Bibliografías temáticas / Aesthetic core

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Literatura académica sobre el tema "Aesthetic core"

Autor: Grafiati
Publicado: 1 de junio de 2024

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Artículos de revistas sobre el tema "Aesthetic core"

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Grubor, Nebojsa. "The relation between the beauty and the sublime in Hartmann′s aesthetics". Theoria, Beograd 63, n.º 3 (2020): 159–67. http://dx.doi.org/10.2298/theo2003159g.

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The text examines the relationship between the beauty and the sublime in Hartmann?s aesthetics. According to the basic assumption of Hartmann?s aesthetics, the sublime, like all other aesthetic values, are subordinated to the beauty. The text shows that the relationship between the beauty and the sublime in Hartmann?s aesthetics is complex and that beauty formally includes the sublime, but that the sublime in terms of fixing aesthetic content is the core of aesthetic issues.
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Gan, Shen Qi y Hong Zhang. "The Discussion of the Concept of Sustainable Development of Ecological Architectural Aesthetics". Advanced Materials Research 598 (noviembre de 2012): 8–11. http://dx.doi.org/10.4028/www.scientific.net/amr.598.8.

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This paper introduces the basic concepts of ecological aesthetic, pointing out that the ecological aesthetic comes from population, resources, environment and other factors, understanding the natural beauty from the harmonious compatibility between man and nature, the environment, perception, greatly improving the aesthetic value of taste. This paper introduces the core categories、aesthetic standards and the three characteristics of ecological architectural aesthetics in detail, interpret the ecological architecture and its aesthetic theory.
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Chitturi, Ravindra. "Design for Affect: A Core Competency for the 21st Century". GfK Marketing Intelligence Review 7, n.º 2 (1 de noviembre de 2015): 16–21. http://dx.doi.org/10.1515/gfkmir-2015-0012.

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Abstract Consumers purchase products with the objective of reducing pain, increasing pleasure or both. Product aesthetics primarily contribute to enhancing consumer pleasure, and utilitarian attributes, such as product functionality, primarily help reduce consumer pain. So the question is how consumers choose between the goals of reducing pain and enhancing pleasure. In the case of functional dominance, consumers attach greater importance to fulfilling their minimum utilitarian needs over their minimum hedonic ones. By contrast, if consumers have to choose between two products, and one product meets their minimum functional requirement but exceeds their minimum aesthetic expectations, while the other meets their minimum aesthetic expectations but exceeds their minimum functional requirement, they select the product with superior aesthetics. A balanced design with an optimal combination of attributes and emotional experiences will reach a greater price on the market and insure higher profits.
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Wang, Lingyu, Yingchuan Li y Mingzhu Fang. "Aesthetic Education Curriculum Construction and Innovation In The New Engineering Education:An example of teaching an art appreciation aesthetics education course". Advances in Education, Humanities and Social Science Research 1, n.º 1 (9 de mayo de 2022): 369. http://dx.doi.org/10.56028/aehssr.1.1.369.

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The cultivation of creative ability is the core element of the cultivation of new engineering talents, and the cultivation of creative and aesthetic ability should not be missing at the same time as the cultivation of innovative technical ability. This paper takes the art appreciation course as an example to build and innovate the construction of aesthetic education courses in the new engineering education:based on aesthetics, the traditional classical aesthetic cases are used to establish a multidisciplinary integration of creative and aesthetic knowledge system; through the design of Innovative aesthetic case , the students' innovative aesthetic thinking ability is cultivated, and finally the innovative aesthetic quality of new engineering talents is improved, completing the sublimation from aesthetic education to innovative aesthetic education.
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Ma, Liyao. "Sensing the Poetic Habitat – A Study of Middle School Chinese Teaching from the Perspectives of Life Aesthetics". Journal of Contemporary Educational Research 5, n.º 12 (27 de diciembre de 2021): 205–9. http://dx.doi.org/10.26689/jcer.v5i12.2872.

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The concept of life aesthetics reflects an individual’s cry for life and pursuit of beauty, inspiring individuals to discover their spiritual home, sense their poetic habitat, and enjoy the beauty of life flowing from their fingertips. Chinese education, viewed through the lens of life aesthetics, is founded on the natural characteristics of life, stimulating the aesthetic sense of individual life through the allure of language, and teaching students to view life through the aesthetic lens as well as from an understanding of life’s essence. Teachers and students are required to take an aesthetic view of life as theoretical guidance, based on core Chinese literacy, with textbook contents serving as carriers and classroom instruction as the position, closely connected to students’ actual lives, in order to help stimulate aesthetic experience among students, improve their aesthetic ability through aesthetic activities, and thus establish a correct view of life.
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Kudaev, Aleksandr Egorovich. "Aesthetic “sense of the world” of Nikolai Berdyaev: origins and approaches to the philosophy of beauty". Философская мысль, n.º 5 (mayo de 2020): 61–87. http://dx.doi.org/10.25136/2409-8728.2020.5.32356.

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This article analyzes the origins of one of the core problems of philosophical-aesthetic thought of N. Berdyaev – the philosophy of beauty. Importance of the phenomenon of beauty for the formation of its aesthetic concepts and worldview overall is demonstrated. The author determines the main sources that determines the heightened interests towards the phenomenon of beauty, which affected the peculiarities of solution of this problem. Considering the defining character of Berdyaev’s personal and emotional attitude to the surrounding beauty, major attention is given to revelation of this source as most significant for understanding the entire further evolution of his philosophical-aesthetical thought as a whole, as well as establishment of the philosophy of beauty in particular. Therefore, the article reviews a number of life circumstances that defined his aesthetic development, which in the end leads to the fact that the aesthetic component becomes paramount in his worldview, and beauty turns into a universal criteria of assessing other diverse phenomena. The study carries a holistic character, being at the intersection of aesthetics, philosophy, culturology, biographical genre, which determines the applied complex historical-philosophical and philosophical-culturological methodology. This article is first attempt within the national literature to examine and reconstruct the origins of Berdyaev’s aesthetic evolution. The author reveals the key role of the problematic of beauty not only on formation of his aesthetic concept, but philosophical thought overall. Analysis is conducted on the source of Berdyaev’s aesthetic views that drastically affected the development of his philosophy of beauty.
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Barry, Charlotte D. "Uncovering Meaning Through the Aesthetic Turn: A Pedagogy of Caring". International Journal of Human Caring 12, n.º 2 (marzo de 2008): 19–23. http://dx.doi.org/10.20467/1091-5710.12.2.19.

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The purpose of this paper is to describe a pedagogical approach to uncovering meaning in narratives of nursing practice through the natural turn to the aesthetic. Nurses in practice, accustomed to moving at warp speed, often come back to graduate programs seeking another way of being. The pedagogical challenge for faculty is to provide an opening for students to slow down and to find meaning in their nursing. The challenge for students is to experience new ways of being. Aesthetics is the realm of opening in which students can fully engage in valuing meaning and connecting to their core beliefs.
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Sang, Fade y Yuan Xu. "Research on the Current Situation and Improvement Strategies of Aesthetic Education in Music Classrooms in Primary and Secondary Schools in China". Modern Economics & Management Forum 3, n.º 1 (15 de febrero de 2022): 14. http://dx.doi.org/10.32629/memf.v3i1.648.

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The development of society requires higher and higher quality of talents, and the demand for comprehensive literacy talents keeps rising. And using music aesthetic education as a means to continuously improve the music aesthetic quality of a new generation of young people and establish the concept of music aesthetics is an important entry point to improve the quality of all people. The teaching of music in primary and secondary schools should take aesthetic education as the core, and improve the quality of music teaching as the key, and gradually take correct art and music aesthetics as the way to learn, and apply the knowledge learned to life and their own improvement and development, so as to realize the beautiful ideal of harmonious and stable development of human society. This is the need for aesthetic education, and it is an issue that should be at the heart of the current situation. Aesthetic education is a cross-cutting discipline between art and education, and it plays an important role in building an education system for comprehensive training, forming a noble sentiment and a sound personality in students, and promoting the improvement of aesthetic ability in music.
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Yang, Yanyu. "Research on Orff Music Teaching Model based on the Cultivation of Students' Aesthetic Ability". BCP Education & Psychology 10 (16 de agosto de 2023): 50–54. http://dx.doi.org/10.54691/bcpep.v10i.5199.

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The core idea of Orff's music education system is localization, original nature and practicality. It is a kind of music that people must participate in, that is, people participate in it not as listeners, but as performers. Its purpose is to stimulate the vitality of every participant. Music education, fundamentally speaking, is the education of artistic aesthetics, not a pure skill training. Aesthetics is a kind of perceptual knowledge and a universal emotional need of human beings. People understand and observe the object world through images in aesthetic activities. In order to cultivate students' aesthetic ability and grasp the main line of aesthetic experience, aesthetic experience must be regarded as the most important value of music education. By studying Orff's music teaching mode based on the cultivation of students' aesthetic ability, this paper explores how to apply effective strategies such as rhythm reading in singing course, trying basic movements in rhythm teaching and using Orff instruments in appreciation class, so that students can integrate into and enjoy music class through various means and effective forms. Excavate students' inner needs and interests, and form musical aesthetic ability.
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Zhihong Li, Yanhui Wang y Fanjun Meng. "Aesthetic Cognitive Module Theory: A Core Structure". Journal of Aesthetic Education 52, n.º 2 (2018): 71. http://dx.doi.org/10.5406/jaesteduc.52.2.0071.

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Tesis sobre el tema "Aesthetic core"

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Wallbaum, Christopher. "RED – A supposedly universal quality as the core of music education". Georg Olms Verlag, 2018. https://slub.qucosa.de/id/qucosa%3A34616.

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The Chapter consists in two sections complementing Analytical Short Films. The first is about a supposedly universal atmosphere called RED in the Bavaria-Lesson, the second about different cultures in voice and posture coming together in the Beijing-Lesson. Both are related to theory as well as German philosophies of music education.
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Benenti, Marta. "Expressive Experience. An Inquiry Concerning The Expressiveness of Objects". Doctoral thesis, Università degli Studi di Torino, 2018. https://hdl.handle.net/11579/147780.

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How is it possible that we hear music or see paintings as expressive of affective states? How is it that this bizarre phenomenon extends to natural landscapes, atmospheres, and also to simple colours, sounds, shapes? This research aims at inquiring the phenomenon of expressiveness. In particular, it focuses on the expressiveness of inanimate objects. What is especially intriguing about expressiveness is that it mobilizes a number of issues concerning the nature of perception and that of affective experiences. Questions about the possibility that affective states such as anxiety, melancholy, sadness, solemnity, liveliness are ascribed to non-sentient beings such as artworks, represent a challenge for theories of perception on the one hand, and for theories of emotions on the other hand. Moreover, most of these questions lay at the crossroads of aesthetics and the philosophy of mind, licking the domains of developmental psychology and cognitive sciences more generally. Main players are analytic philosophers of music and aesthetics that have been dealing with this problem in recent years. Yet, also accounts elaborated within different traditions – like phenomenology and Gestalt psychology – and tracing back in time are analysed.
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Critchfield, Katherine. "Radical democracies : the politics of the aesthetic in the Southern Cone". Thesis, University of Cambridge, 2017. https://www.repository.cam.ac.uk/handle/1810/269815.

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The transitions to democracy in Argentina and Chile have been critiqued by numerous artists and analysts alike, both because of the social and economic continuity from dictatorship to democracy, and because of the democratic states’ occlusion of the violence of the preceding dictatorships. Yet while this compromised democracy has been subject to numerous artistic critiques, this does not necessitate an aesthetic abandonment of democracy as an ideal, but rather a challenge to its consensual nature. This study identifies a specific set of texts – by the art collective CADA, by writers Pedro Lemebel and Néstor Perlongher, and by poets Juan Gelman and Raúl Zurita – and locates within them a desire to radicalise the democratisation processes that were only superficially carried out in the 1990s. And as this work describes, this is a uniquely aesthetic project. In its association of the aesthetic and the political domains, this work draws substantially on the theoretical work of Jacques Rancière. Yet the juxtapositions of the artworks with the theoretical perspective is aimed not only at elucidating the particular nature of the relationship between aesthetics and politics to be found in these works, but also at productively complicating or expanding upon certain aspects of Rancière’s theoretical framework. The artists and authors discussed here call for a new understanding of the aesthetic as an intrinsically political category, seeking at once to revolutionise both politics and aesthetics. The texts analysed as part of this work all appear at a time when the political aesthetic functions primarily according to a revelatory paradigm, as exemplified by the testimonial genre. At the same time, the category of the aesthetic is treated with scepticism in the light of the apparent ability of the marketplace to assimilate even the most radically oppositional text into its hegemonic narrative. The notions of both political and aesthetic dissensus, therefore, find themselves under threat at this particular historico-political juncture. In contrast, the texts I examine in this work undertake an aesthetic investment in alternative significatory sensibilities in order to counter political consensus. In other words, they locate the political in a different aesthetic sensorium: that of the human body, of emotions, and of the affective connections between subjects. In so doing, they move beyond the denunciatory text as the political aesthetic par excellence, pointing instead to aesthetic distributions that remain excessive, or that overspill any effort to order the sensus communis.
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Pineiro, Erik. "The aesthetics of code : on excellence in instrumental action". Doctoral thesis, KTH, Industrial Economics and Management, 2003. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-3648.

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Software systems form an essential part of Western society,serving as tools to uphold institutions, processes andservices. It is understandable, therefore, that the mostfundamental aspects of programs are their function and utility.But they are not, however, the only things programmers areconcerned with when writing them.

On the contrary, programmers also discuss about many otheraspects of software, including the beauty of code. Theydistinguish between different programming styles and expresstheir personal preferences, often by way of admiring andvilifying other people's code. Programmers' identification withaesthetic preferences may give rise to vanity, to disagreementsso entrenched that they deserve the name of 'holy wars' and toother similar phenomena.

This thesis describes and analyses these phenomena, whichultimately originate in the human faculty to create andappreciate nuances, to become attached to them and to engage indisputes because of them - even infields as standardised ascomputer programming. Its aim is to expose the aesthetics ofcode, and in doing so, to discuss the symbolic aspects ofinstrumental action at large.

Keywords:aesthetics, code, instrumental action,internet discussion fora, programming, symbolic action

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Smith, Alexandra Bailey. "Writing Against the Image: Teju Cole, Ben Lerner, and Aesthetics of Failure". Thesis, The University of Sydney, 2015. http://hdl.handle.net/2123/14483.

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Given the striking contemporary turn towards literary mediations of aesthetic experience, this project suggests the need for a concerted critical realignment in understanding literary form’s potential for artistic expansiveness. Focussing on writers Teju Cole and Ben Lerner, and in particular their debut novels Open City and Leaving the Atocha Station, this thesis seeks to explore their interrogations of this kind of experience as blueprints for direct aesthetic experience, experimenting with perceptual responses to art. It not only draws on concepts of the ‘virtual’ as that which opposes the ‘actual,’ but as a mapmaking strategy for proposing the ways in which the novel can offer new and insightful ways of attending to art. Indeed, I approach this concern as a reinterpretation and insurrection of the literary’s image, as a site of formal convention, the novel’s tendency towards realism, and as writers’ reinvestment in the conversation between literature and visual art. Where theories of the virtual mode have traditionally been conceptualised as opposed to the formally actual or possible, this study seeks to instead put forward a model of writing that is concerned with the mediation of aesthetic experience in and through literary language, and that makes new claims about the relationship literary prose has to other artistic forms. Engaging with sensory aesthetic experience – visual art, music, and literature – the works of both novelists not only refract and problematise direct artistic experience but also to provide a lyrical lens through which these experiences are compellingly interrogated. In doing so, they situate the novel as an absorptive form that offers significant implications for our practices of reading and critical judgment.
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Louanjli, Moe Mohamed. "Aesthetics of Dysfunction: On Virtual Agglomerations and the Creative Errancies of Code". Thesis, Griffith University, 2013. http://hdl.handle.net/10072/367972.

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Aesthetics of dysfunction: On Virtual Agglomerations and the Creative Errancies of Code; explores the implications of the ubiquitous status of code in our digital time. This thesis is the result of a four-year research undertaken through programming and software studio practice and theory to answer the question: How can the algorithmic medium of programming and software illustrate the role played by code and its dysfunctions in the shaping of the new universe of virtual agglomerations? This enterprise is divided into three major components related respectively to the questioning of code as a medium, the techno-social context of computers as an artistic tool, and the power of software in conquering territories metaphorically and physically as a war engine. In being a repository for accumulated experimentations with the Processing programming environment, algorithms, software, military aerial photography and mathematical functions; my studio practice explores the limits of software error to reflect the status quo imposed by machines as generators and regulators of the digital universe—lived and presented as virtual territories shaped by microprocessors, random access memory, speed and error.
Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
Queensland College of Art
Arts, Education and Law
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Taylor, Elizabeth. "Walking through snow an exploration of the aesthetic experience of snow through code driven artwork /". Tallahassee, Fla. : Florida State University, 2009. http://purl.fcla.edu/fsu/lib/digcoll/undergraduate/honors-theses/2181908.

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Thesis (Honors paper)--Florida State University, 2009.
Advisor: Meg Mitchell, Florida State University, College of Visual Arts, Theatre, and Dance, Dept. of Art. Includes bibliographical references.
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ALVES, RITA DE CÁSSIA GONÇALO. "WHICH IS THE DRESS CODE? MORAL AND AESTHETIC JUDGEMENT IN THE EVANGELICAL WOMEN S DRESS". PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2016. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=27270@1.

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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO
COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR
PROGRAMA DE SUPORTE À PÓS-GRADUAÇÃO DE INSTS. DE ENSINO
A presente dissertação traz uma pesquisa acerca da moral evangélica que contempla o vestuário feminino como um importante elemento de distinção social. A partir da etnografia realizada em igrejas evangélicas na região metropolitana do Rio de Janeiro, procurei observar de que forma as subjetividades se manifestam nos discursos e como experiências religiosas e culturais operam nos distintos modos de vestir-se, performar-se e julgar o belo. Disso resulta que, entre o juízo de gosto e as práticas do vestir, há operações de agenciamento em que as mulheres investem na construção de uma identidade visual personalizada sem contrapor a moral evangélica, mas também evidenciando as múltiplas formas sobre como essas normas são incorporadas. Neste sentido, o diálogo entre os mecanismos de distinção e as relações entre performatividade e materialidade constroem uma ética corporal e comunal, contribuindo para o entendimento da regulação e inscrição desses corpos femininos, portadores de significados sociais.
The present work brings a research about the gospel morality, which includes women s clothing as an important element of social distinction. From the ethnography in evangelical churches in the metropolitan region of Rio de Janeiro, I tried watching how the subjectivities are manifested in speeches and how religious and cultural experiences operating in distinct ways of dress up perform and judge the beautiful. It follows that between the judgement of taste and practices of dressing there are agency operations where women invest in constructing a personalized visual identity without opposing the evangelical morality, but also showing the multiple ways on how these norms are incorporated. In this sense, the dialogue between distinction mechanisms and the relations between performativity and materiality build a corporal and communal ethics, contributing to the understanding of the regulation and registration of these female bodies carrying social meanings.
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Sonenberg, Marc Ian. "Discovery through Numeric Strata: A Balance of Form and Aesthetics". [Johnson City, Tenn. : East Tennessee State University], 2001. http://etd-submit.etsu.edu/etd/theses/available/etd-0719101-221505/restricted/sonenbergm0809b.pdf.

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Gallant, Alison Dara. "'The story come up different every time': Louise Erdrich and the emerging aesthetic of the minority woman writer". The Ohio State University, 1993. http://rave.ohiolink.edu/etdc/view?acc_num=osu1243523540.

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Libros sobre el tema "Aesthetic core"

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An introduction to Kant's aesthetics: Core concepts and problems. Oxford, UK: Blackwell Pub., 2005.

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Wenzel, Christian Helmut. An introduction to Kant's aesthetics: Core concepts and problems. Malden, MA: Blackwell Pub., 2005.

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McLean, Alex (Christopher Alex), 1975-, ed. Speaking code: Coding as aesthetic and political expression. Cambridge, Mass: The MIT Press, 2012.

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The aesthetic code of don Ramón del Valle-Inclán. Huntington, W.Va: University Editions, 1994.

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Amoroso, Leonardo. L' estetica come problema. Pisa: ETS editrice, 1988.

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Film come esperienza. Roma: Bulzoni, 1986.

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Dottori, Riccardo. Paul Cézanne: L'opera d'arte come assoluto. Palermo: Centro internazionale studi di estetica, 1994.

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Roy, Ron y John Hesselberth. Mastering Cone 6 Glazes: Improving Durability, Fit and Aesthetics. Brighton, Ontario: Glaze Master Press, 2002.

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Coren, Michael. Aesthete: The Frank diaries of Michael Coren. Toronto: Random House of Canada, 1993.

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Diodato, Roberto. Vermeer, Góngora, Spinoza: L'estetica come scienza intuitiva. Milano: B. Mondadori, 1997.

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Capítulos de libros sobre el tema "Aesthetic core"

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Ji, Xia. "“Trees Don’t Sing! … Eagle Feather Has no Power!”—Be Wary of the Potential Numbing Effects of School Science". En Palgrave Studies in Education and the Environment, 17–33. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-79622-8_2.

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AbstractEducational philosopher Maxine Greene called for the “centrality of the arts” to education at all levels decades ago, yet the aesthetic core of education has been often negated to the margin or completely forgotten in public education. What is desperately needed in formal education is what Greene termed as “wide-awakeness” or “being attentive to the beauty and cruelty of life, to “aesthetic encounters” and “living in the world esthetically.” Reflecting on recent conversations with her three school-age children, the author draws upon multimodel narratives, including her lived curriculum in mainland China and the United States and her children’s experiences with formal education in Canada, to warn of the potential numbing effects of school science curricula and pedagogy in public education. Finally a few strategies for centering the aesthetics are proposed to hopefully immunize ourselves and students against the potential numbing effect of school science.
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Szili, Joseph. "The Aesthetic Core of the Work of Art: The Boundaries of Its Phenomenological Description". En Man within His Life-World, 341–53. Dordrecht: Springer Netherlands, 1989. http://dx.doi.org/10.1007/978-94-009-2587-8_19.

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Lacey, Stephen. "A Radical Aesthetic". En Cathy Come Home, 28–68. London: British Film Institute, 2011. http://dx.doi.org/10.1007/978-1-349-92457-8_3.

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Greiner, Rasmus. "Appropriation and Configuration". En Cinematic Histospheres, 183–204. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-70590-9_8.

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AbstractThis chapter will seek to demonstrate that the process of appropriation also irrevocably inscribes the aesthetic parameters of a cinematic-historical way of thinking into our historical consciousness. Building on theories of the phenomenological relationship between the spectator’s body and the world, the first section develops a model of incorporative appropriation of history, which it connects to constructivist and cognitive approaches. The second section raises the specific experience of historical films described in the previous section to the status of paradigmatic core of a historical film genre, which it fleshes out based on a phenomenological conception of genre. Its systematic account of this genre integrates the theoretical discussion of the distinctive characteristics of historical films from the preceding chapters.
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Siani, Alberto L. "No Code Aesthetics". En Hegel and the Present of Art’s Past Character, 134–43. New York: Routledge, 2023. http://dx.doi.org/10.4324/9781003388340-9.

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Banerji, Subir y Shamir B. Mehta. "Aesthetic Posts and Cores". En Practical Procedures in Aesthetic Dentistry, 167–71. Oxford, UK: John Wiley & Sons, Ltd, 2017. http://dx.doi.org/10.1002/9781119324911.ch6.5.

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Spence, Jocelyn. "Feeling Through Technology". En Springer Series in Design and Innovation, 411–19. Cham: Springer Nature Switzerland, 2023. http://dx.doi.org/10.1007/978-3-031-49811-4_39.

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AbstractThis chapter aims to encapsulate the core elements of the keynote presentation on experience and interaction designs, primarily those using augmented reality, virtuality, or a mix of physical and digital elements. My interest is not in creating cutting-edge technology, but rather in seeing how people react, engage, think, move, and feel when they engage with designs by myself and colleagues.The contribution I make is to use performance theories and practices in design, especially design for mixed reality experiences, so that I can bring specific tools to bear on the creation and analysis of those designs. ‘Performance’ can be the kind practiced by professionals. It can also be the behaviours of people who take on the role of audience member or bystander. It can also be ‘performance’ in the ways that people ‘perform’ their everyday lives.Performance often aims to be thought-provoking, but (aside from Bertolt Brecht and those who use his politically minded Verfremdungseffekt) it virtually always aims for an emotional response through engagement with the aesthetic choices that have been made. This chapter provides a basic theoretical grounding and a specific example of how performance can lay out a richer design space for personally meaningful experiences.
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Di Stefano, Elisabetta. "Beyond the Beauty-Utility Diatribe". En Springer Series in Design and Innovation, 3–10. Cham: Springer Nature Switzerland, 2023. http://dx.doi.org/10.1007/978-3-031-49811-4_1.

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AbstractThe aesthetics of industrial objects has traditionally been framed by the diatribe opposing beauty and utility. Modernism has privileged a simple but functional aesthetic, following the motto “less is more”. In the second half of the twentieth century, new aesthetic categories emerged that enhanced playfulness, irony, and memory. At the turn of the century, industrial production faced the challenges of environmental sustainability: this is how ecodesign has come about. Originally quite a niche, this new trend is now practiced by many brands. Design today is geared towards natural fibres and recycled materials, reconciling beauty with the ethics of responsibility. Given these premises, this essay aims to outline a theoretical framework for the aesthetics of industrial objects, which goes beyond the useful Vs beautiful dialectics. In this regard, centre stage is taken by the notion of frugality. Already prominently featured by the sociological and anthropological debate, this notion is now also part of the architectural discourse (see the Manifesto for a Happy and Creative Frugality). As it combines beauty, health, and well-being, frugality provides an aesthetic-functional category, and it can notably provide a theoretical model for the production of sustainable objects and clothes. Nevertheless, the challenges faced by design in the ecological transition are broader. They concern in fact a different way of relating to the environment and designing lifestyles. In this regard, frugality can also become an ethical-aesthetic measure of life and a healthy way of inhabiting the world.
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Williams, Rhys. "Solar as Narrative Element". En Solarities, 159–68. Earth, Milky Way: punctum books, 2023. http://dx.doi.org/10.53288/0404.1.14.

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A poetics of weightlessness and light, of being sheer surface without depth or footprint, has come to dominate popular, corporate, and activist representations of solar technologies. This chapter claims that this widespread uptake is due to solar’s narrative and aesthetic affordance as an interrupting surface, acting to break the purchase of history upon the present, and excusing imaginaries of the future from the need to engage with the past. This claim will be explored through three examples in the final season of Detectorists, a quirky British comedy whose homely realism casts solar’s usual future-oriented aesthetics into relief.
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O’Donoghue, Helen. "Come to the Edge". En Landscapes: The Arts, Aesthetics, and Education, 77–89. Dordrecht: Springer Netherlands, 2003. http://dx.doi.org/10.1007/978-94-010-0043-7_6.

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Actas de conferencias sobre el tema "Aesthetic core"

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Zhao, Xinshu y Xin Liu. "The Occurrence of Aesthetic Ethics in Primitive Society: Marx’s Perspective of Objective Sensibility". En 5th International Conference on Contemporary Education, Social Sciences and Humanities - Philosophy of Being Human as the Core of Interdisciplinary Research (ICCESSH 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200901.023.

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Dimitrakopoulou, Georgia. "WILLIAM BLAKE�S AESTHETICS IN THE MYTH OF THE ANCIENT BRITONS". En 9th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH 2022. SGEM WORLD SCIENCE, 2022. http://dx.doi.org/10.35603/sws.iscah.2022/s10.16.

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William Blake�s aesthetic vision of the secular world is based on divine inspiration. In the myth of The Ancient Britons, he discusses the three aesthetic categories of the sublime, the beautiful and the ugly. These establish his theory of art, which is based on Jesus the Imagination. The sublime, the beautiful and the ugly are forms indicative of gradations of divine influx in every individual. In this sense, the myth explicitly describes and distinguishes the three aesthetic categories that shape the secular and eternal human existence. It also concerns art and the role of the artist. Art is imagination and communication, and the artist is the inhabitant of that happy country of Eden. [1]. The artist is motivated by creative imagination, whose aesthetic quest starts from divine inspiration and ends in eternity. The true artist is the man of imagination, the poetic genius and the visionary aesthete. For Blake, imagination is a sublime force, the major aesthetic category of his vision and relates to the Strong man of The Ancient Britons. In addition, beauty is a distinct aesthetic category essential and supplementary to the formation of the Sublime of Imagination, Jesus incarnated, the archetype of Blake�s Strong man. He [Blake] distinguishes the three aesthetic categories of the sublime, the beautiful and the ugly by their actions, which define man. As he claims: �The Beautiful man acts from duty, whereas The Strong man acts from conscious superiority, and The Ugly man acts from love of carnage.� [2]. Starting from the conviction that antiquity and classical art provided obsolete models for emulation, Blake concluded that since the mathematic form is not art, it should not be the rule of the English eighteenth century art. Gothic, which is the living form, represents the union of the secular and divine worlds. The gothic artistic style is the incarnated Jesus, the Sublime of Imagination, Blake�s aesthetic apex, that is the supreme aesthetic category of his vision. The sublime and the beautiful are not contraries. They are supplementary aesthetic forms which contribute to the understanding of art. Beauty and intellectuality identify. Moreover, beauty is the power, the energizer of the true artist. Who is the human sublime? He is �The Strong man� who acts from conscious superiority, according to the divine decrees and the inspired, prophetic mind. Who is �The Beautiful man�? He is the man who acts from duty. Lastly, �The Ugly Man� is the man of war, aggressive, he/she acts from love of carnage, approaching to the beast in features and form, with a unique characteristic, that is the incapability of intellect. [3]. Undoubtedly, Blake�s aesthetic vision presents many difficulties in interpretation. In my opinion, the sublime is not an aesthetic category and/or a mere value that Blake uses randomly without artistic reference. His aestheticism is secular and aspiring to perfection. The secular sublime, which describes the fallen human state, suggests the masculine and feminine experience of the Fall. Consequently, the human situation appears doomed and irredeemable. If the sublime is the masculine and pathos the feminine forms, Blake assumes that the inevitability of reasoning and suppression of desire, whose origin is energy, brings about their separation and incompleteness. In a non-communicative intercourse, the sublime (masculine) and the beautiful (pathos) are apart. These are the fallen state�s consequences. As the masculine and feminine are not contraries but supplementary forms, so the sublime and pathos are potentially integrated entities. In eternity, the sublime and pathos are joined in an intellectual androgynous form. This theoretical idea is the core of Blake�s aesthetic �theory�. In fact, his aesthetic realism does not overlap his aesthetic idealism. He is optimistic, despite Urizen�s - reason�s predominance. The artist is the model of human salvation. Imagination is a redemptive force, �Exuberance is Beauty�, and the incapability of intellect is �The Ugly Man�. The three classes of men, the elect, the redeemed and the reprobate juxtapose to the sublime, beautiful and ugly. These are restored to their true forms and their qualities are reinstated in infinity. All human forms are redeemable states, not static but progressive, even if their fulfilment on earth is improbable.
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Marković, Suzana, Jelena Dorčić, Dora Rašan, Bruna Bucić y Marko Blažić. "AESTHETIC GUEST EXPERIENCE IN RESTAURANT: A STATE-OF-THE-ART REVIEW". En 5th International Scientific Conference – EMAN 2021 – Economics and Management: How to Cope With Disrupted Times. Association of Economists and Managers of the Balkans, Belgrade, Serbia, 2021. http://dx.doi.org/10.31410/eman.s.p.2021.135.

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The concept of customer experience has received considerable attention in various disciplines, particularly in tourism and hospitality research. However, the aesthetic guest experience has hardly been investigated in previous studies. Aesthetics involves what makes an object beautiful and what people feel when they encounter a beautiful object. Dining experience encompasses almost all senses together, which makes it difficult to measure this concept properly. Considering the important role of aesthetics in the dining experience, this study provides a review and synthesis of the literature to establish a foundation for the conceptual framework for measuring the aesthetic guest experience in restaurants. The main objectives of this study are to categorise and summarise the research on aesthetic guest experience, present a new conceptualization and conceptual model of the aesthetic guest experience in restaurants, and highlight the emerging trends and gaps in the literature. The findings of this study contribute to aesthetic theory and offer practical implications for restaurant managers regarding all aesthetic components that should be considered when designing a memorable aesthetic restaurant experience.
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Achiche, Sofiane, Anja Maier, Krasimira Milanova y Aurelian Vadean. "Visual Product Evaluation: Using the Semantic Differential to Investigate the Influence of Basic Geometry on User Perception". En ASME 2014 International Mechanical Engineering Congress and Exposition. American Society of Mechanical Engineers, 2014. http://dx.doi.org/10.1115/imece2014-40443.

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Products evoke emotions in people. Emotions can influence purchase decisions and product evaluations. It is widely acknowledged that better product performance and higher user satisfaction can be reached through aesthetic design. However, when designing a new product, most of the attention is generally paid to enhance its functionality and usability and much less consideration is given to the emotional needs of users. This paper investigates the connection between emotions and product features. Various forms of vases are used as a product case. Additionally, a compact list of product-specific semantic descriptors is first developed using a classification based on Jordan’s four pleasures model. Paper-based surveys, face-to-face interviews, and statistical methods were performed in this paper, where significant correlations between semantic descriptors and product geometry were found. Prototypes of two vases were developed based on elicited emotions and a short validation on aesthetic value was performed. Our results show core set of geometric features of a vase have the strongest impact on emotional responses from users: the opening of the neck, the height of the neck, the base of the neck (width), and the base (width).
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Agius, Sean, Philip Farrugia y Emmanuel Francalanza. "A Framework for a Motorcycle Design Computer-Based Intelligent Tool". En ASME 2020 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. American Society of Mechanical Engineers, 2020. http://dx.doi.org/10.1115/detc2020-22356.

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Abstract Motorcycle riders’ road experience, attitude and position have a large impact on safety. Besides these aspects, a motorcycle designer has to consider the aesthetical emotional value of such artefacts. This paper contributes a novel framework architecture supports designers to develop a rider-centred, safer motorcycle design, while at the same time considering human factors and the emotional values of such artefacts. This paper explores the requirements for this framework through a validated mixed method approach, gaining input from interviewed designers, stakeholders as well as surveyed riders. The proposed framework takes a user-centred approach, placing designers and riders at the framework’s core. Riders are an essential aspect as they assist in generating the knowledge which is critical to the operation of the framework. The framework acts as a support to the motorcycle designer, where it couples the intellectual resources of the designer with the knowledge capabilities of the framework to proactively support motorcycle design decision making. The proposed framework is driven by a harmonisation engine, where the aesthetic, ergonomic, persona and market trend domains are harmonised to achieve a balanced motorcycle design solution. The framework architecture will be employed to implement an intelligent computer-based motorcycle design support tool, in future work.
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Johnson, Jason S., Matthew Parker, Christina James, Joshua Taron y Logan Armstrong. "FXAT SCREEN". En 2016 ACSA International Conference. ACSA Press, 2016. http://dx.doi.org/10.35483/acsa.intlp.2016.11.

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The FXAT Screen seeks to reclaim the presence of architecture and its imagery in the public realm. CNC milled opaque plywood panels produce a thickened surface revealing the material stratification within the planar surfaces. In direct contrast to the hyper smooth and streamlined aesthetic of contemporary media devices, the FXAT Screen wraps an artificial topography around an exaggerated cantilevered form that addresses both the pedestrian corridor of the urban core and the main venues for the RAIC ArchitectureFestival. A gradient of openings migrates across the form toward the street, concluding with a 14 x 7-foot rear projection screen showing the work of 15 emerging Canadian architecture firms in the RAIC’s Future Voice: Situating Architecture Exhibition.
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Durac, Livia. "Aesthetics and Creativity. Identity Configurations". En World Lumen Congress 2021, May 26-30, 2021, Iasi, Romania. LUMEN Publishing House, 2022. http://dx.doi.org/10.18662/wlc2021/21.

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Reflecting on human attitude towards reality, together with deciphering the emotional code that accompanies it, has configured - in time – the aesthetic universe, open to human reflection, creation, and evaluation. Aesthetics appears through the way in which consciousness reacts and capitalises upon things in nature and society, or which belong to human subjectivity, including on artistic work, which have an effect on sensitiveness due to their harmony, balance and grandeur. As a fundamental attribute of the human being, creativity is the engine of cultural evolution, meaning the degree of novelty that man brings in his ideas, actions, and creations. Aesthetical values, together with the other types of values, contribute to what society represents and to what it can become, hence motivating human action and creation. Their role is to create a state of mind that encourages the cohesion, cooperation, and mutual understanding of the society. Integrating a chronological succession of the evolution of the concepts that objectify its structure, its aesthetics and creativity, this article stresses the synergetic nature of the two dimensions of human personality, paving the way to beauty, as a form of enchantment of the human spirit.
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Trebbi, Lorena y Chiara Del Gesso. "Hybrid sensory surfaces: biological meets digital". En Intelligent Human Systems Integration (IHSI 2022) Integrating People and Intelligent Systems. AHFE International, 2022. http://dx.doi.org/10.54941/ahfe100938.

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The re-design of interactive devices in response to needs in terms of environmental sustainability and enrichment of user experience combines two core topics of contemporary design: biological and digital. Through the design project we can twist material and immaterial, physical and virtual, integrating different modalities of interaction, stratifying the information on multiple levels and conferring to surfaces a perceptual plus involving multiple sensory stimulations. In this scenario microbial nanocellulose represent a promising material because of its technical-performative features which make it usable as biological interface and capacitive sensor, but especially because of its aesthetic-sensory features which can be controlled and programmed through the interaction with the fabrication process, affecting the intensity and richness of the interactive experience.
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Benaissa, Brahim y Masakazu Kobayashi. "Design aesthetics recommender system based on customer profile and wanted affect". En 9th International Conference on Kansei Engineering and Emotion Research (KEER2022). Kansei Engineering and Emotion Research (KEER), 2022. http://dx.doi.org/10.5821/conference-9788419184849.19.

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Product recommendation systems have been instrumental in online commerce since the early days. Their development is expanded further with the help of big data and advanced deep learning methods, where consumer profiling is central. The interest of the consumer can now be predicted based on the personal past choices and the choices of similar consumers. However, what is currently defined as a choice is based on quantifiable data, like the product features, cost, and type. This paper investigates the possibility of profiling customers based on the preferred product design and wanted affects. We considered the case of vase design, where we study individual Kansei of each design. The personal aspects of the consumer considered in this study were decided based on our literature review conclusions on the consumer response to product design. We build a representative consumer model that constitutes the recommendation system's core using deep learning. It asks the new consumers to provide what affect they are looking for, through Kansei adjectives, and recommend; as a result, the aesthetic design that will most likely cause that affect.
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Li, Ling, Dong Liang, Yuanhang Gao, Sheng-Jun Huang y Songcan Chen. "ALL-E: Aesthetics-guided Low-light Image Enhancement". En Thirty-Second International Joint Conference on Artificial Intelligence {IJCAI-23}. California: International Joint Conferences on Artificial Intelligence Organization, 2023. http://dx.doi.org/10.24963/ijcai.2023/118.

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Evaluating the performance of low-light image enhancement (LLE) is highly subjective, thus making integrating human preferences into image enhancement a necessity. Existing methods fail to consider this and present a series of potentially valid heuristic criteria for training enhancement models. In this paper, we propose a new paradigm, i.e., aesthetics-guided low-light image enhancement (ALL-E), which introduces aesthetic preferences to LLE and motivates training in a reinforcement learning framework with an aesthetic reward. Each pixel, functioning as an agent, refines itself by recursive actions, i.e., its corresponding adjustment curve is estimated sequentially. Extensive experiments show that integrating aesthetic assessment improves both subjective experience and objective evaluation. Our results on various benchmarks demonstrate the superiority of ALL-E over state-of-the-art methods. Source code: https://dongl-group.github.io/project pages/ALLE.html
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Informes sobre el tema "Aesthetic core"

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Perdigão, Rui A. P. New Horizons of Predictability in Complex Dynamical Systems: From Fundamental Physics to Climate and Society. Meteoceanics, octubre de 2021. http://dx.doi.org/10.46337/211021.

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Discerning the dynamics of complex systems in a mathematically rigorous and physically consistent manner is as fascinating as intimidating of a challenge, stirring deeply and intrinsically with the most fundamental Physics, while at the same time percolating through the deepest meanders of quotidian life. The socio-natural coevolution in climate dynamics is an example of that, exhibiting a striking articulation between governing principles and free will, in a stochastic-dynamic resonance that goes way beyond a reductionist dichotomy between cosmos and chaos. Subjacent to the conceptual and operational interdisciplinarity of that challenge, lies the simple formal elegance of a lingua franca for communication with Nature. This emerges from the innermost mathematical core of the Physics of Coevolutionary Complex Systems, articulating the wealth of insights and flavours from frontier natural, social and technical sciences in a coherent, integrated manner. Communicating thus with Nature, we equip ourselves with formal tools to better appreciate and discern complexity, by deciphering a synergistic codex underlying its emergence and dynamics. Thereby opening new pathways to see the “invisible” and predict the “unpredictable” – including relative to emergent non-recurrent phenomena such as irreversible transformations and extreme geophysical events in a changing climate. Frontier advances will be shared pertaining a dynamic that translates not only the formal, aesthetical and functional beauty of the Physics of Coevolutionary Complex Systems, but also enables and capacitates the analysis, modelling and decision support in crucial matters for the environment and society. By taking our emerging Physics in an optic of operational empowerment, some of our pioneering advances will be addressed such as the intelligence system Earth System Dynamic Intelligence and the Meteoceanics QITES Constellation, at the interface between frontier non-linear dynamics and emerging quantum technologies, to take the pulse of our planet, including in the detection and early warning of extreme geophysical events from Space.
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Hicks, Jacqueline. Export of Digital Surveillance Technologies From China to Developing Countries. Institute of Development Studies, agosto de 2022. http://dx.doi.org/10.19088/k4d.2022.123.

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There is evidence to show that Chinese companies, with some state credit backing, are selling digital surveillance technologies to developing countries, which are then sometimes used in authoritarian practices. However, there is little direct evidence to show that surveillance technologies sold by Chinese companies have more authoritarian potential than the technologies sold by non-Chinese companies. Some researchers define “surveillance technologies” as including any form of digital infrastructure. There is data to show that developing country governments are contracting Chinese companies to build digital infrastructures. Other researchers define “surveillance technologies” as smart city projects. It is estimated that in 2019, Chinese smart city technologies have been purchased in over 100 countries worldwide. Other researchers look at more specific elements of smart cities: There are estimates that the “AI surveillance” components of smart cities have been purchased in 47-65 countries worldwide, and the “data integration” security platforms in at least 80 countries. None of these figures imply anything about how these technologies are used. The “dual use” nature of these technologies means that they can have both legitimate civilian and public safety uses as well as authoritarian control uses. There is evidence of some governments in Africa using Chinese surveillance technologies to spy on political opponents and arrest protesters. Some authors say that some Chinese smart city projects are actually not very effective, but still provide governments with a “security aesthetic”. Research also shows that Chinese smart city technologies have been sold mostly to illiberal regimes. However, in the wider context, there is also ample evidence of non-Chinese surveillance technologies contributing to authoritarian control in developing countries. There is also evidence that UK companies sell surveillance technologies to mostly illiberal regimes. Some reports consulted for this rapid review imply that Chinese surveillance technologies are more likely to be used for authoritarian control than those sold by non-Chinese companies. This analysis is largely based on circumstantial rather than direct evidence. They rely on prior judgements, which are themselves subject to ongoing enquiry in the literature: Almost all of the reports consulted for this rapid review say that the most important factor determining whether governments in developing countries will deploy a particular technology for repressive purposes is the quality of governance in the country. No reports were found in the literature reviewed of Chinese state pressure on developing countries to adopt surveillance technologies, and there were some anecdotal reports of officials in developing countries saying they did not come under any pressure to buy from Chinese companies.
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Cox, Jeremy. The unheard voice and the unseen shadow. Norges Musikkhøgskole, agosto de 2018. http://dx.doi.org/10.22501/nmh-ar.621671.

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The French composer Francis Poulenc had a profound admiration and empathy for the writings of the Spanish poet Federico García Lorca. That empathy was rooted in shared aspects of the artistic temperament of the two figures but was also undoubtedly reinforced by Poulenc’s fellow-feeling on a human level. As someone who wrestled with his own homosexuality and who kept his orientation and his relationships apart from his public persona, Poulenc would have felt an instinctive affinity for a figure who endured similar internal conflicts but who, especially in his later life and poetry, was more open about his sexuality. Lorca paid a heavy price for this refusal to dissimulate; his arrest in August 1936 and his assassination the following day, probably by Nationalist militia, was accompanied by taunts from his killers about his sexuality. Everything about the Spanish poet’s life, his artistic affinities, his personal predilections and even the relationship between these and his death made him someone to whom Poulenc would be naturally drawn and whose untimely demise he would feel keenly and might wish to commemorate musically. Starting with the death of both his parents while he was still in his teens, reinforced by the sudden loss in 1930 of an especially close friend, confidante and kindred spirit, and continuing throughout the remainder of his life with the periodic loss of close friends, companions and fellow-artists, Poulenc’s life was marked by a succession of bereavements. Significantly, many of the dedications that head up his compositions are ‘to the memory of’ the individual named. As Poulenc grew older, and the list of those whom he had outlived lengthened inexorably, his natural tendency towards the nostalgic and the elegiac fused with a growing sense of what might be termed a ‘survivor’s anguish’, part of which he sublimated into his musical works. It should therefore come as no surprise that, during the 1940s, and in fulfilment of a desire that he had felt since the poet’s death, he should turn to Lorca for inspiration and, in the process, attempt his own act of homage in two separate works: the Violin Sonata and the ‘Trois Chansons de Federico García Lorca’. This exposition attempts to unfold aspects of the two men’s aesthetic pre-occupations and to show how the parallels uncovered cast reciprocal light upon their respective approaches to the creative process. It also examines the network of enfolded associations, musical and autobiographical, which link Poulenc’s two compositions commemorating Lorca, not only to one another but also to a wider circle of the composer’s works, especially his cycle setting poems of Guillaume Apollinaire: ‘Calligrammes’. Composed a year after the ‘Trois Chansons de Federico García Lorca’, this intricately wrought collection of seven mélodies, which Poulenc saw as the culmination of an intensive phase in his activity in this genre, revisits some of ‘unheard voices’ and ‘unseen shadows’ enfolded in its predecessor. It may be viewed, in part, as an attempt to bring to fuller resolution the veiled but keenly-felt anguish invoked by these paradoxical properties.
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