Dissertations / Theses on the topic 'Environmental aesthetics and experience'
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Rooney, Kevin Kelley. "Vision and the experience of built environments: two visual pathways of awareness, attention and embodiment in architecture." Diss., Kansas State University, 2015. http://hdl.handle.net/2097/20597.
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Doctor of PhilosophyEnvironmental Design and Planning Program
Robert J. Condia
The unique contribution of Vision and the Experience of Built Environments is its specific investigation into the visual processing system of the mind in relationship with the features of awareness and embodiment during the experience of architecture. Each facet of this investigation reflects the essential ingredients of sensation (the visual system), perception (our awareness), and emotions (our embodiment) respectively as a process for aesthetically experiencing our built environments. In regards to our visual system, it is well established in neuroscience that human vision divides into the central and peripheral fields of view. Central vision extends from the point of gaze (where we are looking) out to about 5° of visual angle (the width of one’s fist at arm’s length), while peripheral vision is the vast remainder of the visual field. These visual fields project to the parvo and magno ganglion cells which process distinctly different types of information from the world around us and project that information to the ventral and dorsal visual streams respectively. Building on the dorsal/ventral stream dichotomy, we can further distinguish between focal processing of central vision and ambient processing of peripheral vision. Thus, our visual processing of, and attention to, objects and scenes depends on how and where these stimuli fall on the retina. Built environments are no exception to these dependencies, specifically in terms of how focal object perception and ambient spatial perception create intellectual and phenomenal experiences respectively with architecture. These two forms of visual processing limit and guide our perception of the built world around us and subsequently our projected and extended embodied interactions with it as manifested in the act of aesthetic experience. By bringing peripheral vision and central vision together in a balanced perspective we will more fully understand that our aesthetic relationship with our built environment is greatly dependent on the dichotomous visual mechanisms of awareness and embodiment.
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Grella, Melissa A. "Nurturing The Aesthetic: Learning to Care for the Environment in a Waldorf School." Antioch University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=antioch1489400538356965.
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Manni, Annika. "Känsla, förståelse och värdering : elevers meningsskapande i skolaktiviteter om miljö-och hållbarhetsfrågor." Doctoral thesis, Umeå universitet, Institutionen för naturvetenskapernas och matematikens didaktik, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-101785.
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This thesis focuses on young students’ experiences and meaning-making processes in school practices within environmental and sustainability education. Earlier research has shown this to be an area of complexity; besides a transdisciplinary perspective requiring relational thinking, it also involves conflicting interests as well as emotions and values. With a certain interest in emotions being part of learning as a meaning-making process, this thesis aims to investigate the character of experiencing, and the function of aesthetic experience in environmental and sustainability education. Through a mixed-methods approach a comprehensive questionnaire was used in the first study, and a more in-depth case study investigated the most important findings from the questionnaire even further in the second one by using multiple data. 209 students, age 10-12, from six different schools in Sweden answered the questionnaire. One class in grade six participated in the case study during four months, where both in- and out-of-door activities were studied. Both qualitative content analyses, and quantitative statistics were used to analyze the material from the two studies. Furthermore, John Dewey’s theoretical perspectives and neo-Aristotelian philosophers, mainly Martha Nussbaum, guided the interpretations of the empirical results. The main findings show that young students’ experiences in environmental and sustainability education are characterized by relational understandings both within and among ecologic, economic and social aspects, but also that perceived school activities of a value-laden and more cognitive kind correlated. The results further show that aesthetic experiences function as links in the transactional and continuous processes of meaning making. Furthermore, of importance for students’ meaning making and formation of values in environmental and sustainability were also prior experiences, encounters with outdoor environments and artifacts (both natural and digital), social interactions and felt independence. A holistic picture of understanding, emotions and values hence appear as an intertwined unity in students’ written responses, action and talk. A conclusion suggests that contributing to students’ possibilities of making meaning in environmental and sustainability issues requires openness to personal emotions and values as a starting point. Activities allowing for social interaction, independence, and relevant contextual encounters should also be considered in the pedagogical practice of environmental and sustainability education.
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Cheung, Jenny. "Exploring consumers' experiential responses and shopping intentions toward visual user-generated content in online shopping environments." Thesis, University of Manchester, 2015. https://www.research.manchester.ac.uk/portal/en/theses/exploring-consumers-experiential-responses-and-shopping-intentions-toward-visual-usergenerated-content-in-online-shopping-environments(d1f610ba-418f-43b1-9e6a-68f43dc38ec0).html.
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The purpose of this study is to explore online consumers' experiential response towards visual user-generated content in online shopping environments for fashion online shopping. The Stimulus-Organism-Response (S-O-R) framework has been widely used in online shopping environment studies to examine the effect of website attributes on online shoppers' internal affective and cognitive states, and shopping behaviour (Kawaf and Tagg, 2012). Recent literature in the field proposes a more holistic approach towards online experiences (e.g., Pentina, Amialchuk, and Taylor, 2011) which is conceptualise to mediate the relationship between website attributes and behavioural responses. Consumer experiences are considered to be a critical concept in consumer behaviour and marketing for understanding consumers and to create competitive advantage in online retailing (Schmitt, 2010). Building on existing online shopping environment research, the study conceptualises online experiences for fashion online. This study seeks to investigate online consumers' experiential responses (aesthetics, relational, emotional, Flow experience and interactivity) towards two visual user-generated stimulus: (1) Looks - photographs of individuals modelling their own fashion, and (2) Outfits - digital collages displaying an assortment of products centred around a theme. They are both features which have been created by community members in an online social shopping community, ASOS Fashion Finder. The context of this study was exploratory and utilised a mixed methods approach where 13 photo-elicited interviews (PEI) with female online shoppers of ASOS, aged 18-34, were conducted to identify and understand consumers' online experiential responses and online shopping intentions towards the two visual stimulus. Using the same sample criteria, an online survey with 555 responses was also conducted to measure and test relationships between consumers' experiential responses and shopping intentions. The results of this study provides insight to the experiential states of fashion online consumers for online retail marketing, and contributes knowledge to research literature and theory on online shopping environments and customer experiences.
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Iared, Valéria Ghisloti. "A experiência estética no Cerrado para a formação de valores estéticos e éticos na educação ambiental." Universidade Federal de São Carlos, 2015. https://repositorio.ufscar.br/handle/ufscar/7084.
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Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq)
Our world views are based on principles, feelings, emotions that go through a dimension of human life which involve ethical and aesthetic values. However, the formation of values is a less explicit dimension of environmental education compared to the appropriation of knowledge. Some studies confirm the relative silence of aesthetic considerations in the literature and curriculum, so this topic has the potential to be further explored in research and in environmental education practice. Based on an interpretative perspective, we assume as aesthetic experience the possibility of our bodies engaged in the world to realize and create meanings of all forms of existence. From this, this study aims to understand the nature of aesthetic experience in the Cerrado, due to its history of occupation and degradation. In this research, we transition between the modern and post-modern paradigm in order to deeply understand the meaning of aesthetic experience. This transition is the result of our study pathway which was willing to seek for approaches and methods to answer the research question. Therefore, our data collection was carried out using two techniques: 17 semistructured interviews (understood in a modern paradigm, but interpreted together with the research participants) and a walking ethnography in the Cerrado (located as a post- modern methodology), which 08 participants who had already been interviewed were present, and 04 out of 08 were part of the data collection The participants were invited following the criteria of a life story related to the Cerrado, reflecting on a love involvement regarding this environment.The results indicated that the informal and spontaneous experiences in nature, moments of conflict and dialogue were significant for the development of an affective bond and an ethical stance towards the Cerrado. The walking ethnography put the prospect of analyzing the aesthetic experience of the participants moving in the Cerrado and the researcher was also engaged in the aesthetic experience of the Cerrado along with the participants. Instead of being a dialogical and verbal action, this activity is embodied and the focus is the multisensorial experience which involves multi-dimensions of corporality and connections with the materialities of the more than human world. The data that emerged during the walk in the Cerrado supplemented the interviews. In addition, we identified that the participants of this study had an ethical position in relation to the Cerrado, which we attributed to be from the dialogue among participants and family, friends, coworkers and text readings. However, this relationship can not be considered the same in other groups of people, situations and contexts. Therefore, new research questions that continue investigating the relations between aesthetic experience and ethics are necessary.
Nossas concepções de mundo são pautadas em princípios, sentimentos, emoções que perpassam uma dimensão da vida humana que envolvem os valores éticos e estéticos. No entanto, a formação de valores representa uma dimensão menos explícita da educação ambiental, quando comparada à apropriação de conhecimentos. Da mesma maneira, estudos apontam que as questões estéticas têm potencial para serem mais exploradas na pesquisa e na prática em educação ambiental. Baseadas em uma perspectiva interpretativa, assumimos como experiência estética a possibilidade do nosso corpo engajado no mundo para perceber e (re)significar todas as formas de existência. Partindo do que foi colocado, o presente estudo objetiva compreender a natureza da experiência estética no Cerrado, devido ao seu histórico de ocupação e degradação. Nessa pesquisa, transitamos entre o paradigma moderno e pós-moderno a fim de buscar compreender, em profundidade, o significado da experiência estética. Essa transição é resultado da nossa trajetória de estudo que se propôs a conhecer abordagens e métodos que respondessem à questão de pesquisa. Portanto, nossa coleta de dados se deu por meio de duas técnicas: 17 entrevistas semi-estruturadas (compreendida em uma paradigma moderno, mas interpretadas junto com as/os participantes da pesquisa) e uma caminhada em movimento no Cerrado (situada como uma metodologia pós-moderna), na qual 08 participantes que já haviam sido entrevistados estavam presentes, sendo que desses 08, apenas 04 fizeram parte da coleta de dados. As/os participantes dessa pesquisa foram convidadas/os seguindo o critério de uma uma história de vida relacionada ao Cerrado, refletindo-se em um envolvimento amoroso com esse ambiente. Os resultados indicaram que a vivência informal e espontânea na natureza e momentos de conflito e diálogo foram significativos para o desenvolvimento de um vínculo afetivo e uma postura ética para com o Cerrado. A caminhada em movimento trouxe a perspectiva de analisar a experiência estética das/os participantes em movimento no Cerrado sendo que a pesquisadora também estava imersa na experiência. Ao invés de ser uma ação dialógica e verbal, esta atividade é corporal e o foco é a experiência multisensorial que envolve múltiplas dimensões da corporalidade e conexões com as materialidades do mundo mais do que humano. Nesse sentido, consideramos que a limitação dessa coleta de dados reside em não "acessarmos" as dimensões políticas e éticas das/os participantes da pesquisa, enquanto que, nas entrevistas houve essa possibilidade. Logo, percebemos que as coletas de dados se complementaram. Identificamos que as/os participantes dessa pesquisa tinham um posicionamento ético em relação ao Cerrado, o que consideramos sido construído a partir do diálogo entre as/os participantes e familiares, amigas/os, colegas de trabalho, leituras e estudos de texto. No entanto, essa relação não pode ser considerada a mesma em outros grupos, situações e contextos. Assim, novas questões de pesquisa que continuem a investigar a relação entre experiência estética e ética se fazem necessárias.
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Eronen, Minna. "Aesthetic Affordances for Wellbeing Enhancing Atmospheres in Healthcare Environments." Thesis, Mälardalens högskola, Akademin för innovation, design och teknik, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:mdh:diva-44575.
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This master thesis explores the relationships between the human being and the built environment in the context of healthcare and from the perspective of aesthetics. The aim is, by identifying the aesthetic experiences the built environment evokes, to enhance the understanding of how the design of the built environment can support and sustain wellbeing. The findings from previous studies show that the aspects of the attributes of the built environment can evoke sense-based aesthetic experiences and aesthetic experiences beyond senses. Furthermore, the empirical results of this thesis, gained by applying participatory research and research through design methodologies, indicate that wellbeing is related to rich experiences connected to nature, homeliness or the lack of homeliness as well as lack of maintenance. The tentative Aesthetic Design Framework for Atmospheresdeveloped in this thesis, based on the Affordance Theory and theTheory of Aesthetic Atmospheres, proposes that the built environment can be transformed into therapeutic aesthetic atmospheres by utilizing aesthetic affordances and applying Aesthetic Design Strategy. In order to test the framework, design proposals were created. The evaluation of the design proposals shows that the designed atmosphere is perceivable when distinct. The results also indicate that familiar aesthetic affordances are easier to perceive and relate to. Consequently, it is proposed that the Aesthetic Design Framework for Atmospheres can aid the design of atmospheres. The results of this study can enhance design processes and the design of built environments in general by clarifying aesthetic aspects, grounded both in empirical data and theory.Denna masteruppsats utforskar förhållandet mellan människan och den byggda miljön i vårdkontext och utifrån estetik. Målet är att identifiera de estetiska upplevelser den byggda miljön framkallar och därmed öka förståelsen av hur design av byggd miljö kan stödja och bevara välmående. Tidigare forskning visar att aspekter av attribut i den byggda miljön framkallar både sinnesbaserade estetiska upplevelser och estetiska upplevelser bortom sinnena. Dessutom, indikerar empiriska resultat av denna uppsats att välmående hänger ihop med rika upplevelser relaterade till natur, hemtrevnad eller bristen på hemtrevnad samt bristen på underhåll. Det tentativa teoretiska ramverket, Aesthetic Design Framework for Atmospheres, utvecklat i denna uppsats och baserat på Teori om Affordance och Teori om Estetiska Atmosfärer,föreslår att den byggda miljön kan förvandlas till en terapeutisk atmosfär genom att använda estetiska affordancer och tillämpa Estetisk Design Strategi. Designförslag utformades för att testa ramverket. Utvärderingen av förslagen visar att en designad atmosfär kan varseblivs när den är pregnant. Resultaten indikerar även att bekanta estetiska affordancer är lättare att varsebli och relatera till. Därmed föreslås att Aesthetic Design Framework for Atmospheres kan understödja design av atmosfärer. Resultaten av denna uppsats kan främja designprocesser och design av byggd miljö genom att identifiera estetiska aspekter grundade både i empiri och teori.
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Ikard, Carol. "The Aesthetic Experience, Flow, and Smart Technology: Viewing Art in a Virtual Environment." ScholarWorks, 2016. https://scholarworks.waldenu.edu/dissertations/2831.
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Smart technology can support art educators and museum professionals in mediating the aesthetic experience. It can also increase museum attendance, enrich the viewer's delight and engagement with artworks and art collections, and provide an avenue for extending art on a global level. The purpose of this study was to determine the extent to which a mobile art app with text-based narrative influences scores on an aesthetic experience questionnaire. This quantitative research measured the difference in pretest and posttest human-computer interaction scores on the Aesthetic Experience Questionnaire Form after participants used two versions of a mobile art app. Csikszentmihalyi's flow was the theoretical framework. After the administration of the pretest to 67 participants, 25 participants successfully viewed an art app with or without verbiage and then completed the posttest. Results revealed a significant (p < .001) mean increase in questionnaire scores among the group that used the app with verbiage (mean difference = 0.41), but no significant improvement among the group that used the app without verbiage (mean difference = -0.03). These findings indicate that certain mobile technologies are capable of mediating an aesthetic experience. Future research may provide information to educators and museums about the quality of the aesthetic experience. This information may increase and enrich human aesthetic experiences with art and may assist to develop human understanding of different perceptions that ultimately engender inclusivity and positive social change.
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Asikainen, Henna Maaria. "Art, nature and environmental aesthetics." Thesis, Northumbria University, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.410378.
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Dickerson, Allyson. "The Accompanied Experience and the Aesthetics of Memory." Honors in the Major Thesis, University of Central Florida, 2014. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/1584.
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For me, a memory is the thought of a feeling. Feeling, in this case, is the appreciable radiation of sensory emanating from all objects and persons in a given moment of time. “All thought,
like all feeling, is a relationship between one human being and another human being or certain objects which form a part of his universe” (Astruc). Be it an instance of attraction to another person, a place, a creation, an object, or purely an aesthetic pleasure, said instance will become ingrained as a part of an aggregation of moment-to-moment experiences that form an individual’s universe and lifetime of perceptions. Through film, I hope to give a visual tangibility for such feelings, a replayable, and relatively more permanent, representation. It’s a process similar to the way a headstone memorializes a life. A few words in stone could never measure up to the present time of actually living, but this is because they are not comparable. In much the same way, a synthesized montage of images cannot be compared to a memory, but should be used as way to experience the memory in a new way.B.F.A.
Bachelors
Visual Arts and Design
Arts and Humanities
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Humber, Nancy Gwen. "Aesthetic experience and its role in education." Thesis, McGill University, 1986. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=65330.
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Hetherington, John Drew. "Toward an integrative theory of environmental aesthetics." Diss., The University of Arizona, 1992. http://hdl.handle.net/10150/186032.
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A number of different methods for assessing the aesthetic quality of environments have been developed over the past 30 years. From methods that rely upon "experts" to judge the scenic quality of a landscape to methods that rely upon "naive" observers, all methods share the same basic interest: To explain or predict aesthetic quality between different environments. Although a number of attempts at integrating different methodologies have been recently reported, these have failed to produce an integrative theory of environmental aesthetics due to experimental and theoretical problems inherent in each design. The present study was designed to derive fundamental aesthetic principles for landscapes through the integration of the formal aesthetic, psychological, and psychophysical methods. This study addressed three basic questions: (1) What traits or constructs are being measured by environmental assessment methods currently used?, (2) Are these constructs independent of the methods used to assess them?, and (3) Can an integrative theory of environmental aesthetics be developed empirically? To answer these questions, the study focused on the construct validity of the measures within each method across four different landscapes, ranging from Alaska to the Southwest. Three categories of ratings were collected for each landscape, corresponding to the published procedures of each method. Initial factor analyses were run within each method across the four landscapes to determine what general environmental characteristics were measured by each method. A second-order factor analysis was used to derive basic aesthetic characteristics which transcend both method of measurement and landscape type. Multiple regression analyses were then used to predict the common aesthetic characteristics from the physical data of the landscapes. The experiment was designed to facilitate a new understanding of (1) whether universal principles of aesthetic quality exist across different environments and methods of assessment and (2) if physical measures of the environment can be used to predict those universal characteristics.
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Simus, Jason Boaz. "Disturbing Nature's Beauty: Environmental Aesthetics in a New Ecological Paradigm." Thesis, University of North Texas, 2009. https://digital.library.unt.edu/ark:/67531/metadc11008/.
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An ecological paradigm shift from the "balance of nature" to the "flux of nature" will change the way we aesthetically appreciate nature if we adopt scientific cognitivism-the view that aesthetic appreciation of nature must be informed by scientific knowledge. Aesthetic judgments are subjective, though we talk about aesthetic qualities as if they were objectively inherent in objects, events, or environments. Aesthetic judgments regarding nature are correct insofar as they are part of a community consensus regarding the currently dominant scientific paradigm. Ecological science is grounded in metaphors: nature is a divine order, a machine, an organism, a community, or a cybernetic system. These metaphors stimulate and guide scientific practice, but do not exist independent of a conceptual framework. They are at most useful fictions in terms of how they reflect the values underlying a paradigm. Contemporary ecology is a science driven more by aesthetic than metaphysical considerations. I review concepts in the history of nature aesthetics such as the picturesque, the sublime, disinterestedness, and formalism. I propose an analogy: just as knowledge of art history and theory should inform aesthetic appreciation of art, knowledge of natural history and ecological theory should inform aesthetic appreciation of nature. The "framing problem," is the problem that natural environments are not discrete objects, so knowing what to focus on in an environment is difficult. The "fusion problem" is the problem of how to fuse the sensory aspect of aesthetic appreciation with highly theoretical scientific knowledge. I resolve these two problems by defending a normative version of the theory-laden observation thesis. Positive aesthetics is the view that insofar as nature is untouched by humans, it is always beautiful and never ugly. I defend an amended and updated version of positive aesthetics that is consistent with the central elements of contemporary ecology, and emphasize the heuristic, exegetical, and pedagogical roles aesthetic qualities play in ecological science.
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Furegatti, Sylvia Helena. "Arte e meio urbano. Elementos de formação da estética extramuros no Brasil." Universidade de São Paulo, 2007. http://www.teses.usp.br/teses/disponiveis/16/16133/tde-12052010-111218/.
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Este trabalho de pesquisa disserta sobre os aspectos constitutivos da prática e do discurso das formas da ação artística contemporânea no espaço aberto e urbano brasileiro. A partir das décadas mais recentes, posteriores aos anos 1960, são analisados projetos, textos, trabalhos artísticos, bem como contextos urbanos e culturais importantes para a verificação das relações travadas pelos agentes do circuito artístico na atualidade. Busca-se, dessa maneira, aprofundar as discussões pertinentes à espacialização do objeto artístico contemporâneo tais como: os elementos constitutivos de sua pertença ao meio urbano; o novo sentido público admitido para esse trabalho na atualidade, além da mobilidade dos papéis exercidos por seus proponentes que, por meio desse conjunto, colaboram para a configuração dessa vertente estética e artística. Das experimentações ambientais de Hélio Oiticica, Artur Barrio, dentre outros, aos múltiplos formatos de intervenção pública e urbana, propiciados pelo encontro com a megalópole, tal qual nos apresentam José Resende, Mônica Nador e Ricardo Basbaum; cada capítulo procura analisar as estratégias que levam a Arte a um estado possível de ser compreendido como Extramuros.This research argues about the constituent aspects of the praxis and discursive forms in contemporary artistic action enrolled in opened and urban Brazilian space. Considering recent decades, post to 1960, projects, texts, works of art has been analyzed, as well as cultural and urban important contexts to reach the verification of the relationship among the actual circuit agents. The intention is to refine the aptness of the contemporary art object to the space studying these points: its specific urban elements; the new public senses due to this kind of work in our time and the mobility of its characters roles that, in this set, collaborate to the construction of these aesthetic and artistic boundaries. Beginning with ambient experiences by Hélio Oiticia, Artur Barrio, beside others, to get to multiple forms of public and urban art, caused by their encounter with the megalopolis, as presented by José Resende, Mônica Nador, Ricardo Basbaum, each chapter analyses the strategies that take Art to an Extramuros state.
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Udden, James. "Hou Hsiao-hsien and the aesthetics of historical experience." access full-text online access from Digital dissertation consortium, 2003. http://libweb.cityu.edu.hk/cgi-bin/er/db/ddcdiss.pl?3089679.
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Fazi, Maria-Beatrice. "The aesthetics of contingent computation : abstraction, experience, and indeterminacy." Thesis, Goldsmiths College (University of London), 2015. http://research.gold.ac.uk/12487/.
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This thesis offers a philosophical study of computation, which is understood here as a method of abstraction that systematises reality through logico-quantitative means. The thesis challenges the view that computation’s abstractive processes are simple and static ‘formulae’ that capture the world’s dynamism. By engaging with the formal and axiomatic character of computing, it argues that computation is itself dynamic, because it has a potential to actualise itself. This potentiality is theorised in aesthetic terms. Drawing from Deleuze, aesthetics is viewed as an investigation into the conditions of real experience. For Deleuze, these conditions pertain to virtuality, i.e. to the indeterminacy of sensation, and of thought’s immanence to affect. However, through a novel reading of the ontological significance of Gödel’s incompleteness theorems and of Turing’s notion of incomputability, the thesis demonstrates that indeterminacy does not pertain uniquely to virtual life, but rather lies at the axiomatic heart of computational logic. Computation is thus shown to be contingent, because it is always indeterminate. This contingency is formal, not empirical; it is the status of self-sufficient processes of algorithmic determination, which always confront quantitative infinity by means of formal abstraction. Whitehead’s philosophy is used to extend aesthetics from the sensible to the intelligible. Experience is thereby understood as self-actualisation. Its conditions are tied to physical and conceptual operations of determination. Computational processes are addressed as Whitehead’s ‘actual occasions’: as events that constitute themselves through the dynamic processing of eternal and actual data. This dynamism is not pre-determined a priori, and therefore breaks with the computationalist and cognitivist paradigms, which reduce actualisation to universalising prescriptions. This dynamism cannot be flattened onto sense-empirical factuality either. Instead, an aesthetics of contingent computation conceptualises ‘computational actual occasions’ as discrete processes of determination that conclude with the production of a structure or a ‘form’ of actualisation.
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Simus, Jason Boaz Callicott J. Baird. "Disturbing nature's beauty environmental aesthetics in a new ecological paradigm /." [Denton, Tex.] : University of North Texas, 2009. http://digital.library.unt.edu/permalink/meta-dc-11008.
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Johnson, Jonathan Wilson. "The anatomy of ugliness : locating the experience of aesthetic negativity." HKBU Institutional Repository, 2019. https://repository.hkbu.edu.hk/etd_oa/612.
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Aesthetic investigations of ugliness have increased in popularity in the last decade, but existing treatments of ugliness either fail to provide a satisfying explanation for ugliness' unique presence and role, or merely provide a compendium of ugly instances. This thesis provides a non-equivocating explanation of ugliness which accounts for its phenomenological variety while retaining the roles of both object and subject, constituting a novel treatment in the field of aesthetics. An account of the concept's popular association as a beauty's negation is reassessed, along with investigation of the proliferation of species, features, and problems associated with ugliness in aesthetic writings. In addition to surveying classic and contemporary notions of ugliness in western aesthetics, this thesis provides a novel survey of ugliness in East Asian aesthetics, with a focus on ugliness in Chinese aesthetics. The project encompasses not only artistic instances of ugliness, but also natural phenomenon as well. The exploration and explanation of the nature of ugliness as a negative aesthetic value is accomplished by locating the conceptual core of ugly experience in a framework of aspectual judgment.
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Toyoda, Mitsuyo. "Approaches to Nature Aesthetics: East Meets West." Thesis, University of North Texas, 2002. https://digital.library.unt.edu/ark:/67531/metadc3305/.
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Nature aesthetics is examined as an approach to environmental ethics. The characteristics of proper nature appreciation show that every landscape can be appreciated impartially in light of the dynamic processes of nature. However, it is often claimed that natural beauty decreases if humans interfere into nature. This claim leads to the separation of human culture and nature, and limits the number of landscapes which can be protected in terms of aesthetic value. As a solution to this separation, a non-dualistic Japanese aesthetics is examined as a basis for the achievement of the coexistence of culture and nature. Ecological interrelationships between human culture and nature are possible by means of an aesthetic consciousness in terms of non-hierarchical attitudes.
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Westerside, Andrew David. "Taste, beauty, sublime : Kantian aesthetics and the experience of performance." Thesis, Lancaster University, 2010. http://eprints.lincoln.ac.uk/5757/.
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What does it mean to have aesthetic experience? Is it something we are all capable of? Or is our capacity for aesthetic pleasure something we develop, like a skill? What do we mean when we declare something ‘beautiful’, or when we dismiss a performance because it is ‘not to our taste’? Is taste something we possess, concerned with our own personal likes and dislikes? Or is taste part of aesthetic experience, something that happens? Indeed, what is aesthetic experience? And what is the place, in theatre and performance, for the aesthetic qua aesthetic? In this thesis I explore and develop the Kantian notion of aesthetic experience by taking three terms central to the Critique of Judgment – taste, beauty, sublime – and considering their value in the experience and analysis of contemporary performance. In exploring these ideas, the thesis centres on a range of works from the early avant-garde, including extended analyses of Alfred Jarry’s Ubu Roi (1896) and Edward Gordon Craig’s Dido and Æneas. The contemporary works central to the thesis are Proto-type Theater’s Virtuoso (working title) (2009), 3rd Person (redux)(2010) and Whisper (2008). The study also looks at contemporary work from Reckless Sleepers, Station House Opera, and Societas Raffaello Sanzio. The primary theoretical framework is drawn from the field of philosophical aesthetics, and, specifically, the works of Immanuel Kant. In the post-Kantian era, the works of Arthur Schopenhauer, Martin Heidegger, Hans-Georg Gadamer, Wendy Steiner, Jean-Luc Marion, Arnold Berleant, and Christian H. Wenzel provide a connection to the world of post-Enlightenment aesthetics and interconnect Kantian philosophy with developments in performance and aesthetics. In aiming to uncover the value of the aesthetic as such, the thesis looks to reflect on taste, beauty, and the sublime in a way that offers a fresh and vital perspective on the experience of performance.
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Mbipom, Grace Ebong. "The interplay between Web aesthetics and accessibility." Thesis, University of Manchester, 2013. https://www.research.manchester.ac.uk/portal/en/theses/the-interplay-between-web-aesthetics-and-accessibility(c345dbaa-9da1-45a7-8b43-1c2c5b7bec6e).html.
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The use of visual aesthetics has been found to contribute to feelings of a positive Web experience. Accordingly, studies report strong correlations between aesthetics and facets of user experience like usability and credibility, but does this hold for accessibility also? Some believe that Web aesthetics impedes accessibility, while most Web designers perceive that the accessibility initiative is restrictive design-wise. These misconceptions have slowed down the advancement of an inclusive Web. Firstly, it is clear that the relationship between Web aesthetics and accessibility is still poorly understood. Secondly, tools capable of analysing the aesthetic quality of Web pages and relaying associated accessibility status information are lacking. This thesis addresses these two problems. In order to investigate this relationship, the aesthetic judgements of 180 users were elicited to help classify Web pages based on their visual quality using Lavie and Tractinsky's framework. The classified Web pages were then technically and manually audited for accessibility compliance using 4 automated tools, and 11 experts who used a heuristic evaluation technique known as the Barrier Walkthrough (BW) method to check for barriers which could affect people with visual impairments. Our results consistently showed that Web pages judged on Lavie and Tractinsky's classical aesthetic dimension as being `clean' had significant correlations with accessibility, suggesting `cleanness' to be a suitable proxy measure for accessibility. Expressive dimensions showed no such correlations. This insight was used to develop the EIVAA tool aimed at predicting the aesthetic quality of Web pages and using the information to provide accessibility ratings for the pages. Quantitative evaluations show that the tool is able to predict aesthetic quality in a way that mimics gold standards, especially along the design dimension `clean' where we observed tool-human correlations as strong as 0.703, thus making the associated accessibility predictions also acceptable. We envision that our findings will give the Web community a more holistic understanding of the interactions between the use of aesthetics and accessibility, and that our tool would inform Web developers of the implications of their designs.
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Mercier, Stephen Mark. "Revaluing the literary naturalist : John Burroughs's emotive environmental aesthetics /." View online ; access limited to URI, 2004. http://0-wwwlib.umi.com.helin.uri.edu/dissertations/dlnow/3135910.
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Wilkins, Suzanne Mary. "Aesthetic experience in music : case studies in composition, performance and listening." Thesis, University of Sussex, 2013. http://sro.sussex.ac.uk/id/eprint/45255/.
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This thesis explores the roles of the composer, listener and performer in the construction of aesthetic experience and develops new theories in order to elucidate these roles. It uses a series of six diverse case studies to show how these relationships can shape the experience created in the reception of music. In so doing, it sees the creation of musical experience as an intersubjective phenomenon. The theories explored within this work suggest new and different foci on the relationships between the roles within musical production and reception and greatly expand existing understanding of how music is communicated meaningfully and how cultural value is attributed to certain musical works. These theories are all constructed using the concept of the chain of communication which includes the relationships between composers, listeners and performers. The first chapter uses two case studies to investigate musical listening through an empirical investigation into Johann Sebastian Bach's Double Violin Concerto and a reception-based examination of Gustav Mahler's Fourth Symphony. In the second chapter, musical composition is studied through examinations of a variety of works by Joseph Haydn and Franz Schubert. Finally, Chapter Three looks at musical performance through case studies on the work of the Early Music ensemble Red Priest and Procol Harum's song ‘A Salty Dog'. The approaches used to examine the case studies are taken from a variety of fields and areas, ranging from music psychology to myth-studies. In this way, this work fills a gap in musicological understanding of aesthetic experience, as it combines research from a variety of fields to further elucidate musical experience: an approach which has not previously been used within musicology. In so doing, this work examines how experience can be shaped and how it is subject to historical and cultural conditioning.
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Deimler, Devon Erin. "Ultraviolet Concrete| Dionysos and the Ecstatic Play of Aesthetic Experience." Thesis, Pacifica Graduate Institute, 2019. http://pqdtopen.proquest.com/#viewpdf?dispub=13806379.
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This dissertation heeds archetypal psychologist James Hillman’s call for depth psychology to “also be a depth aesthetics” by considering Dionysos as an archetype of aesthetic experience. We respond affectively to the sensations of our interpenetrating everyday world of bodies, including our imaginal and ideational perceptions. Dionysos has been studied as an archetype of intoxication, indestructible life, madness, nature, bodily excitement, eroticism, festive inclusivity, theater, and liberation. This study reevaluates these qualities and more to discover how Dionysos and multiple figures of his thiasos create an archetypal background for the phenomenon of aesthetic experience. While Psyche serves Aphrodite, Dionysos serves psyche and may be considered a more comprehensive archetypal figuration for aesthetic experience than the goddess of Beauty.
Notoriously epiphanic Dionysos traverses all realms, but is most beloved of the earthly between—his ecstasy turned on, sustained by, and expressed via the aesthetic dimension. For Nietzsche, the profound surfaces of this embodied life are divine, a belief echoed in the work of Hillman, David L. Miller, and the philosophies of Phenomenology, Alfred North Whitehead, and the contemporary Speculative Realists, among others. In varying ways, all suggest the aesthetic dimension is the causal dimension—the inspired starting condition of reverie and cognition. This study suggests reading the aesthetics of daily life as “concrete poetry,” a term repurposed here as a metaphor for the concentrated instant in which an entire mythos is given in the very medium of an image. The “archetypal” is thus not defined herein as a first principle, in the universal or originary sense, but, more simply, as any particular event that deeply and experientially impresses upon us, creating an insta-mimesis of reactivity and recreation. Detailed evidence for this study’s broad thesis is given historically, conceptually (through philosophy, art theory, and depth psychology), mythopoeic- and mythologically, and with support from the aesthetic realm of the arts, including, in its conclusion, examples from twentieth-century artists, most primarily the Dadaists, Marcel Duchamp, and Dennis Hopper.
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Rocha, Antunes Luis. "The multisensory film experience : a cognitive model of experiential film aesthetics." Thesis, University of Kent, 2017. https://kar.kent.ac.uk/62461/.
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This thesis introduces the concept of the multisensory film experience through a cognitive model of experiential film aesthetics in which we argue in favour of the idea that spectators can have perceptual experiences of film in the realm of thermoception, nociception and the vestibular sense-all of which are senses outside of the classic senses of sight and hearing examined in the context of film studies. We examine each of these senses in relation to the work of three contemporary film directors who have taken stylistic and experiential advantage of these senses to build their own authorial voices, namely, Gus Van Sant, Ki- duk Kim and Knut Erik Jensen. We employ a combination of arguments from the field of multisensory studies (neuroscience) and cognitive film theory and from our own analysis of the stylistic elements of film. We call this a model of 'experiential film aesthetics' because of the intersection between stylistic elements and spectators' own perceptual mechanisms. Experiential film aesthetics are, therefore, a film experience that involves not the conventional idea of watching film in a perceptually detached manner but rather the idea of perceptually participating with senses that have no direct stimulation but rather indirect stimulation through visual and aural information. In this sense, we explore our proposed viewpoint, which is characterised by the apparent paradox that the film medium in its conventional audio-visual form is a sensory gateway to a multisensory experience. These experiential film aesthetics can serve as a useful introduction to further investigations of the experiential nature of film and across sensory modalities that have not yet been examined in film studies.
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Blau, Aimee E. "Composing 'An Experience': Experiential Aesthetics in First-Year Writing." BYU ScholarsArchive, 2012. https://scholarsarchive.byu.edu/etd/3209.
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Students often struggle to understand why the required writing course is important in their academic and non academic life. My project seeks to bring these two parts of students' lives together by urging writing teachers and students to consider a richer concept of the term "composition," one that includes the fundamental work of composing meaningful knowledge by assembling and reflecting on raw experiences. Dewey's term "an experience" clarifies how students constitute knowledge from their experiences, and Burke's methodological concept of form offers students a model for writing that accommodates that Deweyian sort of learning. Building off of these aesthetic theories, I suggest that significant learning experiences must be composed and organized through critical reflection.
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Watts, Robert. "Children's perceptions of beauty : exploring aesthetic experience through photography." Thesis, University of Roehampton, 2016. https://pure.roehampton.ac.uk/portal/en/studentthesis/childrens-perceptions-of-beauty(b5a72e1d-fbf7-433b-8c82-833642331438).html.
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The research reported in this thesis explores children’s perceptions of beauty. It investigates how children reflect upon and articulate their perceptions of beauty and examines how these perceptions relate to philosophical thinking about aesthetic experience. For the past 100 years, beauty has been marginalised in art and education and it is widely regarded as a problematic notion in a range of social and cultural contexts. Art educators have often portrayed beauty as a peripheral concern, and those who have studied children’s responses to artworks have tended to characterise their references to beauty as evidence of passive appreciation and a relatively low level of aesthetic development. In recent years there has been growing evidence of a revival of interest in beauty as a theme for reflection; however, to my knowledge, this is the first study to specifically research children’s perceptions of beauty. The theoretical part of the study examined two fields of literature, in terms of (i) art educators’ strategies for engaging children with art and (ii) philosophical theories of aesthetic experience. These sources influenced the design of the empirical part of the study, which consisted of 18 group interviews with 51 children aged 9-11 in two schools, one in inner London and the other in a rural village 40 miles from the capital. Before the interviews children completed two tasks independently in which they found and photographed images they thought were beautiful. Therefore there were two kinds of research data: (i) the images children found and photographed and (ii) the interview transcripts. A content analysis approach informed the interpretation of the images, while a number of themes that emerged from the interview data were identified and discussed in the context of the literature. The research findings indicated that children have diverse perceptions of beauty and that they are interested in a range of visual properties and expressive qualities of images. Children in one school tended to find beauty in images that reflected relationships, while those in the other judged the subjective nature of such images to be problematic. Children in the rural area often photographed landscapes, flowers and animals, suggesting their direct connection with nature influences their perception of it as beautiful. Those in London also found beauty in the natural world but preferred stylised, digitally generated representations of nature designed to appeal to the viewer. During the interviews children were often highly motivated to articulate their responses to beauty, and many reflected thoughtfully on their own and others’ images. Evidence suggests that children experience beauty in a wide range of contexts and that they variously understand it as an intersubjectively valid, shareable experience or, alternatively, as an individual experience. Several talked about beauty in ways that related to notions well-rehearsed in aesthetic theory while others, though less able to conceive or articulate such ideas, were nonetheless receptive to them when they heard them expressed. Photography played an important part in the research, and the findings suggest the medium has the potential to play a far more prominent role in art education as a means of expression. When combined with group interviews, photography can also be a highly effective method of understanding children’s perspectives on their experiences, and the study offers a useful model for researchers and educators to develop further. The research makes several contributions to knowledge. Firstly, it demonstrates that children’s experiences of beauty are often valuable and meaningful to them. Secondly, it provides evidence that children are motivated to explain their ideas about beauty and to engage with the ideas of others. Thirdly, it challenges previous assumptions in terms of both children’s aesthetic development and aesthetic preferences by highlighting the diversity and complexity of children’s perceptions of beauty.
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Kim, Kisoo. "Kant and the fate of aesthetic experience a deconstructive reading /." Diss., Online access via UMI:, 2007.
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Keener, Anne M. "The Reality of the Unseen." The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1404930395.
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SOUZA, ROOSEVELT FIDELES DE. "AN EXPERIENCE ON ENVIRONMENTAL EDUCATION: BUILDING SOCIAL-ENVIRONMENTAL VALUES." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2003. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=4302@1.
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Este estudo teve como motivação inicial a experiência
profissional do autor,como educador e geógrafo, atuando
na
iniciativa denominada Projeto de Educação Ambiental com
Crianças de Escolas públicas, que vem sendo realizada no
campus da Pontifícia Universidade Católica do Rio de
Janeiro desde 1998. Este projeto foi desenvolvido pelo
Núcleo Interdisciplinar de Meio Ambiente - NIMA/PUC-Rio,
com o objetivo de integrar as escolas públicas com a
Universidade, através de aulas de Educação Ambiental,
tendo
como meta a formação de valores ético-ambientais para o
exercício da cidadania das futuras gerações. Baseado
nesta
experiência de projeto social, que visa atender às
crianças
mais carentes que estudam nas escolas públicas no
bairro da Gávea e moradoras das comunidades carentes da
Rocinha, Vidigal, Parque da Cidade e Cruzada São
Sebastião,
localizadas próximas ao campus da PUC-Rio, são
apresentadas aqui as reflexões e potencialidades de
transformação social do Projeto de
Educação Ambiental com Crianças de Escolas Públicas.
A análise deste Projeto, enquanto um modelo que visa
responder aos atuais apelos da recente Lei Federal de
Educação Ambiental e da Lei Estadual, sobretudo no
que se refere a sua dimensão não-formal, constitui o
escopo
desta dissertação. Em outras palavras, este trabalho
avalia
as ações e práticas educativas voltadas para a
sensibilização da coletividade sobre as questões
ambientais, com a participação e parceria de escolas,
Universidade e empresas, e das transformações processadas
com valores éticos presentes na relação do homem com o
seu
meio ambiente, através de um projeto de Educação
Ambiental,
realizado junto às crianças e adolescentes estudantes da
rede pública de educação no Estado do Rio de Janeiro.This research was motivated by the author s professional experience, as a Geography teacher, working as a member of the team responsible for the Project of Environmental Education for Public School Children, which has been taking place within the Pontifical Catholic University of Rio de Janeiro campus since 1998. This project was developed by the Interdisciplinary Center for the Environment - NIMA/PUC-Rio to promote the integration of the public schools with the university,throughout Environmental Education classes. The goal of the project is to develop ethical-environmental values for the exercise of future generations citizenship. The purpose of this initiative is to serve the poor children, who attend classes of the public schools of Gávea, Rocinha, Vidigal, Parque da Cidade e Cruzada de São Sebastião neighborhoods, located near by PUC- Rio campus. Based on this experience, the author describes the perspectives for social change of the Project of Environmental Education for Public School Children. The core subject of this dissertation is an analysis of this project, taken as a model response to the determinations of the recent Federal and State Laws for environmental education, with emphasis on non-formal education. In other words, this essay describes the educational actions and practices designed to wake up collective sensibility towards environmental issues, relying on the partner ship established by schools with universities and companies. This dissertation is concerned with the ethical valves which comes out of the relation ship between mankind and its surrounding nature and the transformations that can be accomplished by an Environmental Education Project such as this one offered to the children of the public education system of the State of Rio de Janeiro.
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Bennett-Hunter, Guy Andrew. "Ineffability and religious experience : a philosophical study." Thesis, University of Cambridge, 2011. https://www.repository.cam.ac.uk/handle/1810/252237.
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The notion of ineffability (of that which is, in principle, resistant to conceptual formulation and therefore literal linguistic articulation) has been largely ignored by philosophers. The notion is clearly a central one in the Christian mystical tradition and in more recent apophatic theological developments. Mid-twentieth-century philosophical discussions of mysticism invoked the idea and a number of phenomenologists share a sense that the meaningful human world is answerable to some 'background' that is inarticulable and mysterious. But, despite this, the logical implications of the notion of ineffability for religious experience, language and practice have not been explicitly and systematically thought through. This thesis, restricted to a dual focus on twentieth-century and contemporary philosophy and on the Christian religion, attempts to address this neglect. After reviewing the philosophical, and some theological, literature on the notion of ineffability in religion, this thesis identifies a philosophical tension between the notions of 'ineffability' and 'answerability', between the idea that the ineffable is beyond conceptualization and that some kind of experience, language or practice connected with it is required if the notion is to be meaningfully invoked, let alone (as in a religious context) serve as the measure for the meaning of the human world. In this connexion, the meaning of the word 'God' is interpreted as a reference to the concept of ineffability. A recent philosophical defence of the concept is endorsed which, rooted in existential phenomenology and Heidegger's later philosophy, resolves this tension. The detail of theological attempts, by Paul Tillich and John Macquarrie, to accommodate this line of thought as directly inherited from the phenomenologists (especially Heidegger) is examined and criticized, as, eventually, is a more promising theological possibility represented by the neglected philosophy of Karl Jaspers. The rational status of existential phenomenology (its relation to discourse conditioned by the subject-object dichotomy) is examined more closely in the light of the latter criticism. It is concluded that phenomenology's specifically philosophical way of evoking the ineffable is necessarily that of a rationally-based dialectic. The final chapter points to spheres outside philosophy, aesthetic and ritual, which cultivate the experience of the ineffable without such dialectic. It offers an 'aesthetic account of ritual meaning' and concludes by showing how the Eucharistic rite can be philosophically understood as a vehicle for religious experience and expression - the evocation and invocation of the ineffable God.
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Vold, Veronica. "Graphic Ecologies: Aesthetics of Environmental Equity in Postwar American Comics." Thesis, University of Oregon, 2014. http://hdl.handle.net/1794/18549.
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In the postwar era of the United States, as military-industrial chemicals leak into airways, waterways, and foodways in unprecedented plumes and cancer clusters, comic art forms generate diverse environmental imaginations. Though historically disparaged as disposable ephemera, comics provide unique access to environmental expression in this critical period. This dissertation analyzes the formal registers of two independent newspaper strips and four graphic cancer narratives for an aesthetics of equity: a set of verbal-visual moves that chart awareness of environmental devastation as determined by privilege and power. The iconicity of the drawn body--its lines, shape, and movement--grapples with complex legacies of environmental harm and exclusion. Maps of environmental risk perception generated through game board motifs, collages, and icon repetition rely on the capacity of sequential art to engage readers in recognizing and analyzing postwar risk. In form and theme, an aesthetics of equity in comics deploys environmental knowledges subordinated and sharpened by interlocking social inequities. This aesthetics revises the elisions and assumptions of mainstream environmentalisms. Ultimately, comics demand a literacy particularly well suited to environmental justice (EJ) ecocriticsm.
The dissertation comprises three chapters of analysis. The first examines competing environmental discourses in Alison Bechdel's Dykes to Watch Out For (1982-2008). This newspaper strip coincides exactly with the start of the contemporary EJ movement. In examining three character arcs across a quarter of a century, I track the emergence of EJ discourse in Bechdel's distinctly lesbian environmental imagination. The second chapter examines the heteronormative limits of the EJ story arc in Jackie Ormes' midcentury romance strip Torchy in Heartbeats (1953-4). Published weekly in the Comic Section of the Black newspaper the Pittsburgh Courier, Torchy chronicles its eponymous heroine's quest to end environmental racism in the fictional small town of Southville. Torchy's affect and body language revise romance genre conventions and expose sexism and racism as intersecting environmental oppressions. The third chapter examines transcoporeal exchange in four contemporary graphic cancer narratives from the early 21st century. This chapter examines the extent to which graphic cancer narratives "move out," to use Diane Herndl's phrase, to form coalitions with disparate environmental communities.2015-10-17
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Esser, Peter W. "John Dewey's art as experience : a treatise on the art of living /." view abstract or download file of text, 2002. http://wwwlib.umi.com/cr/uoregon/fullcit?p3045086.
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Thesis (Ph. D.)--University of Oregon, 2002.Typescript. Includes vita and abstract. Includes bibliographical references (leaves 215-217). Also available for download via the World Wide Web; free to University of Oregon users.
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Abdalla, Mohammed Ammar. "Environmental knowledge and city perception, with a focus on the energy link to environmental aesthetics." Thesis, Heriot-Watt University, 1998. http://hdl.handle.net/1842/26845.
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Architecture exists to respond to environmental problems that affect human life, many of which are directly related to energy principles. In the early stages of man's adaptation, these challenges set the criteria for indigenous architecture. Certain formal solutions became recognised as more reliable in meeting environmental potentials and a deep appreciation of these emerged. This persisted even as the evolution of the intellect allowed man to move away from direct, survivalist responses to the environment into a more symbol -based and mutual relationship. The process of change, however, has developed into one of internationalisation. In Libya, the subject area of this thesis, building techniques are used that have no relevance to the environment. This fracture between the natural and artificial has created many problems. This thesis will research these accumulated problems by studying the city image, which lead the author to assert the role of energy in setting the criteria for environmental quality.
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Miller, Jeff. "The driving experience as environmental art." Virtual Press, 2002. http://liblink.bsu.edu/uhtbin/catkey/1230609.
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The main goal of this project is to design the experience of motion along a mixed-use arterial roadway as a work of art. The research component of this project proposes to determine the influences on the experience of traveling along a road, the key components of environmental art, and how these can be combined to enhance the driving experience. This project will focus on the section of McGalliard Road from Morrison Road to Walnut Street, in Muncie, Indiana.McGalliard Road is one of Muncie's most heavily traveled roads. If one examines its length, the unorganized fashion in which the street has developed is readily apparent. Different and often conflicting uses are scattered up and down the road, in a spectrum ranging from rural/ agricultural to residential to commercial. The result is a confusing sequence of buildings and spaces with little or no focus. Thousands of people use roads similar to McGalliard in their everyday life. Generally the experience of driving these roads is mundane, involving countless parking lots, stores, and chain restaurants. By utilizing the principles of environmental art in the redesign of the experience of a mixed-use arterial roadway, the user's experiences can be greatly enhanced and the road can be infused with a new identity and meaning with which peoplecan identify and take pride.The user's experience of a mixed-use arterial roadway is the main issue I plan to examine in this project. When driving on a highway the sense of motion, space, and sequence is dominant. These sensations are most affected by objects passing overhead and near the roadside (Appleyard, 1966). The primary objects in the user's view are signs, telephone poles, and other vehicles, with nearly nothing overhead.Roads are an integral component of a city's fabric, one of its most intensely used public spaces, which provide linkages between different parts of a city (Moughtin, 1992). A successful road is one that captures the attention of its user. Without this, the user's attention can begin to wander and the experience becomes uninteresting. McGalliard Road has little to catch or hold the user's attention. The nearby surroundings consist mainly of signs, large parking lots, or buildings set far back from the street with nothing to focus the driver's attention. In redesigning the experience a user has while traveling along McGalliard Road, it is important to work with these elements in the near roadside environment, utilizing their attributes in the creation of an experiential work of art.Art has the potential to add another layer to the experience of the landscape, instilling it with new meaning. Works of environmental art are bound to their site and take a large part of their content from the relationship they have with the characteristics of their surrounding sites (Beardsley, 1998), thus drawing meaning directly from the surrounding landscape and culture. Ultimately the success of a city depends on the success of its roads. Art can enhance both the experience of a road, city, and the lives of its citizens. Integrating commercialism, art, and the driving experience, the designer can create a unique experience in which the user is an integral component in the design.Department of Landscape Architecture
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Ausperk, Ryan. "Phenomenology, Imagination, and Aesthetic Experience." Kent State University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=kent1398270498.
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Fourie, Rene. "Applying GIS in the evaluation of landscape aesthetics." Thesis, Stellenbosch : University of Stellenbosch, 2005. http://hdl.handle.net/10019.1/1813.
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Thesis (MA (Geography and Environmental Studies))--University of Stellenbosch, 2005.Scenic beauty, or landscape aesthetics, should be regarded as a valuable resource, to be protected and enhanced in order to generate income. Current environmental impact assessment (EIA) studies do not include the evaluation of scenic beauty as a resource properly, due to the lack of effective evaluation methods. A general dilemma lies in objectively evaluating beauty. If scenic preferences can be associated consistently with the physical landscape features, the latter can be used as predictors of the former. Analysis of aesthetics can therefore be done with a degree of objectivity, based on these general preferences. A large number of these preferences are morphologically measurable. In other words, these preferences can be mapped in a Geographical Information System (GIS), rated, and evaluated quantitatively. The first step in objectively evaluating landscape aesthetics entailed identification and compilation from the literature of conceptual components in a landscape, i.e. the units defining a landscape. Four components were identified: landform, vegetation, water features and man-made features. Each of the four components can be subdivided into several elements. Secondly, scenic preferences that can be consistently associated with landscape features were identified. It was found that any subjective experience of landscape aesthetics would be either one of calmness or one of excitement. The presence or absence of the landscape elements, and specific combinations of elements and element variables within the context of an individual landscape, will determine the type and extent of the aesthetic experience of the viewer. Finally, this theory was put into practice. Coverages were created of a test region, with landscape elements as the features of the coverages, and element variables or characteristics as feature attributes. These landscape elements, as they enhance either calmness or excitement, were quantified by assigning value ratings to the elements according to the extent of the influence of the elements on the aesthetic value of the landscape. ArcInfo GRID functionality was used to convert the coverages to raster (or grid) overlays, using the element variables enhancing both calmness and excitement. A simple cumulative summing function was used to derive an aggregate Calm Aesthetic Experience map by adding grids enhancing calmness. An aggregate Exciting Aesthetic Experience map was constructed by adding grids enhancing excitement. Finally, these two grids were summed in order to construct a Total Aesthetic Experience map, which is an indication of the total aesthetic value of the test region. The outcome of this research was a method for analysis and objective evaluation of a landscape, using a GIS for data creation, analysis and map construction. The resultant map is an indication of aesthetic value, showing the test region graded according to intrinsic aesthetic value.
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Harper, Nicole Renai. "Cultural aesthetic experience perceptions of learning developed through cultural immersion /." Click here to access dissertation, 2008. http://www.georgiasouthern.edu/etd/archive/summer2008/nicole_r_harper/harper_nicole_r_200808_Edd.pdf.
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Thesis (Ed.D.)--Georgia Southern University, 2008."A dissertation submitted to the Graduate Faculty of Georgia Southern University in partial fulfillment of the requirements for the degree Doctor of Education." Directed by Delores Liston. ETD. Includes bibliographical references (p. 398-423) and appendices.
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Rogers, Taylor. "The Ethical Significance of the Aesthetic Experience of Non-Representational Art." Oberlin College Honors Theses / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1306457898.
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Blum, Elaine M. "Aesthetic Experience and the (Queer) Self." Kent State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=kent1334261034.
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Bratkowski, Tad. "The Aesthetic Experience of Video Games: A Pluralistic Approach." OpenSIUC, 2014. https://opensiuc.lib.siu.edu/dissertations/799.
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In this dissertation, I make a serious philosophic application of several aesthetic theories to the emerging medium of video games. I look at concepts such as the play of art, psychical distancing, and an experience, and apply each of these to a representative video game. Hence, I use a variety of aesthetic works, but apply these in a pluralistic manner. The thesis I defend is that a number of specific video games offer possibilities for aesthetic experience that can be comprehended through these traditional aesthetic theories. The purpose of my project is not a comparative one among these theories: I do not argue that any one of these is definitive in application to all video games. Instead, I hold these theories in tension by showing that each has practical merit in being applied to different games I use a variety of aesthetic approaches to argue that a specific game exemplifies the aesthetic value which is at the core of a particular theory. I apply John Dewey's notion of an experience as a single, distinctive whole consisting of parts in unity to the music-based game Rock Band. To consider the distance between the player of a video game and the game's content, I discuss Edward Bullough's theory of psychical distance and apply this concept to a violent game such as Grand Theft Auto IV. Finally, I consider Hans-Georg Gadamer's thoughts on the play of art and the connection of play to seriousness and apply these thoughts to a game which integrates a sense of playfulness with serious themes: Braid.
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Widger, Eleanore. "Visual form, visible nature : radical landscape poetry and Romantic environmental aesthetics." Thesis, University of Dundee, 2018. https://discovery.dundee.ac.uk/en/studentTheses/a39ef120-02b1-4080-b4f6-108c4e203abc.
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Whilst there is a strong emerging body of criticism on innovative and open form poetries, particularly from ecocritical and environmental perspectives, the related but distinct genre of radical landscape poetry receives little specific attention. Named by Harriet Tarlo, the genre is so far represented by a single anthology, The Ground Aslant, published in 2011, which includes the work of sixteen poets from around Britain. This thesis constitutes the first in-depth critical engagement with radical landscape poetry, and in attempting to unpack some of the genre's particular concerns, argues for the significance of Romanticism's influence on radical landscape poetry's treatment of the environment. I propose that radical landscape poetry warrants extensive critical attention because of its self-reflexive negotiation of visibility at a moment concerned with the ethics of representation; its attention to the land as something that is 'scaped' by acts of looking and representing, as well as its attention to environmental phenomena in their own right; and in addition, because of its interrogation of the relationship between the body and the poetic text. By re-articulating Romantic attitudes, radical landscape poetry reveals the divergences, congruities and continuities which link contemporary eco-ethical thought to earlier poetic and philosophical modes. The treatment of vision, visibility, the body and the environment in the poetry of the Wordsworths, Coleridge, and Clare, and the visual art of Blake, Turner and Friedrich, provides an instructive and illuminating context for reading radical landscape poetry. At the same time, the thematic and formal innovations of radical landscape poets provide fresh perspective on Romantic works. By positioning Romantic and radical landscape poetry in relation to contemporary phenomenological, existential and ecocritical discourses, this thesis offers new insights into both poetries, as well as advancing understandings of their relationship.
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Murphy, Laura L. "The Aesthetics of Anxiety: Making in a Time of Environmental Collapse." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1343065382.
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Eiserman, Jennifer Roma Flint. "The application of Fairchild's model in the evaluation of aesthetic experience : a case study." Thesis, McGill University, 1995. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=23212.
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The purpose of this study was to apply the Post-Modern aesthetic model proposed by Wetzl-Fairchild (1990) and a data collection method (verbal protocol) in order to establish a useful methodology for studying the aesthetic experience of a viewer in an art exhibition. I studied the interaction between a contemporary exhibition and professionals variously familiar with the artworld. I find that Fairchild's model is useful as a theoretical framework in coding the protocols and confirm that the think-aloud protocol can provide accurate data with respect to the cognitive activity of an art viewer. I suggest that the viewers' context became the pivotal issue determining the quality of their experience and propose that this context become the focus of further study in the exhibition design process. I conclude that personal context is pivotal in all aspects of art education, whether in a classroom or an art exhibition.
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Aloi, Michael Joseph. "Participation in the Play of Nature: A Hermeneutic Approach to Environmental Aesthetics." Thesis, University of North Texas, 2020. https://digital.library.unt.edu/ark:/67531/metadc1752360/.
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Within the environmental aesthetics literature, there is a noticeable schism between two general approaches to understanding the aesthetic value of nature: the ambient approach and the narrative approach. Ambient thinkers focus on the character of aesthetic appreciation of nature, the way in which one is embedded in multi-sensory environment. These ambient theorists emphasize the importance of those aesthetic experiences that are difficult to articulate. Narrative thinkers argue that aesthetic appreciation of nature is enhanced and enriched by narratives that are relevant to the natural object or environment encountered. Certain narratives – usually those based on scientific knowledge – encourage a depth of appreciation that is inaccessible to those unfamiliar with the narratives. In this dissertation, I attempt to articulate an account of environmental aesthetic experience that does justice to both of these approaches by drawing on the resources of philosophical hermeneutics, and especially on the aesthetic theory of Hans-Georg Gadamer. The most important aspects of Gadamer's work for environmental aesthetics are his phenomenology of play, his revival of practical philosophy, and his emphasis on the interpretive character of all understanding. His discussion of play fleshes out the core of ambient accounts, his focus on interpretation explains the insights of narrative accounts, and the two accounts are tied together by his attention to practice.
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Murphy, Lauren. "AN HEDONOMIC EVALUATION OF PLEASURABLE HUMAN-TECHNOLOGY EXPERIENCE: THE EFFECT OF EXPOSURE AND AESTHETICS ON THE EXPERIENCE OF F." Doctoral diss., University of Central Florida, 2005. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/2525.
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A framework was developed called the Extended Hedonomic Hierarchy (EHH) that provides a basis for evaluating pleasurable human-system experience. Results from a number of experiments within this framework that evaluated specific dimensions of the framework are reported. The 'Exposure' component of the EHH framework and hedonics of the system were investigated to see how changes would affect other dimensions, such as the occurrence of flow, the mode of interaction, and the needs of the user. Simulations and video games were used to investigate how repeated exposure affects flow, interaction mode, and the user needs. The Kansei Engineering method was used to measure user needs and investigate the effect of different hedonic properties of the system on user needs and flow. Findings reveal that: (a) pleasurable human-system experience increases linearly with repeated exposure to the technology of interest; (b) an habituation effect of flow mediated by day; (c) motivation to satisfy human need for technology is hierarchically structured and contributes to pleasurable human-system experience; (d) interactivity is hierarchically structured and seamless mode of interaction is a behavioral outcome of pleasurable human-system experience; (e) there are individual differences among users that affect the likelihood of experiencing pleasurable human-system interaction; (f) performance is positively correlated to flow and (g) the method of kansei engineering provides data from which informed decisions about design can be made and empirical research can be conducted. Suggestions for (a) making Hedonomics a reality in industry, the workplace, and in the field of Human Factors, (b) future research directions for Hedonomics, and (c) principles and guidelines for the practice of Hedonomics are discussed.Ph.D.
Department of Psychology
Arts and Sciences
Psychology
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Coleman, Jacob W. "An Aesthetic Experience of Comedy: Dewey and Incongruity Theory." Ohio University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1618336603730402.
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Kemling, Jared. "A Dialectical Account of Consummate Experience: With Reference to John Dewey." OpenSIUC, 2014. https://opensiuc.lib.siu.edu/theses/1416.
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John Dewey was a philosopher of experience; if there is a thread that ties his vast literary output together it would be just that--the tracing and understanding of the various forms of experience. Dewey developed and elucidated three distinct kinds of experience throughout his career. If taken "subjectively" one might term these experiences immediate, mediate, and consummate; the corresponding "objects" of each would thus be, in order, events, relations between events, and the work of art (which is itself a sublation of events and their relations). To speak loosely, we might call these unconscious experience, conscious experience, and aesthetic experience. My thesis is that consummate experience is best understood as a kind of dialectical sublation between immediate and mediate experience: I intend to use the work of John Dewey to describe each of these three types of experience and show how consummate experience might be understood as a sublation of the immediate and the mediate.
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de, Almeida Fernanda Pinto. "Making sense of the bioscope: The experience of cinemas in Twentieth century Cape Town." University of Western Cape, 2020. http://hdl.handle.net/11394/7549.
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Philosophiae Doctor - PhDIn my thesis I focus on Cape Town’s imaginary of cinemas – popularly called bioscopes – within a larger historical approach to temporary film halls, picture palaces, atmospherics and drive-ins. My inquiry includes both conceptual and institutional lenses to show how cinema houses enabled particular affects, eschewed bureaucratic restrictions and questioned political authority over public spaces. I ask specifically: how did cinema help to forge audiences and political sentiment by mobilizing the senses? How was the public threat posed by so-called ‘flea-pit’ film halls of early twentieth century seemingly appeased by the private promise of the multiplex rooms in suburban enclosures? For this purpose, I examine the appeal of early twentieth century cinemas alongside their impact in the city’s geography and incipient public sphere to argue that cinema promoted a collective form of experience that bypassed both segregationist and liberal policies of governance.
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Stroud, Mary. "So Much for Beauty: Realizing Participatory Aesthetics in Environmental Protection and Restoration." Diss., The University of Arizona, 2013. http://hdl.handle.net/10150/301529.
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This study analyzes visual artifacts from three case studies, Hetch Hetchy Valley, Echo Park, and Glen Canyon, in order to contribute to scholarship devoted to environmental visual rhetoric. Through these studies, I address connections between aesthetics and environmental ethics and challenge scholarship that argues mainstream preservationist perspectives have adhered to an anthropocentric ideological paradigm. Grounding my argument in philosopher Arnold Berleant's notion of participatory aesthetics and deploying social semiotics and media analysis methodologies, I propose that two particular aesthetic grammars have been at use in mainstream environmental rhetorics, that which I call the wilderness sublime and the wilderness interactive. Present in the late 19th and early 20th centuries, and well documented in existing scholarship, the aesthetic of the wilderness sublime has operated through strict dichotomies between nature and culture that promote reductive views of human relationships with nature. Conversely, I argue that the aesthetic of the wilderness interactive, discoverable in artifacts from the mid-20th century to today, has worked to resist these dichotomies through the use of participatory elements that feature humans and nature in what Berleant calls a "relationship of mutual influence," falling within a more ecocentric ideological view. Through my analysis, I extend Berleant's theoretical application from photography to websites to argue that web-based rhetorics contain distinct potential for the realization of participatory features. In particular, I focus on the aesthetic, technological, social, archival, subjective, and epistemological dimensions proposed by Melinda Turnley to discuss dialogic features of websites that can work to engage diverse stakeholders. Through my findings, I offer a visual analysis heuristic that can be used to discover participatory aesthetics within visual artifacts and resist dualistic views of the environment. Likewise, I present a user analysis heuristic that can help identify targeted stakeholders and recognize participatory aesthetics within websites. Ultimately, this study answers the call of environmental aesthetics to address the realization of perceptual norms that offer more ethical conceptions of human relationships with nature, and it extends this focus into the digital environment to discuss the ability of web design and aesthetics to promote generative stakeholder dialogue in environmental protection and restoration.
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Thompson, Ian H. "Sources of values in landscape architecture." Thesis, University of Newcastle Upon Tyne, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.311145.
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