Thèses : « Aesthetics »

1

Kornberg, Kristin, et Olivia Svensson. « Durable aesthetics : The aesthetic function of apparel ». Thesis, Högskolan i Borås, Akademin för textil, teknik och ekonomi, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-14773.

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The thesis is based on the background of the speed of fashion and mass consumption of apparel, and how fashion-based items do not fulfill the premises of apparel on a long-term basis – the premises mainly being expression of identity. The purpose of the study is to examine the notion of durable aesthetics in relation to the premises consumers have for apparel. The research intends to answer questions of what the premises of apparel are and how it relates to durable aesthetics, what these garments can look like and what implications these answers might have in development of long-term apparel. The study is based on earlier research of fashion theory and consumption culture, and eleven qualitative interviews with perspectives from both consumers and apparel companies. Based on the consumer perspective, the aesthetic function of apparel is identified as something communicative – mainly conveying personality. Garments that are aesthetically appealing over time are always of good quality and fulfills the aesthetic function the consumers have. Based on the company perspective, garments with durable aesthetics are always in line with the companies’ DNA and the consumer segment. The conclusion is that apparel with durable aesthetics is versatile – it can be basic or expressive. The criterion in both cases is that the expression must be in line with a consumers’ aesthetic function, which is established through personality and core style. Companies can achieve a wide product range with durable aesthetics if they are consequent to their company DNA.
Uppsatsen tar utgångspunkt i snabbheten av mode och masskonsumtion av kläder, och det faktum att modebaserade produkter inte uppfyller premisserna för kläder på lång sikt – premisser vilket huvudsakligen är att uttrycka identitet. Studiens syfte är därför att undersöka termen varaktig estetik i relation till premisserna för kläder. Undersökningen syftar till att besvara frågor kring dagens premisser för kläder och hur dessa relaterar till varaktig estetik, hur dessa kläder kan se ut och vilka implikationer svaren skulle kunna ha i utveckling av hållbara kläder. Uppsatsen baseras på tidigare forskning inom modevetenskap och konsumtionskulturteori, samt elva kvalitativa intervjuer med perspektiv från både konsumenter och klädföretag. Baserad på konsumentperspektivet, är estetiska funktioner något kommunikativt – huvudsakligen att uttrycka personlighet. Kläder som är estetiskt tilltalande över tid är alltid av hög kvalité och uppfyller konsumentens estetiska funktioner. Företagsperspektivet visar att kläder med varaktig estetik alltid är i linje med företagets DNA och kundsegment. Slutsatsen är att kläder med varaktig estetik är mångsidigt – det kan vara både basic och uttrycksfullt. Kriteriet i båda fall är att uttrycket måste stämma överens med konsumentens estetiska funktion, vilket baseras på personlighet och kärnstil. Företag kan uppnå ett brett produktsortiment med varaktig estetik förutsatt att dem håller sig till företagets DNA.

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Gebers, Adrian. « Aesthetics of systems / Systems of aesthetics ». Thesis, The University of Sydney, 2013. http://hdl.handle.net/2123/11964.

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This paper investigates the role artists play in maintaining their legitimacy through participating in various roles across the entire art world by tracing the careers of selected artists with expanded practices. Where actions are performed on behalf of artists, artists lose the ability to represent themselves and even participate in their own disenfranchisement. Systems and systems aesthetics are first explored before the art world itself is revealed as a system. The positions that artists take up in the system is explored through the careers of various artists, including those that work as curators, writers and gallerists, challenging the hegemony that threatens to manipulate the system and remove the independence of the art object.

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Chan, Ching-yan Janet. « On digital aesthetics scrutinizing aesthetic studies in the digital era / ». Click to view the E-thesis via HKUTO, 2004. http://sunzi.lib.hku.hk/hkuto/record/B30681893.

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4

Spoor, Iris P. « Defending Perceptual Objectivism : A Naturalistic Realist Analysis of Aesthetic Properties ». University of Cincinnati / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1511799160442784.

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5

Hupli, Teemu. « Reconsidering aesthetics : concepts and the aesthetic in Kosuth, Greenberg and Kant ». Thesis, University of Westminster, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.433866.

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Cubitt, Sean. « Digital aesthetics ». Thesis, Liverpool John Moores University, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.402843.

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Berrios, Ruben Ernesto. « Nietzsche's aesthetics ». Thesis, University of Southampton, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.327365.

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8

Fulmer, Tracy. « BLIND AESTHETICS ». Miami University / OhioLINK, 2002. http://rave.ohiolink.edu/etdc/view?acc_num=miami1002992074.

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9

Vollbrecht, Tracy. « Adaptive Aesthetics ». Kent State University Honors College / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ksuhonors1525685379561019.

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Cumming, Mitchel Spider. « Recessional Aesthetics ». Thesis, The University of Sydney, 2019. http://hdl.handle.net/2123/20641.

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With this paper, I consider my operation of independent, artist run institutions (ARIs) as a constitutive element of my broader artistic practice, resisting a Kantian model of ‘disinterested’ aesthetics that would seek to keep the two ontologically distinct. Through a reading of Jacques Derrida’s deconstructionist text on Kant’s parergon, I identify that the various labours required to maintain spaces of exhibition have a peripheral impact on a viewer’s experience within this space, and can thus be used by the artist to (re)shape the terms of aesthetic encounter. I examine a range of critical approaches that have engaged art’s backstage labour as a site of practice, beginning with the Marxist Feminist performances of Mierle Laderman Ukeles. Cautious of a model that would simply valorise this labour by converting it into recognisable visual forms, I then explore the subtler collaborative practice of Christopher D’Arcangelo and Peter Nadin, as well as the recent work of Jessie Bullivant. In these latter forms, I locate the potential of an embedded approach to art labour that works from within its functional position: a political gesture that seeks to regain agency over the ontological context in which one’s work appears. Building on these precedents, I then propose my own operation of ARIs as a durational form of such artistic self-determination: a ‘Recessional Aesthetics’ that labours invisibly in art’s backstage to produce an appropriate context for its subsequent appearance. To close the paper, I discuss an exhibition platform developed specifically for the MFA, which operated from my studio on campus. This experimental ARI format, informed by Marcel Duchamp’s works in glass, utilised the window as a conceptual and optical tool for display, in an attempt to allow my necessarily peripheral labour of aesthetic hosting to be glimpsed in recess.

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Gourova, Maria. « The aesthetic idea and the unity of cognitive faculties in Kant's aesthetics ». unrestricted, 2008. http://etd.gsu.edu/theses/available/etd-07172008-145726/.

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Thesis (M.A.)--Georgia State University, 2008.
Title from file title page. Melissa Merritt, committee chair ; Sebastian Rand, Sandra Dwyer. Andrew J. Cohen, committee members. Electronic text (53 p. : col. ill.) : digital, PDF file. Description based on contents viewed October 26, 2008. Includes bibliographical references.

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12

Gourova, Maria Andreevna. « The Aesthetic Idea and the Unity of Cognitive Faculties in Kant's Aesthetics ». Digital Archive @ GSU, 2008. http://digitalarchive.gsu.edu/philosophy_theses/41.

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In this paper, I will try to answer the question how the aesthetic idea in Kant’s aesthetic theory accounts for the universal validity of the subjective judgment of taste, and what the nature of the aesthetic idea is that makes such account possible. This claim about universal validity of the subjective judgment of taste in Kant’s philosophy is regarded to be problematic because of the seeming contradiction between the subjectivity of a judgment and its universality. What can solve this contradiction, from my point of view, is the role of the aesthetic idea that it plays in the judgment of taste and the subjective principle that puts cognitive powers of mind in a harmonious free relationship. The main feature that makes the aesthetic idea the source of the universal validity is its universal communicability expressed in the universally pleasurable feeling of the judgment of taste.

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McPherson, Alan. « The memory and expectation of aesthetics : a study of Adorno's aesthetic theory ». Thesis, Middlesex University, 2009. http://eprints.mdx.ac.uk/6506/.

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This study aims to clarify the underlying conceptual structure of Adorno's theoretical position with regard to both philosophy and art and to examine the expectation of philosophical aesthetics. I introduce Aesthetic Theory from a morphological point of view and claim that the form and structure of this unfinished text reveals a great deal about the book, as it exemplifies Adorno's theory of meaning. I claim that for Adorno dialectic is better thought of not in its Hegelian form but as a Kantian antinomy. This is because the dialectical oppositions he identifies cannot be resolved under the capitalist conditions of the administered world. I claim that philosophy understood as the construction of a form of totality, the constellation, provides the key to understanding Adorno's theory of meaning. This theory consists of three linked concepts: midpoint, constellation and parataxis. I further claim that for Adorno art and philosophy are structured in the same way. Adorno has in effect developed a conception of art that depends for its ultimate justification on the concept of rank as explicated by the completion of the work of art by philosophy. Art and theory are thus entwined in a mimetic relationship. I claim there is a temporal dichotomy at the centre of Adorno's conception of the work of art, that it is both transient and absolute. This antinomy is what makes the work of art a paradoxically absolute commodity precisely because Adorno's concept of the work of art is modelled on the commodity form. I claim that Adorno's conception of the artwork as an instant is clearly closely related, in a structural and conceptual sense, to his conception of how philosophy works. Truth for Adorno is always located in the present instant. My textual analysis leads me to claim that for Adorno a utopian element is involved in writing a negative dialectical text. Finally, I claim that a theory of the art form in all its different typologies is best suited to carry out detailed critique and theoretical reflection on contemporary art. Philosophical aesthetics can only supply an historical perspective.

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Berg, Eriksson Sigge, et Oskar Bunyong. « The Aesthetic Response : A study of aesthetics in design of 3D-modelled game assets ». Thesis, Södertörns högskola, Institutionen för naturvetenskap, miljö och teknik, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-22656.

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This is a bachelor thesis on the subject of aesthetics in design in the realm of video game art. Our intention is to investigate if basic, geometrical shapes will highlight certain physical attributes or characteristics, triggered by the visual appearance of a designed product in what is essentially an aesthetic response. We test this subject in the realm of videogames, through our own design and production of 3D-models. A survey is then conducted with participants observing these models and answering questions relating to certain attributes that we intended for these models to display through their visual, aesthetic appearance. The survey shows that participant responses and general opinions regarding the design of these models were largely what we expected and set out to achieve. While we can not empirically verify these results as conclusive and the opinions and theories proposed in this thesis are largely dependent on context and personal experience, we believe an attention to aesthetics in design can effectively guide the aesthetic response an observer or user may experience with a product or artefact.

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Warsop, David John. « Structure and aesthetic properties : an analysis of the notion of structure in aesthetics ». Thesis, University of Sheffield, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.296764.

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Thömmes, Katja [Verfasser]. « The Aesthetic Appeal of Photographs : Leveraging Instagram Data in Empirical Aesthetics / Katja Thömmes ». Konstanz : KOPS Universität Konstanz, 2020. http://d-nb.info/1226093035/34.

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Nilsson, Morgan, et Andreas Lundmark. « 2D Aesthetics with a 3D Pipeline : Achieving a 2D Aesthetic with 3D Geometry ». Thesis, Uppsala universitet, Institutionen för speldesign, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-324678.

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This thesis evaluates and tests different methods utilized to produce a 2D aesthetic within a 3D pipeline, as in, converting 3D geometry to an aesthetic that is similar to hand-drawn classic films such as Snow White And The Seven Dwarfs. This thesis explores methods to produce both exterior and interior lines that indicate shape and form of 3D models, the conclusion from the tested methods leaves with the statement that it is unlikely the human factor will be ever entirely replaced by automated solutions, and instead a mixed approach with shader relied solutions and involvement of texturing techniques which provides artistic controls where necessary, is deemed to be the most effective way of preserving the hand-drawn 2D aesthetic within a 3D-pipeline.

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Costello, Diarmuid. « Aesthetics after modernism ». Thesis, University of Essex, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.395872.

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Pfenningstorff, Barbara. « Aesthetics of immanence ». Thesis, Goldsmiths College (University of London), 2014. http://research.gold.ac.uk/11035/.

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This thesis is concerned with the spatial contingencies which affect the production and reception of art. The initial argument is premised on 19th century museum architecture and its role in the aesthetic judgement and containment of art. As an idealist formation, the art museum has survived to this day. However, the thesis claims that art is an immanent space which makes sense of the contingencies it contains, and not the other way round. Since the late 1960s, then, artists such as Robert Smithson and Donald Judd have recovered what they term 'architectural afterthought' and 'space as a main aspect of art'. Building on Miwon Kwon's and James Meyer's theories on site-specificity, it is shown that today, the force of this impulse has given way to spatial dispersal, institutional immersion and corporate assimilation. Museums, in turn, have changed with these developments and have incorporated them accordingly. After a short discussion of relevant philosophical spatial concepts, it is further assessed how contemporary art practices make sense of their own space today. It is found, that artists as diverse as Gerhard Richter, James Turrell and Andrea Zittel have set up architectural sites which imbue their constructions with affective contingencies such as analogy, atmosphere and relation. The agency of these works thus furthers the impulse of Smithson and Judd and embodies an immanence of ideal and contingent space. The practice section, finally, stands on its own. It explores experimental sites which exemplify their process, economy of labour and the site-specific or -responsive nature of their display. Their formal configuration is re-organised in the event of each categorical site. In keeping with the claim of the thesis, the forms and (re-)presentations of the work are not awaiting or finalising content but become active productions in themselves.

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Dugas, Alex T. « Beauty, Ever Ancient, Ever New : The Philosophy of Beauty of Plotinus and St. Augustine ». Athenaeum of Ohio / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=athe1526051732407169.

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Swalwell, Melanie. « Aesthetics and hyper/aesthetics : rethinking the senses in contemporary media contexts ». University of Technology, Sydney. Faculty of Humanities and Social Sciences, 2002. http://hdl.handle.net/2100/386.

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This thesis addresses the escalation of interest in the senses, across a range of media technological contexts, dating from the mid 1990s. Much of this discourse has focussed on the experiential, particularly intense, multisensory experience of the present. As there are numerous discourses on the senses, technology and affect individually, my concern is to examine some of the intersections between these, in order to reconsider the contemporary significance of aesthetics in media contexts. I develop a ‘hyper/aesthetic’ approach to try to think about aesthetic relations with technology in a nuanced way, opening up a space from which to investigate a variety of relations with technology. Walter Benjamin’s work on the senses and modern technology is useful in this, as is that of two of his commentators, Susan BuckMorss and Miriam Hansen. In providing the outlines of a hyper/aesthetic approach in this thesis, I am, in particular, seeking to complexify understandings of audience reception and meaningmaking, to return some ambivalence to conceptions of the sensory encounter with technology. Hyper/aesthetics is a term that draws together ambivalence, doubling, virtuality, unfamiliarity, innervation, and moving beyond, all concepts that are relevant to the senses and subjectivity. In close readings of case studies drawn from the areas of advertising, computer gaming practices, and new media art, I argue that as well as critiquing their claims to newness, it is also important to attend to the ways in which particular relations with technology exceed or refuse the logic of instrumentality. In particular, these cases consider the emerging aesthetic experiences that technologies of computer gaming and new media art facilitate, and the new subjective possibilities that follow from each. Approaching these studies hyper/aesthetically enables me to go beyond other accounts in appreciating the more experimental character of some of these relations with technology. I particularly focus on the effects and affects generated by encounters with the unfamiliar, including that which is considered strange, ‘unnatural’ or ‘inhuman’, and critically appraise the significance of encounters such as these for the manner in which subjectivity is conceived.

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Sinhaneti, Kantara, et Jitmanee Pullawan. « Thailand, A beauty hub for everyone ? : Internationalizing Thai Aesthetic Surgery ». Thesis, Mälardalen University, Mälardalen University, School of Business, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:mdh:diva-4283.

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Introduction: Aesthetic surgery becomes another option of beauty. Interested Patients seeking for choices offered outside their homeland for more benefits. Thailand maybe one of those choices people is now interested in. Thai aesthetic industry may prove to be one of the most wanted destinations because of its expertise and relatively low cost with impressive service.

Problem: “How should Thailand improve its Aesthetic service attractiveness to drive its potential to the level of internationalization?”

Purpose: This thesis aim to understand Thai aesthetic surgery business and expect to conduct the idea of how to improve the attractiveness of aesthetic service in Thailand by find out international demand then analyze advantages of Thai aesthetic surgery and what can be improve to serve international customers’ demand.

Method: Primary data gathered from interviews with two doctors, two former patients and eight interested in aesthetic surgery people from different countries. Secondary data mostly came from hospitals and clinics publications, medical articles and Societies of plastic surgeons in many countries. Business Newspaper gives idea about medical care situation and news in medical care field. The theories use to analyze information are Diamond of national advantage, 7Ps, and Total perceived quality model.

Analysis and

Conclusion: International demand of aesthetic surgery is high and people tend to go have operation abroad. Four factors of diamond national advantage show advantages and 7Ps show the capability of Thai aesthetic surgery service. Explication of Thai Marketing Mix (7Ps) clarified that Thai medical care service operate with qualified doctors and service team , well equipped instruments and luxury hospitals and clinics environment . Thai aesthetic surgery also gains high reputation from foreigners especially about lower cost of surgery. Despite the good image of this industry abroad there still are areas which the customers feel inferior ,for example the level of hospitals internationalization does not reach the high standard of international hospitals. The language barrier with hospital staff and difficulties to follow up patients

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Green, Jennifer Elizabeth. « Aesthetic Excuses and Moral Crimes : The Convergence of Morality and Aesthetics in Nabokov's Lolita ». unrestricted, 2006. http://etd.gsu.edu/theses/available/etd-04272006-134431/.

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Thesis (M.A.)--Georgia State University, 2006.
Title from title screen. Paul Schmidt, committee chair ; Marti Singer, Chris Kocela, committee members. Electronic text (60 p.) : digital, PDF file. Description based on contents viewed Apr. 17, 2007. Includes bibliographical references (p. 55-64).

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Buchanan, D. A. « Aesthetics, art and Utopia : the philosophical significance of the discourse of aesthetics ». Thesis, University of Reading, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.296698.

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Ednie-Brown, Pia Hope, et pia@rmit edu au. « The aesthetics of emergence ». RMIT University. Architecture and Design, 2008. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20080804.161628.

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Principles of design composition are commonly understood to pertain to geometrical systems for arranging parts in assembling a formal whole. Connection to socio-cultural 'meaning' and relevance arguably occurs primarily via the assumed divinity or universality of these systems. In the contemporary architectural world, where explicitly held beliefs in fundamental, geometrically defined principles or values have dissipated, guiding principles of composition appear to be obsolete. This seems particularly true in relation to work that highlights process - or change, responsiveness, interactivity and adaptability - since this implies that the composition remains in flux and unable to be grounded in the composition of form. While processually inflected architecture (referred to here as 'processual architecture'), has been an active field since at least the 1960s, it has been significantly developed since design experiments involving digital computation intensified in t he 1990s. For this field of work, both highly celebrated and criticised as superficial or unethical, any connection to 'meaning' or value that might be offered by principles of composition would appear especially lost. This thesis reviews, counterpoises and reorients these assumptions, arguing a case for the value of processual architectural that has not been previously articulated. After the last 10 to 15 years of digital experimentation, it is clear that digital technology in itself is not the primary issue, but simply part of a complex equation. The thesis articulates this 'equation' through the model of emergence, which has been used in the field with increasing prominence in recent years. Through both practice-based research and theoretical development, a processually inflected theory of composition is proposed. This offers pathways through which the potential of processual architecture might be productively developed, aiming to open this field of work into a deeper engagement with pressing contemporary socio-political issues. The thesis demonstrates how the cultivation of particular modes of attention and engagement, found to hold an implicit but nevertheless amplified significance within processual architecture, make it possible to develop an embodied awareness pertaining to an 'ethico-aesthetic know-how'. This know-how is acquired and matured through attention to the affective dimensions that arise through design activity. The thesis highlight aspects of design process and products that are routinely suppressed in architectural discourse, generating new insights into the importance of affect for design process, design products and the relations between them. The ethical dimensions of such an approach become especially poignant through the explicit connection made between design activity and the practices of everyday life. Relationships between architecture and the social become re-energised, in a radically alternative manner to the social agendas of modernism or the more literary critiques of post-modernism. Through detailed discussions of the specific, local conditions with a series of design projects I have undertaken, I argue how and why close attention to the affective dimensions of design process offers new and productive ways to approach research through design practice. This offers a response to the calls for new 'post-critical' forms of research through empowering both sides of a previously held divide: theory and practice.

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Lindley, Anne Hollinger. « Relating to relational aesthetics ». Pomona College, 2009. http://ccdl.libraries.claremont.edu/u?/stc,74.

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This thesis will examine the practice of relational aesthetics as it involves the viewer, as well as the way in which it plays out within and outside of the institutional setting of the museum. I will focus primarily on two unique projects: that of The Machine Project Field Guide at Los Angeles County Museum of Art on November 15, 2008, produced by Machine Project, a social project operated out of a storefront gallery in Echo Park; and David Michalek's Slow Dancing at the Lincoln Center Festival in New York City, July 12-29 2007.

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Sampath, Krishna. « Visual aesthetics and Usability ». Thesis, Linköpings universitet, Interaktiva och kognitiva system, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-97706.

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In the field of Human computer interaction, currently aesthetics has become one of the most frequently research dimension. Most of the researchers have found the correlation between aesthetics and usability, while some other could not discover the correlation between aesthetics and usability. This irregularity to find the correlation between aesthetics andusability makes to further research on this topic.Also based on the previous studies and empirical analysis, it is unclear the factors and issues that are affecting usability and aesthetics while analyzing the correlation. This thesis clearly discusses about the previous empirical studies on aesthetics and usability, methods followed by authors to find the correlation and the results obtained by the authors. In this study, systematic review method [12] was followed to extract the knowledge from the databases (ACM and Science Direct). Two persons have participated in the review and 13 articles from 1995-2012 are taken into the study. Three research questions are discussed in detail to analyze the correlation between aesthetics and usability and the factors affecting the correlation between aesthetics and usability. Finally this study is concluded, by discussing the reasons for irregularity in the correlation results.

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Hough, Darren William. « Aesthetics and product usability ». Thesis, Georgia Institute of Technology, 2003. http://hdl.handle.net/1853/23107.

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Gunningham, F. G. C. « Aesthetics in engineering design ». Thesis, Swansea University, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.637189.

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Bad design must be a contributor to the demise of British manufacturing but good designers are often lost to jobs in management or selling, where the rewards are greater. Further, it is often said that although Britain produces ingenious prototypes, other countries produce better products by paying greater attention to reliability, cost and aesthetics in detail design. The research investigates the place of aesthetics in engineering design in the UK, now and in the past. By surveys and interviews, the attempt was made to quantify the aesthetic content of product design and the reaction of the customer to this aesthetic content. The reaction of electrical engineering designers to the government's sponsoring of good design was sought; the aesthetic content of design in the National Curriculum for schools was explored; the evolution of some styles in the modelling and packaging of products was studied; some attempt was made to determine the economic benefits of considering aesthetics in design; and the greater opportunity that is provided by newer design methods to consider aesthetics has been studied. Few theories guide the designer in his search for aesthetics although all designers have looked for inspiration in nature (e.g. the golden ratio) and perhaps science (e.g. styles that have developed from streamlining). The pioneering giants of design gave high consideration to aesthetic but regretted that their crafted products could only be sold to wealthier customers. With the production methods available in the twentieth century, good aesthetic designs can be (but, only sometimes, are) offered to the general public. Great nineteenth century designers stressed the need for knowledge of the craft of manufacture to ensure the correct use of both materials and methods but modern materials and manufacturing methods develop so rapidly that the education of today's engineers must continue through their working lives.

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Flint, Glenn Peter. « Otpar and political aesthetics ». Thesis, Keele University, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.534309.

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Mukdamanee, Vichaya. « (De)contextualising Buddhist aesthetics ». Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:ee1e2b7f-1c97-40ec-be69-160a3a35cf03.

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'(De)contextualising Buddhist Aesthetics' is a practice-led artistic research project focusing on the interchanging transition between Buddhist and artistic practices. Essentially inspired by the concept of vipassana meditation, I created a series of performances involving repetitive actions centring on the tasks of re-arranging readymade objects into multiple precarious configurations. Many exercises challenge the laws of gravity and other physical limitations of objects, as well as encouraging the learning experience through the process of trial and error. During the course of mindful observation of the performing body and objects, the mental state gradually gains moments of stillness and silence, which approach the meaning of emptiness (suññata) in Buddhism. Repeated failures generate intermittent feelings of exhaustion and disappointment, which naturally become part of the progress, and can be personally used to develop insight into the notions of impermanence and the non-self derived from dhamma (Buddhist teachings). The video and photography documentations were edited and altered to generate a visual experience that echoes my thoughts and feelings developed during the proceedings; these moving images later inspired other series of hand-made artworks, including collages, drawings and paintings on paper and canvas, exhibited as part of the installations. Various techniques were applied so these objective components resonate a comparative experience of uncontrollability and controllability: dynamic and stillness, fast pace and slow rhythm, abstract and representation. Some two-dimensional pieces are transformed to three-dimensional and their displays keep changing from location to location, and from time to time, in conjunction with an unstable state of the mind. All artworks were created in various formats and interrelate and inform each other. They act together as evidence of the endless journey of artistic learning, which also mirrors the concept of self-learning in Buddhist meditation.

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Giambroni, Caitlin A. « The Aesthetics of Representation ». Kent State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=kent1574717315842711.

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Shaw, Sarah. « Seventeen : ethics and aesthetics ». Thesis, Northumbria University, 2014. http://nrl.northumbria.ac.uk/23587/.

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My practice-led research in Creative Writing consists of composing a novel closely focalised through three members of a dual-heritage family in Suffolk in 2004 after the teenage daughter is diagnosed with leukaemia. ‘Seventeen: Ethics and Aesthetics’ explores the question: what are the tensions between truth, kindness and the form and poetics of the novel? My critical reflection considers techniques used to convince the reader, and my attempts to represent unconscious psychic processes of the novel’s protagonists in relation to trauma fiction. The aim of the research programme has been to discover the appropriate form for a novel in which characters are paramount. My research methodology has consisted of revising repeated drafts in order to imagine and articulate the points of view of the novel’s protagonists: Rosie, a mixed-race teenager who has a vivid sense of the ridiculous, who wants to separate herself from her family and mix with her friends; Jay, her White mother, who works in anti-racist education and has ambitions as a photographer, together with a tendency to embrace New Age ideas; and Mel, Rosie’s stepfather, who runs an independent cinema, who never intended to be anyone’s father but finds himself caught up in loving Rosie. The novel is about the language and voices used, and about how the relationships between the characters change as a result of Rosie’s illness and impending death. Writing a commentary has informed the discipline of editing and revision. My completed critical reflection recounts decisions made on ethical or aesthetic grounds, while attempting to relate the research to cultural preoccupations in the study and composition of novels. The originality of this contribution to knowledge consists of fiction that focalises three original characters. A claim to originality may also be made in relation to my work on metaphor, metonymy and the unconscious.

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Riley, Mark Simon. « An aesthetics of hauntology ». Thesis, Goldsmiths College (University of London), 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.425350.

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Edvalson, Eric John. « Cozy Mart : Convenient Aesthetics ». BYU ScholarsArchive, 2017. https://scholarsarchive.byu.edu/etd/6207.

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Convenience stores in their various forms are not only commercial outlets of foodstuffs and sundry items but are also experiential in nature; the act of going to a convenience store is a culturally shared experience. In homage to these spaces, Cozy Mart is a public art installation and performance which recreates this shared experience in an idealized form. Based on do-it-yourself culture, appropriation of public space, and artistic traditions of sculpture and printmaking, Cozy Mart invites interaction with art outside of the traditional gallery space and capitalizes on alternative methods of art distribution.

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Mijouin, Lola. « Invisible Aesthetics of Noise ». Thesis, Konstfack, Industridesign, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-6856.

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Sound in our human world is broken down into two general types : desirable and undesirable. Unwanted sounds in our lives, that we also call “noises”, induce diverse kinds of physical and psychological reactions, many of them unhealthy. As humans living in the Anthropocene, we bring noise with us everywhere we go, creating soundscapes of random sources that we either enjoy or find annoying, while masking more aesthetically resonant sounds. As our modern society is moving faster, the urban soundscape becoming noisier, and our attention taken by technology, we forget to pay attention to our surrounding world. By questioning noise and collaborating with it, this present work aims to give other qualities, sonorities and colors to sound, to change our perception of noise pollution within an urban acoustic context. How does our perception of noise impact our behaviors ? Our social and spatial interactions and our attention towards our surrounding environment ? Could we find oher qualities that used to be invisible if we would approach the world with our sense of hearing ?

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Zhang, Zhexi S. M. Massachusetts Institute of Technology. « The aesthetics of decentralization ». Thesis, Massachusetts Institute of Technology, 2019. https://hdl.handle.net/1721.1/123614.

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Thesis: S.M. in Art, Culture and Technology, Massachusetts Institute of Technology, Department of Architecture, 2019
Cataloged from PDF version of thesis.
Includes bibliographical references (pages 79-86).
This thesis explores ways in which decentralized network technologies are used to experiment with and design new modes of socio-technical organization. Drawing on an understanding of aesthetics as a "distribution of the sensible" and Jack Burnham's notion of "systems esthetics", an artistic engagement with society's technological modes of organization, I explore the ways in which the "aesthetics of decentralization" articulates a circuit of desire connecting technical systems, cultural metaphors and social forms. A key countercultural motif in the history of the World Wide Web, decentralization imagines that political objectives of openness, freedom and even libertarian self-sovereignty within a networked society can be achieved through the technical protocols. Chapter 1 examines the logics of the "stack" and the "platform" as the vertical and lateral organizational abstractions of this environmental matrix.
In seeking to negate this centralization of power over digital networks, the decentralized web is a multifaceted technological and cultural phenomenon with disparate agendas, but broadly seeks to reconfigure the technical organization of the web as a commons-oriented peer-to-peer framework. Chapter 2 examines in detail the primary concepts of the decentralized web, reading their propositions as an effort to reconstitute the terms of space, ownership and participation within the networked world. I argue that the decentralized web represents not so much a technical solution as a performative metaphor through which digital publics are called forth in order to denaturalize these hermetic socio-technical environments and imagine new spaces of possibility.
In Chapter 3, 1 argue that the imaginary and aesthetic power of the decentralized web flows from the subjective experience of software as worldbuilding, a process which imputes the rational consistency of synthetic "microworlds" upon the wider social domain. In conclusion, I suggest that the decentralized web falters as a political project because in seeking to build new forms of sociality through software, it fails to antagonize the structures of technological capitalist society. Nonetheless, the conceptual and performative metaphors engendered by these experimental systems call forth new technological discourses in which protocol serves as a guide, rather than a coercive armature, of a social imaginary.
by Zhexi Zhang.
S.M. in Art, Culture and Technology
S.M.inArt,CultureandTechnology Massachusetts Institute of Technology, Department of Architecture

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Miniukovich, Aliaksei. « Computational Aesthetics in HCI : Towards a Predictive Model of Graphical User Interface Aesthetics ». Doctoral thesis, Università degli studi di Trento, 2016. https://hdl.handle.net/11572/368110.

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This thesis describes the development and validation of a predictive model of graphical user interface (GUI) aesthetics. The development was informed by the processing-fluency theory of aesthetic pleasure and involved outlining several visual dimensions of GUI designs, which could affect aesthetics impression. Each of the dimensions was grounded in theory and represents a unique visual aspect of GUI design. The resulting model automatically evaluates the design dimensions and combines them in an estimate of the average impression that GUI appearance would make on the user population. The model was validated in a number of user studies proving high validity and reliability. The model outputs an aesthetics score ofuser impression and could inform the creation of more beautiful GUIs by highlighting which of the design dimensions could be improved. The thesis describes the studies that validated the model on several types of GUIs and demonstrated a potential application of the model in future research and practice.

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Miniukovich, Aliaksei. « Computational Aesthetics in HCI : Towards a Predictive Model of Graphical User Interface Aesthetics ». Doctoral thesis, University of Trento, 2016. http://eprints-phd.biblio.unitn.it/1773/1/aesthetics_thesis_v1.2.12_final_1.pdf.

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This thesis describes the development and validation of a predictive model of graphical user interface (GUI) aesthetics. The development was informed by the processing-fluency theory of aesthetic pleasure and involved outlining several visual dimensions of GUI designs, which could affect aesthetics impression. Each of the dimensions was grounded in theory and represents a unique visual aspect of GUI design. The resulting model automatically evaluates the design dimensions and combines them in an estimate of the average impression that GUI appearance would make on the user population. The model was validated in a number of user studies proving high validity and reliability. The model outputs an aesthetics score ofuser impression and could inform the creation of more beautiful GUIs by highlighting which of the design dimensions could be improved. The thesis describes the studies that validated the model on several types of GUIs and demonstrated a potential application of the model in future research and practice.

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Šparada, Renata. « Internet as Aesthetic Medium ». Thesis, Uppsala universitet, Avdelningen för estetik, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-452910.

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The dissertation explains the internet as an aesthetic medium, authorship in the medium and platforms’ influence on the medium’s aesthetic function. This is achieved by analysing the actual art that uses the internet as an aesthetic medium. The aesthetic function of the internet as a medium is different from its informative and communicative function. It entails manipulation of the medium defined by the permanent and instant interconnectedness of the digitalised instances or representations of people, things, artificial intelligence and information to achieve a specific aesthetic aim. Internet as a medium, similarly to comics and film, allows for different kinds of authorship. A typical example of art that uses the internet as a medium is a meme. This is because memes involve meta-level discussions and group authorship, elements that are most easily facilitated by the internet as a medium. Art that uses the internet as an aesthetic medium can be single-authored if the sole author manipulates digital interconnectedness in an aesthetically significant way. Besides this general level of how the internet is characterised as a medium, there is a practical level that includes platforms on which artwork is made. These two levels are necessarily connected. Even though platforms also manipulate digitalised interconnectedness, they do not erase the internet’s potential as an aesthetic medium because artists manipulate this already manipulated content.

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Chang, Edmond Yi-teh. « The aesthetics of Wu : Wang Bi's ontological paradigm and the transformation of Chinese aesthetics / ». Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2001. http://wwwlib.umi.com/cr/ucsd/fullcit?p3031938.

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Obrador, Espinosa Pere. « Media aesthetics based multimedia storytelling ». Doctoral thesis, Universitat Politècnica de Catalunya, 2011. http://hdl.handle.net/10803/33293.

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Since the earliest of times, humans have been interested in recording their life experiences, for future reference and for storytelling purposes. This task of recording experiences --i.e., both image and video capture-- has never before in history been as easy as it is today. This is creating a digital information overload that is becoming a great concern for the people that are trying to preserve their life experiences. As high-resolution digital still and video cameras become increasingly pervasive, unprecedented amounts of multimedia, are being downloaded to personal hard drives, and also uploaded to online social networks on a daily basis. The work presented in this dissertation is a contribution in the area of multimedia organization, as well as automatic selection of media for storytelling purposes, which eases the human task of summarizing a collection of images or videos in order to be shared with other people. As opposed to some prior art in this area, we have taken an approach in which neither user generated tags nor comments --that describe the photographs, either in their local or on-line repositories-- are taken into account, and also no user interaction with the algorithms is expected. We take an image analysis approach where both the context images --e.g. images from online social networks to which the image stories are going to be uploaded--, and the collection images --i.e., the collection of images or videos that needs to be summarized into a story--, are analyzed using image processing algorithms. This allows us to extract relevant metadata that can be used in the summarization process. Multimedia-storytellers usually follow three main steps when preparing their stories: first they choose the main story characters, the main events to describe, and finally from these media sub-groups, they choose the media based on their relevance to the story as well as based on their aesthetic value. Therefore, one of the main contributions of our work has been the design of computational models --both regression based, as well as classification based-- that correlate well with human perception of the aesthetic value of images and videos. These computational aesthetics models have been integrated into automatic selection algorithms for multimedia storytelling, which are another important contribution of our work. A human centric approach has been used in all experiments where it was feasible, and also in order to assess the final summarization results, i.e., humans are always the final judges of our algorithms, either by inspecting the aesthetic quality of the media, or by inspecting the final story generated by our algorithms. We are aware that a perfect automatically generated story summary is very hard to obtain, given the many subjective factors that play a role in such a creative process; rather, the presented approach should be seen as a first step in the storytelling creative process which removes some of the ground work that would be tedious and time consuming for the user. Overall, the main contributions of this work can be capitalized in three: (1) new media aesthetics models for both images and videos that correlate with human perception, (2) new scalable multimedia collection structures that ease the process of media summarization, and finally, (3) new media selection algorithms that are optimized for multimedia storytelling purposes.

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Dou, Meng, et Esra Ekiz. « Differentiation through Aesthetics in Supermarkets ». Thesis, Linköpings universitet, Företagsekonomi, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-71158.

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Background:This thesis strives to analyze aesthetic services used in supermarkets. Supermarkets facefierce competition and varied marketing dilemmas such as traditional marketing versusservice marketing. Nevertheless, encompassing elements from both traditionalmarketing, such as physical products, and service marketing, such as relationshipbuilding, supermarket management is challenging. Thus, it is crucial to understandconsumers’ perceptions for both services and products in order to satisfy their needs andwants and succeed in the market place. Therefore, this thesis offers a betterunderstanding of aesthetic elements used in supermarkets from customers’ perspective.Aim:The main purpose of this thesis is to investigate the applications of aesthetics insupermarkets. It intends to examine and theorize the consumer perceptions regardingaesthetic elements applied in supermarkets; to test the differentiation strategy insupermarkets, through the usage of aesthetic elements, from consumers’ perspective.Definitions:Aestheticization of daily life: it can be seen as the extension of art or the appreciation ofart on daily life. It suggests ‘the collapse of the distinction between high art and massculture, leveling out of symbolic hierarchies and cultural declassification’ (Featherstone,2007). It reflects onto business through its emphasis on beauty, sensory appeals,pleasure consumption etc. Analyzing aesthetic applications in supermarkets from acustomer perspective, this thesis finds out that from both companies’ and consumers’perspective, these applications are based on aestheticization of daily life.Completion and Results:Aesthetic elements used in supermarkets are identified in the content analysis anddiscussed in the empirical study through focus group interviews. It is found out thataesthetic services indeed improve customer satisfaction. However, the fierce pricecompetition limits supermarkets’ services to instrumental rather than expressiveperformance. Moreover, utilized aesthetic services in supermarkets tend to bestandardized, due to benchmarking processes, in consumers’ eyes, causing theseservices to lose their value to be differentiated.

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Jägerholm, Petra, et Lovisa Rönngren. « Anti-aesthetics in graphic design ». Thesis, Linköpings universitet, Medie- och Informationsteknik, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-130012.

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Syftet med denna studie är att diskutera och problematisera anti-estetisk design och undersöka vilken funktion den har idag. Denna uppsats bygger på en bred bakgrund om fulhet och skönhet, om olika anti-estetiska och kritiska rörelser genom historien och teorier så som kritisk design, normkritik och feminism. Information har insamlats genom en kritisk granskning av tre nummer av tidskriften Bang, analys av offentliga uttalanden om och av Bang och Bastion, samt intervjuer med formgivaren Sepidar Hosseini och tio designstudenter. Metoden kvalitativ ansats användes i studien och induktiv samt deduktiv analys av intervjuerna utfördes. I analysen undersöktes hur avvikande designelement kunde bidra till att kritisera normen med hjälp av etablerade teorier, uttalanden från Bastion och kommentarer från Hosseini och designstudenter. Resultatet av denna studie skall visa på ett alternativt perspektiv på design och diskutera vilken tillämpning den kan ha idag. Anti-estetisk design kan anses ha funktionen att skapa rum för det som inte passar in i det rådande idealet och fungera som grogrund för vidare diskussion om samhällets normer.

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Foster, C. A. « Aesthetics and the natural environment ». Thesis, University of Edinburgh, 1992. http://hdl.handle.net/1842/26517.

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This thesis offers a philosophical perspective on a topic that enjoys interdisciplinary attention: the aesthetics of the natural environment. My observation is that most contemporary theories about the appreciation and evaluation of natural beauty rely on one of two models, the first based on art history and criticism, the second derivative of scientific categories and interpretations. I argue for a third approach, one that draws on philosophical issues in aesthetics, and develop it as an alternative to the art and science-based models of natural beauty. Part I of the thesis attempts to remedy the neglect of contributions to the aesthetics of nature from the history of philosophy. The first two chapters demonstrate how Kant and Schopenhauer are particularly misinterpreted with regard to natural beauty and in them I offer readings which are rich in their implications for aesthetic theory. Chapters Three and Four grow out of these implications, highlighting those issues discussed by Kant and Schopenhauer which are foundational to environmental aesthetics. Part 2 of the thesis develops the points made explicit in Chapters Three and Four, using them as loose guidelines in structuring an approach to the aesthetics of nature which is bound by neither art nor science.

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Huynh, Boi Tran. « Vietnamese Aesthetics From 1925 Onwards ». University of Sydney. Sydney College of the Arts, 2005. http://hdl.handle.net/2123/633.

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Twentieth century art in Viêt-Nam underwent immense changes due to the nation�s encounters with the West, through colonialism and two great wars. This thesis examines the significant impact of architecture, clothing painting and sculpture on the development of Vietnamese aesthetics. The very public nature of architecture and clothing will be used as a cultural backdrop for the changing aesthetic ideals in painting and sculpture. The thesis examines the aesthetic merits of Socialist Realism, introduced after reunification in 1975, in particular, its relationship to the art of the Republic of Vie�t- Nam (South Viêt-Nam) from 1954 to 1975. Vietnamese post-war art historians have consistently omitted the significant cultural developments of this period in their writings. A study of this distinctive era will clarify aesthetic changes in the last decades of the twentieth century. After a long period of isolation and ideological constraint, remarkable cultural changes occurred when Viêt-Nam re-established contact with the outside world. This thesis will present the subsequent changes in aesthetics, as an attempt to balance tradition and modernity, within the context of market reforms and the internationalisation of Vietnamese art. These events had a significant impact on the contemporary art market in Viêt-Nam. Through the changes that art history has noted, this thesis argues that the interactions with outsiders were either an impetus or a pressure for changes in Vie�t-Nam�s drive for modernity.

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Armstrong, Kevin Anthony. « Aesthetics/ethics, two modern views ». Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/MQ37936.pdf.

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Etherington, Ben Karl. « Literary primitivism : essence, aesthetics, politics ». Thesis, University of Cambridge, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.608758.

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Wilson, Ross Michael. « Subjective universality in Kant's aesthetics ». Thesis, University of Cambridge, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.614777.

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Baum, David. « Introducing aesthetics to software visualization ». Universitätsbibliothek Leipzig, 2015. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-175905.

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In software visualization, but also in information visualization in general, there is a great need for evaluation of visualization metaphors. To reduce the amount of empirical studies a omputational approach has been applied successfully, e.g., to graph visualization. It is based on measurable aesthetic heuristics that are used to estimate the human perception and the processing of visualizations. This paper lays a foundation for adopting this approach to any field of information visualization by providing a method, the repertory grid technique, to identify aesthetics that are measurable, metaphor-specific, and relevant to the user in a structured and repeatable way. We identified 25 unique aesthetics and revealed that the visual appearance of the investigated visualizations is mainly influenced by the package structure whereby methods are underrepresented. These findings were used to improve existing visualizations.

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Thèses sur le sujet « Aesthetics »

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