces the moral feeling; (iii) the ecological knowledge of natural beauty in order to understand the full meaning of it, and that includes some natural entities seen as not beautiful.
14
Pensky, Max. "Natural History and Aesthetic Truth in Aesthetic Theory." New German Critique 48, no. 2 (August 1, 2021): 23–41. http://dx.doi.org/10.1215/0094033x-8989218.
Abstract:
Abstract Theodor W. Adorno’s claim in Aesthetic Theory that artworks have a truth content, and that this truth content in turn depends on philosophical interpretation, is among the work’s most challenging and obscure claims. This article argues that “The Idea of Natural History,” Adorno’s lecture dating to 1932, offers important resources for interpreting the claim of art’s truth content. Reading the lecture’s core idea of transience, the article proposes that the form of philosophical interpretation Adorno develops there illuminates one way to clarify what Adorno means, in Aesthetic Theory, by the interpretation of art’s truth content. While far from definitive, this conclusion does support interpretations of art’s truth content that foreground art’s function as a critique of ideology, that is, of having a field of application that moves beyond the sphere of the aesthetic and toward the disclosure of conditions of social domination.
15
Jeong, Kyung-Chul. "A Study on Emotions Expressed in the Aesthetics of the Mind." Korean Association of General Education 16, no. 3 (June 30, 2022): 223–38. http://dx.doi.org/10.46392/kjge.2022.16.3.223.
Abstract:
This study is to examine whether the feelings of joy, anger, sadness, and joy were expressed as the aesthetics of the mind by approaching Wang Yangming's aesthetics as a category of art education. To this end, art classes were applied to art majors at universities, and through the analysis criteria for works, students' understanding of the aesthetics of the mind and whether originality, the core of the aesthetics of the mind, was expressed as a level of painting. As a result, it was confirmed that various elements of action originated from the intuitive mind, and aesthetic objects and aesthetic interests interact to diagnose the inner world and to be self-sufficient by the action of the body of the mind, resulting in original and unique aesthetics, that is, strange aesthetics. In addition, it is possible to confirm the establishment of subjectivity, practical, reflective, and self-reflection that one realizes and obtains through internal awareness according to the main body of the mind. The aesthetics of the mind can be said to be the most basic major concept to be recognized in art education. The aesthetic value of the mind is moral, practical, and self-sufficient education, and it can be confirmed that their mutual relationship can be linked to the emotion of art education. Therefore, Wang Yangming's aesthetic of mind can be said to be an educational philosophy suitable for basic education in the present era, which is being transitioned to a value-respecting society. In addition, all emotions expressed from the heart are a source of creativity, suggesting the possibility that they can be linked to the orientation of basic education in art and to liberal arts or aesthetic education.
16
Wimmer, Lena, Ursula Christmann, and Elisabeth Ihmels. "Non-conventional figurative language as aesthetics of everyday communication." Metaphor and the Social World 6, no. 2 (October 14, 2016): 243–75. http://dx.doi.org/10.1075/msw.6.2.04wim.
Abstract:
This study focuses on the emotional aesthetic appreciation of figurative language, a dimension which has often been neglected in experimental psycholinguistics. Our goal was to demonstrate that non-conventional figurative utterances are evaluated as more aesthetically pleasing although they are cognitively more demanding than conventional rhetorical figures. This hypothesis was tested for three main types of figurative language (metaphors, irony and idioms) in three separate surveys. Participants assessed utterances by means of a questionnaire which comprised several semantic differential items. The postulated covariation of non-conventionality and cognitive effort as well as of non-conventionality and aesthetics could be clearly established for metaphors and for irony. For idioms we could only partially provide this evidence. However, in a combined sample for all figurative language forms (compiled from the three studies) the main hypothesis was again confirmed. Thus, the results demonstrate that non-conventional variants of figurative language must be considered as the core of figurative aesthetics. Furthermore, our exploratory data gave evidence of an aesthetic paradox: the cognitive costs of understanding conventional figurative language reduce aesthetic pleasure, while in the case of non-conventional rhetoric figures the enhanced cognitive effort is accompanied by an increase in aesthetic pleasure.
17
Zhao, Ruyu. "Liminal Space Theory." Advances in Engineering Technology Research 9, no. 1 (December 22, 2023): 14. http://dx.doi.org/10.56028/aetr.9.1.14.2024.
Abstract:
Liminal space art, which has spread rapidly in recent years, is a branch of the subcultural aesthetic genre and has gradually derived artistic styles such as dream core, weird core, and trauma core. Under the interweaving and collision of various artistic styles, this subcultural aesthetic genre gradually formed its own unique artistic language and expression. In today's highly industrialized and rapidly modernizing society, people's nostalgia for the past and concerns about the future are the core concerns of liminal space art. The influence of liminal space art is not limited to the art circle. It has gradually become a cultural phenomenon, affecting the aesthetic concepts and life attitudes of many young people.
18
Ju, DaeChang. "Contemporary Perspectives on Schiller’s Aesthetic Education in Terms of Core Competence Education." Korean Society of Music Education Technology 30 (January 16, 2017): 201–16. http://dx.doi.org/10.30832/jems.2017.30.201.
Abstract:
Aesthetic education is essential also in contemporary music education because music education these days comes into action by providing effective musical experience to cultivate core competences which seem to be related to the musical beauty. However it is still not clear in the modern music educational field to confirm what is the original intention of core competence education. Even aesthetic education in the school music education is one of hot issues to promote converging competences of students which aim for the future society. The purpose of this study is to highlight the relationship between core competences in the new 2015 curriculum for music class and philosophical frames of Schiller’s aesthetic education who was the inventor of this term ‘aesthetic education’. His idea on aesthetic education was founded on the concept to develope the sound society by means of sound individuals. Accordingly today’s music education in school should not rely on instructing only musical ability but go forward to make progress for aesthetic education that enhances a bond of social sympathy resulted from individual freedom.
19
Mankovskaya, Nadezda Borisovna. "The Man of Action of French Romanticism. Aesthetic Views of Victor Hugo and their Embodiment in Poetry and Dramaturgy." Культура и искусство, no. 8 (August 2023): 50–73. http://dx.doi.org/10.7256/2454-0625.2023.8.39409.
Abstract:
The subject of the study is the fundamental philosophical and aesthetic problems in the romantic aesthetics of one of its leaders in France - Victor Hugo. The evolution of his aesthetic views is traced - from adherence to the aesthetics of classicism and royalist views to the established theory and artistic practice of romanticism, colored with democratic pathos. The core of Hugo's aesthetics is revealed - the original concept of the grotesque, which has found a convincing embodiment in his poetry, drama, historical novels. Such main themes as the correlation of the tragic and the comic, the beautiful and the ugly, the sublime and the base, content and form, freedom and order, historical truth and fiction in art, romantic symbolization in the context of the formation of the concept of the artistic essence of romanticism by Hugo are considered. The features of his artistic and aesthetic concept related to the national specifics of art, local color, the problems of artistic taste, inspiration, imagination, aesthetic pleasure, artistic style, genius, talent are analyzed. The main conclusion of the study is the conclusion that all these topics form the basis of Hugo's judgments about the nature of romantic drama as the pinnacle of 19th century poetry and its differences from classic tragedy. The multidimensional nature of this study predetermined the use of a number of methodological approaches: philosophical and aesthetic approach, art history analysis, comparative, interdisciplinary methods. The author's special contribution lies in the fact that the study of Hugo's aesthetic theory and artistic practice is based on original material. The article provides a comparative analysis of the embodiment of Hugo's aesthetic views in various types and genres of art. Such a study was undertaken for the first time in domestic science.
20
László, János, Orsolya Vincze, and Ildikó Kõváriné Somogyvári. "Representation of National Identity in Successful Historical Novels." Empirical Studies of the Arts 21, no. 1 (January 2003): 69–80. http://dx.doi.org/10.2190/n1b0-1t7t-98pj-grq9.
Abstract:
Study of aesthetic success is one of the core topics in empirical aesthetics (Martindale, 1990; Petrov, 1992; Simonton, 1986). Instead of going into complexities of what makes aesthetic objects permanently or temporarily successful, this study outlines a hypothesis which, in accord with Vygotsky (1971), claims that aesthetic success partly depends on the object's capacity of fulfilling social needs. More specifically, it is assumed that successful historical novels represent an almost ritual history of a national group in a subtle way, thereby providing generations of their readers with historical continuity and a sense of positive identity. By analyzing the two most successful Hungarian historical novels, the study identifies social psychological patterns of narrative composition, which seem to be more or less general at least for Western civilization. Results also reflect some idealized features of the Hungarian national identity.
21
Xu, Jieyu, Ziqing Lv, and Yixuan Lai. "Research on the Development of Contemporary Jingdezhen Carved Floral Techniques." Yixin Publisher 2, no. 2 (April 30, 2024): 69–76. http://dx.doi.org/10.59825/jhss.2024.2.2.69.
Abstract:
This article analyzes the development context, technological changes, and aesthetic forms of contemporary Jingdezhen carved flowers, and explores their current development status. The interactive relationship formed between technology and aesthetics reflects the integration of other fields with ceramic art, as well as the inheritance and innovative forms of carved flowers. Through comparative analysis of technology and art, the article proposes an innovative path for carved flowers with aesthetics and materials as the core and inheritance and introspection as the soul.
22
Hansen, Jannik M., and Tone Roald. "Aesthetic Empathy: An Investigation in Phenomenological Psychology of Visual Art Experiences." Journal of Phenomenological Psychology 53, no. 1 (June 17, 2022): 25–50. http://dx.doi.org/10.1163/15691624-20221397.
Abstract:
Abstract Empathy is a psychologically significant phenomenon. It plays a key role in the development of the self, sociality, and prosocial behaviour. The term empathy originated in 19th-century aesthetics, where the concept was seen as an explanation for aesthetic experience. Despite renewed interest in the relation between empathy and aesthetic experiences, investigations into how empathy shapes experiences of art are still scarce. Given this situation, we ask the following three questions: What does one experience when experiencing a work of art empathetically? What is given during such moments? How is consciousness structured in aesthetic empathetic experience? To answer these questions, we analysed five different experiences with visual art using a phenomenological psychological methodology. We found that a complexity of psychologically significant meaning arises from the empathic experience of art. The core aspects of this meaning are captured in a structure incorporating experience of a foreign subjective sense, reliving and affective adherence, interiorisation, pleasure in sharing, and affective understanding. Based on this structure, we argue that aesthetic empathy features a sense of otherness to a degree not previously recognised and that aesthetic empathy is an inherently intersubjective experience in which the spectator is invited to participate and share feelings expressed in the work of art in moments of aesthetic presence.
23
Gawryszewska, Beata Joanna, Maciej Łepkowski, Łukasz Pietrych, Anna Wilczyńska, and Piotr Archiciński. "The Structure of Beauty: Informal Green Spaces in Their Users’ Eyes." Sustainability 16, no. 4 (February 15, 2024): 1619. http://dx.doi.org/10.3390/su16041619.
Abstract:
Informal Green Spaces (IGS) in towns and cities are areas of varied appearance, representing a wide range of aesthetic values. In this study, we have focused on how users perceive such space and which elements match some particular values. Based on the analysis of photographic images taken by chosen IGS visitors, the technique called Visitor-Employed Photography (VEP), we elicited three primary groups of IGS images, namely landscape, scenery, and special elements. It is possible to define several visual structures in each category, with highly preferable spatial fragments and particular attributes. They are aesthetic prototypes, centers of aesthetic preferences among users of informal green areas. Recognizing proximity to the preference core allows us to define the preferred IGS landscape aesthetics. Based on the data collected, we have concluded that IGS users prefer vast grass areas, dense groups of trees and shrubs, water, and the absence of anthropogenic elements.
24
Zhou, Xing. "The Current Problems of Aesthetic Creation in Chinese Film Art." Journal of Chinese Film Studies 1, no. 2 (November 1, 2021): 355–76. http://dx.doi.org/10.1515/jcfs-2021-0031.
Abstract:
Abstract Current market-led Chinese film production has made huge achievements. Market indicators certainly have their validity. However, the power of the market has been exaggerated so that it controls everything. Because of the disregard of film as an aesthetic object, the content, form and aesthetic sensibility of films have been neglected, preventing creation at a higher level. The loss of multiple cultural identities due to market factors and artistic indifference is hardly sustainable in the long run. In recent years, Chinese films have gradually improved their artistic aesthetics. How to reasonably coordinate the market and the realization of the value of art and culture itself is an urgent problem to be solved. Firstly, Chinese films should have creative imagination; secondly, Chinese films should have the artistic expression of the national core value of heroism; thirdly, Chinese films should have meticulous depictions of people. Under the perspective of aesthetic appreciation, it is a top priority for Chinese films to be more in line with reality and traditional aesthetic culture, and be more characterized in their creation.
25
BARBOSA, Isabel Ferreira, Ericles OTÁVIO, Livia Rodrigues MENEZES, Fernanda Signorelli CALLAZANS, and Mauro Sayão MIRANDA. "Aesthetic solution for ceramic restoration on cast metal core." Rio de Janeiro Dental Journal (Revista Científica do CRO-RJ) 4, no. 1 (2019): 97–101. http://dx.doi.org/10.29327/24816.4.1-16.
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N, Dr Vatsala, Dr Reshma Dodwad, Dr Priya Nagar, Dr Richa Lakhotia, and Dr Anisha Jenny. "Dentin Opaquer: A Pediatric Aesthetic Enhancement Technique." RGUHS Journal of Dental Sciences 13 (2021): 60–65. http://dx.doi.org/10.26715/rjds.13_2_10.
Abstract:
Introduction: Early childhood caries in young children can be initial dental caries and caries involving most of the tooth structure resulting in pulpal involvement causing loss of tooth structure. There is a need for tooth restoration for functional and aesthetic reasons. Dentine opaquer can be used to fulfill both the criteria. Aim: The aim was to determine the efficacy of dentine opaquer to mask the underlying color of caries treated with restorative material and omega metal post after pulpectomy. Methods: A report of 2 cases performed in the Department of Pediatric and Preventive Dentistry in, Krishnadevaraya College of Dental Sciences and Hospital Bangalore. Two different treatments using dentine opaquer as the restorative material and as core buildup over glass ionomer cement were performed. Results: Both the cases showed favorable outcomes and better masking efficiency of dentine opaquer as restorative material and core build up material over glass ionomer cement. Conclusions: Dentine opaquer is a composite with a compatible shade and better retention on the tooth surface, as core build up material and along with omega loop demonstrated adequate retention, was easy to administer as a chair side technique and resulted in least resistant masticatory forces.
27
Prakash, Praseera, Rohit Raghavan, and Shajahan P A. "Aesthetic post materials for restoration of endodontically treated teeth-A review." IP Annals of Prosthodontics and Restorative Dentistry 8, no. 3 (September 15, 2022): 132–36. http://dx.doi.org/10.18231/j.aprd.2022.027.
Abstract:
Posts are fabricated for the purpose of retaining the restoration in cases where the coronal structure is inadequate. They strengthen the endodontically treated teeth. Metallic posts being rigid compared to the tooth structure limits its use. Post and core systems available nowadays permits the restoration of endodontically treated teeth aethetically. Features like light transmission, biocompatibility are improved with the metal free posts unlike metal posts To improve aesthetics, physical properties, biocompatibility, various aesthetic posts have been introduced and is also available in the market.
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Špehar, Davor, and Marko Jakovac. "Clinical Evaluation of Reduced-Thickness Monolithic Lithium-Disilicate Crowns: One-Year Follow-Up Results." Processes 9, no. 12 (November 25, 2021): 2119. http://dx.doi.org/10.3390/pr9122119.
Abstract:
Purpose: The purpose of this in vivo study was to investigate whether the less invasive approach (reduced thickness of the restoration) will result in a comparable risk of failure and similar aesthetic results, compared to conventional layered full porcelain crowns, and can, therefore, be used as a good alternative. Material and Methods: The tested ceramic was lithium-disilicate ceramic (IPS e.max). Forty-four patients with endodontically treated premolars or molars were randomized into two groups and provided with single crowns. One group received conventional all-ceramic crowns made from a lithium-disilicate core and hand-veneered aesthetic ceramic, while another group received full-contoured lithium-disilicate ceramic crowns with reduced wall thickness than manufactures recommendations. The teeth for conventional crowns were prepared with 1 mm rounded shoulder and 2 mm occlusal reduction, while teeth for monolithic crowns were prepared with 0.6 mm wide rounded shoulder and 1 mm occlusal reduction. All crowns were prepared by the same clinician and manufactured in the same laboratory by the same technician. The survival and aesthetics of the crowns were assessed by the independent clinician. Apart from this, patients’ aesthetic satisfaction was evaluated. The assessment was double blind as both the examiner and the patients did not know which type of crown was provided. The observation period was 36 months. Survival of the crowns was assessed using the modified United States Public Health Service (USPHS) criteria and aesthetics and participants’ aesthetic satisfaction with the crowns was evaluated using a visual analogue scale. Results: The one-year survival rate for layered crowns was 100% and for monolithic crowns 95.5%. The median patients’ aesthetic satisfaction with both crowns was 100%. Conclusions: The results indicate similar one-year survival rate of reduced-thickness monolithic lithium-disilicate crowns and conventional veneered crowns. Differences with patients’ satisfaction with the aesthetics of both crowns were not statistically significant and it can be said that the patients’ aesthetic satisfaction was the same for both crowns.
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Ravnløkke, Louise, and Ulla Ræbild. "Design for circularity through Aesthetic Surgery." International Journal of Sustainable Fashion & Textiles 1, no. 2 (October 1, 2022): 223–48. http://dx.doi.org/10.1386/sft_0012_1.
Abstract:
This article introduces the term Aesthetic Surgery as a strategy for the designer to contribute to circular economy. Our aim is to discuss this strategy as a way for designers to employ their core competencies to create and innovate the potential of irrelevant materials (waste) through aesthetic means and a material-driven design process. We argue that designers have the skills and experience to seek opportunities in unwanted materials and keep them in a loop of relevance and at a high value. In recent years, mechanical recycling has been gaining footing in the industry. Recycling has, therefore, primarily been concerned with material recovery at fibre level. This can appear to be an easy way to continue business as usual. Yet, this approach is not suitable for all types of materials and material blends and requires further innovation to develop solutions for these situations. Furthermore, these recycling methods use external resources in the process of bringing the material to a point zero and do not utilize the existing parts, components and material qualities. At the same time, sustainable transition requires a break with traditions of large volume productions and fast fashion. Therefore, we argue that we need to broaden the understanding and perspective of recycling and upcycling. The research presented in this article explores fashion and textiles methods of working with aesthetics by proposing Aesthetic Surgery as a material-driven design strategy for recycling and upcycling. Working with aesthetics is well known as a powerful means to create desires and spark imaginations, in this article we suggest turning the attention towards these powerful aesthetic competencies to substantiate the potential of irrelevant (waste) materials. The discussion emerging from this practice-based research offers the potential to further explore the possibilities in design for circularity through an Aesthetic Surgery strategy which may empower designers to contribute to circular economy.
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Xing, Wan. "The Aesthetics of Temple Gardens: Research on the Application of Zen Philosophical Principles in the Design of Zen-inspired Landscapes." Journal of Social Science Humanities and Literature 7, no. 2 (April 25, 2024): 100–111. http://dx.doi.org/10.53469/jsshl.2024.07(02).12.
Abstract:
The study of Zen aesthetics within temple garden design initiates with an exploration of the spatial configurations of traditional Chinese temple gardens. It delves into the origins and concepts of Zen-inspired landscapes, summarizing the elements and techniques of landscape design drawn from real-world temple examples and historical texts. Furthermore, the integration of Zen philosophical thoughts and aesthetics into these landscapes is examined, with a particular focus on the strategic placement of plants and the employment of core aesthetic principles. This analysis sheds light on the embedded Buddhist cultural themes, offering practical recommendations for crafting Zen-inspired landscapes.
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Mankovskaya, Nadezda Borisovna. "Two-faced Janus of early French romanticism: Pierre Simon Ballanche as an esthetician and writer." Философия и культура, no. 1 (January 2024): 45–63. http://dx.doi.org/10.7256/2454-0757.2024.1.68938.
Abstract:
The subject of the study is the fundamental philosophical and aesthetic problems in the aesthetics of Pierre Simon Ballanche, who stood at the origins of French romanticism. Two layers of his creativity - explicit and implicit - have been identified and analyzed. It is shown that his ideas about the art of romanticism are verbalized in a strict academic style. The implicit layer, is associated with Ballanche’s artistic prose. It includes philosophical and aesthetic poems, testifying the originality of his aesthetic position. Unlike most French romantics, who distance themselves from ancient culture as pagan in favor of Christianity and medieval art, Ballanche, in his talented paraphrases of mythological stories, romanticizes Antiquity, finding in it the beginnings of future Christian ideas of sublime love, mercy, sacrifice, beauty and goodness. The main conclusion of the study is the conclusion that art, according to Ballanche, plays a leading civilizational role in the cosmogonic-historical process. The core of Ballanche's implicit philosophical aesthetics is revealed - the original concept of palingenesis, interpreted by the author as a radical degeneration of the world for the sake of its future revival; it is precisely this stage of cultural and historical development that, in his opinion, marks romanticism. The author's special contribution lies in introducing into domestic scientific circulation, translated into Russian for the first time and analyzed the philosophical and aesthetic poems “Antigone”, “The Man with No Name”, “The Experience of Social Palingenesis. Orpheus".
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Ma, Shan. "The treatment of Taoist terms in Chinese-English dictionaries: a study based on Frame Semantics." Lexicographica 36, no. 1 (November 25, 2020): 89–107. http://dx.doi.org/10.1515/lex-2020-0005.
Abstract:
AbstractThis study argues for a frame semantic approach to the treatment of Taoist terms, which are Chinese culture-specific. It takes three Taoist aesthetic terms 虚(xu), 无(wu) and 静(jing) as a case study to explore how Chinese-English dictionaries can make use of semantic frames in the treatment of Taoist terms. As the study shows, a Taoist-aesthetics frame can be constructed in comparison with the Aestheticsframe in FrameNet. When treating Taoist terms, the core frame element “Entity” facilitates the meaning explanation by making the terms more intelligible. The non-core frame element “Circumstances” should be highlighted as it helps the dictionary to provide a more accurate definition of Taoist terms.
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Hasan, Hasibul, Kasi Hasinur Rahman, Shamim Sultana, Md Mahfuzur Rahman, and Md Shasul Alam. "A vivo study on dowel crown with more aesthetic and healthy Fiber Reinforced Composite post system." City Dental College Journal 9, no. 1 (September 7, 2012): 15–18. http://dx.doi.org/10.3329/cdcj.v9i1.11832.
Abstract:
Statement of problem. Patients having grossly carious teeth with broken down crown are needed to be restored with post & core after endodontic treatment. Root canal posts are widely used & come in a variety of metals & forms. However, cast metal posts, although better than other post & core systems, still possess some disadvantages, like corrosion & discoloration at the gingival margin of the treated tooth & cause aesthetic problem. These problems are overcome with the recently introduced post & core material. The fiber reinforced composite post & core material is a superior & efficient alternative to cast post. Purpose. The purpose of this study was to investigate the success of fiber reinforced composite post & core system over conventional metallic system in regards of corrosion & discoloration resistance with periodontal condition on post treated tooth. Materials & Methods. This was a prospective study, conducted in the department of Conservative Dentistry & Endodontics, B.S.M.M.U. 40 patients were purposively selected who attended in this department with grossly carious teeth with badly broken crown without apical infection as the subject of this study & divided in two groups. 20 patients were included in group A as case subjects & they were treated with fiber reinforced post & core system. 20 patients were included in group B as control subjects. They were treated with conventional cast metallic post & core system. After twelve months, recorded data were compiled on a master chart and statistically analyzed. Chisquare test and t-test (unpaired) were done for statistical significance (P<0.05). Results. Very highly significant difference (p<.001) was observed between the groups in the evaluation of resistance to corrosion & discoloration, there were no significant difference (p>.05) in periodontal evaluation Conclusion. This study revealed that fiber reinforced composite post & core system can overcome the problems faced by the metallic post & core system. So it can be concluded that fiber reinforced composite post & core system can be a promising alternative in comparison to metallic post & core system.DOI: http://dx.doi.org/10.3329/cdcj.v9i1.11832 City Dental College Journal Vol.9(1) 2012 15-18
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Zusne, Leonard. "Cognitions in Consonance." Perceptual and Motor Skills 62, no. 2 (April 1986): 531–39. http://dx.doi.org/10.2466/pms.1986.62.2.531.
Abstract:
A reconceptualization of some of the ideas associated with the aesthetic experience is proposed. The problems that arise in defining the terms ‘beautiful’ and ‘perfect’ may be overcome by substituting the term ‘fittingness.’ The core of the aesthetic experience is the experience of some degree of fit between the specimen (the aesthetic object or event) and the corresponding standard. The degree of fit determines the intensity of the experience. The essential element of the aesthetic experience is the process of collation between specimen and standard, but the nature of the experience must be sought in the realm of motivation. To every instance of an extrinsive motive that begins with a deficiency, stimulation, or conflict and ends in homeostasis, there corresponds an intrinsic motive that is self-reinforcing. Cognitive conflicts lead to cognitive dissonance, and cognitive equilibrium is achieved by various cognitive means. There is also a state of cognitive consonance, which is sought for its own sake. The aesthetic experience is the experience of cognitive reinforcement that occurs upon the realization that the aesthetic specimen approximates or fits the model of perfection currently held by the individual. This reinforcing experience of cognitive consonance is the core of the aesthetic experience. This view is compared with Berlyne's theory.
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Adal, Raja. "Japan's Bifurcated Modernity." Theory, Culture & Society 26, no. 2-3 (March 2009): 233–47. http://dx.doi.org/10.1177/0263276409103127.
Abstract:
Interwar Japan saw the rise of a generation of intellectuals, bureaucrats, and educators who were uneasy about modern life. One expression of this malaise was the introduction of calligraphy in the 1941 and 1943 school curricula. Calligraphy injected aesthetics into writing education. Yet it also compromised the speed and efficiency of writing, which lay at the core of Japan's system of modern education. The solution was to teach writing twice, once as an art in the `art section' and once as a functional skill in the `language section'. As an art, writing was a means to cultivate the spirit, discipline the body, escape from the calculated logic of linear time and produce an aesthetic epiphany. As a functional tool, it was a skill for keeping pace with the demands of the modern world by communicating meaning quickly and efficiently. Bureaucrats and educators from 1941 were thus simultaneously engaged in the task of overcoming modernity on the one hand and of instilling proficiency in modern life on the other. This duality of the word as a functional code for transmitting meaning and the word as an aesthetic form both echoed and shaped the double nature of Japan's modernity.
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Brattico, Elvira, and Ulrika Varankaitė. "Aesthetic empowerment through music." Musicae Scientiae 23, no. 3 (July 20, 2019): 285–303. http://dx.doi.org/10.1177/1029864919850606.
Abstract:
This article describes how aesthetic enjoyment accompanying musical activities can empower individuals in health and disease. First, we explain the biological determinants of music enjoyment and how they can be studied. In doing so, we distinguish between core sensory pleasure and conscious liking, and we illustrate their respective contributions to aesthetic appreciation and expressive interaction with music. Second, we review findings illustrating the long-term impact of listening to favourite music on the brains of healthy musicians as well as on the brains and behaviour of individuals with pathological symptoms. Based on these findings, we propose a set of putative neural mechanisms underlying aesthetic empowerment through music. We also emphasize the importance of considering individual differences in sensitivity to aesthetic experiences of music, as evidenced, for instance, by neuroimaging and imaging genetics studies, drawing the connections between dopamine neurotransmission and dopaminergic genes with the reactivity of music–brain functions.
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Tortopidis, Dimitrios, Stefanos Kourtis, and Konstantinos Kountouras. "Restoration of Endodontically Treated Anterior Teeth with Cast Metallic Post or Prefabricated Fibre Post Placement: 2 Case Reports and Critical Literature Review." Balkan Journal of Dental Medicine 19, no. 2 (July 1, 2015): 86–91. http://dx.doi.org/10.1515/bjdm-2015-0040.
Abstract:
SUMMARYWith a wide variety of post systems and materials available for the restoration of lost tooth structure of endodontically treated teeth, the clinical decision of which to use constitutes a challenge to dental practitioners. Cast metal post and cores are widely used for restoring endodontically treated teeth with extensive loss of coronal tooth structure and to retain metal-ceramic crowns. When dental aesthetics is of primary concern, the selection of the underlying restorative material becomes an important factor to consider. The fibre-reinforced posts combined with all-ceramic crowns offer a highly aesthetic outcome in anterior region restorations, but longterm evaluation is necessary in order to assess their clinical performance and longevity.The purpose of this paper was to present and compare 2 restorative options with regard to materials (cast metallic post and core versus prefabricated fibre post and composite resin core) for the prosthetic rehabilitation of cases with inadequate aesthetic appearance or fractured maxillary anterior teeth. Furthermore, the article reviews the main indications, advantages, and disadvantages from the use of the 2 post types combined with the final restorations, in order to allow the dental practitioner make the selection of appropriate restorative materials.
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Heimer, Astrid Maria. "The role of aesthetics in design education." Techne serien - Forskning i slöjdpedagogik och slöjdvetenskap 30, no. 1 (March 8, 2023): 31–45. http://dx.doi.org/10.7577/technea.5259.
Abstract:
Design education has undergone transformations over time, although less emphasis has been placed on developing core areas such as form and aesthetics. Learning processes in design education are creative and comprehensive, but to an extent, learning has become a mission with a large focus on relevance and societal benefits. The designer’s role has become somewhat more instrumental, and designers’ function more often as facilitators than creators. Nevertheless, form and aesthetics are important competences that enable students to work creatively with both processes and results. As creators, design students need to develop their personal comprehension of forms and aesthetic expressions. This article demonstrates how aesthetics are activated through assignments and exercises that leverage awareness and experiences of concrete forms and abstractions. The assignments and exercises were given to bachelor’s degree and master’s degree students in Product Design at Oslo Metropolitan University, Norway, and to students from all levels (bachelor’s, master’s and PhD) at UNESP, Bauru in Brazil. Aesthetic awareness relates to perception and abstract form principles demonstrated through assignments and exercises, including various dramaturgies, results, and reflections. Examples demonstrate how haptic experiences change the way students perceive forms and spaces, particularly when the visual senses are muted or removed. Based on the students’ reflections and the results of the exercises, knowledge achieved through their explorations is equally valuable beyond the actual properties of forms and the engagement of personal affect from the creative processes.Keywords: aesthetic awareness, abstraction, comprehension of form, creativity, design education
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Consoli, Gianluca. "Predictive Error Reduction and the Twofold Nature of Aesthetic Pleasure." Art and Perception 4, no. 4 (January 24, 2016): 327–38. http://dx.doi.org/10.1163/22134913-00002058.
Abstract:
Recently, the predictive coding account of perceptual inference has been extended to visual aesthetic experience, in particular to the experience enabled by artworks that challenge habitual predictions and ordinary perceptual routines. By virtue of its dynamical approaches, the predictive coding account of visual art catches aesthetic perception and evaluation as a complex dynamics of intertwined perpetual, affective and cognitive processes. On the basis of some of the most relevant findings of these dynamical approaches, I argue that aesthetic pleasure has a complex and original nature, something akin to a twofold nature. Specifically, I argue that aesthetic pleasure is twofold from different points of view: (a) it represents the connection of two very different functions, namely anticipation and reaction; (b) its different forms share a specific common core; however, this common core can be instantiated by very different functional relationships of causes and effects; (c) aesthetic pleasure represents a positive affective appraisal accompanying first-order elaboration, but it can also co-activate negative subjective experience, mixing together positive and negative affect.
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Mescherina, E. G. "THE AESTHETIC CONCEPT OF V. V. STASOV: NATIONAL AND HISTORICAL IN ART (to the 200th anniversary of his birth)." Intellect. Innovations. Investments, no. 1 (2024): 11–18. http://dx.doi.org/10.25198/2077-7175-2024-1-11.
Abstract:
The article attempts to present in a holistic form the aesthetic views of one of the central figures of Russian culture and aesthetics of the mid and second half of the 19th century – Vladimir Vasilyevich Stasov, whose views on the fundamentals of the development of art and artistic culture in general are relevant at the present time. In connection with the task, the concepts of nationality, historicism and nationality in art, which form the core and main line of development of Stasov’s aesthetic thought, come to the fore. At the same time, the unity of the theoretical attitudes of Stasov, who has enormous erudition in the field of both ancient and modern art, with his extensive practical activities as a music and art critic, responding to all significant events of cultural life, is emphasized. Based on the analysis of Stasov’s colossal critical and epistolary heritage, a general description of his aesthetic position is given, combining a democratic approach to understanding nationality, historicism as a support for the visual brightness of the national character, along with the elaboration of those shortcomings that are associated with the embodiment of these principles in art (“official” , “artificial” pseudo-nationality, stylizations - rough and refined, direct transfer of old outdated forms into modernity). The comparative historical method used in the study is represented mainly by analogies, as well as a statement of the existing differences in the cultural and aesthetic concepts of Stasov and the writer and philosopher, author of the famous «Russian Nights» V.F. Odoevsky. In this vein, the problem of Stasov’s influence on the aesthetics of the Balakirev circle in the field of music and the principles of social service, realism and nationality in the art of the «Itinerants» in painting are touched upon. The peculiarity of the article is that it is based to a large extent on rare sources – lifetime journal publications and the publication of Stasov’s collected works of the late 19th century.
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Vijayakumaran, Jana. "Colossal Scrawls and Divine Naughts: Images of Formlessness in Gottfried Keller’s Der grüne Heinrich and Robert Walser’s Jakob von Gunten." arcadia 58, no. 1 (June 1, 2023): 52–68. http://dx.doi.org/10.1515/arcadia-2023-2010.
Abstract:
Abstract In Robert Walser’s novel Jakob von Gunten (1909), a specific metanarrative revolves around the long-standing opposition between form and formlessness. This metanarrative redefines the ill-reputed non-form, establishing it as the core of aesthetic and linguistic productivity. At the same time, it provides insights into the literary precursors and theoretical contexts that reverberate throughout the novel. Literary resonances include Gottfried Keller’s canonical work Der grüne Heinrich, whose images of formlessness are adapted and transformed in Jakob von Gunten. On a theoretical level, it is a contemporary strand of Formal Aesthetics that elucidates the form-conceptual innovations in Jakob von Gunten. Reconstructing the references that structure the novel and its underlying poetology of form, this article reviews a literary manifestation of the theory of form that shapes the aesthetic discourse in the 1900 s.
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SAMUR, Serpil. "THE IMPORTANCE OF AESTHETIC ELEMENTS IN THE ART OF CINEMA AN ASSESSMENT ON." JOURNAL OF INSTITUTE OF ECONOMIC DEVELOPMENT AND SOCIAL RESEARCHES 7, no. 28 (September 28, 2021): 101–15. http://dx.doi.org/10.31623/iksad072808.
Abstract:
Besides being an art, cinema also reveals the existence of a linguistic ability. In this way, with a flexible and dynamic narrative structure that turns changed so as to maintain its coherence, which can create endless imaginative narratives and present these narratives that provide a structure which allows the viewer. Cinema is quite close to the appearance in life, and the illusion of reality is an inalienable attribute of it. Reality is sometimes used as a whole, sometimes a part of it is reflected on the screens. At the core of the language of cinema lies the visual perception of the world in which people live. The concept of aesthetics is essential to understanding the ways in which contemporary and popular culture interacts with cinema. Light, sound, color and movement elements are involved in providing visual communication. Color, one of the most important elements of visual design in the cinema industry, is at the heart of the narrative world created by cinema. Basically there is no color, there is light. The element of color can be said to be an aesthetic transformation of reality or a directed, interpreted sense of reality. Every image in the cinema is accepted as a sign as the carrier of the filmic image. In addition to this, cinema is a visual art, as well as an auditory art. Cinema, which was considered as an art before sound, has undergone a structural change with the introduction of sound. Cinema aesthetics is a special aesthetic area established with cinematography and dealing with beauty. For this reason, the aim of the study is to reveal the importance of aesthetic elements for the art of cinema. In addition, the basic aesthetic elements in the art of cinema are discussed in detail and it is tried to explain why aesthetic elements are important for the art of cinema. Keywords: Cinema Art, Aesthetics, Lighting, Color, Image, Sound.
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Mahmud, Nazia B. "The Aesthetic Asceticism of the Mad." COMPASS 3, no. 1 (September 29, 2023): 8–19. http://dx.doi.org/10.29173/comp68.
Abstract:
The Bauls of Bangladesh, West Bengal, and other parts of India are a distinct ascetic sect that practices spirituality through songs, music, and poetry that were passed down orally from a teacher (Guru) to a disciple (Shirsha). Their ideology is a mix of yogic-tantric practices of Buddhist Sahajiya, Vaishnavism Sahajiya, and later Sufi thoughts. Bauls are often called a heretic sect because of their rejection of institutionalized religion, consumerism, society, and, for many Bauls, even marriage. Baul songs and spirituality emphasize the search for the connection between man and the Divine and love and symbolize the Bengali folk identity. In this paper, placing Baulism within the Anthropology of Art vs. Aesthetics discourse, I show how Baul songs, and their lifestyle can be both. I discuss the rising appropriation of Baul folk music and aesthetics by modern media and in capitalist spaces and how it started to gain traction when the elite society started to acknowledge Bengali folk music. Baul giti (song) is an established genre of music, and they tend to mediate between both art while providing aesthetic appreciation. With the rise of village core aesthetics and romanticization, their music, style, and philosophy have found new spaces in media, fashion, and business.
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Chu, Ge. "The Role of Dance in Education." Journal of Contemporary Educational Research 4, no. 2 (February 19, 2020): 1–4. http://dx.doi.org/10.26689/jcer.v4i2.1029.
Abstract:
As an important content and form of quality education, dance education is important for improving and cultivating students' physical and mental qualities, especially psychological qualities, which mainly include intelligence, creativity, non-intellectual factors, mental health, and aesthetic mental ability status and role, meaning and value. If the core of the knowledge-based economy is knowledge innovation, then the core of quality education is creative education, and dance aesthetic education happens to coincide with it, unexpectedly, and has the beauty of the same purpose and the same goal.
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JOHNSON, NICHOLAS E. "Language, Multiplicity, Void: The Radical Politics of the Beckettian Subject." Theatre Research International 37, no. 1 (January 26, 2012): 38–48. http://dx.doi.org/10.1017/s0307883311000757.
Abstract:
This article re-examines the legacy of modernist aesthetics, with special focus on Samuel Beckett and his radical critique of subjectivity, language and ontology. The problem of language as a fundamental agent of difference pervades both the content and form of literary modernism. Beyond conventional semantic and aesthetic function, language acts in Beckett's works to construct a subject that is at once multiple in expression and voided at its core. Drawing on performance and philosophy to explore an ethical dimension of Beckett's praxis already sensed by Theodor Adorno and Alain Badiou, this study recalls the political implications of what are sometimes dismissed as ‘mere’ aesthetic questions, by looking deeper into the modernist attitude toward language, subjectivity, and void. This research suggests that the full radicality of the Beckettian subject has yet to be fully absorbed in philosophy and culture, devastating as it is to the postmodern focus on identity and difference.
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Gray, Colin M., Paul Parsons, Austin L. Toombs, Nancy Rasche, and Mihaela Vorvoreanu. "Designing an Aesthetic Learner Experience." International Journal of Designs for Learning 11, no. 1 (December 9, 2019): 41–58. http://dx.doi.org/10.14434/ijdl.v11i1.26065.
Abstract:
In this design case, we describe a multi-year process during which a team of faculty designed a four-year undergraduate major in user experience (UX) design at a large research-intensive institution. We document the program- and course-level design experiences of five faculty members. This multi-year process has culminated in a dual-strand, integrated studio learning environment. Two types of studios—“learning” and “experience” studios—form the core of the program, with learning studios allowing cohort-specific skills development and practice, and experience studios providing cross-cohort opportunities to work on industry projects. We detail our process of developing this course sequence and the program-level connecting points among the courses, identifying institutional supports and barriers, the unique and varied skillsets of the involved faculty, and the growing agency and competence of our students in the program.
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Kumar, Narendra, Arthur Swift, and Eqram Rahman. "Development of “Core Syllabus” for Facial Anatomy Teaching to Aesthetic Physicians." Plastic and Reconstructive Surgery - Global Open 6, no. 3 (March 2018): e1687. http://dx.doi.org/10.1097/gox.0000000000001687.
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Bleakley, Alan, Robert Marshall, and Rainer Brömer. "Toward an Aesthetic Medicine: Developing a Core Medical Humanities Undergraduate Curriculum." Journal of Medical Humanities 27, no. 4 (November 10, 2006): 197–213. http://dx.doi.org/10.1007/s10912-006-9018-5.
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Muhammadievich, Gaybullaev Otabek. "PHILOSOPHICAL FUNDAMENTALS OF INCLUDING NATIONAL VALUES IN THE AESTHETIC CULTURE OF PERSONALITY IN THE PERIOD OF GLOBALIZATION." Psychology and Education Journal 58, no. 2 (February 17, 2021): 6207–13. http://dx.doi.org/10.17762/pae.v58i2.3139.
Abstract:
In today's era of globalization, the presence of national values in the aesthetic education of the individual is important. In the era of globalization, the inculcation of national values in the aesthetic culture of the individual as an integral feature of the spiritual culture of the Uzbek people is the ideology, worldview, and values of all nations and peoples living in the country. Raising the aesthetic culture of the individual in Uzbekistan is the core of the spiritual culture, morals, and psyche of all nations and peoples. This article describes the philosophical foundations of the inculcation of national values in the aesthetic culture of the individual.
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Zhao, Rui, and Jie Zhou. "Serving Society: "Drama +" as an Innovative Path for Drama Education in University." Studies in Social Science Research 5, no. 2 (April 16, 2024): p34. http://dx.doi.org/10.22158/sssr.v5n2p34.
Abstract:
With the Ministry of Education's emphasis on aesthetic education and the increasing prominence of theatre as a discipline, it is increasingly important for colleges and universities to explore and practice theatre aesthetic education. Based on the model of "Drama+", this thesis explores the innovative path of multidisciplinary integration teaching mode of theatre as the core for theatre aesthetic education in colleges and universities. Through an in-depth study of the construction and practice path of "Drama+" group in Changchun College of Humanities in Jilin Province, this theists aims to provide feasible theoretical guidance and practical reference for theatre aesthetic education in colleges and universities.