Artículos de revistas: "Electronic aesthetics"

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Gao, Jie y Alessandro Soranzo. "Individual Differences in Aesthetic Preferences for Multi-Sensorial Stimulation". Vision 4, n.º 1 (6 de enero de 2020): 6. http://dx.doi.org/10.3390/vision4010006.

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The aim of the current project was to investigate aesthetics in multi-sensorial stimulation and to explore individual differences in the process. We measured the aesthetics of interactive objects (IOs) which are three-dimensional objects with electronic components that exhibit an autonomous behaviour when handled, e.g., vibrating, playing a sound, or lighting-up. The Q-sorting procedure of Q-methodology was applied. Data were analysed by following the Qmulti protocol. The results suggested that overall participants preferred IOs that (i) vibrate, (ii) have rough surface texture, and (iii) are round. No particular preference emerged about the size of the IOs. When making an aesthetic judgment, participants paid more attention to the behaviour variable of the IOs than the size, contour or surface texture. In addition, three clusters of participants were identified, suggesting that individual differences existed in the aesthetics of IOs. Without proper consideration of potential individual differences, aesthetic scholars may face the risk of having significant effects masked by individual differences. Only by paying attention to this issue can more meaningful findings be generated to contribute to the field of aesthetics.

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Wiltsher, Nick. "The Aesthetics of Electronic Dance Music, Part II: Dancers, DJs, Ontology and Aesthetics". Philosophy Compass 11, n.º 8 (28 de julio de 2016): 426–36. http://dx.doi.org/10.1111/phc3.12332.

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Lähdeoja, Otso y Alejandro Montes De Oca. "Co-Sounding: Fostering intersubjectivity in electronic music improvisation". Organised Sound 26, n.º 1 (abril de 2021): 5–18. http://dx.doi.org/10.1017/s1355771821000017.

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Shared music improvisation constitutes a formidable vector for intersubjective connection. Improvisation is a space of non-semantic communication that allows for putting oneself at risk and requires mutual trust and listening, as well as dialogical qualities. This article investigates the intersubjective dimension of improvisation in electronic music praxis, focusing on how the electronic medium can be used to foster mediation between musicians. The article builds on a practice-based enquiry in duo format, conducted in three successive technological settings, with a methodological entanglement of aesthetic and design aims. Systematic video documentation and participant observation provide an analytical counterpoint to an immersion in the improvisatory praxis. A set of design strategies for fostering intersubjective connection in shared musicianship emerges from the research. The findings provide the basis for a dialectical consideration between musical and intersubjective aesthetics. The discussion points to the diversity of social functions of music and their respective aesthetics. Electronic instruments’ inherent plasticity allows for reconfiguring the social space of music-making, and thus opens perspectives for devising synergetic music systems that emphasise an ethos of shared agency over the production of musical objects or performances.

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4

Landy, Leigh. "New aesthetics and practice in experimental electronic music". Organised Sound 13, n.º 1 (29 de febrero de 2008): 1–3. http://dx.doi.org/10.1017/s1355771808000010.

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TRUAX, BARRY. "The aesthetics of computer music: a questionable concept reconsidered". Organised Sound 5, n.º 3 (diciembre de 2000): 119–26. http://dx.doi.org/10.1017/s1355771800005021.

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In some informal remarks I made at a conference in 1979, I expressed a reluctance to deal with the subject of aesthetics, which historically is a product of European philosophy and which remains a troublesome concept for contemporary music where an aesthetic term such as ‘beauty’ seems to be studiously ignored (Truax 1980). In a recent, also informal article (Truax 1999) addressed as a ‘letter to a twenty-five-year old electroacoustic composer’, I predicted that the term ‘computer music’ would probably disappear since in an age where the computer is involved in nearly all electroacoustic music production, this term, which once distinguished a type of music from that made with analogue, electronic equipment, seemed today to be impossible to define rigorously. Therefore, the concept of the ‘aesthetics of computer music’, proposed as a panel discussion topic, initially seemed to me to be doubly suspect as to its meaning.

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Wang, Jian y Yen Hsu. "Does Sustainable Perceived Value Play a Key Role in the Purchase Intention Driven by Product Aesthetics? Taking Smartwatch as an Example". Sustainability 11, n.º 23 (30 de noviembre de 2019): 6806. http://dx.doi.org/10.3390/su11236806.

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In the face of a wide range of consumer electronic products, how can consumers take into account the sustainable development of the ecological environment during their purchase and consumption? This study established a new product aesthetics classification, divided it into interface aesthetics and product form aesthetics, and proposed a new conceptual model to test the impact of interface aesthetics and product form aesthetics on sustainable perceived value and purchase intention. In this study, smartwatches were used as the subject and a two-stage survey was carried out to collect samples from common consumers of consumer electronic products. Partial least squares (PLS) was employed to test the conceptual model and corresponding hypotheses on data collected from 425 survey samples. The research results suggested that interface aesthetics and product form aesthetics must be mediated by sustainable perceived value so as to have a positive impact on consumers’ purchase intention. Therefore, sustainable perceived value is a mediating variable for adjusting product aesthetics and purchase intention. In addition, sustainable perceived value greatly affects consumers’ green consumer behavior. Increasing the emotional durability established between consumers and products through sustainable perceived value to prolong the life of products reduces resource consumption and wave costs, and promotes sustainable development of ecological resources.

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Celona, Luigi y Raimondo Schettini. "A Genetic Algorithm to Combine Deep Features for the Aesthetic Assessment of Images Containing Faces". Sensors 21, n.º 4 (12 de febrero de 2021): 1307. http://dx.doi.org/10.3390/s21041307.

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The automatic assessment of the aesthetic quality of a photo is a challenging and extensively studied problem. Most of the existing works focus on the aesthetic quality assessment of photos regardless of the depicted subject and mainly use features extracted from the entire image. It has been observed that the performance of generic content aesthetic assessment methods significantly decreases when it comes to images depicting faces. This paper introduces a method for evaluating the aesthetic quality of images with faces by encoding both the properties of the entire image and specific aspects of the face. Three different convolutional neural networks are exploited to encode information regarding perceptual quality, global image aesthetics, and facial attributes; then, a model is trained to combine these features to explicitly predict the aesthetics of images containing faces. Experimental results show that our approach outperforms existing methods for both binary, i.e., low/high, and continuous aesthetic score prediction on four different image databases in the state-of-the-art.

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Neill, Ben. "Pleasure Beats: Rhythm and the Aesthetics of Current Electronic Music". Leonardo Music Journal 12 (diciembre de 2002): 3–6. http://dx.doi.org/10.1162/096112102762295052.

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Angel, Maria y Anna Gibbs. "Geospatial Aesthetics Time, Space, Agency and Movement in Electronic Writing". Sprache und Literatur 42, n.º 2 (22 de noviembre de 2011): 13–21. http://dx.doi.org/10.1163/25890859-042-02-90000003.

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RODGERS, TARA. "On the process and aesthetics of sampling in electronic music production". Organised Sound 8, n.º 3 (diciembre de 2003): 313–20. http://dx.doi.org/10.1017/s1355771803000293.

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Most scholars writing on the use of samplers express anxiety over the dissolution of boundaries between human-generated and automated musical expression, and focus on the copyright infringement issues surrounding sampling practices without adequately exploring samplists' musical and political goals. Drawing on musical examples from various underground electronic music genres and on interviews with electronic musicians, this essay addresses such questions as: What is a sampler, and how does the sampling process resonate with or diverge from other traditions of instrument-playing? How do electronic musicians use the ‘automated’ mechanisms of digital instruments to achieve nuanced musical expression and cultural commentary? What are some political implications of presenting sampled and processed sounds in a reconfigured compositional environment? By exploring these issues, I hope to counter the over-simplified, uninformed critical claims that sampling is a process of ‘theft’ and ‘automation’, and instead offer insight into the myriad and complex musical and political dimensions of sampling in electronic music production.

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D’Agostino, Mirko Ettore. "Reclaiming and Preserving Traditional Music: Aesthetics, ethics and technology". Organised Sound 25, n.º 1 (4 de marzo de 2020): 106–15. http://dx.doi.org/10.1017/s1355771819000505.

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Music history is full of examples of composers drawing upon traditional repertoires for their works. Starting from the late nineteenth century in particular, many of them have looked at this specific sound material for several reasons: overcoming the limitations of tonal system, discovering different compositional strategies, finding new inspiration and aesthetics, evoking exoticism. Electronic music is no exception. Since the emergence of sound recording, sonic artists and electronic music composers have experimented with new technologies trying to integrate traditional elements in their works with different results and various purposes. In the present time, the preservation of these traditional elements could represent one of the most crucial goals. In a world characterised by a widespread globalisation, traditional music might be at risk of being neglected or even forgotten, as for local identities and cultures in general. As electronic music composers and sonic artists we should ask ourselves if it is possible to create a link between tradition and innovation, connecting these two apparently opposite realities. Can we safeguard at-risk traditions and at the same time re-present them through contemporary artistic practices and technologies? Is there a way to develop a form of expression that could reach a wide and diverse range of listeners, taking into account recent trends and studies in electronic music while preserving the main distinctive features of the traditional repertoires? The article attempts to answer the above-mentioned questions with the support of a case study: the personal research conducted into the use of traditional music from the southern Italian region of Campania in the scope of electronic music composition.

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Rothenberg, David y Ben Neill. "Playing into the Machine: Improvising across the Electronic Abyss". Leonardo Music Journal 20 (diciembre de 2010): 19–20. http://dx.doi.org/10.1162/lmj_a_00006.

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Two musicians who have focused on playing acoustic wind instruments into electronics for the purposes of enhancing their original sound reflect on how the use of such new technologies inherently pushes “old technologies” toward a new aesthetics of improvisation.

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Wordsworth, R. "Design - Prosthetics. When prosthetics meet aesthetics". Engineering & Technology 15, n.º 1 (1 de febrero de 2020): 20–25. http://dx.doi.org/10.1049/et.2020.0100.

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DeThorne, Jeffrey. "Schaeffer's Values, Henry's Monsters and Orchestral Noise Reduction". Organised Sound 18, n.º 1 (26 de marzo de 2013): 81–91. http://dx.doi.org/10.1017/s135577181200026x.

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If nineteenth-century aesthetics distinguish between distinct, colourful French instrumentation and doubled, equalised German orchestration, this distinction softens when the ‘New German’ orchestration of Wagner and Strauss exploits individual instrumental colours before dissolving them into massive orchestral sonorities. Similarly, if early French electroacoustic music counteracts the meta-serialism of early twentieth-century German electronic music, Pierre Schaeffer's Traité des objets musicaux combines his early anecdotal Noise Studies with a noise-reduction process into a new, rather German aesthetic of electroacoustics. In search of musical objects through a reductive, analytical listening (entendre), Schaeffer's neutralisation of anecdotal noises into musical objects is analogous to New German orchestration's neutralisation of individual orchestral colours in order to synthesise new orchestral combinations. Although this orchestral synthesis is different from the analytical probe for new valeurs involved in entendre, the separation of the noise from its residual signification are fundamental processes within both nineteenth-century orchestrational and twentieth-century electroacoustic musical aesthetics. If our current understanding of electronic music aligns Schaeffer and Pierre Henry wholly with modernity and its putatively radical and self-conscious break with Berlioz, Brahms and historical tradition, this article suggests that an essential underlying continuity in the French-instrumentation/German-orchestration binary persists even in the face of the decline of the musical and cultural traditions that created and sustained them.

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Natanegara, Antariksa Wibawa. "PENGARUH VISUAL AESTHETICS DAN PRESENTATION MODALITY TERHADAP INFORMATION CREDIBILITY, CONSUMER TRUST DAN PURCHASE INTENTION". Business and Finance Journal 6, n.º 1 (2 de abril de 2021): 1–14. http://dx.doi.org/10.33086/bfj.v6i1.1974.

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This study analyzes how visual aesthetics and presentation modality influence information credibility, consumer trust and purchase intention on food content. This research uses a quantitative approach and belongs to the category of causal studies. The sampling technique used is non probability sampling. The sample of this research is people who actively use Instagram, follow culinary accounts, have bought food products on Instagram. Data collection techniques through surveys with a questionnaire that uses a five-‐level Likert scale. The questionnaire was distributed via an electronic link using google form. The analysistechnique used is MANOVA and SEM. The results of this study stated that visual aesthetic and presentation modality affect information credibility and consumer trust, then information credibility and consumer trust affect purchase intention.

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Ramírez-Correa, Patricio Esteban, Francisco Javier Rondán-Cataluña y Jorge Arenas-Gaitán. "Student information system satisfaction in higher education: the role of visual aesthetics". Kybernetes 47, n.º 8 (3 de septiembre de 2018): 1604–22. http://dx.doi.org/10.1108/k-08-2017-0297.

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Purpose The purpose of this study is to explore the role of visual aesthetics as a key in generating satisfaction in student information system (SIS) users and to discover relationships to other antecedents. This work has also studied how gender discriminates those relationships. Design/methodology/approach DeLone and McLean’s model of information systems success, visual aesthetic and gender socialisation theory are used as a theoretical framework for the study. An explanatory model was proposed based on the previous literature, and then this model was validated using a sample of undergraduate students. Partial Least Squares was chosen as the approach to conduct the statistical analysis. Findings First, the findings show that the variance explained by the proposed model in user satisfaction of SIS is 67 per cent. Second, visual aesthetics has a significant direct effect on user satisfaction of SIS, but the indirect effect is much higher, through its relationship to system quality and information quality. Third, the results indicate that there are significant differences between men and women in the direct relationship between visual aesthetics and user satisfaction of SIS, and this relationship being much more intense in the case of women. Originality/value The study highlights the role of visual aesthetics as a variable that explains user satisfaction in information systems; this fact emphasises on the importance of taking into account aesthetics when designing information systems. In addition, the findings support the existence of a novel relationship between visual aesthetics and information quality. Finally, new evidence on gender differences concerning user satisfaction in information systems is presented; this result indicates in the opposite direction to recent studies that imply a certain homogenisation of gender in relation to the perceptions associated with the technologies of the information.

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Panos, Leah. "Postmodernism, Culture and Feminism: The Aesthetics of Space and Performance inRock FolliesandRock Follies of ’77". Journal of British Cinema and Television 11, n.º 1 (enero de 2014): 41–67. http://dx.doi.org/10.3366/jbctv.2014.0191.

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This article discusses the aesthetic and spatial representational strategies of the popular studio-based musical television drama serials Rock Follies and Rock Follies of ’77. It analyses how the texts’ themes relating to women and the entertainment industry are mediated through their postmodern ironic mode and representation of fantastic spaces. Rock Follies’ distinctive stylised aesthetic and mode of caricature are analysed with reference to the visual intentions and ‘voice’ of the writer, Howard Schuman. Through considering the programmes’ various spatial strategies, the article draws attention to the importance of visual and performance style in their postmodern discourse on culture, fantasy, gender and subjectivity. Analysis of the spaces of musical performance, characters’ domestic environments and simulated entertainment spaces reveals how a dialectic is established between the escapist imaginative pleasures of fantasy and the manipulative and exploitative practices of the culture industry. The shift from the optimism of the first series, when the Little Ladies first form, to the darker mood of the second series, in which they are increasingly divided by industry pressures, is traced through changes in the aesthetics of space and characterisation. As a space of artifice, performance and electronic visual manipulation that facilitates the texts' reflexive representation of culture and feminised fantasy, the studio's unique aesthetic strengths emerge through this case study.

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Wiltsher, Nick. "The Aesthetics of Electronic Dance Music, Part I: History, Genre, Scenes, Identity, Blackness". Philosophy Compass 11, n.º 8 (28 de julio de 2016): 415–25. http://dx.doi.org/10.1111/phc3.12333.

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Borio, Gianmario. "New technology, new techniques: The aesthetics of electronic music in the 1950's1". Interface 22, n.º 1 (enero de 1993): 77–87. http://dx.doi.org/10.1080/09298219308570619.

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Yang, Mei y Qi Fang Bo. "Study on the Method of Humanized Design". Applied Mechanics and Materials 44-47 (diciembre de 2010): 2016–20. http://dx.doi.org/10.4028/www.scientific.net/amm.44-47.2016.

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The realization of function is always the primary motive of designers, and they do their best to design the function of a new product. However, with the raise of modern design concept, more and more attention is transferred to the harmoniousness of the product. Besides function, human factor in design is highly emphasized. The connotation of humanized design is firstly introduced in this paper. Then, Factors of humanized design are discussed, including need, ergonomics, reliability and aesthetics. Especially, the importance is pointed that form design meeting the people’s aesthetic requirements based on psychological feelings. Taking electronic products as example, the method of humanized design is wisely analyzed from the aspects of form application, symbolistic application and intention transmission, which is helpful for designing products more pleasant and comfortable to use.

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Viswanatha Reddy, Gajjala, Snehasis Mukherjee y Mainak Thakur. "Measuring photography aesthetics with deep CNNs". IET Image Processing 14, n.º 8 (19 de junio de 2020): 1561–70. http://dx.doi.org/10.1049/iet-ipr.2019.1300.

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Kilgour, Lauren. "The ethics of aesthetics: Stigma, information, and the politics of electronic ankle monitor design". Information Society 36, n.º 3 (15 de mayo de 2020): 131–46. http://dx.doi.org/10.1080/01972243.2020.1737606.

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MOUNTAIN, ROSEMARY. "Marketing strategies for electroacoustics and computer music". Organised Sound 9, n.º 3 (diciembre de 2004): 305–13. http://dx.doi.org/10.1017/s1355771804000512.

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This article explores possible strategies for appraising electroacoustic and computer music to enhance ‘marketability’. It is proposed that the specific aesthetics, characteristics and function of a work may be more salient features than those of the medium of composition (e.g. computer) to many listeners. It is suggested that the common practice of focusing on chronology, geography and specific schools is becoming less relevant due to a proliferation of home studios, the internet, and an increasing saturation of electronic sounds in new media contexts. On the other hand, aspects of form, mood, timbral palette, rhythmic complexity, etc., may become very useful bases for choosing works for a compilation CD or concert programme. The inadequacies of musicians' discourse for describing such attributes leads to the incorporation of analogies from visual and performing arts as well as a discussion of other possible approaches to ‘labelling’ and the inherent dangers in such a task. In conclusion, it is proposed that the time is ripe for shuffling the categories and regrouping composers' works according to aesthetic preferences, regardless of the percentage of electronic/computer content.

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Wiklund, Michael E., Christopher Thurrott y Joseph S. Dumas. "Does the Fidelity of Software Prototypes Affect the Perception of Usability?" Proceedings of the Human Factors Society Annual Meeting 36, n.º 4 (octubre de 1992): 399–403. http://dx.doi.org/10.1177/154193129203600429.

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The objective of this study was to investigate whether the aesthetic refinement of a software prototype is related to subjects' ratings of the usability of the prototype. We purchased a commercially available electronic device offering the functions of dictionary, calculator, and thesaurus (hereafter referred to as the Dictionary). We created four user interface prototypes of the Dictionary using line art, half-tone, gray scale, and color images of the product. The prototypes varied in the degree to which the displayed image resembled the physical look of the real product in terms of depth, tone, color, etc. All of the prototypes were interactive in that subjects could, with a mouse, make the prototypes operate like the Dictionary. Five groups of ten subjects each then made their ratings and performed tasks using either one of the prototypes or the Dictionary. The subjects rated ease of learning and use, forgiveness of mistakes, and aesthetics for the version they used, before and after performing tasks. Subjects who used a prototype also repeated a task using the real product and compared the two in terms of similarity of interaction and aesthetics. The results indicated that the aesthetic quality of prototypes within the range we varied did not bias users for or against the prototype's perceived usability. However, we learned that half-tone prototypes should be avoided when their coarse shadings decrease legibility. In addition, we found that making prototypes mimic the response time of a product or a design concept is important. When the real product produces slower response times, prototype performance may give an overly optimistic picture of the product's usability.

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Park, Sungmee y Sundaresan Jayaraman. "Smart Textiles: Wearable Electronic Systems". MRS Bulletin 28, n.º 8 (agosto de 2003): 585–91. http://dx.doi.org/10.1557/mrs2003.170.

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AbstractProtection and aesthetics are the two common dimensions or attributes typically associated with textiles as clothing. However, with the rapidly changing needs of today's consumers, a third dimension is emerging—that of “intelligence”—that is being integrated into fabrics to produce interactive textiles, or i-textiles. This new class of wearable electronic systems is being designed to meet new and innovative applications in the military, public safety, healthcare, space exploration, sports, and consumer fitness fields. In this article, the concept of i-textiles is presented, along with the building blocks for its realization. This is followed by an overview of the design and development of the Smart Shirt, an “intelligent” garment that provides an extremely versatile framework for the incorporation of sensing, monitoring, and information-processing devices. The key applications of the Smart Shirt technology and their impact in transforming healthcare are discussed. Finally, the need to advance this paradigm and identify opportunities to transform passive textiles into the new generation of interactive, or “smart,” textiles is discussed.

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Britton, Eliot. "Genre and Capital in Avant-garde Electronica". Organised Sound 21, n.º 1 (3 de marzo de 2016): 61–71. http://dx.doi.org/10.1017/s1355771815000382.

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This article applies a genre level approach to the tangled discourse surrounding the points of convergence between avant-garde electronica and electroacoustic music. More specifically the article addresses related experimental practices in these distinct yet related fields of electronic music-making. The democratisation of music technology continues to expand into an increasingly diverse set of musical fields, destabilising established power dynamics. A flexible, structured approach to the analysis of these relationships facilitates the navigation of crumbling boundaries and shifting relationships. Contemporary electronic music’s overlapping networks encompass varying forms of capital, aesthetics, technology, ideology, tools and techniques. These areas offer interesting points of convergence. As the discourse surrounding electronic music expands, so must the vocabulary and conceptual models used to describe and discuss new areas of converging artistic practice. Genre level diagrams selectively collapse, expand and arrange artistic fields, facilitating concrete, coherent arguments and the examination of patterns and relationships. Through the genre level diagram’s establishment of distinct yet flexible boundaries, electronic music’s sprawling discourse can be cordoned off, expanded or contracted to suit structured analyses. In this way, this approach clarifies scope and facilitates simultaneous examination from a variety of perspectives.

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Harper, Adam. "How Internet music is frying your brain". Popular Music 36, n.º 1 (13 de diciembre de 2016): 86–97. http://dx.doi.org/10.1017/s0261143016000696.

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AbstractThis article argues that the production and reception of certain recent electronic musics has resonated with criticisms of the perceived degenerative effects of digital technology on culture and ‘humanity’ – such as the lack of attention it promotes or the ‘information overload’ it causes – in an at least partially positive way. The resulting ambivalent aesthetics, sometimes thought of as one of ‘Internet music’, embraces particular negative notions of digital mediation in ways that can and have been thought of as satirical, exploratory or ‘accelerationist’. I examine three facets of this aesthetics: maximalism, kitsch and the uncanny valley. I also question the legitimacy of dramatising, even positively, digital media and culture as effectively ‘degenerate’.

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Lee, Hui-Jin, Ki-Sang Hong, Henry Kang y Seungyong Lee. "Photo Aesthetics Analysis via DCNN Feature Encoding". IEEE Transactions on Multimedia 19, n.º 8 (agosto de 2017): 1921–32. http://dx.doi.org/10.1109/tmm.2017.2687759.

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Iqbal, Shazia, Khalid Akkour, Bushra Bano, Ghaiath Hussain, Manal Khalid Kamal Ali Elhelow, Atheer Mansour Al-Mutairi y Balqees Sami Khaza'l Aljasim. "Awareness about Vulvovaginal Aesthetics Procedures among Medical Students and Health Professionals in Saudi Arabia". Revista Brasileira de Ginecologia e Obstetrícia / RBGO Gynecology and Obstetrics 43, n.º 03 (marzo de 2021): 178–84. http://dx.doi.org/10.1055/s-0041-1725050.

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Abstract Objective The present study aimed to explore the opinion and ethical consideration of vulvovaginal aesthetics procedures (VVAPs) among health professionals and medical students in Saudi Arabia. Methods This is a cross-sectional study performed between January 2020 and April 2020. Data was collected through electronic media, WhatsApp, and emails. The results were analyzed by applying the Students t-test, and correlations were considered significant if they presented a p-value < 0.05. Results There is significant demand to educate doctors, health professionals, medical students, and gynecologists for the VVAPs to have a solid foundation, justified indications, and knowledge about various aesthetic options. Although female doctors, medical students, young doctors, and gynecologists have more knowledge about VVAPs, all health professionals ought to be aware of recent trends in vulvovaginal aesthetics (VVA). The present analysis determined that VVA should be under the domain of gynecologists, rather than under that of plastic surgeons, general surgeons, and cosmetologists. The majority of the participants considered that vaginal rejuvenation, “G-spot” augmentation, clitoral surgery, and hymenoplasty are not justifiable on medical grounds. Conclusion The decision to opt for different techniques for vaginal tightening and revitalization should be taken very carefully, utilizing the shared decision-making approach. Ethical aspects and moral considerations are important key factors before embarking in the VVAPs purely for cosmetic reasons. Further research is required to determine the sexual, psychological, and body image outcomes for women who underwent elective VVAPs. Moreover, medical educators must consider VVAPs as part of the undergraduate and postgraduate medical curriculum.

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Kaye, Lewis. "The aesthetics of inevitable failure: process and contingency in the presentation of electronic media art". International Journal of Arts and Technology 3, n.º 4 (2010): 390. http://dx.doi.org/10.1504/ijart.2010.035829.

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Hamrah, Mohammad Hassan, Saeedeh Mokhtari, Zahra Hosseini, Maryam Khosrozadeh, Sepideh Hosseini, Elaha Somaya Ghafary, Mohammad Hussain Hamrah y Narges tavana. "Evaluation of the Clinical, Child, and Parental Satisfaction with Zirconia Crowns in Maxillary Primary Incisors: A Systematic Review". International Journal of Dentistry 2021 (5 de julio de 2021): 1–6. http://dx.doi.org/10.1155/2021/7877728.

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Background. With the increasing demand for aesthetics in children and their parents, the treatment of decayed primary anterior teeth is one of the biggest challenges in pediatric dentistry. Zirconia crowns have provided a treatment alternative to address the aesthetic concerns and ease of placement of extracoronal restorations on primary anterior teeth. Methods. The electronic databases including PubMed, Scopus, Google Scholar, and Embase were searched on articles published between January 2010 and January 2021. Studies relating to evaluating the clinical success and satisfaction of both parents and children about zirconia crowns in maxillary primary incisors were reviewed. Results. Nine studies met the criteria for final inclusion. Findings from these studies showed that parental and child satisfaction with zirconia crowns is high with clinically acceptable restorations in the maxillary primary incisors. Conclusion. Parental and child satisfaction with zirconia crowns is high with clinically acceptable restorations in the maxillary primary incisors. In addition, larger sample sizes and longer follow-ups are required in future studies.

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Auson, Kuai Shen. "Tactical Ant Media: Amplifying the Invertebrate Aesthetics of Ants Using Transversality as an Artistic Process". Society & Animals 27, n.º 7 (11 de diciembre de 2019): 678–96. http://dx.doi.org/10.1163/15685306-00001842.

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AbstractThis article examines creative practice-led research that uses transversality as an artistic process to generate ant-human relations. From the artistic perspective, transversality can materialize audiovisual performances with ants by employing technologies of visual and acoustic amplification; these are electronic assemblages made with piezoelectric sensors, computer vision, and infrared thermography, which reveal imperceptible qualities of ant behaviors. Whereas the concept of transversality remains active in philosophical discourses concerning human subjectivity, it has not been explored in artistic technological mediations that seek relational ties with nonhuman beings. The analysis that follows argues that ants are transversal beings whose movements cross boundaries affecting organisms and materializing ecological and multispecies relations. These relations can be amplified using electronic media in order to reveal the invertebrate aesthetics of ants as a different way to understand their social lives, and as an alternative passage for representing their sensorial capacities.

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Świderski, Mariusz, Adam Gulczyński y Jerzy Biernacki. "Minimization of magnetoacoustic resonant tags for the electronic article surveillance system". ITM Web of Conferences 28 (2019): 01032. http://dx.doi.org/10.1051/itmconf/20192801032.

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The areas of application of EAS systems are, among others, stores and libraries. EAS systems are used to signal a theft of goods. The exemplary EAS system consists of: a transmitting antenna, a receiving antenna and tags also called clips. The tag is an element of the system with which the consumer has direct contact. The tag can be installed on various items available in the store. Starting from the size of a pen, through jackets and coats to TVs and bicycles. Therefore, the aesthetics, and mainly the size of the tag, cannot distort the consumer's ability to check an item accurately, nor can they affect its use. The paper presents a method of minimizing the dimensions of a tag while maintaining the required detection distance.

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Kane, Carolyn L. "The synthetic color sense of Pipilotti Rist, or, Deleuzian color theory for electronic media art". Visual Communication 10, n.º 4 (14 de octubre de 2011): 475–97. http://dx.doi.org/10.1177/1470357211415774.

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Electronic artist Pipilotti Rist’s colorful and sensuous video installations enliven the new media landscape and offer a fresh paradigm for conceptualizing color in electronic media art. This article traverses this landscape in Rist’s work by way of Gilles Deleuze’s equally unique and idiosyncratic color theory. While Deleuze articulated his color theory in terms specific to painting, his theory was nonetheless structured out of analogies to inorganic, electronic, and synthetic, machine systems, and thus it is highly compatible for discussions of color in electronic aesthetics. This article explicates Deleuze’s argument that color is a form of haptic sensation that is not nostalgic, nor purely meaningless, but rather offers fresh affects, erotics, and sensorial possibilities that balance meaning and chaos, and affect and logic. The article concludes that the much-needed continuation of color philosophy within new media art is broached through Rist’s synthetic, yet lively artwork.

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BUTLER, MARK J. "Hearing Kaleidoscopes: Embedded Grouping Dissonance in Electronic Dance Music". Twentieth-Century Music 2, n.º 2 (septiembre de 2005): 221–43. http://dx.doi.org/10.1017/s1478572206000272.

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The rhythmic and metrical qualities of electronic dance music (EDM) are clearly among its most prominent and appreciated features. Yet scholarship on rhythm, as well as popular discourse surrounding EDM, often frames the pervasively duple metres that characterize popular dance-based styles as simplistic and limited in capacity. Given the allure of EDM’s temporal qualities, how do musicians devise creative solutions to the constraints of its duple metrical organization? This article addresses this question through a consideration of embedded grouping dissonance, one of several distinctive rhythmic phenomena found in EDM. In theorizing embedded grouping dissonance, the article both builds upon and expands recent music-theoretical formulations of ‘metrical dissonance’, which describe similar occurrences without addressing this specific phenomenon. It then situates embedded grouping dissonance in relation to EDM’s technologically mediated means of production, arguing that this rhythmic technique exemplifies recurring principles of design that shape and reflect the aesthetics of electronic dance music on a broad scale.

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Weber-Lucks (TU Berlin), Theda. "Electroacoustic voices in vocal performance art - a gender issue?" Organised Sound 8, n.º 1 (abril de 2003): 61–69. http://dx.doi.org/10.1017/s1355771803001079.

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In my dissertation Gender Perspectives in Vocal Performance Art, I examine the history and aesthetics of the genre. The core of my work is a vocal database that focuses especially on the extended vocal techniques of the natural voice. In this article, I concentrate on the electronic aspect of vocal performance art. While I provide a brief historical overview of the developments of vocal performance art and its technological developments from the 1970s to the 1990s, the central question of this article is whether gender patterns exist when these practices are combined with electronic sound technologies.

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Chagas, Paulo C. "Composition in circular sound space: Migration 12-channel electronic music (1995–97)". Organised Sound 13, n.º 3 (3 de noviembre de 2008): 189–98. http://dx.doi.org/10.1017/s1355771808000289.

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AbstractHow does production and spatial environment shape the aesthetics of electroacoustic music? Can the physical space, technology and network of relationships associated with studio activities environment be deeply embedded in the actual composition itself? Using my 12-channel electronic piece Migration as an example, this article demonstrates how the ‘materiality’ of the former Studio für Elektronische Musik of the WDR Radio, Cologne, Germany influenced the conception of ‘circular sound space’. Space in electroacoustic music is considered as embodiment of gestural experience driven by performance and composition. The discussion gives insights into the development of circular approaches of sound space in relationship to analogue and digital machinery. Particular attention is paid to the correlation between sound synthesis and sound space as a structuring principle of multi-channel electroacoustic music composition.

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Dutta, Abhisek. "Impact of Electronic Servicescape of Online Gaming on Customer Engagement". Journal of Electronic Commerce in Organizations 18, n.º 2 (abril de 2020): 49–63. http://dx.doi.org/10.4018/jeco.2020040104.

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Customer engagement today has become crucial in creating stickiness for a brand. The elements of servicescape influences the user of a website to return to the website and get involved. This study examines the servicescape which impacts an online gamer's cognitive and emotional experience through electronic media. The article highlights the important factors such as aesthetics, ambience, spatial layout and functionality, symbols, and artefacts in the online game, and also the engagement of the customer through cognitive and emotional responses. Social interaction and psychological engagement were also found to be important aspect of the electronic servicescape for online gamers. Several implications for marketing strategies is presented in the article for designers like managing colour, design, and image placement so that the website/app is less crowded, easy to navigate, and faster. In an online gaming experience, gamers tend to evaluate cognitive factors in the website and form their behaviours towards investing time and money in the game.

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Liu, Jing, Jincheng Lv, Min Yuan, Jing Zhang y Yuting Su. "ABSNet: Aesthetics-Based Saliency Network Using Multi-Task Convolutional Network". IEEE Signal Processing Letters 27 (2020): 2014–18. http://dx.doi.org/10.1109/lsp.2020.3035065.

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Kafai, Yasmin, Deborah Fields y Kristin Searle. "Electronic Textiles as Disruptive Designs: Supporting and Challenging Maker Activities in Schools". Harvard Educational Review 84, n.º 4 (1 de diciembre de 2014): 532–56. http://dx.doi.org/10.17763/haer.84.4.46m7372370214783.

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Electronic textiles are a part of the increasingly popular maker movement that champions existing do-it-yourself activities. As making activities broaden from Maker Faires and fabrication spaces in children's museums, science centers, and community organizations to school classrooms, they provide new opportunities for learning while challenging many current conventions of schooling. In this article, authors Yasmin Kafai, Deborah Fields, and Kristin Searle consider one disruptive area of making: electronic textiles. The authors examine high school students’ experiences making e-textile designs across three workshops that took place over the course of a school year and discuss individual students’ experiences making e-textiles in the context of broader findings regarding themes of transparency, aesthetics, and gender. They also examine the role of e-textiles as both an opportunity for, and challenge in, breaking down traditional barriers to computing.

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41

Basher, Mohammad Khairul, Mohammad Nur-E. Alam y Kamal Alameh. "Design, Development, and Characterization of Low Distortion Advanced Semitransparent Photovoltaic Glass for Buildings Applications". Energies 14, n.º 13 (30 de junio de 2021): 3929. http://dx.doi.org/10.3390/en14133929.

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Aesthetic appearance of building-integrated photovoltaic (BIPV) products, such as semitransparent PV (STPV) glass, is crucial for their widespread adoption and contribution to the net-zero energy building (NZEB) goal. However, the visual distortion significantly limits the aesthetics of STPV glass. In this study, we investigate the distortion effect of transparent periodic-micropattern-based thin-film PV (PMPV) panels available in the market. To minimize the visual distortion of such PMPV glass panel types, we design and develop an aperiodic micropattern-based PV (APMP) glass that significantly reduces visual distortion. The developed APMP glass demonstrates a haze ratio of 3.7% compared to the 10.7% of PMPV glass. Furthermore, the developed AMPV glass shows an average visible transmittance (AVT) of 58.3% which is around 1.3 times higher than that of AMPV glass (43.8%). Finally, the measured CIELAB values (L* = 43.2, a* = −1.55, b* = −2.86.) indicate that our developed AMPV glass possesses excellent color neutrality, which makes them suitable for commercial applications. Based on the characterization results, this study will have a significant impact on the areas of smart window glasses that can play a vital role in developing a sustainable environment and enhancing the aesthetical appearance of net-zero energy buildings (NZEB).

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42

Zhang, Chao, Sitong Liu y Huizi Li. "Quality-guided video aesthetics assessment with social media context". Journal of Visual Communication and Image Representation 71 (agosto de 2020): 102643. http://dx.doi.org/10.1016/j.jvcir.2019.102643.

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Rickman, Gregg. ": The Aesthetics of Ambivalence: Re-Thinking Science Fiction Film in the Age of Electronic (Re)Production . Brooks Landon." Film Quarterly 46, n.º 4 (julio de 1993): 63–64. http://dx.doi.org/10.1525/fq.1993.46.4.04a00470.

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44

Islam, Md Baharul, Lai-Kuan Wong, Kok-Lim Low y Chee-Onn Wong. "Aesthetics-Driven Stereoscopic 3-D Image Recomposition With Depth Adaptation". IEEE Transactions on Multimedia 20, n.º 11 (noviembre de 2018): 2964–79. http://dx.doi.org/10.1109/tmm.2018.2820324.

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Kyriakopoulos, Leandros. "Performing euphoric cosmopolitanism: The aesthetics of life and public space in psytrance phantasmagoria". Journal of Greek Media & Culture 5, n.º 1 (1 de abril de 2019): 69–91. http://dx.doi.org/10.1386/jgmc.5.1.69_1.

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How can we conceive the cosmopolitan ideal of travelling and experiencing exotic difference, so much embraced by ‘countercultural’ practices, once it is aestheticized into phantasmagorical dream-worlds? How can we think of people getting wasted due to drug-fuelled, long-lasting dancing without resorting to idealisms of ‘alternate experiences’ and romanticisms about ideal ways of belonging? This article explores psytrance festivals ‐ a cultural product of the Electronic Dance Music (EDM) carnivalesque celebrations, drug consumption (for the most part LSD and MDMA) and euphoric travelling of the 1960s ‐ with an emphasis on cosmopolitanism, aesthetic intimacy and the care of the self. By examining the mobility of Greek aficionados in EDM festivals in Europe, which have gained great popularity since the first decade of the twenty-first century, I discuss the enactment of the chemical celebration in accordance with the sensorial formations, desiring-images and narratives that weave the imagination of psytrance music culture. In contrast with most of the academic literature that views EDM events as a ‘heterotopic’ set-up that facilitates ‘liminal experiences’ ‐ supposedly evidence of the possibility of an out-of-the-ordinary lifestyle as opposed to everyday normativity ‐ I propose to investigate the excesses of consumption and bodily expenditure within metaphors that support psytrance technoaesthetics.

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46

Kirillova, N. B. "Mediatext Language Practices as a Factor in Representation of Reality". Journal of Flm Arts and Film Studies 9, n.º 3 (15 de septiembre de 2017): 98–109. http://dx.doi.org/10.17816/vgik9398-109.

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The article deals with the theoretical aspects of mediaculture as a sign system with reference to its historic development. The media language as a complex of sign systems (texts) evolved from object script to written language, from text copying (bookprinting) to electronic mediaculture, its visual, audial and audiovisual (screen) kinds. Contemporary me-diaculture that represents reality by means of a screen is related to the frame aesthetics. It is the screen culture that integrates and synthesizes all the previous sign systems due to the fact that new media is a result of technical progress.

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47

Tsaqif, Qobus y Ully Irma Maulina Hanafiah. "VOLUMETRIC COLOR APPROACH AS APPLICATION OF VISUAL COLOR IN SPACE ZONING CONCEPT". Idealog: Ide dan Dialog Desain Indonesia 5, n.º 1 (1 de abril de 2020): 67. http://dx.doi.org/10.25124/idealog.v5i1.4034.

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In the development of interior design, many are applied to create an atmosphere that can create aesthetics and convenience for users. A design can develop through interior elements, especially through color and shape. In a space design with various functions it creates its own zoning at various activities. The emphasis on zoning can be developed through an interior design with the concept of distinct space, by applying various elements that can distinguish space, such as color elements. Volumetric Color approach which uses colors to create a volume of space in an area by using the same color in all interior elements. The difference in color and shape of space creates zoning and function in space to be more specific. In addition to zoning, the use of different and striking colors can provide vocal points and aesthetics in space. The purpose of this descriptive-analysis research is to make a systematic, factual and accurate description, picture, or painting of a case study producing a space with attractive volumetric colors, and as an identity in space. The results of this study can play a role in interior design in the use of color not only as aesthetics of the space, also can provide convenience for users to recognize areas that exist with different functions. In addition, the use of colors in accordance with the function of the area can also be adjusted to affect the psychological space that can have a positive impact on space. Keywords: Volumetric Color, Zoning of Space, Limitation of Space Functions

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Rudi, Jøran. "Past and Current Tendencies in Technology-Based Music". Organised Sound 20, n.º 1 (5 de marzo de 2015): 30–36. http://dx.doi.org/10.1017/s1355771814000399.

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This article will, in a broad sense, discuss technology-based music from its early radio beginnings to the current participation practices, and seek to place both technical and musical development within broader trends of social development. The introduction of new technologies in industry, composition, mediation and consumption has, in a lasting manner, changed the way most of us listen to, participate in and make use of music in our daily lives. Electronic aesthetics has finally, following a development of nearly a hundred years, started to fulfil its initial promise of becoming widely accepted and popular outside of the narrow circles of musical expertise – a ‘democratic’ music unhindered by the hierarchies of the fine arts in their different configurations. But has it really fulfilled the original promise? Is it rather not so that both the music and its promise have changed over the years?One thing is certain, our pre-adaption to aesthetic experiences has undergone extreme changes over the last twenty years or so. A paradigm shift brought about by digital media and distribution, as well as the networking of things, has directed large parts of humanity towards a new existence in the cross-section of technology and humanity, an existence where cyborgian qualities increase day by day.

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Zomer, Clarissa, André Nobre, Pablo Cassatella, Thomas Reindl y Ricardo Rüther. "The balance between aesthetics and performance in building-integrated photovoltaics in the tropics". Progress in Photovoltaics: Research and Applications 22, n.º 7 (31 de octubre de 2013): 744–56. http://dx.doi.org/10.1002/pip.2430.

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50

Rickman, Gregg. "Review: The Aesthetics of Ambivalence: Re-Thinking Science Fiction Film in the Age of Electronic (Re)Production by Brooks Landon". Film Quarterly 46, n.º 4 (1993): 63–64. http://dx.doi.org/10.2307/1213186.

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