Articoli di riviste sul tema "Aesthetic patterns"
Segui questo link per vedere altri tipi di pubblicazioni sul tema: Aesthetic patterns.
Cita una fonte nei formati APA, MLA, Chicago, Harvard e in molti altri stili
Vedi i top-50 articoli di riviste per l'attività di ricerca sul tema "Aesthetic patterns".
Accanto a ogni fonte nell'elenco di riferimenti c'è un pulsante "Aggiungi alla bibliografia". Premilo e genereremo automaticamente la citazione bibliografica dell'opera scelta nello stile citazionale di cui hai bisogno: APA, MLA, Harvard, Chicago, Vancouver ecc.
Puoi anche scaricare il testo completo della pubblicazione scientifica nel formato .pdf e leggere online l'abstract (il sommario) dell'opera se è presente nei metadati.
Vedi gli articoli di riviste di molte aree scientifiche e compila una bibliografia corretta.
1
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.
Abstract (sommario):
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.
2
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.
Abstract (sommario):
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.
3
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.
Abstract (sommario):
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.
4
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.
Abstract (sommario):
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.
5
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.
Abstract (sommario):
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.
6
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.
Abstract (sommario):
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.
7
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.
Abstract (sommario):
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.
8
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.
Abstract (sommario):
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.
9
Kiianlinna, Onerva. "Aesthetic Gadgets: Rethinking Universalism in Evolutionary Aesthetics". Philosophies 7, n. 4 (21 giugno 2022): 71. http://dx.doi.org/10.3390/philosophies7040071.
Abstract (sommario):
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.
10
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.
Abstract (sommario):
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.
11
Poorani, D., J. Vidhya e T. Kadalarasane. "Female aesthetic experience on apparel products". BOHR International Journal of Advances in Management Research 2, n. 1 (2023): 123–26. http://dx.doi.org/10.54646/bijamr.2023.28.
Abstract (sommario):
The intention of this study is to inquire into the consumer clothing experience of women. The interpretive method used in-depth interviews about their experiences with the fitted clothes. This research shows that discovery is related to the creation, development, and maintenance of clothing mainly through product experience aesthetics, which are positive emotions such as the aesthetic characteristics of products. It was found that style, color, patterns, product design, and materials create this aesthetic experience. The researchers have used in the interviews certain stimuli that aim to identify consumer decision-making regarding the aesthetic aspects of apparel products. The results of this study show that the female aesthetic experience, especially color and texture, plays a crucial role in creating the necessary aesthetic experiences. This study concluded that aesthetics play an important role in purchasing decisions for clothing.
12
Fingerhut, Joerg, e Jesse J. Prinz. "Aesthetic Emotions Reconsidered". Monist 103, n. 2 (2 marzo 2020): 223–39. http://dx.doi.org/10.1093/monist/onz037.
Abstract (sommario):
Abstract We define aesthetic emotions as emotions that underlie the evaluative assessment of artworks. They are separated from the wider class of art-elicited emotions. Aesthetic emotions historically have been characterized as calm, as lacking specific patterns of embodiment, and as being a sui generis kind of pleasure. We reject those views and argue that there is a plurality of aesthetic emotions contributing to praise. After presenting a general account of the nature of emotions, we analyze twelve positive aesthetic emotions in four different categories: emotions of pleasure, contemplation, amazement, and respect. The emotions that we identify in each category, including feelings of fluency, intrigue, wonder, and adoration, have been widely neglected both within aesthetics and in emotion research more broadly.
13
CHEN, NING, YUTING ZHANG e K. W. CHUNG. "CONSTRUCTION OF AESTHETIC SPHERICAL PATTERNS FROM PLANAR IFSs". Fractals 24, n. 03 (30 agosto 2016): 1650030. http://dx.doi.org/10.1142/s0218348x16500304.
Abstract (sommario):
To construct symmetrical patterns on the unit sphere from the planar iterative function systems (IFSs), we present a method of constructing IFSs with [Formula: see text] symmetry which is composed of three-fold rotational symmetries together with reflections. An algorithm is developed to generate strange attractors with [Formula: see text] symmetry on a triangular face and then project it onto the surface of the unit sphere to form aesthetics patterns with spherical symmetry. As an illustrative example, we consider the regular inscribed icosahedron in the unit sphere which contains 20 triangular faces. This method is valid to randomly generate aesthetic spherical patterns using planar IFSs.
14
Khalili, Abdullah, e Hamid Bouchachia. "An Information Theory Approach to Aesthetic Assessment of Visual Patterns". Entropy 23, n. 2 (27 gennaio 2021): 153. http://dx.doi.org/10.3390/e23020153.
Abstract (sommario):
The question of beauty has inspired philosophers and scientists for centuries. Today, the study of aesthetics is an active research topic in fields as diverse as computer science, neuroscience, and psychology. Measuring the aesthetic appeal of images is beneficial for many applications. In this paper, we will study the aesthetic assessment of simple visual patterns. The proposed approach suggests that aesthetically appealing patterns are more likely to deliver a higher amount of information over multiple levels in comparison with less aesthetically appealing patterns when the same amount of energy is used. The proposed approach is evaluated using two datasets; the results show that the proposed approach is more accurate in classifying aesthetically appealing patterns compared to some related approaches that use different complexity measures.
15
Naveed, Tayyab, Sidra Batool, Rehana Ilyas, Nadeem Afraz, Ume Sahar, Arooj Shahid e Muhammad Awais. "Aesthetic relationship between personality emotions and contemporary graphic design patterns on the surfaces of textiles". Mehran University Research Journal of Engineering and Technology 43, n. 2 (7 aprile 2024): 143. http://dx.doi.org/10.22581/muet1982.3067.
Abstract (sommario):
In this work, five different types of animated graphic design ideas (traditional, 2D, 3D, stop motion, motion) were examined on three different textile fabrics (cotton, silk, polyester) through digital printing. Psychological-emotional expressions (openness, conscientiousness, extroversions, agreeableness, and neuroticism) were investigated that influenced the perceptual criteria. Lastly, a quantitative investigation was carried out from a sample of 300 students whose ages varied from 20 to 24 years old for an analysis of aesthetic appeal through a 5-point Likert scale. The results revealed that motion animation design has the most effective aesthetic appeal while the stop motion design pattern has the least aesthetic appeal. Silk fabric samples have better graphic consequences whereas polyester fabric samples have the least. Moreover, individuals with neuroticism emotional personality have the least effective response while agreeableness has the utmost for the sense of aesthetics. 71% of students were accustomed to aesthetic appeal as compared to structural fabrics.
16
SAITO, Sakiko, Nanako USHIFUSA, Hime SAKAI, Megumi KONDO e Yoshiyuki KOBAYASHI. "Kinematic Characteristics of Aesthetic Gait Patterns". Biomechanisms 25 (2020): 195–209. http://dx.doi.org/10.3951/biomechanisms.25.195.
17
Romero-Ramírez, Miguel A., e Duncan Reyburn. "Towards an expansive object and a restrictive experience in Everyday Aesthetics: A Chestertonian metaxological approach". Kepes 18, n. 24 (1 luglio 2021): 197–231. http://dx.doi.org/10.17151/kepes.2021.18.24.8.
Abstract (sommario):
This article proposes to resolve an internal ambiguity in the subdiscipline called Everyday Aesthetics (EA), systematized by the researcher Horacio Pérez-Henao, according to whom the extension of aesthetics to the everyday has been done, on the one hand, by means of a consideration of an expansive object and subject according to aesthesis itself, as mainly proposed by Katya Mandoki, and, on the other hand, by means of a restrictive object and subject according to the parameters of an authentic aesthetic experience, a theory headed by John Dewey. Methodology: To resolve this tension, a hermeneutic methodology known as the fourfold sense of being, related to Hegelian dialectic, albeit with important modifications supplied by William Desmond was used. This methodology allows a suitable way to explore and discuss different approaches in everyday aesthetics epitomized by Mandoki and Dewey, and makes possible the proposal of a third way, epitomized by G. K. Chesterton. Results: Bearing in mind the original intention of EA—according to which the everyday must be revitalized from an aesthetic perspective, as explained by Joseph Kupfer, it is argued that the two alternate positions of Mandoki and Dewey are unsatisfactory; an attempt is therefore made to respond to this through the analysis of the aesthetic approach of G. K. Chesterton. From his aesthetic reflections, it can be ascertained that to revitalize daily life, the object must be expansive and the subject, restrictive, from a certain méthodos and according to patterns that qualify an everyday aesthetic experience. All of this seeks to pave the way for subsequent investigations of EA being both expansive and restrictive. Finally, it is argued that this Chestertonian EA converges with and extends the aesthetics of design of Jane Forsey, and thus shows that design itself can be revitalized in keeping with a restrictiveexpansive approach to everyday aesthetics. Conclusion: aesthetics should be expansive every day, in that it should concern itself with any aspect of daily life, and restrictive, in that it should set certain limits on the self and its intentions with regard to the possibilities of aesthetic experience.
18
Mao, Yongchun. "Influence of Material and Decoration on Design Style, Aesthetic Performance, and Visual Attention in Chinese-Style Chairs". Forest Products Journal 74, n. 3 (1 giugno 2024): 220–32. http://dx.doi.org/10.13073/fpj-d-24-00017.
Abstract (sommario):
Abstract Chinese-style chairs are appreciated by many consumers for their elegant design. The material and decoration have a significant impact on the design of Chinese-style chairs. Exploring the influence of these two factors on design styles and aesthetic expressions, as well as the related visual attention patterns, is of great importance for the design of Chinese-style chairs. This study aimed to investigate the impact of material (wood/metal) and decoration (pattern/no pattern) on the design style, aesthetic performance, and visual attention patterns of Chinese-style chairs. Fifty-six Chinese university students wore eye-tracking glasses to view four types of chair designs and completed subjective rating scales. The results show that material and decoration have both independent and interactive effects. Wood chairs exhibit a traditional design style and superior aesthetic performance compared to metal chairs. Traditional Chinese patterns enhance design style and aesthetic performance, particularly when applied to wooden chairs. Visual attention was not significantly different across chair designs, except for wooden chairs with traditional patterns on the backrest, which attracted more attention. These research findings provide reference for designers to design Chinese-style chairs.
19
Wang, Chen, Dan Liu e Xiaoman Huang. "Application of Flower and Bird Patterns in Modern Makeup and Hair from the Perspective of Design Culture". Scientific and Social Research 3, n. 5 (5 novembre 2021): 113–18. http://dx.doi.org/10.36922/ssr.v3i5.1230.
Abstract (sommario):
Under the background of the vigorous development of various cultural and artistic forms, the traditional patterns that can express the unique charm of Chinese national culture have become an important material for modern design. Traditional patterns not only have unique decorative functions, but also represent the spirit of traditional culture. Among them, flower and bird patterns are also precipitated by history. It is worth exploring how to combine the flower and bird patterns with the aesthetics of the times, and how to integrate the traditional flower and bird patterns with the nature of the times. Starting with the formation and development of flower and bird patterns, this paper analyzes the historical, cultural and aesthetic attributes of flower and bird patterns from the perspective of design culture, and expounds the application of flower and bird patterns in makeup and hair in various historical dynasties. With the development of the times, the application of flower and bird patterns in modern makeup and hair should be both national and in line with the aesthetic requirements of modern people.
20
Höfel, Lea, e Thomas Jacobsen. "Electrophysiological Indices of Processing Symmetry and Aesthetics". Journal of Psychophysiology 21, n. 1 (gennaio 2007): 9–21. http://dx.doi.org/10.1027/0269-8803.21.1.9.
Abstract (sommario):
Abstract. Evaluative aesthetic judgments and descriptive symmetry judgments were compared. Electrophysiological activity was recorded while participants judged the aesthetic value or the symmetry status of novel graphic black and white patterns. In order to experimentally separate judgment categorization processes and judgment report processes, participants were instructed to misreport their true actual judgment in half of the trials. Three effects found in a previous study were examined: (1) an early frontocentral effect for the evaluation of not-beautiful patterns reflecting an early impression formation, (2) a more pronounced ERP lateralization to the right for the aesthetic judgment task in comparison to the symmetry judgment task reflecting evaluative categorization, and (3) a sustained posterior effect for the visual analysis of symmetric patterns. In this study, (1) and (3) were replicated independent of the validity of the response, but (2) was affected by the validity, i.e., the effect was abolished in the false condition. Thus, results allowed further specification of cognitive processes involved in judgments of symmetry or aesthetics. Given present data, the ERP effects predominantly reflect judgment categorization and not judgment report.
21
Gdawiec, Krzysztof. "Procedural generation of aesthetic patterns from dynamics and iteration processes". International Journal of Applied Mathematics and Computer Science 27, n. 4 (20 dicembre 2017): 827–37. http://dx.doi.org/10.1515/amcs-2017-0058.
Abstract (sommario):
AbstractAesthetic patterns are widely used nowadays, e.g., in jewellery design, carpet design, as textures and patterns on wallpapers, etc. Most of the work during the design stage is carried out by a designer manually. Therefore, it is highly useful to develop methods for aesthetic pattern generation. In this paper, we present methods for generating aesthetic patterns using the dynamics of a discrete dynamical system. The presented methods are based on the use of various iteration processes from fixed point theory (Mann, S, Noor, etc.) and the application of an affine combination of these iterations. Moreover, we propose new convergence tests that enrich the obtained patterns. The proposed methods generate patterns in a procedural way and can be easily implemented on the GPU. The presented examples show that using the proposed methods we are able to obtain a variety of interesting patterns. Moreover, the numerical examples show that the use of the GPU implementation with shaders allows the generation of patterns in real time and the speed-up (compared with a CPU implementation) ranges from about 1000 to 2500 times.
22
Xu, Li, Da Gang Li, Chang Yan Xu e Zhao Yang Xu. "Research and Design on Aesthetics of Wood Grain". Advanced Materials Research 538-541 (giugno 2012): 3259–64. http://dx.doi.org/10.4028/www.scientific.net/amr.538-541.3259.
Abstract (sommario):
From the study on the status of wood aesthetics, firstly through analyzing the macro grain of wood in three sections, the article indicates people’s aesthetic demand that the wood's natural grain meets the visual and psychological need of people. And then, it studies the wood microstructure by the principle of form beauty which makes deeper discussion of the wood’s microstructure grain on aesthetic form. Last, through graphics processing of the wood grain, it will produce some wonderful regular tessellation patterns and apply to the design of the product, which enriches the material library of modern graphic design, and expresses the significance of the research on wood aesthetics.
23
Koutsabasis, Panayiotis, e Theano G. Istikopoulou. "Perceived Website Aesthetics by Users and Designers". International Journal of Technology and Human Interaction 10, n. 2 (aprile 2014): 21–34. http://dx.doi.org/10.4018/ijthi.2014040102.
Abstract (sommario):
The set up of practical methods for evaluation of website aesthetics from the user perspective and the provision of useful feedback to designers is an open issue in Human-Computer Interaction (HCI). The paper presents an evaluation study of aesthetic attributes of two websites from the user perspective and compares the results to the design team. The study initially involved the formulation of a set of aesthetic attributes and their appreciation by a user group of 111 users for two websites, following a traditional user testing approach. The user evaluation was then compared to the design team's appreciation of these aesthetic attributes for their own designs. The main results of this test was that: (a) the two groups have a similar view about the presence of a considerable number of the selected aesthetic attributes; (b) users have rated most aesthetic attributes significantly lower than designers; (c) different aesthetic attributes become important for different objects of study for both groups. The design team found the evaluation informative and inspiring; however they identified the need for further explanation of user responses in terms of suggested design patterns and examples. Also, a number of recommendations towards an evaluation method of aesthetics in HCI are identified and discussed
24
Koutsabasis, Panayiotis, e Theano G. Istikopoulou. "Perceived Website Aesthetics by Users and Designers". International Journal of Technology and Human Interaction 9, n. 2 (aprile 2013): 39–52. http://dx.doi.org/10.4018/jthi.2013040103.
Abstract (sommario):
The set up of practical methods for evaluation of web site aesthetics from the user perspective and the provision of useful feedback to designers is an open issue in Human-Computer Interaction (HCI). The paper presents an evaluation study of aesthetic attributes of two web sites from the user perspective and compares the results to the design team. The study initially involved the formulation of a set of aesthetic attributes and their appreciation by a user group of 111 users for two web sites, following a traditional user testing approach. The user evaluation was then compared to the design team’s appreciation of these aesthetic attributes for their own designs. The main results of this test was that: (a) the two groups have a similar view about the presence of a considerable number of the selected aesthetic attributes; (b) users have rated most aesthetic attributes significantly lower than designers; (c) different aesthetic attributes become important for different objects of study for both groups. The design team found the evaluation informative and inspiring; however they identified the need for further explanation of user responses in terms of suggested design patterns and examples. Also, a number of recommendations towards an evaluation method of aesthetics in HCI are identified and discussed
25
Law, Christopher. "“Common Informality”". liquid blackness 6, n. 1 (1 aprile 2022): 34–47. http://dx.doi.org/10.1215/26923874-954655.
Abstract (sommario):
Abstract This article explores how two key problems of philosophical aesthetics, temporality and form, are rethought in Fred Moten's consent not to be a single being trilogy. The article proposes that Moten's work is notable for its refusal to affirm a link between aesthetic experience, or aesthesis, and the future-bound possibility of political community. This refusal distinguishes Moten's work both from the political philosophy underlying Immanuel Kant's aesthetics and from the dialectical critique of Kant found in contemporary theoretical work prioritizing formal experimentation. The article contends instead that Moten's work is shaped by a sustained attention to “informal” patterns of aesthetic experience, for which the graphic materiality of writing functions as a privileged index. The article then explores the political and temporal implications of writing's materiality in two essays from Moten's Black and Blur. To pursue this task, it draws on Walter Benjamin's understanding of philological interpolation and argues that Moten's work, particularly in its insistence on “renomination” rather than conceptual creation, can likewise be understood as philological. The article concludes, however, by showing how the idea of linguistic freedom advanced in recent philological work is complicated by Moten's recognition of a link between predication and blackness.
26
Tobeck, Janine, e Donald Jellerson. "Caring about the Past, Present, and Future in William Gibson’s Pattern Recognition and Guerrilla Games’ Horizon: Zero Dawn". Arts 7, n. 4 (25 settembre 2018): 53. http://dx.doi.org/10.3390/arts7040053.
Abstract (sommario):
This essay argues that William Gibson’s 2003 novel, Pattern Recognition, rejects the stylistic and formal trappings of cyberpunk that he himself helped create in the 1980s in order to reformulate the movement’s aesthetics of participation for the 21st Century. This participatory aesthetic is structured by a set of temporal concerns: A past made ever more available through information technology and yet ever more materially irrecoverable, a present subject to increasingly rapid change and therefore briefer and more difficult to interpret, and a bleak future of inevitable capitalist commodification. Within this temporal vortex, Gibson’s protagonist finds compensatory solace in her ability to see patterns and thus develop strategies by which to value objects and people in new ways. She learns how to care, and what to care for. From this analysis of Pattern Recognition, the essay tracks this aesthetic into Guerrilla Games’ 2017 Horizon: Zero Dawn—a popular entry in a medium that promises participatory involvement on a new scale.
27
Rofingah, Ema Iis. "Paradox Aesthetics Blangkon In Yogyakarta And Surakarta". KnE Social Sciences 1, n. 3 (13 aprile 2017): 259. http://dx.doi.org/10.18502/kss.v1i3.746.
Abstract (sommario):
<p>Mataram kingdom became part of the history of Kraton Yogyakarta, starting from the Giyanti agreement in 1755. Then Mataram kingdom was divided into two regions Solo and Yogyakarta. Each region was headed by one king. The title for the king's Solo palace is Pakubuwono, while the term for the king's palace in Yogyakarta is Hamengkubowono. One of the relics from the palace, which is still preserved until now is <em>blangkon</em>. <em>Blangkon</em> is used as a headgear by the people in the palace. Yogyakarta Blangkon style is different from Solo blangkon style, although this palace used to be one area. Blangkon have a specific pattern that is related to the lifestyle of Javanese community, especially people of the palace. Blangkon is considered as one of artifacts as it has a philosophy of characteristics and identity of Javanese community. This research used qualitative research in the form of literature study. The method used by the authors is by collecting data source: primary data and secondary data. Blangkon will be examined through the used patterns which is connected in the aesthetic paradox. Basically there are kinds of pattern which are called pattern two, three, four, and five. Eventually it came to a conclusion that Blangkon is the development of aesthetic paradox patterns of patterns three to five patterns.</p><p> </p><p><strong>Keywords: </strong><em>Paradox aesthetics, Blangkon<strong></strong></em></p>
28
Khuraibet, Usama Abdul-Mun'em. "Symbolic aesthetics in steel structural systems". Journal of Engineering 21, n. 2 (1 febbraio 2015): 1–19. http://dx.doi.org/10.31026/j.eng.2015.02.10.
Abstract (sommario):
The aesthetic expression and its orders are important for steel structures forming. Steel structures are a compilation of structural elements, where its shapes have standard dimensions and pre-fabricated. As the steel construction systems not only aim to achieve the functional requirements for users, but must also have the symbolic aesthetics which provides visually and cognitive expression for viewers. In this sense the research interested in expressional aesthetics in these systems and highlights the importance of attention as structural items. Therefore the visual items which related with steel structures contain some of the most powerful forms of modern architecture, steel structures with a glass cladding, agility and accuracy in manufacture of structural elements as visual items, structural interest in the forms of spaces which have long span systems or in high buildings are different forms of expression and influence. So the research focuses on the study of those expressive patterns related with the steel construction properties, including the advantages of these systems at the level of strength and firmness, flexibility and economy as well as aesthetic and expression. Accordingly, the research problem concentrated on educational shortage in the study of the structural steel system aspects concerning constructional characteristic, expressive and aesthetic features, and how to deal with them as a language bearing the symbols and meanings which have clear structural style, because it the best ways to make those systems as communication means with users, by premise that the use of expressional symbol in steel construction increases the aesthetic value. Therefore the research aims to reveal the most structural and expressive patterns by analysis the expressional means and steel structural aesthetics.
29
Peng, Chengyue. "Research on the Characteristics of Figure Round Pattern in Qing Dynasty". Arts Studies and Criticism 5, n. 1 (24 aprile 2024): 20. http://dx.doi.org/10.32629/asc.v5i1.1858.
Abstract (sommario):
Round pattern, also known as round nest pattern. It is one of the most common patterns in ancient China, that is, symmetrical radial or rotating round decorative patterns around. Such patterns are often found on ancient bronze ware, ceramics, weaving and embroidery products, and modern silk fabrics. Round pattern is an important part of the study of Chinese costume patterns, which contains the cultural concepts that Chinese people yearning for perfection, auspiciousness, reunion, harmony and beauty. Cloud bat pattern, rich and noble peony pattern, colorful cloud pattern, sitting dragon pattern, phoenix pattern, butterfly pattern, and so on, the subject matter is numerous. Central symmetry type, Tai Chi type corresponding type, rotary radiation type, asymmetric flower type, and so on, the style is rich. Among them, the Qing Dynasty appeared a round pattern with character stories and relatively free composition. The pattern of the character round has unique characteristics of the Times. On the basis of the aesthetic feeling of the round flower form, it integrates the plot of the characters, reflecting the characteristics of the social customs and aesthetic taste at that time, and establishes a bridge for the traditional pattern and custom illustration.
30
Gladkova, Anna. "“What is beauty?”". International Journal of Language and Culture 8, n. 1 (7 giugno 2021): 84–105. http://dx.doi.org/10.1075/ijolc.00036.gla.
Abstract (sommario):
Abstract The paper studies the semantics of four Russian key terms of aesthetic evaluation: krasivyj ‘beautiful’, prekrasnyj ‘beautiful/fine’, nekrasivyj ’ugly/plain’ and bezobraznyj ‘ugly/frightful’. It demonstrates different patterns of polysemy of the words and the nuances of meaning. Following the framework of folk aesthetics and cultural semantics, the meanings of the terms in question are represented using the Natural Semantic Metalanguage (NSM) and are shown to relate to Russian cultural themes. The analysis demonstrates cultural significance of aesthetic value in Russian and its intrinsic link with ethics, morality and politeness.
31
Silva, Marcos Paulo Da. "Apontamentos sobre a contribuição da sociologia das formas de Franco Moretti para os estudos em jornalismo". MATRIZes 11, n. 2 (31 agosto 2017): 207. http://dx.doi.org/10.11606/issn.1982-8160.v11i2p207-227.
Abstract (sommario):
The paper presents notes about the theoretical-methodological contribution of literary critic Franco Moretti’s sociology of forms to journalism studies. The discussion supports itself on two background hypotheses from the author’s work: i) certain aesthetic-expressive pattern just disseminates itself when it finds support on broader cultural patterns; ii) the symbolic codification process of such cultural patterns do not stablish only on content plan, but on own form, on the aesthetic-expressive dimension of narration. Moreover, the article lists six theoretical-methodological premises for an interdisciplinary interface with journalistic field.
32
Guo, Bian, e Die Hu. "Hainan Li Brocade Patterns in the Design of Food and Beverage Brand Regeneration and Application of Research". Highlights in Art and Design 3, n. 1 (31 maggio 2023): 23–26. http://dx.doi.org/10.54097/hiaad.v3i1.9162.
Abstract (sommario):
To study the artistic characteristics of Li brocade patterns, to realize the fusion of traditional Li brocade patterns with current aesthetics, and to apply them to modern restaurant brand design. Based on the lack of innovation in Li brocade culture, we analyze and study the representative animal patterns of Li brocade, sort out the artistic characteristics of Li brocade patterns, and extract design innovations in terms of innovation and re-creation of basic elements, symbiosis and extension of semantics, and inheritance and application of culture. Combined with modern people's values and aesthetic way of thinking, it is applied to restaurant brand design.
33
Nur Shararath Bunjarat Seng Chuan, Farhana Mohd Razif, Md Azree Othuman Mydin, Hazrina Haja Bava Mohidin e Leng Pau Chung. "Solar Responsive Facade as Siamese Cultural Aesthetic Frontage in Malaysia". Journal of Advanced Research in Applied Sciences and Engineering Technology 29, n. 3 (8 febbraio 2023): 62–76. http://dx.doi.org/10.37934/araset.29.3.6276.
Abstract (sommario):
A kinetic façade, also referred to as a solar responsive façade (SRF), is a movable façade that responds to the amount of light received. The mechanism prevents excessive light from entering while allowing the ideal amount of natural lighting into buildings. Following the green building movement, SRF usage increased because it can both lower heat gain and improve the aesthetics of a building's design. Even though the SRF has many advantages, the façade pattern has become uniform across all cultures, regions, and climates, which results in a lack of identity in building design. This essay will focus on SRF designs that were inspired by Malaysia's Siamese culture. Examining the daylight factor (DF) of three particular Siamese patterns from cultural art, religious art, and cultural craft is the main objective. The designs were then mounted on a wall measuring 5.3 x 6.0 metres with a window-to-wall ratio of 70%. (WWR). Using VELUX Daylight Visualizer 3, the potential Siamese patterns were built as a three-dimensional model and the DF at nine different folding techniques were examined. Based on the percentage of achieving a 1.0 to 3.5 daylight factor in all kinetic folding techniques, the result reveals that the religiously inspired pattern is the best among the three selected Siamese patterns. While the pattern helps to ensure that buildings receive the most natural light possible, the study shows that the folding technique also has a significant impact by reflecting light into the structure.
34
Zhu, Yun Ming, e In Sik Shin. "A study on the Application of Hanwha Sangseok Border Decorative Patterns Based on the Rules of Shape Grammar". Korea Institute of Design Research Society 7, n. 2 (30 giugno 2022): 333–44. http://dx.doi.org/10.46248/kidrs.2022.2.333.
Abstract (sommario):
The border decorative patterns of Hanwha Sangseok is usually engraved on the edge of the painting in the form of a band, and it can be said to be the same as the frame of the picture screen. The existence of the border decorative patterns meets the decorative demand of Hanwha Sangseok and at the same time harmonizes with the main designs of Hanwha Sangseok to give artistry to the picture screen. The decorative patterns of Hanwha Sangseok forms an art element with very distinct ethnic characteristics through its own unique expression method and implements excellent innovation and value in use. With the application of Hanwha Sangseok border decoration patterns as the research topic, this paper organizes border decoration patterns by pattern type and explores the aesthetic significance of Hanwha Sangseok border decoration patterns from an aesthetic and humanistic perspective. In addition, by extracting the elements of the border decoration pattern, a new pattern is created and applied to the design of daily necessities through combination with the shape grammar system.
The decorative pattern created using the rules of shape grammar is not too bound by the typical frame of the original decorative pattern while making use of the art elements of the Hanwha Sangseok border decorative pattern. This study more effectively implements the ethnicity and redesign potential of decorative patterns by seeking a contact point between decorative patterns with ethnic characteristics and modern design through the combination of shape grammar systems and Hanwha Sangseok border decorative patterns.
35
Jin, Jia Yu, e Sung Won Lee. "A Study on the Analysis of Traditional Chinese Patterns and the Application of Modern Furniture: Focusing on Plant Patterns". Korea Institute of Design Research Society 7, n. 2 (30 giugno 2022): 272–85. http://dx.doi.org/10.46248/kidrs.2022.2.272.
Abstract (sommario):
In this study, the most typical plant pattern among traditional patterns was used as a decorative element of modern furniture as a detailed expression element. The purpose of this study is to reinterpret the artistic characteristics of traditional plant patterns in a modern sense and to develop furniture designs in which plant patterns are reflected in a modern image. If you inherit the art culture of ancient traditional patterns and refer to them, you will be able to better express the spirit and traditional cultural features of your home country in modern furniture design. This provides a rationale for making good use of the characteristics of traditional plant patterns in modern furniture design. In this study, the application method of traditional plant patterns to the development of modern furniture design was studied through investigation and analysis of various aspects such as pattern style, decorative parts, number of patterns, and processing technology according to the aesthetic demands of modern people. This study conducted an online survey targeting 200 participants. In terms of pattern style, decorative parts, number of patterns, and processing technology according to aesthetic demand, it was found that traditional plant patterns fit the trend and have a correct influence. Through this study, it will be possible to find out the problems faced by modern furniture using traditional plant patterns and the direction of development of traditional plant patterns in modern furniture design.
36
Ouyang, Peichang, Liying Wang, Tao Yu e Xuan Huang. "Aesthetic Patterns with Symmetries of the Regular Polyhedron". Symmetry 9, n. 2 (3 febbraio 2017): 21. http://dx.doi.org/10.3390/sym9020021.
37
Xinchang Wang e Peichang Ouyang. "Beautiful Math--Aesthetic Patterns Based on Logarithmic Spirals". IEEE Computer Graphics and Applications 33, n. 6 (novembre 2013): 21–23. http://dx.doi.org/10.1109/mcg.2013.87.
38
Cohen, Dalia, e Ruth Katz. "Rhythmic Patterns Reflecting Cognitive Constraints and Aesthetic Ideals". Journal of New Music Research 37, n. 1 (marzo 2008): 15–35. http://dx.doi.org/10.1080/09298210802095635.
39
Vessel, Edward A., Ayse Ilkay Isik, Amy M. Belfi, Jonathan L. Stahl e G. Gabrielle Starr. "The default-mode network represents aesthetic appeal that generalizes across visual domains". Proceedings of the National Academy of Sciences 116, n. 38 (4 settembre 2019): 19155–64. http://dx.doi.org/10.1073/pnas.1902650116.
Abstract (sommario):
Visual aesthetic evaluations, which impact decision-making and well-being, recruit the ventral visual pathway, subcortical reward circuitry, and parts of the medial prefrontal cortex overlapping with the default-mode network (DMN). However, it is unknown whether these networks represent aesthetic appeal in a domain-general fashion, independent of domain-specific representations of stimulus content (artworks versus architecture or natural landscapes). Using a classification approach, we tested whether the DMN or ventral occipitotemporal cortex (VOT) contains a domain-general representation of aesthetic appeal. Classifiers were trained on multivoxel functional MRI response patterns collected while observers made aesthetic judgments about images from one aesthetic domain. Classifier performance (high vs. low aesthetic appeal) was then tested on response patterns from held-out trials from the same domain to derive a measure of domain-specific coding, or from a different domain to derive a measure of domain-general coding. Activity patterns in category-selective VOT contained a degree of domain-specific information about aesthetic appeal, but did not generalize across domains. Activity patterns from the DMN, however, were predictive of aesthetic appeal across domains. Importantly, the ability to predict aesthetic appeal varied systematically; predictions were better for observers who gave more extreme ratings to images subsequently labeled as “high” or “low.” These findings support a model of aesthetic appreciation whereby domain-specific representations of the content of visual experiences in VOT feed in to a “core” domain-general representation of visual aesthetic appeal in the DMN. Whole-brain “searchlight” analyses identified additional prefrontal regions containing information relevant for appreciation of cultural artifacts (artwork and architecture) but not landscapes.
40
Hu, Ling. "Research on the Aesthetic Value of Geometric Patterns in Chinese Traditional Patterns". OAJRC Social Science 3, n. 3 (25 ottobre 2022): 218–22. http://dx.doi.org/10.26855/oajrcss.2022.10.001.
41
Wright, Damien, e Marco Bertamini. "Aesthetic Judgements of Abstract Dynamic Configurations". Art & Perception 3, n. 3 (2015): 283–301. http://dx.doi.org/10.1163/22134913-00002037.
Abstract (sommario):
To date, aesthetic preference for abstract patterns has mainly been examined in the relation to static stimuli. However, dynamic art forms (e.g., motion pictures, kinetic art) are arguably more powerful in producing emotional responses. To start the exploration of aesthetic preferences for dynamic stimuli (stripped of meaning and context) we conducted three experiments. Symmetrical or random configurations were created. Each line element had a local rotation, and the whole configuration also underwent a global transformation (horizontal translation, rotation, expansion, horizontal shear). Participants provided explicit preference ratings for these patterns. As expected results showed a preference for dynamic symmetrical patterns over random. When global transformations were compared, expansion was the preferred dynamic transformation whilst participants liked the horizontal shear transformation the least. Overall, these results show that preference for symmetry persists and is enhanced for dynamic stimuli, and that there are systematic preferences for global transformations.
42
Baixinho, Cristina Lavareda, Isabel Carvalho Beato Ferraz, Óscar Manuel Ramos Ferreira e Helga Marilia da Silva Rafael. "The art and learning patterns of knowing in nursing". Revista da Escola de Enfermagem da USP 48, spe2 (dicembre 2014): 164–70. http://dx.doi.org/10.1590/s0080-623420140000800024.
Abstract (sommario):
Objective To identify the perception of the students about the use of art as a pedagogical strategy in learning the patterns of knowing in nursing; to identify the dimensions of each pattern valued in the analysis of pieces of art. Method Descriptive mixed study. Data collection used a questionnaire applied to 31 nursing students. Results In the analysis of the students’ discourse, it was explicit that empirical knowledge includes scientific knowledge, tradition and nature of care. The aesthetic knowledge implies expressiveness, subjectivity and sensitivity. Self-knowledge, experience, reflective attitude and relationships with others are the subcategories of personal knowledge and the moral and ethics support ethical knowledge. Conclusion It is possible to learn patterns of knowledge through art, especially the aesthetic, ethical and personal. It is necessary to investigate further pedagogical strategies that contribute to the learning patterns of nursing knowledge.
43
Nugraha, H., F. B. Leksono e D. Angelina. "Improving the visual impressions of wood-based craft products through two-dimensional engraving of patterns". IOP Conference Series: Earth and Environmental Science 1116, n. 1 (1 dicembre 2022): 012006. http://dx.doi.org/10.1088/1755-1315/1116/1/012006.
Abstract (sommario):
Abstract Small enterprises in product craft bases are considered to be more resilient in facing the challenges of the current pandemic condition, despite a decline in income during the pandemic’s peak. Craft products are one of the sub-sectors of the creative economy that has a contributor to Indonesia’s Gross Domestic Product (GDP). Competition occurs between the producers of these crafts products where the makers present products that show aesthetic value and elements of the product’s function. Craft products always put forward a stunning visual appearance so that the product is in demand and purchased by consumers. To struggle with the increasingly fierce competition, the quality of visual impressions that are continuously generated must be established. This research focuses on attempts to improve the visual appearance that has the impact of presenting the aesthetics of craft products by using a two-dimensional engraving approach. The engravings are processed using a sandblasting technique. The study process used a pre-experimental design approach, and the results of the improving visual impressions were evaluated using a questionnaire step which was analyzed using factor analysis. The study results show a positive response to changes in visual perceptions, indicating an increased aesthetic perception that is better than the previous craft products. The final study shows that applying two-dimensional engraving patterns on craft products effectively improves visual and aesthetic impressions.
44
McPherson, Andrew, e Koray Tahıroğlu. "Idiomatic Patterns and Aesthetic Influence in Computer Music Languages". Organised Sound 25, n. 1 (4 marzo 2020): 53–63. http://dx.doi.org/10.1017/s1355771819000463.
Abstract (sommario):
It is widely accepted that acoustic and digital musical instruments shape the cognitive processes of the performer on both embodied and conceptual levels, ultimately influencing the structure and aesthetics of the resulting performance. In this article we examine the ways in which computer music languages might similarly influence the aesthetic decisions of the digital music practitioner, even when those languages are designed for generality and theoretically capable of implementing any sound-producing process. We examine the basis for querying the non-neutrality of tools with a particular focus on the concept of idiomaticity: patterns of instruments or languages which are particularly easy or natural to execute in comparison to others. We then present correspondence with the developers of several major music programming languages and a survey of digital musical instrument creators examining the relationship between idiomatic patterns of the language and the characteristics of the resulting instruments and pieces. In an open-ended creative domain, asserting causal relationships is difficult and potentially inappropriate, but we find a complex interplay between language, instrument, piece and performance that suggests that the creator of the music programming language should be considered one party to a creative conversation that occurs each time a new instrument is designed.
45
László, János, Orsolya Vincze e Ildikó Kõváriné Somogyvári. "Representation of National Identity in Successful Historical Novels". Empirical Studies of the Arts 21, n. 1 (gennaio 2003): 69–80. http://dx.doi.org/10.2190/n1b0-1t7t-98pj-grq9.
Abstract (sommario):
Study of aesthetic success is one of the core topics in empirical aesthetics (Martindale, 1990; Petrov, 1992; Simonton, 1986). Instead of going into complexities of what makes aesthetic objects permanently or temporarily successful, this study outlines a hypothesis which, in accord with Vygotsky (1971), claims that aesthetic success partly depends on the object's capacity of fulfilling social needs. More specifically, it is assumed that successful historical novels represent an almost ritual history of a national group in a subtle way, thereby providing generations of their readers with historical continuity and a sense of positive identity. By analyzing the two most successful Hungarian historical novels, the study identifies social psychological patterns of narrative composition, which seem to be more or less general at least for Western civilization. Results also reflect some idealized features of the Hungarian national identity.
46
Höfel, Lea, e Thomas Jacobsen. "Temporal Stability and Consistency of Aesthetic Judgments of Beauty of Formal Graphic Patterns". Perceptual and Motor Skills 96, n. 1 (febbraio 2003): 30–32. http://dx.doi.org/10.2466/pms.2003.96.1.30.
Abstract (sommario):
Temporal stability and consistency of nonartists' aesthetic judgments of beauty of formal graphic patterns was assessed. Temporal stability decreased markedly over several months. When items were repeated in an aesthetic judgment task participants responded consistently over trials rather than performing genuine repeated aesthetic judgments of beauty.
47
Duaa Mohammed Alashari. "The Role of Arabic Calligraphy in Displaying the Aesthetics of Linear Configurations in the Kiswah of Kaaba". Journal of Islamic Thought and Civilization 12, n. 2 (13 dicembre 2022): 242–54. http://dx.doi.org/10.32350/jitc.122.17.
Abstract (sommario):
The Kiswah of the Kaaba, in the Saudi era, is adorned with Arabic calligraphy, executed in the complex Thuluth calligraphy. These calligraphic formations are compatible with the aesthetic and spiritual function of the Kiswah of Kaaba. In addition, the contribution of these formations and Arabic calligraphy creates formative elements of a distinctive aesthetic nature that glorifies the kiswah with a special kind of spiritual beauty associated with the writing of Qur’ānic verses. Arabic calligraphy, especially the Thuluth script, is one of the essential Arabic fonts that express the aesthetic values of Arabic calligraphy in the covering of the Kaaba. Therefore, this study aims to reveal the role of Arabic calligraphy and the characteristics of the Thuluth line, which have enhanced in highlighting the aesthetics of the linear formations of the Kiswah. The study also aims to discuss the aesthetic features and patterns that characterize the linear formations. The method used in this study is the content analysis method, bearing in mind that the primary tool used is inference based on observation. The study concluded that the Thuluth font possesses several aesthetic and technical characteristics compared to the rest of the other Arabic fonts. Moreover, these technical characteristics gave this line an evident prominence in decorating and beautifying the covering of the Kaaba with the appearance of the single letter in several bodies through the morphological diversity of the character drawing.
Keywords: Arabic calligraphy, aesthetics, Kiswah of Kaaba, linear configurations, Thuluth script.
48
Gartus, Andreas, Mark Völker e Helmut Leder. "What Experts Appreciate in Patterns: Art Expertise Modulates Preference for Asymmetric and Face-Like Patterns". Symmetry 12, n. 5 (2 maggio 2020): 707. http://dx.doi.org/10.3390/sym12050707.
Abstract (sommario):
This study set out to investigate whether and how aesthetic evaluations of different types of symmetric, as well as abstract vs. representational patterns are modulated by art expertise. To this end, we utilized abstract asymmetric, symmetric, and “broken” patterns slightly deviating from symmetry, as well as more representational patterns resembling faces (also symmetric or broken). While it has already been shown that symmetry preference decreases with art expertise, it was still unclear whether an already established relationship between art expertise and preference for abstract over representational art can be similarly found as a preference for abstract over representational patterns, as these are non-art objects. Nevertheless, we found profound differences in aesthetic preferences between art experts and laypersons. While art experts rated asymmetric patterns higher than laypersons, as expected, they rated face-like patterns lower than laypersons. Also, laypersons rated all other types of patterns higher than asymmetric patterns, while art experts rated the other patterns similar or lower than asymmetric patterns. We found this both for liking and for interest ratings. As no differences between art experts and laypersons were found regarding memory recognition of new and old patterns, this effect is not likely due to differences in memory performance. In sum, this study further extends our knowledge about the influence of art expertise on aesthetic appreciation.
49
Krupińska, Eliza. "Back to structures and signs – remarks on the possibilities of structural aesthetics of music". Interdisciplinary Studies in Musicology, n. 20 (31 dicembre 2020): 33–40. http://dx.doi.org/10.14746/ism.2020.20.3.
Abstract (sommario):
Is it possible to talk of mental patterns underlying aesthetic reflections, and has the constant recurrence of particular ideas in the area of aesthetics some deeper explanation? Structural aesthetics of music is an authorial research conception which enables interpretation of phenomena from the area of history of music aesthetics, and in this way provides its systematised picture. The conception uses the ideas of structural linguistics: binary phonological opposition and the historicalliterary process in the approach of Jan Mukařovský. The article also contains an example of using this conception in relation to the aesthetics of antiquity (sophists, Plato, Aristotle), Descartes and impressionism.
50
王月月. "新疆彩陶中的中华文化基因及其美学建构". Integration of Industry and Education 6, n. 2 (30 aprile 2024): 89–98. http://dx.doi.org/10.6938/iie.060209.
Abstract (sommario):
新疆彩陶是中华文明史前交流的见证，纹饰艺术的发展历程书写着中华民族交流与融合的历史，其美学特色体现了早期的审美意识和文化精神。本文以新疆彩陶纹饰为切入点，指出纹饰和装饰美学特色的主要表现，并以此为线索分析审美意识在中华文明交流过程中的发展转变，进而探索新疆彩陶和国家形象的美学建构之间的关系和可能性途径。 Xinjiang painted pottery bears witness to the prehistoric exchanges of Chinese civilization, with the evolution of decorative art chronicling the nation’s exchanges and integrations. Its aesthetic features embody the early aesthetic consciousness and cultural spirit. This paper, focusing on the decorative patterns of Xinjiang painted pottery, identifies the primary expressions of these patterns and decorative aesthetics, using these insights to trace the evolution of aesthetic consciousness in the context of Chinese civilization’s exchanges. It then delves into the relationship and potential pathways between Xinjiang painted pottery and the aesthetic construction of national imagery.