Literatura académica sobre el tema "Esthetics – history"
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Artículos de revistas sobre el tema "Esthetics – history"
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Łepko, Zbigniew. "W sprawie ekologicznej estetyki przyrody". Studia Ecologiae et Bioethicae 3, n.º 1 (31 de diciembre de 2005): 127–44. http://dx.doi.org/10.21697/seb.2005.3.1.08.
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The Article presents postulates of ecological esthetics of nature according to human experience of ecological crisis taking into consideration threat of good mode of a person, who is described by sensory-emotional quality of his environment. According to this approach, ecological esthetics ought to be preceded by esthetics of nature which portrays human attitudes named „delight in nature”. The article presents also reconstruction of „history of esthetical concept of nature” which starts from Plato’s three: truth, good, and beauty. Therefore, paradoxically experience of ecological crisis forces: first – „rehabilitation of esthetics of nature” and second – postulate of „ecological esthetics of nature” as an answer on nowadays need of living in nature and with nature. It seems that in our time we more need nature than whenever before.
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Moffa, J. P. "Porcelain Materials". Advances in Dental Research 2, n.º 1 (agosto de 1988): 3–6. http://dx.doi.org/10.1177/08959374880020011601.
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At no time in recent history has the interest in esthetics, biological safety, and the relative cost and efficacy of dental care been greater. In view of porcelain's desirable esthetic properties and biocompatibility, it is understandable that the major emphasis in ceramics research has been directed toward an enhancement of the strength, longevity, and esthetic properties of porcelain restorations. The ceramo-metal restoration is still the mainstay of fixed prosthodontics and finds broad application in high-stress areas and for the restoration of multiple units. Research has focused upon minimizing destructive interfacial stresses, improvement in esthetics, and the development of dispersion-strengthened porcelains. Advances in individual porcelain jacket crowns have included the use of higher strength aluminous porcelain, the use of tin-plated platinum foil, bonding porcelain to a swaged gold and palladium foil matrix, and the most recent development-castable glass ceramic materials.
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Clancy, Flora Simmons. "Shield Jaguar's Monuments: Esthetics and Art History". Res: Anthropology and aesthetics 42 (septiembre de 2002): 24–33. http://dx.doi.org/10.1086/resv42n1ms20167569.
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Spielman, Andrew I. y Judit Forrai. "History of the Dental Cement". Kaleidoscope history 14, n.º 28 (2024): 397–99. http://dx.doi.org/10.17107/kh.2024.28.26.
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The history of adhesives in dentistry dates back to the first millennium when Mayans used to attach semiprecious stones to teeth as dental jewellery. The first dental cement was introduced in 1796 and, as demand for esthetics and bonding strength increased, was perfected throughout the next 150 years. Since 1955, new adhesives using bonding agents have been developed.
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Egilmez, Ferhan, Gulfem Ergun, Isil Cekic-Nagas y Suleyman Bozkaya. "Implant-supported hybrid prosthesis: Conventional treatment method for borderline cases". European Journal of Dentistry 09, n.º 03 (julio de 2015): 442–48. http://dx.doi.org/10.4103/1305-7456.163324.
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ABSTRACTAn implant-supported hybrid prosthesis is an acrylic resin complete fixed dental prosthesis and supported by implants might be a solution in extreme cases that the need of the restoration for esthetics, function, lip support, and speech. This clinical report aims to present the esthetic and functional prosthetic rehabilitation of three borderline cases with implant-supported hybrid prostheses. Patient 1 (62-year-old man) and Patient 2 (61-year-old man) presented a chief complaint of a compromised esthetic. After clinical evaluations, in Patient 1, 8 implants in the maxilla and 7 implants in mandibula were observed. Patient 2 had 7 implants in the maxilla and 7 implants in mandibula, which were previously placed. The intra-arch dimension of both patients was excessive and an insufficient peri-oral soft tissue support was observed. Patient 3 was a 61-year-old man had 2 implants with a history of previously implanted graft infection and implant loss on his maxillary posterior jaw. An excessive intra-arch dimension was observed in clinical examination. In addition, massive bone defect and insufficient soft tissue support were examined. In all patients, implant-supported hybrid prostheses were successfully performed. The clinical and radiologic findings were satisfactory. After 3 years of follow-up, no functional, phonetic, or esthetic problems with the restorations were noted. These case reports suggest that implant-supported hybrid prostheses can be a reliable alternative treatment procedure when a porcelain-fused metal fixed restoration does not satisfy a patient's requirements for esthetics, phonetics, oral hygiene, and oral comfort.
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Levin, Jonathan. "The Esthetics of Pragmatism". American Literary History 6, n.º 4 (1994): 658–83. http://dx.doi.org/10.1093/alh/6.4.658.
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Dastoor, Sarosh F., Carl E. Misch y Hom-Lay Wang. "Botulinum Toxin (Botox) to Enhance Facial Macroesthetics: A Literature Review". Journal of Oral Implantology 33, n.º 3 (1 de junio de 2007): 164–71. http://dx.doi.org/10.1563/0-835.1.
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Abstract Dental implants have emerged as a predictable treatment option for partial edentulism. Their ability to preserve bone and soft tissue yields highly esthetic results in the long term. Increasingly, patients are demanding not only enhancements to their dental (micro) esthetics but also to their overall facial (macro) esthetics. Dynamic wrinkles (caused by hyperfunctional muscles) in the perioral, glabellar, and forehead regions can cause a patient's expressions to be misinterpreted as angry, anxious, fearful, or fatigued. An emerging treatment option to address these issues is the use of a paralyzing material such as botulinum toxin A (Botox) to decrease the appearance of the wrinkles, which yields a more esthetic and youthful facial appearance. Botox is a deadly poison that is produced by the bacterium Clostridium botulinum and causes muscle paralysis by inhibiting acetylcholine release at the neuromuscular junction. When used in areas of hyperfunctional muscles, a transient partial paralysis occurs that diminishes the appearances of wrinkles, Therefore, wrinkles not attributable to hyperfunctional muscles (eg, wrinkles caused by aging, gravity, photodamage, trauma, and scarring) will not be amenable to treatment with the toxin. As a result, proper case selection is essential. A thorough understanding of the indications, techniques, dosages, and complications and their management is imperative to achieve a satisfactory result. This article will review the pathogenesis of facial wrinkles as well as the history, techniques, clinical controversies, and other important considerations for successful treatment of facial wrinkles with Botox.
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Petruseva, Nadezhda Andreevna. "Pierre Boulez and Heinz Holliger: on the problem of transformation of a musical language". PHILHARMONICA. International Music Journal, n.º 4 (abril de 2020): 27–37. http://dx.doi.org/10.7256/2453-613x.2020.4.32872.
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The article focuses on the problem of transformation of a musical language, the correlation between an esthetic guideline, an invention, a composition technique and a language. The author describes the two strategies of life and work of Pierre Boulez which allowed him to gain significant cultural authority, and enumerates the persons who had influenced Boulez’s esthetics. In a broad esthetic and philosophical context, the author shows the turn from the technique to the language in esthetical and theoretical texts of Pierre Boulez; describes the three concepts of the language, the period of synthesis following the period of rejection, and Boulez’s concerns about the problems of music perception. In the context of Boulez’s thesis about the unity of an invention, a technique and a language, the author considers the piece for viola “Trema” (1981) by Heinz Holliger, Boulez’s adherent. The author uses a comprehensive approach as a combination of elements of comparative analysis, musical phenomenology (focusing of mind on music structures), and hermeneutics (the process of understanding, interpreting). The research material is of a methodical importance for modern educational courses of theory and history of music. The author arrives at the conclusion that Boulez, as well as Kant, directs the concept of art towards Aristotle's category of “poiesis” as “craft and creation”; focuses on the overcoming of the esthetics of rejection (preceding the classic-romantic tradition) in Boulez’s turn to the period of “synthesis” which includes not only the turn from a technique to a language, but also electroacoustic “sound manufacturing”. The following aspects of Hollinger’s “Trema” are considered for the first time: the idea, the principles of new solo music, the new technique. The author arrives at the conclusion about “Trema” belonging to the “multilayered music epoch” and that radical rethinking of a musical language sharpens communication.
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Bolla, Sheetal Chowdary, Naga Sribala Gantha y Riyaz Basha Sheik. "Review of History in the Development of Esthetics in Dentistry". IOSR Journal of Dental and Medical Sciences 13, n.º 6 (2014): 31–35. http://dx.doi.org/10.9790/0853-13643135.
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Dursun, E., E. Savard, C. Vargas, L. Loison-Robert, H. Cherifi, F. Bdeoui y M.-M. Landru. "Management of Amelogenesis Imperfecta: A 15-Year Case History of Two Siblings". Operative Dentistry 41, n.º 6 (1 de noviembre de 2016): 567–77. http://dx.doi.org/10.2341/15-372-t.
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SUMMARY Objective: Amelogenesis imperfecta (AI) is a heterogenous genetic disorder that interferes with normal enamel formation in the absence of systemic disorders. The patients' main concerns are caries susceptibility, poor esthetics, and generalized sensitivity. There is a broad clinical spectrum, from discolorations to consequent enamel alterations. This case report describes the 15-year case study and the full-mouth rehabilitation of two siblings affected by a hypocalcified AI. Clinical Considerations: In these two patients, conservative care with stainless steel crowns and direct composite restorations was undertaken to restore function and esthetics and to reduce sensitivities in primary and mixed dentitions. The difficulties in monitoring resulted in severe infectious complications (dental abscess with cutaneous fistula), important dental defects, and loss of spaces with subsequent malocclusion. In the young adult dentition, they were treated by extractions, root canal therapies, and new restorations: stainless steel crowns for permanent molars, direct composite restorations (with strip crowns) for incisors and maxillary canines (to improve the crown morphology as well as to mask the discolorations and the malpositions), and adjusted composite crown molds using a thermoforming procedure for premolars and the mandibular canines. The main difficulties were rapid tooth surface loss, bonding to atypical enamel, developing dentition, long-term follow-up. Conclusion: Restoring function and esthetics in AI-affected patients is a challenge from primary to adult dentition. Early corrections are essential to avoid dental damage and for psychological benefits. This clinical report highlights the adhesive rehabilitation for anterior and premolar areas and the difficulty of patient follow-up.
Tesis sobre el tema "Esthetics – history"
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Aurora, Neta Maria. "A LEITURA COMO EXPERIÊNCIA ESTÉTICA". Pontifícia Universidade Católica de Goiás, 2014. http://localhost:8080/tede/handle/tede/718.
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Previous issue date: 2014-09-09This paper, inserted in Education research, society and culture, of Graduate Program in Education PUC Goiás aims to discuss about reading. Take the reading as the object of the thesis, showing that there are two dimensions: the technical and the aesthetic starting from the understanding that social events should not be naturalized and that the immediate reality, the actual appearance conceals realities that historically constructed are justified or hidden ways of seeing and thinking guided by a historical continuum. So, it follows that the technical dimension, is characterized as intelligible and configures itself by establishing relationship with the reader from its linguistic essence. It is understood that such a form of read drives which binds to and reading practical utility, thereby forming one same type of reader. At school, this dimension has been emphasized, there is fairly frequent, which in our view is because this space there are still remnants of a mechanistic view of education, which is reflected, among others, in this speech in documents that guide teaching and school learning, in the case of this work, specifically about reading. These are sent to schools by MEC and Education Departments, such as those discussed here, namely: the Curriculum Guidelines for Secondary Education (2006), the Matrix Reference ESMS (2014) and the Evaluation Matrix Reading PISA (2013). In contrast, there is the aesthetic dimension of reading, which is characterized as perceptual therefore mobilizes reader in their perception, seeing, feeling and reflect a dynamic that goes by the referee, but it does not end, raising the otherwise subject the reader to perceive and mean reading that comes to his hands. The assertion is that each of these dimensions produces a movement in the senses of the reader to emphasize certain aspects of the practical significance of this process, it builds up a different kind of training next to this subject. We base the work are the reflections made by Walter Benjamin on experience, history, memory and aesthetics as well as other scholars who discuss the topic under study through a dialectical thinking. Still, articulates with the history of reading and educating readers. The ideas contained in the conceptual range of Benjamin enable rethink why or the logic that sits emphasis on technical dimension of reading in modernity. To reach a deeper understanding of the issue was made qualitative research, as typified documents and literature linking it to the theoretical study. With this research, it is stated that the technical dimension of reading is effective in linguistic materiality and perceived through a practical reason in order to answers. In contrast, the aesthetic dimension is perceived in motion perception, look, the feel and goes beyond what the language gives read, constituting themselves as aesthetic experience.
Este trabalho, inserido na linha de pesquisa Educação, sociedade e cultura, do Programa de Pós-Graduação em Educação da PUC/Goiás, busca discutir sobre a leitura. Toma-se a leitura como objeto da tese evidenciando duas dimensões que a constitui: a técnica e a estética, partindo-se da compreensão de que os eventos socias não devem ser naturalizados e que a realidade imediata, aparência do real, esconde realidades historicamente construídas que são justificadas ou ocultadas por formas de ver e pensar pautadas num continuum histórico. Assim, tem-se que a dimensão técnica se caracteriza como inteligível e configura-se pela relação que estabelece com o leitor a partir de sua essência linguística. Entende-se que essa conduz uma forma de ler que se liga ao prático e utilitário da leitura, com isso uma formação de leitor de mesma natureza. Na escola, esta dimensão tem sido enfatizada, daí ser bastante recorrente, o que a nosso ver se dá porque nesse espaço ainda há resquícios de uma visão mecanicista da educação, a qual se reflete, entre outros, no discurso presente em documentos que orientam o ensino e a aprendizagem escolar, no caso deste trabalho, especificamente sobre a leitura. Esses são enviados às escolas pelo MEC e Secretarias de Educação, tais como os que aqui são discutidos, a saber: as Orientações Curriculares para o Ensino Médio (2006), a Matriz de Referência do ENEM (2014) e a Matriz de Avaliação de Leitura do PISA (2013). No contraponto, tem-se a dimensão estética da leitura, que se caracteriza como perceptiva, por isso mobiliza no leitor sua percepção, o ver, o sentir e o refletir numa dinâmica que passa pelo referente, mas nele não se esgota, suscitando no sujeito leitor outra forma de perceber e significar a leitura que lhe chega às mãos. A afirmação é de que cada uma dessas dimensões produz um movimento nos sentidos do leitor ao enfatizar determinados aspectos do processo de significação desta prática, com isso constrói-se um outro tipo de formação junto a este sujeito. Os fundamentamos do trabalho estão nas reflexões feitas por Walter Benjamin sobre experiência, história, memória e estética, bem como noutros estudiosos que discutem a temática em estudo por meio de um pensamento dialético. Ainda, articulam-se com a história da leitura e da formação de leitores. As ideias contidas na gama conceitual de Benjamin possibilitam repensar o porquê ou a lógica em que se assenta a ênfase na dimensão técnica da leitura na modernidade. Para se chegar a uma compreensão mais profunda da questão foi feita pesquisa qualitativa, tipificada como documental e bibliográfica. Com esta pesquisa, afirma-se que a dimensão técnica da leitura se efetiva na materialidade linguística e é percebida por meio de uma razão prática com vistas a respostas. No contraponto, a dimensão estética é percebida no movimento da percepção, do olhar, do sentir e vai além daquilo que o linguístico dá a ler, constituindo-se como experiência estética.
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Harmon, Justin L. "The Normative Architecture of Reality: Towards an Object-Oriented Ethics". UKnowledge, 2016. http://uknowledge.uky.edu/philosophy_etds/9.
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The fact-value distinction has structured and still structures ongoing debates in metaethics, and all of the major positions in the field (expressivism, cognitivist realism, and moral error theory) subscribe to it. In contrast, I claim that the fact-value distinction is a contingent product of our intellectual history and a prime object for questioning. The most forceful reason for rejecting the distinction is that it presupposes a problematic understanding of the subject-object divide whereby one tends to view humans as the sole source of normativity in the world. My dissertation aims to disclose the background against which human ethical praxis is widely seen as a unique and special phenomenon among other phenomena.
I show that ethical norms, as delimited by utilitarianism, deontology, virtue ethics, etc., derive from an originary proto-ethical normativity at the heart of the real itself. Every object, human and nonhuman, presents itself as a bottomless series of cues or conditions of appropriateness that determine adequate and inadequate ways of relating to it. That is, objects demand something from other objects if they are to be related to; they condition other objects by soliciting a change in disposition, perception, or sense, and for this reason are sources of normativity in and unto themselves. Ethical norms, or values, are the human expression of the adequacy conditions with which all objects show themselves.
In the post-Kantian landscape it is widely thought that human finitude constitutes the origin of ethical norms. Consequently, the world is divided up into morally relevant agents (humans) on one side, and everything else on the other. Adopting a deflationary view of agency, I argue that human-human and human-world relations differ from other relations in degree rather than kind. Thus, instead of a fact-value distinction, value is inextricably bound up with the factual itself. The critical upshot of my project is that traditional subject-oriented ethical theories have served to conceal the real demands of non-human objects (such as animals, plants, microorganisms, and artificially intelligent machines) in favor of specifically human interests. Such theories have also been leveraged frequently in exclusionary practices with respect to different groups within the human community (e.g. women and those of non-European descent) based on arbitrary criteria or principles.
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Agazzi, Giselle Larizzatti. "Um olhar brasileiro sobre O Bairro, de Vasco Pratolini". Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/8/8148/tde-21102015-125646/.
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A presente pesquisa se desdobrou em dois movimentos diferentes e complementares. O primeiro se propôs a desenvolver um estudo da narrativa Il Quartiere, de Vasco Pratolini, a partir da sua contextualização na trajetória ficcional do escritor florentino. Publicada em 1945, esta obra é lida neste trabalho, segundo a orientação do próprio autor, que a projeta como resultado do esforço de aproximá-la do que afirma ser a sua verdade, elaborada a partir da consciência de classe e de literatura, construída até 1943, ano em que finaliza sua escritura. Em um período marcado pelo final da Segunda Guerra e, mais especificamente, pela Resistenza italiana, da qual o intelectual participou ativamente, o romance retoma os anos que antecederam tais eventos históricos, compreendendo um arco histórico que vai de 1930 a 1937. O segundo movimento se deu na elaboração de uma proposta de tradução de Il Quartiere, em diálogo com algumas teorias da tradução que, ao iluminarem aspectos importantes do livro, revelaram-se como processos metafóricos da própria obra. O objetivo dos resultados aqui apresentados visa sugerir que a estética realizada por atos de linguagem veicula a ética de vocação coletiva de Vasco Pratolini, reconhecida nas línguas que percorrem O Bairro e dizem dele mais do que parecem, quando vista por um olhar brasileiro.This research has been unfolded into two different, but complementary, ways. In the first one we proposed to develop a study on the narrative Il Quartiere, by Vasco Pratolini, from its contextualization with the fictional trajectory of this Florentine author. Published in 1945, the work is read in this paper, according to the orientation of the author himself, who projects it as a result to reach what he calls his \"truth\", elaborated from the awareness of class and literature, built up to 1943, year when he finishes his writing. In a period marked by the end of the Second World War and more specifically by the Resistenza Italiana, in which the intellectual participated actively, the novel recovers the years that preceded such historic events, composing a historic arc that takes place from 1930 to 1937. The second way has emerged from the elaboration of a translation proposal to Il Quartiere, in a dialogue with some theories of translation that, by enlightening important aspects of the book, have revealed themselves as metaphorical processes of the work itself. The aim of the results hereby presented intend to suggest that esthetics performed by acts of language - conveys the ethic of Vasco Pratolinis collective vocation, recognized in the languages spoken in the neighborhood that tell us more about in than we estimate.
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Ikard, Carol. "The Aesthetic Experience, Flow, and Smart Technology: Viewing Art in a Virtual Environment". ScholarWorks, 2016. https://scholarworks.waldenu.edu/dissertations/2831.
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Smart technology can support art educators and museum professionals in mediating the aesthetic experience. It can also increase museum attendance, enrich the viewer's delight and engagement with artworks and art collections, and provide an avenue for extending art on a global level. The purpose of this study was to determine the extent to which a mobile art app with text-based narrative influences scores on an aesthetic experience questionnaire. This quantitative research measured the difference in pretest and posttest human-computer interaction scores on the Aesthetic Experience Questionnaire Form after participants used two versions of a mobile art app. Csikszentmihalyi's flow was the theoretical framework. After the administration of the pretest to 67 participants, 25 participants successfully viewed an art app with or without verbiage and then completed the posttest. Results revealed a significant (p < .001) mean increase in questionnaire scores among the group that used the app with verbiage (mean difference = 0.41), but no significant improvement among the group that used the app without verbiage (mean difference = -0.03). These findings indicate that certain mobile technologies are capable of mediating an aesthetic experience. Future research may provide information to educators and museums about the quality of the aesthetic experience. This information may increase and enrich human aesthetic experiences with art and may assist to develop human understanding of different perceptions that ultimately engender inclusivity and positive social change.
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Jones, Rebecca E. "Catching All Passions in His Craft of Will: Portraits and Pater in Oscar Wilde’s “The Portrait of Mr. W. H.”". VCU Scholars Compass, 2016. http://scholarscompass.vcu.edu/etd/4219.
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This thesis examines Oscar Wilde’s “The Portrait of Mr. W. H.” as the product of Wilde’s long interest in critic Walter Pater’s literature and scholarship. From its first iteration published in 1889, through Wilde’s ongoing revision and expansion into the version commonly anthologized today, “The Portrait of Mr. W. H.” is an evolving work that mirrors Wilde’s enduring relationship with the art and ideas of his former teacher. This relationship is explored in three contexts: Pater’s contribution to Wilde’s understanding of the Renaissance period; the steady influence of Pater’s ideas and persona on Wilde’s other major works from the period that saw the publication and revision of “The Portrait of Mr. W. H.;” and the particular influence of Pater’s Imaginary Portraits on the structure and themes of “The Portrait of Mr. W. H.” Because of Pater’s extensive writings on art, and Wilde’s passionate interest in the subject, many of these intersections occur around the image of the portrait in Wilde’s work.
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Kroier, Johann Stefan. "Archäologie des nicht-pythagoreischen Klangs". Doctoral thesis, Humboldt-Universität zu Berlin, 2019. http://dx.doi.org/10.18452/20021.
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Der Europäische Begriff vom Klang war historisch bis Beginn des 20. Jahrhundert mit der pythagoreischen Musiktheorie verknüpft. Das bedeutet, dass die Theorie harmonischer Schwingungen paradigmatisch war für die wissenschaftliche Akustik ebenso wie für die Musiktheorie. Als anscheinend einziger Theoretiker der Frühen Neuzeit hatte Francis Bacon Zweifel an diesem Ansatz angemeldet und sound-houses zur empirischen Erforschung des Klangs vorgeschlagen. Die Arbeit greift diese Spur auf und stellt sie in ihren historischen Kontext. Sie benutzt dazu eine kulturarchäologische Methode, die auch das historisch Unsichtbare berücksichtigt. Um den Begriff des nicht-pythagoreischen Klangs theoretisch zu modellieren, wird ein phänomenologischer Ansatz vorgeschlagen („Sonophänomen“), der auf der Erfahrung mit digitaler Sound/Audio-Technologie fußt. Die Arbeit rekonstruiert die Vorgeschichte der kulturellen Marginalisierung des nicht-pythagoreischen Klangs in Europa während der Antike und der Renaissance. Sie untersucht die kulturellen und biographischen Bedingungen, die es Bacon ermöglichten, aus der pythagoreischen Tradition herauszutreten, und kontrastiert seinen „verpassten Paradigmenwechsel“ mit Descartes’ erfolgreicher Transformation der Musiktheorie in die entstehende kanonische westliche Musikästhetik. Die Schlüsse, die gezogen werden, betreffen (1) die jahrhundertelange ‚kulturelle Taubheit’ gegenüber nicht-pythagoreischen Musikkulturen, (2) die Medientheorie von Musik- und Klangwerkzeugen, und (3) die linguistische Pragmatik des Begriffs „Klang/Sound“.The European concept of sound was historically linked to Pythagorean music theory until the beginning of the 20th century. That means that the theory of harmonic vibrations was paradigmatic for scientific acoustics as well as for music theory. The seemingly only theorist of the early modern age being skeptical about this approach was Francis Bacon, who had envisioned sound-houses for a new kind of empirical sound research. The thesis focuses on this trace and puts it into historical context since antiquity. Its method is a cultural archeology that considers also the historically invisible. To make non-Pythagorean sound theoretically accessible, a phenomenological approach is used (‚sonophenomenon’) which is rooted in the experience of digital sound/audio technology. The thesis reconstructs the prehistory of the cultural marginalization of non-Pythagorean sound in Europe during Antiquity and Renaissance. It investigates the cultural and biographic conditions that enabled Bacon to leap Pythagorean tradition and contrasts hismissed paradigmatic change’ to Descartes’ successful transformation of music theory into the upcoming canonical Western aesthetics of music. The results being drawn concern (1) the 'cultural deafness' that prevented the acknowledgment of non-Pythagorean musical cultures for centuries, (2) the media theory of sound and musical instruments, and (3) the linguistic pragmatics of the concept of sound.
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Souza, Rodrigo Mendes de. "O olho e a mão: Walter Gropius". Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/16/16133/tde-16102014-164444/.
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Os estatutos, programas, disciplinas e exercícios dos alunos do curso preliminar da Bauhaus Vorkurs sob diretoria de W. Gropius são analisados neste trabalho a partir das teorias da Puravisualidade Sichtbarkeit e da Objetividade Sachlichkeit. Autores como K. Fiedler, A. Riegl, H. Wölfflin, entre outros, estabelecem as divisas da primeira corrente estética. A segunda, expressa por G. Semper, é usualmente associada à Bauhaus devido à sua abordagem da função. O objetivo é mostrar que, para uma compreensão mais ampla da pedagogia da Bauhaus, são necessários outros modos de análise, que não excluam os preceitos funcionalistas e sim os complementem. Desta forma, conceitos como função, técnica, plasmação, clarificação formal e visualidade são empregados para compreender tanto a prática quanto a teoria pedagógica da Bauhaus. No recorte desta pesquisa, Gropius, fundador e diretor da escola, é considerado por sua interlocução com os três docentes que ministraram o curso preliminar sob sua direção Johannes Itten, Josef Albers e Lazslo Moholy--Nagy. Estes diálogos não ocorrem necessariamente sob os mesmos tópicos e por isso são necessários para o entendimento integral do curso. Itten, introdutor do curso, estabelece como tema a definição dos elementos objetivos da atividade artística e seu domínio. Em um segundo momento, Albers e Moholy--Nagy reafirmam as conquistas de Itten, a quem substituem em um segundo momento, porém com um aprofundamento das questões vinculadas à indústria, caras à concepção de Gropius sobre o papel a ser desempenhado pela BauhausThe statutes, programs, disciplines and students\'work from the preliminary course at the Bauhaus Vorkurs on board of W. Gropius are analyzed taking Sichtbarkeit and Sachlichkeit as the background. Authors such as K. Fiedler, A. Riegl, H. Wölfflin, but not only establish the limits of the first. The second, denoted by G. Semper, is usually associated with the Bauhaus because of its function approach. The aim is to show that other methods of analysis, which does not exclude the functionalist precepts but complemente them, to a broader understanding of the pedagogy of the Bauhaus, are needed. Thus concepts such as function, technique, formation, form clarification and visibility are employed to understand both the practical, pedagogical theory as the Bauhaus. The unit school in clipping of this research is attributed to Gropius founder and director, lying dialogue in the three teachers who taught the preliminar course under his direction Johannes Itten, Josef Albers and Laszlo Moholy Nagy. These dialogues do not necessarily occur in the same topics and so are required for full understanding of the course. As its introducer, Itten establishes the theme definition of the objective elements of artistic activity and its domain. In a second step, Albers and Moholy Nagy reaffirm the achievements of Itten, who replaces the direction of travel, but with a deepening of the issues related to the industry faces the design of Gropius on the role to be played by Bauhaus.
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Moi, Claudia. "Explorações do olhar : ciencia e arte nas fotografias da Comissão Geografica e Geologica de São Paulo". [s.n.], 2005. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284808.
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Orientador: Iara Lis SchiavinattoDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Esta pesquisa investiga a construção de significados, usos, funções e circulação das fotografias produzidas pela Comissão Geográfica e Geológica durante viagens de exploração científica ao sertão do estado de São Paulo entre os anos de 1905 e 1920. Primeiramente, o trabalho discute o lugar da Comissão Geográfica e Geológica dentro de um âmbito político e cultural sobre do sertão paulista. Em fins do século XIX e XX esse sertão era concebido no campo imaginário literário e imagético como sinônimo do atraso, da barbaria e do arcaico em oposição ao litoral entendido como o progresso, a civilização e a modernidade. Assim sendo, para a elite política, econômica e letrada da época, o sertão paulista era uma zona problemática, pois além de contar com a ¿incômoda¿ presença indígena, também, apresentava uma ¿vergonhosa lacuna¿ nos mapas do estado de São Paulo. Por meio da cartografia e da fotografia solucionou se questão com a ocupação visual e simbólica desse espaço pela missão civilizadora da ciência. Assim, o sertão transfigurado, a ¿lacuna¿ do mapa foi preenchida por uma profusão de imagens de paisagens naturais. Paisagens essas descritas e registradas pelos fotógrafos da CGG, tal como o faziam artistas viajantes das missões cientificas do século XIX, um misto de ciência e arte. Portanto, a pesquisa, busca entender de que maneira, no campo da visualidade do neste período, princípios estéticos como as idéias do sublime, do belo e do pitoresco migraram da pintura para a fotografia da CGG afinando a noção de sertão a uma concepção da visualidade
Abstract: The current research aims to investigate the building of meanings, usages, functions and the spreading of the pictures produced by the ¿Comissão Geográfica e Geológica¿ (Geographical and Geological Commission) during scientific exploration trips to the backwoods of the São Paulo State between years 1905-1920. Firstly, the current work discuss the situation of the Geographical and Geological Commission inside the political and cultural atmosphere related to the paulista backwoods. At the end of the 19th century and beginning of the 20th century, this backwoods were conceived, in the imaginary-literary field and of image in general, as a synonym of backwardness, of barbarism and of archaic times in opposition to the seaside, understood as progress, civilization and modernity. Thus, for the political, economical and learned elite of that time, paulista backwoods were a problematic region, due to the fact that there was the troublesome indian presence. Besides that, paulista backwoods were a ¿shameful blank¿ in the maps of the São Paulo State. Using cartography and photography there was a solution for the issue, with the visual and symbolic occupation of this blank by the scientific civilizing mission. Thus, with the backwoods transmuted, the blank in the map was filled by a profusion of natural landscapes images, which were described and registered by the photographers of CGG, just as the traveling artists of the 20th century scientific missions did, a mixture of science and art. Therefore, the research aims to understand, in the field of visualization at the beginning of the 20th century, by which means esthetic principles such as the ideas of the sublime, the beautiful and the picturesque migrated from the painting to the photography of CGG, tuning the backwoods conception to a traditional conception of the visible
Mestrado
Multimeios
Mestre em Multimeios
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Rocha, Eva. "Antithetical Commentaries on X, Y and the Disruption of Being". VCU Scholars Compass, 2016. https://scholarscompass.vcu.edu/etd/4278.
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Through discursive essays and poetic narrative, Antithetical Commentaries on X, Y and the Disruption of Being explores the tenuous relationship between modes of measurement and the struggle for human relevance in the post-contemporary digital age. In the introductory essay, “Not the Feather, but the Bird”, I give an overview of the inherent problems of object-oriented ontology, and how it relates to aesthetics and social issues of our times. In the Developmental Overview, I detail how I developed my installation approach and techniques, particularly with regard to the three-way dynamic of the artist:work:viewer relationship and how it can encourage a ‘transgression’ that leads to the possibility of a transformative awareness of being. Subsequently, I present a series of ‘antithetical’ commentaries that neither explain nor expand the installation, rather, they create a non-binary duality that, through an entirely non-linear anti-narrative, work to erode the overlay of personal, civic and collective grids present in the memory space/time referenced in the video, TAG. Finally, in “Grid: Towards a Transgressive Humanism.” I propose a path by which installation art might serve to create transgressive opportunities for viewers, rather than the transcendence sought through religious rituals, which often reinforce stigmas, fears and authoritarian social dynamics, or worse, the reductive loop, of many contemporary approaches to art which proclaim
their detachment in wordy displays, essentially leading to a form of aesthetic nihilism. This Transgressive Humanism is not presented as a dogma, but rather a revitalization of the work as a vessel of possibilities, an agent of creative growth for the artist and the viewer.
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Magnier, Julien. "Pour une littérature de l’interdépendance. Littérature et renouvellements politiques en Afrique noire, à partir de Mongo Beti". Thesis, Paris 3, 2009. http://www.theses.fr/2009PA030129/document.
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Les liens entre politique et littérature africaine semblent si tenus, si forts qu’ils cristallisent les problématiques et les évolutions du champ artistique. Pour Mongo Beti, le rapport est essentiel ; selon Alain Mabanckou, cette proximité relève d’une possibilité. Entre ces générations, se joue le passage d’une esthétique de la déconnexion à un régime de l’interdépendance ; les prosateurs se concentrant sur l’utilité de la forme au profit du sens. La politique de la littérature épouse ainsi les contours du monde, et son entrée dans l’ère de la RelationThe links between literature and african politic seem to be so close that they concentrated the problematics and the evolutions of artistic field. According to Mongo Beti, the relation is preponderant, whereas Alain Mabanckou asserts that this closeness is a possibility. Between these generations, it exists both an esthetical and ideological change: the crossing from delinking to an interdependant regime. The writers focus on the useful of the form in ordrer to underline the meaning. The politic of literature follows the contours of the world and its entrance in the era of the Poetic of Relation
Libros sobre el tema "Esthetics – history"
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Styles and esthetics in Korean traditional music. Seoul, Korea: The National Center for Korean Traditional Performing Arts, Ministry of Culture and Tourism, Republic of Korea, 2006.
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Moser, Charles A. Esthetics as nightmare: Russian literary theory, 1855-1870. Princeton, N.J: Princeton University Press, 1989.
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Le cinéma de répertoire et ses mises en scène: Essai. Québec: L'Instant même, 2012.
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Hall, Manly Palmer. First principles of philosophy: Metaphysics, logic, ethics, psychology, epistemology, esthetics & theurgy. Los Angeles, CA: Philosophical Research Society, 1987.
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Claude, Lichtenstein y Engler Franz 1949-, eds. Streamlined: A metaphor for progress : the esthetics of minimized drag. [Baden, Switzerland]: Lars Müller, 1990.
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Institut vostokovedenii͡a (Rossiĭskai͡a akademii͡a nauk), ed. Arkhiv rossiĭskoĭ kitaistiki. Moskva: Nauka--Vostochnai͡a literatura, 2013.
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Hanslick, Eduard. Vom Musikalisch-Schönen: Ein Beitrag zur Revision der Ästhetik der Tonkunst. Darmstadt: Wissenschaftliche Buchgesellschaft, 1991.
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Hanslick, Eduard. Du beau dans la musique: Essai de réforme de l'esthétique musicale. [Paris]: C. Bourgois, 1986.
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Röske, Thomas. Der Arzt als Künstler: Ästhetik und Psychotherapie bei Hans Prinzhorn (1886-1933). Bielefeld: Aisthesis Verlag, 1995.
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Rosebury, Brian. Art and desire: A study in the aesthetics of fiction. New York: St. Martin's Press, 1988.
Buscar texto completoCapítulos de libros sobre el tema "Esthetics – history"
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Turner, Derek D. "Philosophy of the Earth Sciences". En Historiographies of Science, 1–21. Cham: Springer International Publishing, 2024. http://dx.doi.org/10.1007/978-3-030-92679-3_3-1.
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AbstractOver the last 20 years or so, much work on the philosophy of the geosciences has privileged epistemological questions about confirmation, explanation, and underdetermination. Taking a cue from nineteenth-century geologist Edward Hitchcock’s reflections on his own practice, this chapter argues that philosophers should broaden their understanding of geoscientific practice to include its esthetic as well as its epistemic dimensions. Recent work in environmental esthetics – particularly Arnold Berleant’s esthetics of engagement and Allen Carlson’s scientific cognitivism – can help elucidate the esthetic aspects of the earth sciences. This broadening of our understanding of the values embedded in scientific practice could also help reinvigorate the relationship between philosophy and history of the geosciences.
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Martin, James A. "The Esthetic, the Religious, and the Natural". En HISTORY, RELIGION, and AMERICAN DEMOCRACY, 76–91. New York: Routledge, 2021. http://dx.doi.org/10.4324/9780429337666-5.
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Erdemir, Ugur, Esra Yildiz y Taner Yucel. "Initial Consultation and/or Clinical Considerations (Patient History)". En Esthetic and Functional Management of Diastema, 17–37. Cham: Springer International Publishing, 2015. http://dx.doi.org/10.1007/978-3-319-24361-0_3.
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Reynard, Emmanuel. "Geomorphosites: Esthetic Landscape Features or Earth History Heritage?" En The Geotourism Industry in the 21st Century, 147–67. Includes bibliographical references and index.: Apple Academic Press, 2020. http://dx.doi.org/10.1201/9780429292798-7.
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Earnshaw, Rae. "Introduction". En Creativity in Art, Design and Technology, 1–8. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-24869-6_1.
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AbstractHuman creators are capable of great feats of imagination and inventiveness. History and tradition testify to the masterpieces that have been produced over the centuries. Most of these have been created in human time with the tools that were available. The current digital revolution is providing a new set of tools and environments that creators can use, but this does raise issues such as to how best to preserve traditions and esthetic values that have been built up over many generations. Technology can provide both continuity and discontinuity which has both opportunities and challenges. A number of the factors influencing creativity are summarized, and suggestions made for evaluating the outcomes of the creative process. Mixed interdisciplinary environments offer opportunities for the production of creative works. The rise of commercial art for the Internet and interactive gaming is noted.
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"5. Rousseau's Moment Beyond History". En Esthetics of the Moment, 82–100. University of Pennsylvania Press, 1996. http://dx.doi.org/10.9783/9780812202441-009.
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Mazzola, Riccardo. "History of esthetic rhinoplasty". En Esthetic Surgery of the Face, 171–89. CRC Press, 2004. http://dx.doi.org/10.3109/9780203495582-10.
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Burzyńska, Katarzyna. "Moda na witraże". En Życie prywatne Polaków w XIX wieku. Moda i styl życia. Tom 6. Wydawnictwo Uniwersytetu Łódzkiego, Instytut Historii i Stosunków Międzynarodowych UWM, 2017. http://dx.doi.org/10.18778/8088-801-2.09.
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Making a stained glass belongs to the artistic works which we have not paid much attention to in such fields of literature as esthetics, theory and history of the art. In the context of fashion, the spin of the stained glass art will be a valuable complement to the whole picture of Polish people’s private lives in XIXth century. I have been interested in a stained glass for many years. The subject of the conference contributed to the analysis of the stained glass in Poland in XIXth century. Field researches caused precursory assessment of the stained glass forms which are present in a secular architecture except for the objects of public utility. At the beginning of my researches I can attest that it is a fashion for a stained glass with its derivative forms in Poland in XIXth century. At the beginning of the paper I will present the situation of the stained glass forms in the context of fashion for adornment and Art Nouveau. I will also present the objects connected with the stained glass so the entrance area of residential buildings i.e. glazings of doors, upper parts of doors or windows and glazings of staircases which have hitherto been put in the shade in the researches. Thereafter I will go on to the stained glass which functions as the glazing of porches. They were so fashionable in palaces as well as bourgeois houses and agrestic buildings in the XIXth century.
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Wasief, Sherif. "Lipocontouring: Recipe for Esthetic Feminine Silhouette". En Body Contouring - Surgical Procedures and New Technologies [Working Title]. IntechOpen, 2023. http://dx.doi.org/10.5772/intechopen.108936.
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This chapter discusses the different types of procedures for augmenting body shape and size, including liposuction, lipoinjection, lipocontouring, and others. It presents a history and literature review of liposuction and details the author’s personal techniques with accompanying figures and photographs. The chapter also discusses safety and common complications of body contouring techniques.
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Ortega, Rose Mara, Oscar Fernando Muñoz Chávez, Daniel Malta, Andreia Bufalino, Cláudia Maria Navarro y Elaine Maria Sgavioli Massucato. "Functional and esthetic rehabilitation of a patient with squamous cell carcinoma of the tongue: Case report". En Current Challenges in Dentistry: Theory and Clinical Practice. Seven Editora, 2024. http://dx.doi.org/10.56238/sevened2023.005-009.
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The present case history reports describes a clinical course from diagnosis to the functional and esthetic rehabilitation of a patient with squamous cell carcinoma of the tongue (SCCT). Radical approaches for SCCT often result in severe deficiencies and reduced quality of life. In this case the treatment included total glossectomy with flap pectoral muscle reconstruction and radiotherapy. An interdisciplinary team worked together to functional rehabilitation of the patient, carried in two phases: preoperative assessment and post-operative reconstruction. The findings from this case showed that functional and esthetic rehabilitation promote social rehabilitation in patients with SCCT treated with radical approaches.
Actas de conferencias sobre el tema "Esthetics – history"
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Motaianu, Mihaela y Cornelia Motaianu. "Signs and Emotions as the Experience of the Urban Explorer". En World Lumen Congress 2021, May 26-30, 2021, Iasi, Romania. LUMEN Publishing House, 2022. http://dx.doi.org/10.18662/wlc2021/48.
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Although we have the impression that we understand the urban texture in which we live, the city still holds surprises in the way it communicates everyday aspects, situations, and cultural history.The experience of the urban explorer, that flâneur/stroller mentioned by Guy Debord (1955) and the Situationist school, was until recently only a literary experience. The emotion of discovering the unusual in the urban daily life was communicated only in the form of textual narratives (Sinclair, 1997). Recently the psychogeographical approach to the city has become again a topic of interest. Although contemporary design transposed the behavioral codes of urban life into signs, it did not propose emoticons for the phenomenological experience of one who experiences the city. The original purpose of this paper is to translate the phenomenological experience of the urban explorer into infographics (which translates complex concepts into signs with condensed meaning) and to quantify and communicate emotionally and visually, the experience of the "invisible" [out of sight] cultural details to the hurried passerby. This paper will discuss the phenomenological (psychogeographical) experience of the city transferred into visual signs will be presented. The authors insist on the communicative value of infographics in making visible the hidden beauty of the city, the historical and esthetical details that are not seen by the passersby on the street, proposing a new urban visual language accompanied by visual design theory and cultural history explanations.
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Aristizábal, José Antonio. "HUMBERTO RIVAS, DESDE LO ROMÁNTICO Y LO SINIESTRO. HUMBERTO RIVAS FROM THE ROMANTIC AND THE SINISTER." En I Congreso Internacional sobre Fotografia: Nuevas propuestas en Investigacion y Docencia de la Fotografia. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/cifo17.2017.6880.
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Palabras clave:Fotografía, estética, Humberto Rivas, Rafael Argullol, Eugenio Trías.Keywords: Photography, esthetic, Humberto Rivas, Rafael Argullol, Eugenio Trías.Resumen:El siguiente artículo busca dar una lectura a la obra del fotógrafo Humberto Rivas, Premio Nacional de Fotografía y unos de los mayores exponentes de la fotografía española de finales del siglo XX. Se parte de la convicción de que hace falta ubicar a Humberto Rivas en una tradición de pensamiento estético, ya que las distintas lecturas que existen sobre su trabajo, aunque importantes, no han dejado de ser lecturas impresionistas que no han reflexionado en profundidad sobre su obra. Este artículo trata de ver a Rivas a partir de unas categorías estéticas. Para ello se remite a las reflexiones de Rafael Argullol para distinguir aquello propio del artista romántico, y a las aportaciones filosóficas de Eugenio Trías acerca de lo siniestro en la obra de arte, y las vincula a la obra de Humberto Rivas. La hipótesis inicial es de que Rivas no se sentía como un fotógrafo que atrapa momentos o documenta acontecimientos, sino como un creador, y su obra es resultado de un artista que se repliega sobre sí mismo con la intención de producir una imagen reflejo de su mundo interior, la cual se puede explicar desde la mente del artista romántico, aunque el contexto no sea el romanticismo. Por último, aunque el artículo hable sobre Humberto Rivas, también es una manera de construir un relato entre la imagen fotográfica y distintos valores estéticos que hacen parte la historia del arte. Abstract:The following article seeks to give a reading to the work of photographer Humberto Rivas, National Photography Prize and one of the greatest exponents of Spanish photography at the end of the 20th century. It is based on the conviction that it is necessary to locate Humberto Rivas in a translation of aesthetic thought, since the different readings that exist on his work, although important, have not ceased to be Impressionist readings that have not reflected in depth on his work . This article tries to see Rivas from some aesthetic categories. For this he refers to the reflections of Rafael Argullol to distinguish that of the romantic artist and the philosophical contributions of Eugenio Trías about the sinister in the work of art, and links them to the work of Humberto Rivas. The initial hypothesis is that Rivas did not feel like a photographer who catches moments or documents events, but as a creator, and his work is the result of an artist who recoils on himself with the intention of producing a reflex image of Its inner world, which can be explained, from the mind of the romantic artist although the context is not romanticism. Finally, although the article talks about Humberto Rivas, it is also a way to build a narrative between the photographic image and the values that have served to interpret painting or sculpture in the history of art.
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Soares, Leonardo Ribeiro, Joana Ermida Spagnol, Flaviane Marques de Assis, Sebastião Alves Pinto y Alexandre Roriz Blumenschein. "MALIGNANT PHYLLODES TUMOR IN A 14 YEAR‑OLD PATIENT: A CASE REPORT". En Scientifc papers of XXIII Brazilian Breast Congress - 2021. Mastology, 2021. http://dx.doi.org/10.29289/259453942021v31s1081.
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Introduction: Phyllodes tumor of the breast (PT) is a rare neoplasm, characterized by stromal and epithelial elements, and accounts for approximately 1% of breast cancer in women. There are three subtypes, according to the World Health Organization, based on histological features: benign, borderline and malignant. Pathogenesis, prognostic and biologic characteristics are unknown, thus the difficulty in assessing the recurrence risk of the tumor. In general, the treatment approach is breast conserving surgery, with a margin >1 mm, in order to prevent recurrence. There is currently a great concern with the increase of breast cancer cases in young women, which represents a significant burden in developing countries such as Brazil. The mean age of presentation of malignant PT is 40 years old, and there are rare cases reported in very young adults, 18 and 23 years old. There is one case series in the literature of benign PT in 14 to 16 years old adolescents. However, we did not find any report of malignant PT in this age group. Given the rarity of the case and the current importance of breast cancer in young women, we report a rare case of malignant PT in a patient with only 14 years of age. Case report: A 14-year-old female came to a visit due to an abnormal growth of the breast over the last nine months. She had no other complaints or comorbidities. In her family history, she has one aunt that had breast cancer. On physical examination, the patient presented gigantomastia and stretch marks stretch with a reddish appearance. It was identified a nodule of 5.0 cm located in the upper inner quadrant of the right breast, and the axillary region showed no abnormalities. On the ultrasound, the nodule measured 5.7 cm. The patient underwent a segmentary resection of the lesion. The anatomopathological study revealed a malignant PT with a low differentiation grade, measuring 7.0 cm in its largest dimension and free margins, however exiguous. Immunohistochemistry of the lesion revealed the expression of Ki-67, p-63 protein, cytokeratin-14, Bcl-2 and vimentin. On the magnetic resonance imaging, only surgical alterations were observed with no macroscopic residual tumor and the armpit was negative. In order to extend the surgical margins, a second approach was performed, associated with a reduction mammoplasty. The anatomopathological study then showed no residual neoplasm and free margins. The patient had good postoperative recovery and was satisfied with the esthetic results. After consultation with the oncologist, no adjuvant treatment was indicated.