Academic literature on the topic 'Non-linear aesthetics'
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Journal articles on the topic "Non-linear aesthetics"
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Kim-Boyle, David. "Visual Design of Real-Time Screen Scores." Organised Sound 19, no. 3 (November 13, 2014): 286–94. http://dx.doi.org/10.1017/s1355771814000272.
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The author examines visual design considerations in the development of real-time screen scores. Such scores are shown to lend themselves particularly well to the representation of non-linear musical processes and the articulation of non-linear musical forms. The author argues that the foregrounding of such scores, through their projection for an audience and meticulous design, draws especial attention to the manner in which such non-linear processes are represented and in turn decoded by performers. While the transparency of the decoding process is shown to vary across a wide spectrum, the central role of the notational schema in works such as these is shown to align them in many ways with a broader interface aesthetics, promoting rich fields of creative and artistic enquiry.
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Barker, Timothy S. "The past in the present: Understanding David Claerbout’s temporal aesthetics." Time & Society 20, no. 3 (November 2011): 286–303. http://dx.doi.org/10.1177/0961463x10375103.
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David Claerbout’s recent video and photographic works generate a distinct temporal aesthetic. In particular, these works experiment with time by situating the historical past not as a discrete moment in time, but rather as an actively engaged part of the present moment. Through the use of digital technologies Claerbout re-presents, experiments with, and opens up time as non-linear and complex, in effect producing a new experience of temporality through a mediation of the past. Using Gilles Deleuze’s concepts of time, informed by Michel Serres’ and Roland Barthes’ work on photography, I explore a theory of time through these artworks in which the past is understood as transpiring within the present, attempting to understand Deleuze’s temporal concepts aesthetically, not just philosophically.
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Naim, Nur Faraha Bte Hj Mohd, and Ag Asri Ag Ibrahim. "The Study of Affective Value in Educational Video Production Style Using Kansei Engineering Method." International Journal of Information and Education Technology 10, no. 8 (2020): 573–78. http://dx.doi.org/10.18178/ijiet.2020.10.8.1426.
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This paper presents the emotional responses among higher institution learners towards the production style of an educational video. The video design concepts for each production style were categorized into three sections, non-linear video with visual effects (interactive video mobile-learning), linear video with visual effects (green screen) and linear video with no visual effects (screencast). The Kansei Engineering approach was used to measure the learners’ emotion reaction on each of the production style. Through Kansei Engineering method, the outcomes presented variance of active and passive emotion reaction towards the production style, difference feelings responses caused by the video design, whereas at the end most learners agreed that the inclusion of interactivity and aesthetics in video design will increase their motivation to learn from the educational video.
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Hartati, Hartati, Suardi Suardi, and Ira Nuriya Santi. "PENGARUH KUALITAS PRODUK TERHADAP KEPUTUSAN PEMBELIAN ULANG SABUN MANDI MEREK SHINZUI DI KOTA PALU." Jurnal Ilmu Manajemen Universitas Tadulako (JIMUT) 3, no. 3 (July 31, 2020): 289–98. http://dx.doi.org/10.22487/jimut.v3i3.96.
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The purpose of this study is to determine simultaneous and partial influence of product quality both on repurchase decision of Shinzui bath soap in Palu City. Independent variables used in this study consist of performance, features, reliability, durability, conformance, aesthetics, and perceived quality; while dependent variable is repurchase decision (Y). The research method is descriptive. Sample consists of 80 respondents who selected by purposive sampling technique. Data analysis method is multiple linear regressions. The result of this research shows that product quality, consists of performance, feature, reliability, durability, conformance, aesthetics, and perceived quality simultaneously have significant influence on repurchase decision of Shinzui bath soap in Palu City. Partially, product qualities that consist of feature and perceived quality have significant influence on repurchase decision of Shinzui bath soap in Palu City. While performance, reliability, durability, conformance, and aesthetics variables partially have non-significant influence on repurchase decision of Shinzui bath soap in Palu City. Tujuan dari penelitian ini untuk mengetahui pengaruh kualitas produk baik secara serempak maupun parsial terhadap keputusan pembelian ulang sabun mandi Shinzui di Kota Palu. Variabel independen yang digunakan dalam penelitian ini adalah Kinerja (Performance), Keistimewaan (Features), Kehandalan (Reliability), Daya Tahan (Durability), Kesesuaian (Conformance), Estetika (Aesthetics), dan Kualitas Yang Dirasakan (Perceived Quality), sedangkan variabel dependen adalah Keputusan Pembelian Ulang (Y). Metode penelitian yang digunakan dalam penelitian ini adalah metode deskriptif. Sampel yang digunakan pada penelitian ini yaitu sebanyak 80 responden dengan bentuk pengambilan sampel menggunakan teknik purposive sampling. Metode analisis data yang digunakan dalam penelitian ini adalah metode analisis regresi linear berganda. Hasil penelitian ini menunjukkan bahwa secara simultan kualitas produk yang terdiri dari Kinerja (Performance), Keistimewaan (Features), Kehandalan (Reliability), Daya Tahan (Durability), Kesesuaian (Conformance), Estetika (Aesthetics), dan Kualitas Yang Dirasakan (Perceived Quality) berpengaruh signifikan terhadap keputusan pembelian ulang sabun mandi Shinzui di Kota Palu. Secara parsial kualitas produk yang terdiri dari Keistimewaan (Features) dan Kualitas Yang Dirasakan (Perceived Quality) berpengaruh signifikan terhadap keputusan pembelian ulang sabun mandi Shinzui di Kota Palu, Sedangkan variabel Kinerja (Performance), Kehandalan (Reliability), Daya Tahan (Durability), Kesesuaian (Conformance), dan Estetika (Aesthetics) secara parsial berpengaruh tidak signifikan terhadap keputusan pembelian ulang sabun mandi Shinzui di Kota Palu.
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Borges, Gabriela, and Alex Caravela. "From City of God to City of Men: The Representation of Violence in Brazilian Cinema and Television." Cinémas 22, no. 1 (September 15, 2011): 123–48. http://dx.doi.org/10.7202/1005807ar.
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This paper discusses the representation of violence in Brazilian cinema and television through analysis of the TV seriesCity of Men(2003-7), which is a follow-up to the filmCity of God(2002), with the same actors, sets and non-linear narrative. The project began with the production of the TV episodePalace II(2000), which was developed intoCity of God’s script. After receiving international acclaim, it resulted in the production ofCity of Men. In this context, it is important to emphasise the relationship between cinema and television and their particular features as products of the Brazilian audiovisual industry’s renaissance in the 1990s. The representation of violence is analysed not only as a thematic issue common to Brazilian favelas but also as an aesthetic element of TV drama. The representation of the oppressed has been well known in Brazilian cinema since Glauber Rocha’s manifesto “Aesthetics of Hunger” (1965), in which he argues that films need to be aggressive in order to truly expose poverty. The main point to be addressed, however, is whether the representation of violence in this series conveys, criticises or reflects about what is really happening in Brazilian favelas or if it merely offers an aesthetic look into poverty for the delight of audiences in Brazil and abroad.
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Micu, Andreea S. "Photographing the End of the World: Capitalist Temporality, Crisis, and the Performativity of Visual Objects." Performance Philosophy 4, no. 1 (August 30, 2018): 39–52. http://dx.doi.org/10.21476/pp.2018.41206.
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The Depression Era collective started as several photographers and video artists joined forces in March of 2011 to create an archive of photographic images about the Greek economic crisis, amidst the social and political upheaval provoked by ongoing austerity impositions of the EU on the Greek economy. In this essay, I examine selected images from Depression Era, including images from Marinos Tsagkarakis’s series Non-Places of Transition, Yannis Hadjiaslanis’s series After Dark, Pavlos Fisakis’s series Nea Elvetia, and Georges Salameh’s series Spleen. Bringing together Marxist philosophical approaches to aesthetics, via Walter Benjamin and Jean Luc-Nancy, I argue that these photographers’ work is a performative undoing of capitalist understandings of linear time that capture and foster desires for alternative radical temporalities, for non-capitalist senses of time. I discuss how these works disrupt linear notions of time as progress, and as measure of productivity and economic growth, which are intrinsic to modernity, and the creation of financial debt. Against capitalist linear temporality, these Depression Era photographs enable a performative encounter, a realm of visual experimentation in which the spectator is invited to feel time differently, to imagine different alternative temporalities that emerge from the collapse of capitalism.
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Bonner, Marc. "How sf is embodied in level structures." Science Fiction Film & Television: Volume 14, Issue 2 14, no. 2 (June 1, 2021): 209–34. http://dx.doi.org/10.3828/sfftv.2021.14.
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The experience of game intrinsic space is an architectural mode of perception more congruent to actual experiences of physically real architecture than to filmic space. This paper thus centres on the aesthetics of production, concerning the game worlds’ geometry, level structures and game mechanics, within the broader context of how sf and computer games are inextricably merged. This is to investigate how game intrinsic spaces communicate properties of sf or a media-specific ‘science fiction-ness’ through their aesthetics and digital condition. By first building a foundation on the topic of singular space and its liminality, I will then proceed with a few remarks on sf theory, sf imagery and the staging of (im)possible worlds in relation to the concept of ontological possibility space. For this purpose, I refer to two authors of sf theory: Vivian Sobchack and Simon Spiegel. Based on these two sections, I will give an introductory overview on game intrinsic space, its non-linear properties and the incorporation of the player. Here, differences between filmic and game intrinsic space will also be emphasised through a brief discussion. Thus, sf theory and film theory are interwoven with spatial theory and game studies in order to analyse the ontological possibility space that goes beyond the player-character’s everyday experience in actuality. Several examples clarify the theoretical groundwork while Portal 2 (2011) and Echo (2017) function as case studies.
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Pavliv, Jarema. "A comparative analysis of “Hutsulka” in the performing interpretations by two violinists representing the tradition of the Kosmach-Brusturiv areal." Ethnomusic 14, no. 1 (2018): 142–77. http://dx.doi.org/10.33398/2523-4846-2018-14-142-177.
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In the offered article, a comparative analysis of two performing versions of the wedding ceremonial dance “Hutsulka”, dominant in the Eastern Carpathians region of Ukraine has been made, with outstanding violinists-capellists, which, based on traditions and their own virtuoso style, developed this dance genre due to the accumulation of stable and mobile elements of melo-, rhythm- and form-making, as well as the establishment of aesthetics of regional styles. The material for the study was the audio version of the “Hutsulka” recorded on the basis of the performance of two violinists representing the region of Kosmach- Brusturiv villages tradition – Kyrylo Lyndiuk (“Vityshyn”, 1929–2003) (recorded by prof. Bogdan Lukaniuk in 1991) and Ivan Sokoliuk (born in 1944; Musician's own recording of 2017) – and transcribed by the author of the article. The performance of “Hutsulka” by each violinist is characteristic of common and distinctive features concerning the formation of the variative composition, the thematic material (respectively, 29 and 43 themes of kolomyika, kozachok and voloshka bases), tonality and rhythmic structuring, individual interpretation of ornamentation, which is collectively connected with artistic orientation on certain artistic and performing directions, presented by iconic musicians-predecessors. The formal features of the Hutsulka composition depends on scenery where it is performed (1); the tonality outline determined by established regional tradition (2), and rhythmic outline, by the overall style, varyation technics, updating and ornamentation of rhythmic formulas, characteristic of the personal manner and style of the performer (3). Ornamentation, as the essence of the performing style of any Hutsul musician, in K. “Vityshyn” is characterized by intense interweaving of short melismatic legal groups and non-legal figurations within melodic line and texture. I. Sokoliuk 166 enriches the linear movement with prolonged melismatic groups and rhythm- intonational and figurational turns that decorate it and amplify the expression of dance overall sonority. In performing aesthetics of K. Lyndiuk prevails an acute articulation of melodic expressiveness with accented and often pointed rhythmic patterns that provides representative-temperamental virtuosity. For strategic performance aesthetics of I. Sokoliuk, rich in virtuosic expressiveness, is characterized by choral and transparent ringing articulation in the context of “stratum”-development creation of the whole large-scale virtuoso composition. Each version reveals individual compositional, improvised, techno-performing, emotional as well as aesthetic mind of their creators. All these qualities, formed by both musicians in a single tradition and expressed in related kolomyika and kozachok-voloshka tunes, present the decision of developmental, composite, rhythmic, intonational, articulation, tempo and many other aspects of style, characteristic of folk violinists – soloists and capellists, inherent to each of them, in their performing manner, evident in “Hutsulka” rendering.
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Buldakova, Yulia V., and Dmitry A. Shishkin. "Comics in Russia: Transmedia Narrative and Publishing Strategies." Tekst. Kniga. Knigoizdanie, no. 23 (2020): 115–30. http://dx.doi.org/10.17223/23062061/23/7.
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Mass culture creates genre-and-style phenomena that possess both the illusion of a simplified understanding and a complex aesthetic nature. Comics is a phenomenon reflecting trends in the development of mass culture at the turn of the 21st century. In comics, the plot and genre are secondary (graphic novel, various adaptations and retellings), the aesthetics is ambivalent (playful and serious; secular, amateurish and professional), the text has a complex artistic nature (creolisation, polycodedness, centaurism, transmedia features) and, at the same time, an essential goal for reaching commercial success and facilitated consumption/perception. The article aims to describe and analyse the genre-and-style features of the comic strip as a transmedia phenomenon of mass culture. These features give grounds for assessing the principles and tendencies of the presence of the comics in the domestic book market, in particular, the ways of forming the publishing repertoire. The general trend of the modern study of comics (in addition to analysing specific samples of the genre) is the reflection of visual aesthetics in the artistic structure of its text. It is the basis for the inclusion of this genre into mass literature. The peculiarity of the poetics of the comic book lies in the transmedia and sequenciality means that organise the dramatic narrative and visual plot as equal artistic spaces. In combination with the experience of visual media, the genre, style, and discourse of mass culture acquire attributes of transmedia, marginality, and transfer, i.e. tendencies to the mobility of the borders of the traditional genre-and-style system and going beyond them with the help of several different media (visualisation). They have an impact on the genre-and-style features of the comics, and the features of the multimedia information space built on repetition and convergence—sequels, remakes—are becoming more and more familiar. The intention to replicate recognisable stories readers demand encourages major publishers to rely on comic book remakes, comic book adaptations, comic book sequels. There is an extensive development “in depth and in breadth” of the already familiar successful plot, character, aesthetic discourse. Publishing houses are not interested in expanding the thematic repertoire of the comic book, but they seek to update and deepen the reading experience through the emergence of national genre patterns, the discovery of new authors’ names. This leads to a non-linear dynamics in both book publishing and book selling practices in the comics industry and in the genre. The change in the range of comic books is mainly due to various types of remakes, including plot (plot and style, when the aesthetics of the narrative changes) variants of a well-known story. Thus, publishers are faced with common problems in their marketing strategies: objective, related to the lack of understanding of the genre nature and existence of comics, and specifically publishing—the emergence of special technological operations in the production of comics as a publication.
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Torres, Catalina M., Antoni Riera, and Dolores García. "Are Preferences for Water Quality Different for Second-Home Residents?" Tourism Economics 15, no. 3 (September 2009): 629–51. http://dx.doi.org/10.5367/000000009789036620.
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The latest trends in tourism indicate the emergence of a new segment of visitors looking for accommodation in private residences. The increase in second-home residents has led to efforts to improve knowledge of the preferences of this new type of tourist in those destinations where their presence is considerable. As one of the key variables affecting the choice of residential tourists is the environmental quality of the area, this paper focuses on testing for the existence of an inverse correlation between the loss of coastal water transparency, viewed as a measure of environmental quality, and beach aesthetics in Santa Ponça Bay, a Mallorcan coastal area containing two urban beach zones of intensive recreational use, where the proportion of second-home residents is high. The results show that the willingness to pay for improvements in water transparency diminishes in a non-linear way when transparency deteriorates, resulting in no statistically significant differences between first- and second-home residents.
Dissertations / Theses on the topic "Non-linear aesthetics"
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Yeh, Yi-Lan Art College of Fine Arts UNSW. "Dancing brush: an exploration of Taoist aesthetics." Publisher:University of New South Wales. Art, 2008. http://handle.unsw.edu.au/1959.4/42906.
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Dancing Brush video installation is dedicated to legendary Taiwanese dancer Tsai Jui-Yue (1921-2005) in the memory of her suffering, creativity and faith in life. This work reveals the true meaning of Chinese scroll paintings as an infinity of time and space. It draws on the notion of mobility as expounded in the I Ching or Book of Changes. Dancing Brush creates a modern cityscape where the principal of Taoism, ancient Chinese landscape painting, and calligraphy meet new media aesthetics. The focus of this thesis is to reassess media arts practice and aesthetics via the traditions of Chinese Taoist aesthetics. The research was conducted in three dimensions: ??non-linear aesthetics?? in Chinese arts as the new media art form, ??unity of emptiness and fullness?? as the animation principle, and ??subtraction aesthetics?? as the principle of creativity. I propose Dancing Brush video installation as a presentation of ??aesthetics of wandering contemplation??. The work suggests a feature of Chinese moving image aesthetics as a ??spatial montage?? form of media arts. I applied the Taoist ??decreative-creative process?? as the creative method in which the ??decreative?? process leads to the ??creative??. The ??decreative-creative process?? is based on the Taoist teachings of zi-ran (spontaneity) and wu-wei (non-action). I interpret it as ??subtraction aesthetics: less is more??. The process is to eliminate interferences with restricted narrative format and visual effects, then to receive the immediate presentation of things as pure materials. Through the subtracting process, it gains not less but more. Kong Bai (emptiness or formless) in Chinese art is the result of subtraction aesthetics. It reveals the creative principle derived from the Taoist idea of ??usefulness of useless??. The ??subtracting process?? in creating animation is to bring ??unknown?? to life. The ??image beyond image?? is the product of ??unity of emptiness and full?? where Chinese artistic realm yi-jing is created.
Book chapters on the topic "Non-linear aesthetics"
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Osinska, Veslava, Grzegorz Osinski, and Anna Beata Kwiatkowska. "Visualization in Learning." In Big Data, 493–526. IGI Global, 2016. http://dx.doi.org/10.4018/978-1-4666-9840-6.ch024.
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Visualization is currently used as a data analysis tool and considered a way of communicating knowledge and ideas in many areas of life such as science, education, medicine, marketing, and advertisement. The chapter contains complex interdisciplinary material and attempts to construct a general framework of visualization roles in learning. The structure of this content is presented on Figure 1 as a kind of mind map. Authors emphasize that visualization mechanisms are designed taking into account analytical and content-related potential, timeliness, online availability, and aesthetics. But classical (tabular) forms still remain dominant in information presentation. A good portion of the discussion is dedicated to the alternative solution – non-linear layout, such as network or fractals. Several visualization maps with specifically designed architecture are demonstrated as important elements of contemporary education. Authors consider the potential and implementation of these tools in e-learning platforms. Parallely, they underline the role of interdisciplinary collaboration in map making processes. Researchers in different fields can apply contemporary trends in visualization including natural shape perception, 3D representation problems, as well as the aspects of neuroaesthetics.
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Osinska, Veslava, Grzegorz Osinski, and Anna Beata Kwiatkowska. "Visualization in Learning." In Handbook of Research on Maximizing Cognitive Learning through Knowledge Visualization, 381–414. IGI Global, 2015. http://dx.doi.org/10.4018/978-1-4666-8142-2.ch013.
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Visualization is currently used as a data analysis tool and considered a way of communicating knowledge and ideas in many areas of life such as science, education, medicine, marketing, and advertisement. The chapter contains complex interdisciplinary material and attempts to construct a general framework of visualization roles in learning. The structure of this content is presented on Figure 1 as a kind of mind map. Authors emphasize that visualization mechanisms are designed taking into account analytical and content-related potential, timeliness, online availability, and aesthetics. But classical (tabular) forms still remain dominant in information presentation. A good portion of the discussion is dedicated to the alternative solution – non-linear layout, such as network or fractals. Several visualization maps with specifically designed architecture are demonstrated as important elements of contemporary education. Authors consider the potential and implementation of these tools in e-learning platforms. Parallely, they underline the role of interdisciplinary collaboration in map making processes. Researchers in different fields can apply contemporary trends in visualization including natural shape perception, 3D representation problems, as well as the aspects of neuroaesthetics.
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Jordan, Julia. "Oblique Strategies and Experimental Fictions." In Late Modernism and the Avant-Garde British Novel, 1–32. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198857280.003.0001.
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The writers that are the subject of this book have begun to assume increasing importance, gaining in readership, scholarly attention, and critical significance. Yet it has not so far been possible to understand their tonal and formal particularity in its full relation to late modernism, which has recently been defined less as a periodizing hypothesis and more as a distinctive set of aesthetic and philosophical concerns of its own. In this introductory chapter, Oblique Strategies proposes a new reading of these writers, as not merely defined by certain formal effects, including the self-consciously opaque or abstruse, the non-linear, jump-cut, or typographically virtuosic, but arguing that this particular strain of late modernism is best understood as constituted by their thematic and philosophical concern with accident and indeterminacy. Here the book makes the case for these writers’ collective sense of themselves as writing modernist fiction after modernism, with all the belatedness, uncertainty, and paradoxical urgency—aesthetic, philosophical, and stylistic—that obtains.
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Blyth, Michael. "‘This One Will Drive You Absolutely Mad’." In In the Mouth of Madness, 91–104. Liverpool University Press, 2018. http://dx.doi.org/10.3828/liverpool/9781911325406.003.0008.
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This chapter addresses the ontological concerns in John Carpenter's In the Mouth of Madness (1995) by focusing on its radical aesthetic and philosophical disorientations: the non-linear presentation of time, cyclical narratives and visual repetition, and the fundamental distrust of perception. Parallels between the existential preoccupations of In the Mouth of Madness and The Matrix (1999) have already been drawn. Both The Matrix and In the Mouth of Madness work with the exciting dramatic potential of the idea that reality is not an absolute that can be reliably perceived, it is something we agree upon collectively, adding in a dash of malevolence to Cartesian scepticism — what if some external, evil force were constructing the veil of reality upon which duped masses then agreed upon? Crucially, though, Carpenter does not create a crusading action film that re-installs a sense of stable, authentic reality once this veil has been lifted, as the Wachowskis did. Instead, he crafts a more obtuse, surreal cinematic vision of what might be called Cartesian paranoia — crucially, a horror film.
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Thomas, Greg. "Order and Doubt." In Border Blurs, 65–114. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781789620269.003.0003.
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The Edinburgh-based poet Ian Hamilton Finlay was both the first publisher of concrete poetry and the first published concrete poet in Britain. But his interaction with the movement was relatively brief, beginning in the spring of 1962 when he discovered the international style through Edwin Morgan, and coming to an end by the late 1960s. Finlay initially seized on concrete poetry as a means of extending the dimensions of poetry beyond linear verse. He utilised concrete poetry’s capacity to combine linguistic and non-linguistic composition to establish or enrich metaphorical links between disparate objects, phenomena, and cultural contexts. This approach, indebted to classical concrete, reflected both his opposition to the restrictions of Scottish literary culture during the 1960s, and a sense of the value of aesthetic order which had ideological and biographical connotations. But his interaction with the concrete movement quickly became fraught, reflecting both the inbuilt constraints of the style and his opposition to its perceived co-option by the sixties counter-culture. Through his production of card and booklet-poems, followed by poems in glass, wood and stone, and finally, three-dimensional poems set in the landscape around his home at Little Sparta, Finlay moved gradually but decisively away from concrete practice.
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Klymenko, Tatyana. "PROBLEMS OF TEACHING UKRAINIAN AS A FOREIGN LANGUAGE." In Factors of cross- and intercultural communication in the higher educational process of Ukraine. Publishing House “Baltija Publishing”, 2021. http://dx.doi.org/10.30525/978-9934-26-051-3-4.
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The subject of the study is the relationship between the methodology of teaching the Ukrainian language as a foreign language and phraseological material, which activates the various levels involved in mastering the linguistic base, namely motivation, memory, cognition and others. The article deals with the problem of bilingualism in Ukraine, considers the problems of teaching foreign students the Ukrainian language in terms of partial bilingual everyday communication, suggests ways to solve these problems. The classification of modern strategies used in language learning is considered. We also considered the advantages of the communicative-cognitive approach to learning the Ukrainian language. The research methodology consists of theoretical and practical principles of observation, recording and evaluation of activities in the system of teacher – students, taking into account the different conditions of linguistic and non-linguistic reality. The purpose of the study is to clarify the peculiarities of the use of phraseological units in the framework of work with foreign students, taking into account the bilingual situation in some parts of Ukraine. The article deals too with linguistic and methodological aspects of the study of phraseological units concerning with the work at the lessons of Russian as a foreign language. Phraseological units possess aesthetic value, so it is often included to the training material. The interpretation of them occurs on pretextual work level. The actual material of the article has about 50 different levels of language units, the selection of idioms was carried out in the presence of words with temporal meaning. An idiom is a linear sequence, representing the aesthetic value thanks to the meaning hidden in it. Words, in idiomatic expressions, creating a special sense, come in a variety of relationships – synonymic, antonymic, of kind and type ones etc. Inside the words can occur shifts of meanings such as metaphorical, metonymic. The syntax structure of idioms can be different from a phrase to sentences with different punctuation. Learning understanding and practical usage of Russian phraseological units lead to the development of students not only objective semantic and associative evaluation of the various acts or objects, but also to the ability to implement the same idea through units of different levels of language and speech formulas, which are composed of elements with imagery. The conclusion of the study. We have considered the classification of modern strategies used in the study of Ukrainian as a foreign language. The advantages of communicative-cognitive approach to learning the Ukrainian language are described. Practice shows that motivation and mnemonic techniques are important in learning. The phraseological layer of vocabulary is a very important culturological factor in the process of learning a foreign language. We can see further prospects of our research in a detailed consideration of all the tools of communicative-cognitive approach to the study of language as a foreign language.
Conference papers on the topic "Non-linear aesthetics"
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Connors, Teresa Marie. "The Aesthetics Of Causality: A Descriptive Account Into Ecological Performativity." In The 22nd International Conference on Auditory Display. Arlington, Virginia: The International Community for Auditory Display, 2016. http://dx.doi.org/10.21785/icad2016.017.
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In this paper, I offer a perspective into a creative research practice I have come to term as Ecological Performativity. This practice has evolved from a number of non-linear audiovisual installations that are intrinsically linked to geographical and everyday phenomena. The project is situated in ecological discourse that seeks to explore conditions and methods of co-creative processes derived from an intensive data-gathering procedure and immersion within the respective environments. Through research the techniques explored include computer vision, data sonification, live convolution and improvisation as a means to engage the agency of material and thus construct non-linear audiovisual installations. To contextualize this research, I have recently reoriented my practice within recent critical, theoretical, and philosophical discourses emerging in the humanities, sciences and social sciences generally referred to as ‘the nonhuman turn’. These trends currently provide a reassessment of the assumptions that have defined our understanding of the geo-conjunctures that make up life on earth and, as such, challenge the long-standing narrative of human exceptionalism. It is out of this reorientation that the practice of Ecological Performativity has evolved.
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McHaffie, Brandon, Peter Routledge, and Alessandro Palermo. "Enhancing the application potential of dissipative controlled rocking connections through detailing and design." In IABSE Congress, Christchurch 2021: Resilient technologies for sustainable infrastructure. Zurich, Switzerland: International Association for Bridge and Structural Engineering (IABSE), 2021. http://dx.doi.org/10.2749/christchurch.2021.0220.
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<p>Research on low-damage systems has been significant in the past decade. These systems combine post- tensioning, which provides self-centring; and typically use replaceable devices, which give energy dissipation. WSP has used recent research, carried out at the University of Canterbury, on low-damage bridge piers and applied this into a real structure – the Wigram-Magdala Link Bridge. This is believed to be the first bridge in New Zealand and possibly worldwide to adopt such a system. Given this was the first application of the system to a real structure, there were some valuable learnings during design and construction. Firstly, the application of axial dissipaters has some limitations due to available material sizes, construction difficulty and aesthetics. Secondly, there is still some additional cost and complexity associated with using the low-damage system. Given these difficulties, this paper presents an alternative design philosophy which better captures the benefits of the low-damage system, which include cost-effective repair method, controlled damage and additional robustness and resilience. The alternative design philosophy presented is expected to result in reduced construction costs by reducing pier and foundation demands. Peak displacements and forces will be compared to the results from non-linear time history analysis to verify the performance of the low-damage connection using scaled ground motions. Furthermore, the paper will present the possible application of an alternative dissipation device, the lead extrusion damper, which can further improve the performance of low-damage connections.</p>
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Maity, Ranjan, Avinash Uttav, Gourav Verma, and Samit Bhattacharya. "A Non-Linear Regression Model to Predict Aesthetic Ratings of On-Screen Images." In OzCHI '15: The Annual Meeting of the Australian Special Interest Group for Computer Human Interaction. New York, NY, USA: ACM, 2015. http://dx.doi.org/10.1145/2838739.2838743.
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