Bibliografie tematiche / Aesthetic patterns

Letteratura scientifica selezionata sul tema "Aesthetic patterns"

Autore: Grafiati

Pubblicato: 22 giugno 2024

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Articoli di riviste sul tema "Aesthetic patterns":

Liu, Yuhan. "Exploration of Aesthetic Ideas in Bronze Patterns of the Xia, Shang and Zhou Periods". Highlights in Art and Design 4, n. 1 (28 agosto 2023): 100–104. http://dx.doi.org/10.54097/hiaad.v4i1.11995.

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From the perspective of historiography, bronze is a highly concentrated material representation of the social, political, religious and cultural aspects of the Xia, Shang and Zhou Dynasties. From the perspective of aesthetics, bronzes are the physical embodiment of the artistic aesthetics of the Xia, Shang and Zhou dynasties. However, by integrating history and aesthetics, bronzes are the epitome of the development of Chinese aesthetics from primitive aesthetic consciousness to traditional Chinese aesthetic thought. The patterns in bronzes became an important carrier of the aesthetic concepts of the ancestors. With the development of productive forces, the development of bronze craft reached its peak in the Shang and Zhou Dynasties, and bronze wares played an important role in the political and social life of the ancestors as a tool for rituals and divination, and the decorations in them left a colorful mark in the history of the world's fine arts. This paper takes bronze patterns as the entry point, takes the basic theories of aesthetics and art history as the basis for elaboration, places the Xia, Shang and Zhou bronzes in different era backgrounds, analyses and explains the aesthetic characteristics of their decorative patterns and the aesthetic ideas behind them, reveals the basic aesthetic connotations of the Xia, Shang and Zhou bronze patterns, and unearths the spiritual roots of the formation of traditional Chinese aesthetic ideas.

Zhang, Siyue, Jinzi Qian, Chenjing Wu, Dexian He, Wei Zhang, Jing Yan e Xianyou He. "Tasting More Than Just Food: Effect of Aesthetic Appeal of Plate Patterns on Food Perception". Foods 11, n. 7 (24 marzo 2022): 931. http://dx.doi.org/10.3390/foods11070931.

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Interest has been growing in the role of subjective aesthetics in the field of food. This study explored the mechanisms by which the aesthetic appeal of plate patterns influences consumers’ perceptions of food. Three experiments were conducted to compare whether different levels of beauty and types of plate pattern aesthetics (classical versus expressive) affected the perceptions of tastiness and healthiness of the food offered. Experiment 1 was carried out with 30 participants, and the results showed that participants perceived the food presented on more beautiful plates as tastier and healthier than the food on less beautiful plates. Experiment 2 was carried out with 128 participants; the results showed that, for expressively aesthetic plates, the participants experienced more positive emotions for very beautiful plates and more negative emotions for less beautiful plates. However, for classical aesthetic plates, participants’ emotions were not affected by the beauty of the plate. Experiment 3 was carried out with 149 participants, and the results showed that, for classically aesthetic plates, participants perceived the food placed in the middle to be tastier than food placed at the edge; however, for expressively aesthetic plates, food placement did not affect participants’ perceptions of food. These results demonstrate the importance of the subjective beauty of plate patterns in influencing consumers’ food perceptions, although this influence varies depending on the type of aesthetic design of the plate pattern.

Muldiana, Fitriani, Shofa Laelatul, Neng Ani Karleni e Nani Ratnaningsih. "ESTETIKA MATEMATIS MOTIF SONGKET PADA ANYAMAN MENDONG TASIKMALAYA". Euler : Jurnal Ilmiah Matematika, Sains dan Teknologi 9, n. 2 (1 dicembre 2021): 109–21. http://dx.doi.org/10.34312/euler.v9i2.11259.

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Mathematics is an enigmatic and captivating idea. Mathematics can also be defined in the context of patterns. This is because mathematics contains patterns, structures, and depictions of an object that grows and is rooted in real life. The structure or pattern that is arranged systematically will produce work, objects, and even an agreement. Life mathematics and mathematics in school learning can be combined with aesthetic studies to achieve contextual learning. This study uses qualitative research with an ethnographic approach. The purpose of this study was to reveal the aesthetic value and mathematical concepts of the mendong woven pattern with the songket motif. The location of this research is Babakan Cikawung Village, Margabakti Village, Cibeureum Awipari District, Tasikmalaya Regency. This study involved 3 subjects. Data collection techniques were carried out through unstructured interviews, observation, documentation, and literature review. Unstructured interviews were used to ask about the craft of mendong and the process of making mending weave with songket motifs. Observations or observations are made to find mathematical concepts and mathematical aesthetic values by studying the aesthetics of Thomas Aquinas' theory. The results of the research are mathematical aesthetics by examining the theory of Thomas Aquinas. Mathematical concepts such as repeating patterns 1-2-3-4 and 4-3-2-1, geometric concepts such as parallel lines, reflection, congruence, and rhombus flat shapes.

Aks, Deborah J., e Julien C. Sprott. "Quantifying Aesthetic Preference for Chaotic Patterns". Empirical Studies of the Arts 14, n. 1 (gennaio 1996): 1–16. http://dx.doi.org/10.2190/6v31-7m9r-t9l5-cdg9.

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Art and nature provide much of their aesthetic appeal from a balance of simplicity and complexity, and order and unpredictability. Recently, complex natural patterns have been produced by simple mathematical equations whose solutions appear unpredictable (chaotic). Yet the simplicity and determinism of the equations ensure a degree of order in the resulting patterns. The first experiment shows how aesthetic preferences correlate with the fractal dimension ( F) and the Lyapunov exponent ( L) of the patterns. F reflects the extent that space is filled and L represents the unpredictability of the dynamical process that produced the pattern. Results showed that preferred patterns had an average F = 1.26 and an average L = 0.37 bits per iteration, corresponding to many natural objects. The second experiment is a preliminary test of individual differences in preferences. Results suggest that self-reported creative individuals have a marginally greater preference for high F patterns and self-reported scientific individuals preferred high L patterns. Objective tests suggest that creative individuals had a slightly greater preference for patterns with a low F.

Markovic, Slobodan, e Suncica Zdravkovic. "Introduction to the special issue on visual aesthetics". Psihologija 50, n. 3 (2017): 213–17. http://dx.doi.org/10.2298/psi1703213m.

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Visual aesthetics encompasses the studies of the relationship between vision and various aesthetic phenomena - from the beauty ratings of simple visual patterns to the appreciation of visual art, from the preference for natural objects and scenes to the preference for products of human creativity, from the aesthetic effects of culture to the aesthetic effects of biology, from the universal aesthetic sensitivity to the individual differences in taste, and so on. In this special issue ten papers reported the most recent studies on very different subjects related to visual aesthetics.

Wang, Yiyuan. "Artistic Research and Redesign of Backprint Style". International Journal of Education and Humanities 10, n. 2 (4 settembre 2023): 199–201. http://dx.doi.org/10.54097/ijeh.v10i2.11641.

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The pattern is one of the most distinctive traditional art patterns and characteristic symbols in China. It represents the cultural heritage of a long history and a good beginning and a good end. It takes the pattern of the dynasties as Decorative patterns, As an aesthetic pattern, through the artistic perspective of decoration, the aesthetic characteristics of the pattern and its connotation elements in the aesthetic form of historical evolution are analyzed. On the basis of determining its characteristics, the aesthetic means of deconstruction, reorganization, change, conversion and re-decomposition are used to design new aesthetic forms such as group plans, homes, etc. This paper studies the cultural heritage of the pattern, so as to inject new life into the redesign of the pattern and adapt to the development trend of the times.

Richardson, Benjamin J. "Climate Change Law: Encounters with Aesthetics and Art". Climate Law 8, n. 3-4 (31 ottobre 2018): 279–319. http://dx.doi.org/10.1163/18786561-00803011.

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Climate change has multifaceted aesthetic dimensions of legal significance. Global warming alters the aesthetic properties of nature, and further aesthetic changes are precipitated by climate mitigation and adaptation responses of impacted societies. The social and political struggles to influence climate change law are also influenced by aesthetics, as environmental activists and artists collaborate to influence public opinion, while conversely the business sector through its marketing and other aesthetic communications tries to persuade consumers of its climate-friendly practices to forestall serious action on global warming. This article distils and analyses these patterns in forging a novel account of the role of aesthetics in climate change law and policy, and it makes conclusions on how this field of law should consider aesthetic values through ‘curatorial’ guidance.

Stamatopoulou, Despina. "Integrating the Philosophy and Psychology of Aesthetic Experience: Development of the Aesthetic Experience Scale". Psychological Reports 95, n. 2 (ottobre 2004): 673–95. http://dx.doi.org/10.2466/pr0.95.2.673-695.

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This study assessed the dynamic relationship between person and object in aesthetic experience. Patterns of the structure of aesthetic experience were derived from a conceptual model based on philosophical and psychological ideas. These patterns were further informed by interviewing individuals with extensive involvement in aesthetic activities and 25 secondary students. Accordingly, patterns were tested by developing a large pool of items attempting to identify measurable structural components of aesthetic experience. Refined first in a pilot study, the 36-item questionnaire was administered to 652 Greek students, aged from 13 to 15 years. Correlation matrices and exploratory factor analyses on principal components were used to examine internal structural relationships. The obliquely rotated five-factor solution of the refined instrument accounted for the 44.1% of the total variance and was combatible with the conceptual model of aesthetic experience, indicating the plausibility of both. The internal consistency of the items was adequate and external correlational analysis offered preliminary support for subsequent development of a self-report measure that serves to operationalize the major constructs of aesthetic experience in the general adolescent population. The results also raise theoretical issues for those interested in empirical aesthetics, suggesting that in experiential functioning, expressive perception and affect may play a more constructive role in cognitive processes than is generally acknowledged.

Kiianlinna, Onerva. "Aesthetic Gadgets: Rethinking Universalism in Evolutionary Aesthetics". Philosophies 7, n. 4 (21 giugno 2022): 71. http://dx.doi.org/10.3390/philosophies7040071.

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There is a growing appetite for the inclusion of outcomes of empirical research into philosophical aesthetics. At the same time, evolutionary aesthetics remains in the margins with little mutual discussion with the various strands of philosophical aesthetics. This is surprising, because the evolutionary framework has the power to bring these two approaches together. This article demonstrates that the evolutionary approach builds a biocultural bridge between our philosophical and empirical understanding of humans as aesthetic agents who share the preconditions for aesthetic experience, but are not determined by them. Sometimes, philosophers are wary of the evolutionary framework. Does the research program of evolutionary aesthetics presuppose an intrinsic aesthetic instinct that would determine the way we form aesthetic judgments, regardless of the environment with which we interact? I argue that it does not. Imitation and mindreading are considered to be central features of the aesthetic module. Recently, and contrary to the prior view, it has been shown that imitation and mindreading are not likely to be innate instincts but socially learned, yet evolved patterns of behavior. Hence, I offer grounds for the idea that the cognitive aesthetic module(s) is socially learned, too. This outcome questions the need for the traditional differentiation between empirical and philosophical aesthetics.

Cai, Zong Wen, e Artde D. Kin Tak Lam. "A Study on Mandelbrot Sets to Generate Visual Aesthetic Fractal Patterns". Applied Mechanics and Materials 311 (febbraio 2013): 111–16. http://dx.doi.org/10.4028/www.scientific.net/amm.311.111.

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The fractal pattern is a highly visual aesthetic image. This article describes the generation method of Mandelbrot set to generate fractal art patterns. Based on the escape time algorithm on complex plane, the visual aesthetic fractal patterns are generated from Mandelbrot sets. The generated program development, a pictorial information system, is integrated through the application of Visual Basic programming language and development integration environment. Application of the development program, this article analyzes the shape of the fractal patterns generated by the different power orders of the Mandelbrot sets. Finally, the escape time algorithm has been proposed as the generation tools of highly visual aesthetic fractal patterns.

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Tesi sul tema "Aesthetic patterns":

Kenning, Gail Joy Art College of Fine Arts UNSW. "Pattern as process: an aesthetic exploration of the digital possibilities for conventional, physical lace patterns". Awarded by:University of New South Wales, 2007. http://handle.unsw.edu.au/1959.4/39898.

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Pattern is a familiar concept ever present in our daily lives, existing in many material forms, observable in varied states, and able to be created from a diverse range of processes and events. Natural pattern forms, such as biological and chemical patterns, have been extensively studied, often within the digital environment because of its capacity to process large amounts of data which aids investigation of not only their characteristics but their potentiality. However, human designed physical patterns, while having been investigated extensively in terms of their historical, geographic and cultural significance and their aesthetic and/or mathematical characteristics, have not been fully investigated in terms of their evolutionary potential. This project explores one example of human designed physical patterns, crochet lace patterns ??? which have remained largely stable and consistent throughout various technological transformations such as the industrial revolution ??? in order to explore pattern as a process and investigate the potential for these patterns to become emergent. This exploration translated the patterns into the digital environment where, as data, the patterns become available for manipulation using a generative art practice approach. By translating the patterns into a digital environment and engaging with the pattern forms at their systematic core, where crochet pattern instructions and software programming scripts operate similarly as ???code???, this research provided a deeper understanding of the patterns and allowed exploration of whether a pattern???s developmental path can be altered to create new emergent patterns. This research draws on systems theory and systems aesthetics and their application within contemporary generative art practice and informs visual arts in several areas including showing how aesthetic values shift as work becomes cross-disciplinary and enters the digital environment, and how the introduction and location of innovation affects the relationship between the original and its copy.

O'Connor, Zena. "Facade colour and aesthetic response: Examining patterns of response within the context of urban design and planning policy in Sydney". University of Sydney, 2008. http://hdl.handle.net/2123/4093.

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Doctor of Philosophy (PhD)
The overall aim of this research was to examine aesthetic response to façade colour. Drawing on a range of theories and studies from environment-behaviour studies (EBS), Nasar’s (1994) probabilistic model of aesthetic response to building attributes provided a theoretical framework within which to examine patterns of response. Prompted by the Development Control Plan for Sydney Regional Environmental Plan: Sydney Harbour Catchment (NSWDOP, 2005), this research also linked its aims and methods to planning policy in Sydney. The main research questions focussed on whether changes in aesthetic response are associated with variations in façade colour; and whether changes in judgements about building size, congruity and preference are associated with differences in façade colour. A quasi-experimental research design was used to examine patterns of aesthetic response. The independent variable was represented by four façade colours in two classifications. An existing process, environmental colour mapping, was augmented with digital technology and used to isolate, identify and manipulate the independent variable and for preparation of visual stimuli (Foote, 1983; Iijima, 1995; Lenclos, 1977; Porter, 1997). Façade colour classifications were created from extant colour theories (including those of Albers, 1963; Hard & Sivik, 2001 and Itten, 1961). The façade colour classifications were further developed using F-sort and Q-sort methodology (Amin, 2000; Miller, Wiley & Wolfe, 1986; Stephenson, 1953). Ten dependent variables, linked to overall aesthetic response, were drawn from studies relating to environmental evaluation, building congruity and preference (Groat, 1992; Janssens, 2001; Russell, 1988; Russell, 2003; Russell, Ward & Pratt, 1981; Wohlwill & Harris, 1980). The dependent variables were presented in the form of a semantic differential rating scale and a sample group of 288 evaluated the visual stimuli. The Latin-square technique was used for the controlled presentation of visual stimuli. Factor analysis, correlation analysis and analysis of variance were applied to the data. The findings indicate that variations in aesthetic response are associated with differences in façade colour. Judgements about building size varied by up to 5% and buildings featuring contrasting façade colours were judged to be larger and more dominant. Judgements about a building’s congruity varied by up to 13% and buildings that featured harmonious colours were considered to be more congruous. Preference varied and harmonious façade colours were not necessarily preferred over contrasting façade colours. The outcomes from this research suggest that a new approach to façade colour within the context of planning policy may be appropriate. A model of façade colour evaluation is presented and, unlike current planning guidelines, the model allows for a participatory approach to façade colour evaluation and specification. The model allows for factors that may influence aesthetic response to façade colour (such as contextual, perceptual and idiographic factors) as well as variation in architectural expression with respect to façade colour.

O'Connor, Zena. "Façade colour and aesthetic response: Examining patterns of response within the context of urban design and planning policy in Sydney". Thesis, The University of Sydney, 2008. http://hdl.handle.net/2123/4093.

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The overall aim of this research was to examine aesthetic response to façade colour. Drawing on a range of theories and studies from environment-behaviour studies (EBS), Nasar’s (1994) probabilistic model of aesthetic response to building attributes provided a theoretical framework within which to examine patterns of response. Prompted by the Development Control Plan for Sydney Regional Environmental Plan: Sydney Harbour Catchment (NSWDOP, 2005), this research also linked its aims and methods to planning policy in Sydney. The main research questions focussed on whether changes in aesthetic response are associated with variations in façade colour; and whether changes in judgements about building size, congruity and preference are associated with differences in façade colour. A quasi-experimental research design was used to examine patterns of aesthetic response. The independent variable was represented by four façade colours in two classifications. An existing process, environmental colour mapping, was augmented with digital technology and used to isolate, identify and manipulate the independent variable and for preparation of visual stimuli (Foote, 1983; Iijima, 1995; Lenclos, 1977; Porter, 1997). Façade colour classifications were created from extant colour theories (including those of Albers, 1963; Hard & Sivik, 2001 and Itten, 1961). The façade colour classifications were further developed using F-sort and Q-sort methodology (Amin, 2000; Miller, Wiley & Wolfe, 1986; Stephenson, 1953). Ten dependent variables, linked to overall aesthetic response, were drawn from studies relating to environmental evaluation, building congruity and preference (Groat, 1992; Janssens, 2001; Russell, 1988; Russell, 2003; Russell, Ward & Pratt, 1981; Wohlwill & Harris, 1980). The dependent variables were presented in the form of a semantic differential rating scale and a sample group of 288 evaluated the visual stimuli. The Latin-square technique was used for the controlled presentation of visual stimuli. Factor analysis, correlation analysis and analysis of variance were applied to the data. The findings indicate that variations in aesthetic response are associated with differences in façade colour. Judgements about building size varied by up to 5% and buildings featuring contrasting façade colours were judged to be larger and more dominant. Judgements about a building’s congruity varied by up to 13% and buildings that featured harmonious colours were considered to be more congruous. Preference varied and harmonious façade colours were not necessarily preferred over contrasting façade colours. The outcomes from this research suggest that a new approach to façade colour within the context of planning policy may be appropriate. A model of façade colour evaluation is presented and, unlike current planning guidelines, the model allows for a participatory approach to façade colour evaluation and specification. The model allows for factors that may influence aesthetic response to façade colour (such as contextual, perceptual and idiographic factors) as well as variation in architectural expression with respect to façade colour.

O'Connor, Zena. "Façade colour and aesthetic response examining patterns of response within the context of urban design and planning policy in Sydney /". Connect to full text, 2008. http://hdl.handle.net/2123/4093.

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Thesis (Ph. D.)--University of Sydney, 2008.
Includes tables and questionnaire. Includes list of publications. Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy to the Faculty of Architecture, Design and Planning. Title from title screen (viewed May 5, 2009) Includes bibliographical references. Also available in print form.

Andersson, Susanne. "Walk : En tapetkollektion för Eco-Boråstapeter". Thesis, Linnaeus University, School of Design, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-5617.

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Arbetet handlar om att skapa en mönsterkollektion för Eco-Boråstapeter. Kollektionen består av fem mönster som behandlar struktur, volym, rörelse och rytm. Tapeterna trycks med djuptrycksmetod på slätt bestruket non woven-papper. Målgruppen är unga designintresserade människor. En designprocess utifrån en inspirationsfas redovisas som består av experimentella filmer (Grey Gardens, Gummo och The Brown Bunny) och av fotografier tagna under promenader i Växjö. Hemmiljöer och synen på tapeter behandlas utifrån målgruppens, inredningsarkitektens och designerns perspektiv. Arbetet fokuserar också på Eco-Boråstapeters industri, produktion och miljökrav.

The project is about creating a wallpaper collection of five patterns for Eco-Boråstapeter. The collection consists of five patterns dealing with structure, volume, movement and rhythm. Printing method of the wallpapers is deep print on plain coated non woven paper. The target group is young people interested in design. The design process is based on an inspiration phase which consisted of watching experimental films (Grey Gardens, Gummo and The Brown Bunny) and photographs that were taken during walks around Växjö Lake. Home environments and the perceptions of wallpapers are treated from the target group, the designer and the interior arcitect’s perspective. The project also focuses on the industry, production and environmental issues of Eco-Boråstapeter.

Nixon, David J. "Infinitude: Investigating the Aesthetics of Complex Patterns through Printmaking". Thesis, Griffith University, 2020. http://hdl.handle.net/10072/396520.

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This doctoral project presents an aesthetic inquiry into works on paper and installation that are distinguished by a contemplative development of non-mimetic patterns. Relief etchings and linocuts dominate the research, spanning a range of media, including drawings, monoprints, kinetic sculpture, and video. This research is based upon an improvisational methodology that is diversified in response to the interactivity between ideation and material engagement. Change and constancy, motion and stasis, and form and formlessness are co-dependent, conceptual binaries establishing the foundation of this dialectical inquiry. Seeking to reconcile a transformative flux with constancy, geometry is examined as a means of understanding the relational dynamic between mind and matter and as a reference for a speculative, cosmological inquiry. Through my studio research, I have developed a pictorial language from essential motifs, and the exegesis argues that through its metaphoric agency, the particularity of art indicates an immanent materiality. This is consolidated by my research on how physics informs our understanding of materiality, with etchings made in response to the philosophy of physicist David Bohm.
Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
Queensland College of Art
Arts, Education and Law
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Höfel, Lea. "Behavioral and electrophysiological indices of processing aesthetics of graphic patterns and human faces". [Leipzig] Leipziger Univ.-Verl, 2008. http://d-nb.info/990812529/04.

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Kafaru, Abiodun Babatunde. "An exploration of painting aesthetics, signs, symbols, motifs and patterns of coastal Yoruba land of Nigeria". Thesis, University of Northampton, 2014. http://nectar.northampton.ac.uk/8864/.

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Zappulla, Carmelo. "Per una scienza architettonica del pattern?" Doctoral thesis, Universitat Politècnica de Catalunya, 2014. http://hdl.handle.net/10803/232456.

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The basic premise of this work is to consider architecture as the result of the interrelationship between its constituent parts: aesthetic, tectonics, social, environmental , cultural, and organizational. When the project is focused only on one or a few of these levels, this is when hollow formalisms are generated. The main aim here is to demonstrate that patterns are able to facilitate the interaction and integration ofthese constituents. The rise of computation in architecture has had the effect of diluting the natural thought process of the architect. This paper therefore, helps to fill that theoretical void in parametric design. Hence, new tools are needed to analyse and understand architectural phenomena. For this to happen, the relationship between mathematical models and architecture needs to be cemented, and from here on after, pattern needs to be seen as an invaluable component of architecture. A methodology based on my belief that Complexity Theory could be the basis for interpreting architecture and pattern as structure, in order to transform the abstract into reality.

Couturier, Louise. "Motifs esthétiques et imaginaires ancestraux : le cinéma des frères Dardenne et l'imaginaire social de Cornelius Castoriadis". Electronic Thesis or Diss., Paris 10, 2022. http://www.theses.fr/2022PA100013.

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La filmographie des frères Dardenne s’enracine dans une société en mutation : à la crise économique, la fin du modèle industriel, l’avènement de l’ère post-industrielle, répond une perte de repères. Comme en contrepoint à cette perte de significations sociétales, nous repérons dans ces films des motifs esthétiques chargés de valeurs imaginaires ancestrales. L’étude de ces motifs les raccorde à des significations sociales qui les précèdent. Ils constituent ainsi des passerelles vers leurs occurrences antérieures : contes, mythes des origines, rites, traditions archaïques, récits de fondation. Ils peuvent alors être envisagés comme une réserve d’imagination constituante opposée au mal de représentations imaginaires qui affecte la société considérée. Il apparaît alors à l’analyse que l’œuvre des frères Dardenne comporte de manière formelle, dans sa matière filmique, les préoccupations socio-philosophiques qui animent Cornélius Castoriadis, à savoir : l’institution imaginaire des sociétés. La pensée du philosophe grec du XXème siècle surgit comme une ligne de force qui structure le champ de la représentation. La mise en images se trouve stratifiée d’un fond fictionnel qui renvoie à autant d’imaginaires fondateurs, structurels, et fédérateurs pour constituer les individus en société. Les films des frères Dardenne réactivent des imaginaires ancestraux qui participent de la mémoire collective. En convoquant cette mémoire, ils tendent vers la consolidation d’un sentiment d’appartenance à une même communauté humaine. Ainsi les motifs esthétiques dont ils se saisissent, par l’action imaginaire qu’ils engagent, viennent étayer le point d’aboutissement de la narration de l’ensemble de cette filmographie : la socialisation de leurs protagonistes qui passe par la reconnaissance de l’humanité de l’Autre
The Dardenne Brothers’ cinematography takes place in a very changing society. The economic crisis, the fading of industrial template, the beginning of the postindustrial area drive to a lake of landmarks. The Dardenne’s fiction films react against this loss of social significations. We can find in aesthetic patterns filled with ancient imaginary values. Those patterns are bound to a network of social and ancestral meanings. Those meaning values exceed their functional dimension. They carry meanings and uses coming from yore. They act like bridges toward their previous occurrences, which are myths, tales, holy scriptures, etc. We assume that those patterns are a way to resist disillusioning. Ancestral imagination comes in order to overcome the vanishing of social imagination. At this point, we can say that the Dardenne’s filmography deals with Cornelius Castoriadis’ socio-philosophy. The Greek philosopher of the twentieth century’s work is about social imagination and how societies exist thanks to a structural imagination. This preoccupation seems to reemerge in the Dardenne’s aesthesis as a guideline. Their images carry fictions bound to foundation stories. Which are able to federate people as a community. This cinematography revives ancestral imaginary. This collective memory strengthens the feeling of membership to the human community. The aesthesis pattern engages the imagination process. It joins the narration. As a matter of fact, those stories lead to the main characters’ consciousness as other people are human too

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Libri sul tema "Aesthetic patterns":

Engelberg, Edward. The vast design: Patterns in W.B. Yeats's aesthetic. 2^a ed. Washington, D.C: Catholic University of America Press, 1988.

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Fatima, Ibrahim Binta, e Binta Fatima Ibrahim. Themes, patterns and oral aesthetic forms in Nigerian literature. Ilorin, Nigeria: Haytee Press and Pub. Co., 2008.

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John, Briggs. Fractals: The patterns of chaos : a new aesthetic of art, science, and nature. New York: Simon & Schuster, 1992.

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Winold, Allen. Harmony: Patterns and principles. Englewood Cliffs, N.J: Prentice-Hall, 1986.

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Stone, Mark Van. Celtic knots: Techniques and aesthetics. Arvada, Colo: Alphabet Studio, 1992.

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Harris, Carolyn. Knitting patterns from nature. London: B.T. Batsford, 1989.

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Lindner, Christoph, e Gerard Sandoval, a cura di. Aesthetics of Gentrification. NL Amsterdam: Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789463722032.

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Gentrification is reshaping cities worldwide, resulting in seductive spaces and exclusive communities that aspire to innovation, creativity, sustainability, and technological sophistication. Gentrification is also contributing to growing social-spatial division and urban inequality and precarity. In a time of escalating housing crisis, unaffordable cities, and racial tension, scholars speak of eco-gentrification, techno-gentrification, super-gentrification, and planetary gentrification to describe the different forms and scales of involuntary displacement occurring in vulnerable communities in response to current patterns of development and the hype-driven discourses of the creative city, smart city, millennial city, and sustainable city. In this context, how do contemporary creative practices in art, architecture, and related fields help to produce or resist gentrification? What does gentrification look and feel like in specific sites and communities around the globe, and how is that appearance or feeling implicated in promoting stylized renewal to a privileged public? In what ways do the aesthetics of gentrification express contested conditions of migration and mobility? Addressing these questions, this book examines the relationship between aesthetics and gentrification in contemporary cities from multiple, comparative, global, and transnational perspectives.

Becker, Joyce R. Nature's patterns: Inspirations and techniques for quilt makers. Lincolnwood, Ill., U.S.A: Quilt Digest Press, 1996.

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Davis, W. Bowdoin. Duchamp: Domestic patterns, covers and threads. New York: Midmarch Arts Press, 2002.

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(Firm), Vanessa-Ann Collection, a cura di. 100 cross-stitch gifts from nature. New York: Sedgewood Press, 1989.

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Capitoli di libri sul tema "Aesthetic patterns":

Machnik, Grzegorz T., Miłosław Chodacki e Wiesław Kotarski. "Using Genetic Algorithm to Aesthetic Patterns Design". In Computational Collective Intelligence, 123–32. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-45246-3_12.

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Pejić, Biljana S., e Bojana P. Škorc. "Ambiguity and Aesthetic Reception of Pirot Carpet Patterns". In Уметност и наука у примени: искуство и визија = Art and Science Applied: Experience and Vision, 315–29. Београд: Универзитет уметности у Београду, Факултет примењених уметности, 2022. http://dx.doi.org/10.18485/smartart.2022.2.2.ch17.

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Gethner, Ellen, David G. Kirkpatrick e Nicholas J. Pippenger. "M.C. Escher Wrap Artist: Aesthetic Coloring of Ribbon Patterns". In Lecture Notes in Computer Science, 198–209. Berlin, Heidelberg: Springer Berlin Heidelberg, 2012. http://dx.doi.org/10.1007/978-3-642-30347-0_21.

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Blattmeier, Monika. "Patterns for Visualizing the Aesthetic Qualities of Business Processes". In Technology, Work and Globalization, 285–308. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-38719-7_9.

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Gdawiec, Krzysztof. "Aesthetic Patterns from the Perturbed Orbits of Discrete Dynamical Systems". In Computer Information Systems and Industrial Management, 358–66. Berlin, Heidelberg: Springer Berlin Heidelberg, 2013. http://dx.doi.org/10.1007/978-3-642-40925-7_33.

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Gdawiec, Krzysztof, Wiesław Kotarski e Agnieszka Lisowska. "Automatic Generation of Aesthetic Patterns with the Use of Dynamical Systems". In Advances in Visual Computing, 691–700. Berlin, Heidelberg: Springer Berlin Heidelberg, 2011. http://dx.doi.org/10.1007/978-3-642-24031-7_69.

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Colman, Adam. "Shelley, Alcohol, and the “world we make”: Habit’s Patterns in The Cenci". In Drugs and the Addiction Aesthetic in Nineteenth-Century Literature, 53–79. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-01590-9_2.

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Schulz, Karin. "»Una ventata di pazzia«?" In Bewegungsszenarien der Moderne, 143–62. Heidelberg, Germany: Universitätsverlag WINTER, 2021. http://dx.doi.org/10.33675/2021-82537264-9.

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Luigi Pirandello’s novels are based on scenarios of extreme emotional movement. By focusing on the novel ‚Suo marito‘, the essay will question the textual presentation of extremes, in order to point out the structural patterns in Pirandello’s writing practice with regard to the issue of emotional self-discovery of the individual. How does the emotional dynamic emerge and develop in selected sequences of scenes? And which structural characteristics or aesthetic paradigms of the representation of emotional movement can be summarized? Pirandello shows a special conception of aesthetic functionality of emotions, which in its specific character of movement reflects individual self-experience. The special analytic focus lies on the protagonist Giustino Boggiolo, whose ambition to build on his wife’s literary success and to exploit it commercially puts him into an ecstatic rush, endangering not only his own existence and self-image, but also his family.

Müller, Francis. "Analysis". In Design Ethnography, 77–86. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-60396-0_6.

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AbstractDrawing on sociological Grounded Theory and ethnographic semantics, this chapter argues that analysis is a genuinely creative practice. Analysis entails not simply classifying the data found or produced in the field in accordance with everyday, common-sense knowledge but rather looking for aesthetic and semantic clues in it. It is also not a fixed program, but rather a hermeneutic and explorative search for new connections and patterns of meaning. This is demonstrated through examples of various data materials, such as transcripts of interviews, observation protocols, photographs, video, and material culture.

Klestil, Matthias. "Introduction: African American Environmental Knowledge at Niagara". In Environmental Knowledge, Race, and African American Literature, 1–41. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-030-82102-9_1.

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AbstractTo define the concept of environmental knowledge and illustrate its potential for ecocritical readings of nineteenth-century African American literature, this chapter turns to two texts about Niagara Falls, a handwritten note by Frederick Douglass (1843) and Charles W. Chesnutt’s short story “The Passing of Grandison” (1899). While Douglass’s note exemplifies how black writers could transform dominant aesthetic modes such as the sublime to utter social critique through expressing epistemological and ethical relations to non-human nature, Chesnutt’s story demonstrates a strategic subversiveness characteristic of African American environmental knowledge. My readings highlight how Environmental Knowledge, Race, and African American Literature employs a Foucauldian ecocritical concept of environmental knowledge to trace places and patterns of an African American ecoliterary tradition.

Atti di convegni sul tema "Aesthetic patterns":

Cui, Shuandong, Yan Zhang e Yunfei Chen. "Visual aesthetic calculation and evaluation model of background pattern formed by the repeated arrangement of single patterns". In Intelligent Human Systems Integration (IHSI 2023) Integrating People and Intelligent Systems. AHFE International, 2023. http://dx.doi.org/10.54941/ahfe1002895.

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The background pattern formed by the repeated arrangement of a single pattern is widely used in modern interface design, textile, and packaging design. The existing aesthetic evaluation of such images is mostly based on subjective evaluation. This paper proposes two different calculation models for the proportion of a single element on a page and the calculation model for the density of a single pattern arrangement. This paper will design an experiment to study the influence of the proportion of a single pattern in the cell and the arrangement density on the page aesthetics of this type of background pattern. The conclusion of the experiment is as follows: for a fixed number of cells on the page, when the proportion of a single pattern area is about 0.5, the page will get the best aesthetic feeling; When the area proportion of patterns on a page is constant, the page beauty increases with the increase of pattern density. When the density increases to a certain value, that is, 5-8 single patterns per 100 pixels in the horizontal or vertical direction, the page beauty is the highest, and then the page beauty decreases with the increase of pattern density. This experiment provides a theoretical basis for the design and evaluation of patterns.

Wu, Tao, Limin Zhang e Junjie Yang. "Automatic generation of aesthetic patterns with cloud model". In 2016 12th International Conference on Natural Computation and 13th Fuzzy Systems and Knowledge Discovery (ICNC-FSKD). IEEE, 2016. http://dx.doi.org/10.1109/fskd.2016.7603328.

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Chen, Junchun, Tie Ji, Jian Peng e Bin Wang. "An AI-Assisted Design Method for “Huayao Cross-stitch” Patterns Based on Semantics". In 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1001866.

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Huayao cross-stitch is one of the first intangible cultural heritage in China, providing a rich source of aesthetic and cultural connotations for creative design.Construction of a database serves as an effective measure to strengthen the protection and inheritance of intangible cultural heritage. However, the effective reuse of the digital resources relies on the explorations and investigation of their cultural elements. Based on the cultural background of “pictorial artworks from Chinese traditional patterns all have meanings intended”, this paper takes “Huayao cross-stitch” patterns as an example to analyze their aesthetics. It proposes a transformation path for AI-assisted design and establishes a pattern semantic segmentation system and uses word2vec algorithm to strengthen the search system, uses pix2pix model and random algorithm to color and intelligently generate images, and explores the method of AI-assisted design without losing the traditional charm of “Huayao cross-stitch” patterns. This study can provide new ideas for the reuse of digital cultural resource and promote the value of ethnic patterns in modern times.

Pei, Yao, e Tan Fuqiang. "Aesthetic Analysis of Embroidery Patterns in Gannan Hakka Traditional Costumes". In Proceedings of the 2019 4th International Conference on Social Sciences and Economic Development (ICSSED 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/icssed-19.2019.68.

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FATIHADDIN, DOAA, BOB EVES e MOAMER GASHOOT. "IMPLEMENTING ISLAMIC PATTERNS IN INTERIOR DESIGN TO ENHANCE THE SPIRITUAL AESTHETIC". In ISLAMIC HERITAGE 2018. Southampton UK: WIT Press, 2018. http://dx.doi.org/10.2495/iha180111.

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Ho, Amic. "The Role of Visual Aesthetics in Emotional Response". In 10th International Conference on Human Interaction and Emerging Technologies (IHIET 2023). AHFE International, 2023. http://dx.doi.org/10.54941/ahfe1004170.

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This study aims to examine the impact of visual aesthetics on emotional response in design and art as well as the potential for computer technology to optimise aesthetic design choices for optimum emotional impact. Through an examination of prior research and investigation into the potential for computer-generated designs to optimise emotional impact, the paper emphasises the repercussions of these findings beyond the design industry, including ethical concerns. The study demonstrates that by analysing vast amounts of data and identifying patterns in emotional responses, artificial intelligence systems can generate designs optimised for specific emotional outcomes. By leveraging computer technology’s capacity to optimise aesthetic ratings for emotional impact, designers and researchers may be able to create more engaging, memorable, and effective designs. However, one must consider ethical concerns, such as prejudice, impartiality, data privacy, and security. To ensure the responsible and beneficial use of computer technology in visual design, the study identifies five key areas for future research: context, cultural and contextual aspects, personalization, ethical frameworks and norms for computer-generated designs, and real-world outcomes (such as sales and customer engagement). This study aims to shed light on the significance of visual aesthetics in emotional response as well as the potential for computer technology to revolutionise design decision-making to optimise emotional impact.

Jederström, Moa, Hanna Sandell, Örjan Dahlström, Kristina Fagher, Laura Korhonen, Carolina Lundqvist e Toomas Timpka. "864 BO48 – Towards prevention of self-objectification in young female athletes on social media: instagram posting patterns of female elite athletes in aesthetic and non-aesthetic individual sports". In 7th IOC World Conference on Prevention of Injury and Illness in Sport, Monaco, 29 February–2 March 2024. BMJ Publishing Group Ltd and British Association of Sport and Exercise Medicine, 2024. http://dx.doi.org/10.1136/bjsports-2024-ioc.121.

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Zhou, Zheng, Sijin Wang, Wenjie Wu, Aijun Huang, Yafeng Niu, Hui Tang, Yingjie Victor Chen e Zhenyu Cheryl Qian. "ClockPetals: Interactive Sequential Analysis of Traffic Patterns VAST Challenge MC1 Award: Multi-Challenge Award for Aesthetic Design". In 2017 IEEE Conference on Visual Analytics Science and Technology (VAST). IEEE, 2017. http://dx.doi.org/10.1109/vast.2017.8585620.

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Naik, Niyati S., e Ihab Elzeyadi. "External Dynamic Screens for Thermal Delight and ‘Alliesthesia’". In 108th Annual Meeting Proceedings. ACSA Press, 2020. http://dx.doi.org/10.35483/acsa.am.108.12.

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External dynamic screens, inspired from geometric patterns of vernacular screens, are popular building facade treatments because of their aesthetic significance. Their potential to impact building cooling energy demand and visual comfort has been well-realized, However, their impact on occupant com¬fort has been under-researched. This study is part of a larger research problem that investigates the impact of external dynamic screens on occupants’ thermal comfort and ‘alliesthesia’/thermal pleasure. This paper focuses on investigating the sensitivity of predicted thermal comfort to geometric parameters of a screen using computational simulations. Results from this sensitivity analysis were used to address the question, as to how can external dynamic screens be designed to create transient yet comfortable thermal environments. The present study formed a basis to inform the design and development of screen prototypes and experiments involving human subjects. It provides architects and architecture students with an approach, where design intentions impact occupant thermal delight, beyond aesthetics.

Chokron, Sylvie, Seta Kazandjian e Maria De Agostini. "Effects of Reading Direction on Visuospatial Organization: A Critical Review". In International Association of Cross Cultural Psychology Congress. International Association for Cross-Cultural Psychology, 2009. http://dx.doi.org/10.4087/wvik1820.

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Over the past decades, a growing literature on perceptual bias has investigated the factors that determine normal performance in simple visuospatial tasks, such as line bisection and aesthetic preference. Normal right-handed participants may exhibit spatial asymmetries in these tasks with a tendency to bisect to the left of the objective middle in line bisection and a preference for images with the center of interest in their right half in aesthetic preference tasks. These patterns of performance have mostly been attributed to hemispheric imbalance. Other explanations have also been put forth to explain the spatial asymmetries seen in the normal population. Here we review studies that target the role of reading direction on visuospatial tasks. In addition to presenting several of our studies that investigated differences in line bisection and aesthetic preference performances between left-to-right readers (French) and right-to-left readers (Israeli), we present a discussion of the existing literature on reading direction, culture and visuospatial processing. The findings are discussed regarding the interaction between cultural factors, such as reading habits, and biological factors, such as cerebral lateralization, in visual perception.