Gotowe bibliografie tematyczne / Electronic aesthetics

Gotowa bibliografia na temat „Electronic aesthetics”

Autor: Grafiati
Data publikacji: 4 czerwca 2021
Data aktualizacji: 18 lutego 2022

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Artykuły w czasopismach na temat "Electronic aesthetics"

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Gao, Jie, i Alessandro Soranzo. "Individual Differences in Aesthetic Preferences for Multi-Sensorial Stimulation". Vision 4, nr 1 (6.01.2020): 6. http://dx.doi.org/10.3390/vision4010006.

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The aim of the current project was to investigate aesthetics in multi-sensorial stimulation and to explore individual differences in the process. We measured the aesthetics of interactive objects (IOs) which are three-dimensional objects with electronic components that exhibit an autonomous behaviour when handled, e.g., vibrating, playing a sound, or lighting-up. The Q-sorting procedure of Q-methodology was applied. Data were analysed by following the Qmulti protocol. The results suggested that overall participants preferred IOs that (i) vibrate, (ii) have rough surface texture, and (iii) are round. No particular preference emerged about the size of the IOs. When making an aesthetic judgment, participants paid more attention to the behaviour variable of the IOs than the size, contour or surface texture. In addition, three clusters of participants were identified, suggesting that individual differences existed in the aesthetics of IOs. Without proper consideration of potential individual differences, aesthetic scholars may face the risk of having significant effects masked by individual differences. Only by paying attention to this issue can more meaningful findings be generated to contribute to the field of aesthetics.
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Wiltsher, Nick. "The Aesthetics of Electronic Dance Music, Part II: Dancers, DJs, Ontology and Aesthetics". Philosophy Compass 11, nr 8 (28.07.2016): 426–36. http://dx.doi.org/10.1111/phc3.12332.

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

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Shared music improvisation constitutes a formidable vector for intersubjective connection. Improvisation is a space of non-semantic communication that allows for putting oneself at risk and requires mutual trust and listening, as well as dialogical qualities. This article investigates the intersubjective dimension of improvisation in electronic music praxis, focusing on how the electronic medium can be used to foster mediation between musicians. The article builds on a practice-based enquiry in duo format, conducted in three successive technological settings, with a methodological entanglement of aesthetic and design aims. Systematic video documentation and participant observation provide an analytical counterpoint to an immersion in the improvisatory praxis. A set of design strategies for fostering intersubjective connection in shared musicianship emerges from the research. The findings provide the basis for a dialectical consideration between musical and intersubjective aesthetics. The discussion points to the diversity of social functions of music and their respective aesthetics. Electronic instruments’ inherent plasticity allows for reconfiguring the social space of music-making, and thus opens perspectives for devising synergetic music systems that emphasise an ethos of shared agency over the production of musical objects or performances.
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Landy, Leigh. "New aesthetics and practice in experimental electronic music". Organised Sound 13, nr 1 (29.02.2008): 1–3. http://dx.doi.org/10.1017/s1355771808000010.

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

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In some informal remarks I made at a conference in 1979, I expressed a reluctance to deal with the subject of aesthetics, which historically is a product of European philosophy and which remains a troublesome concept for contemporary music where an aesthetic term such as ‘beauty’ seems to be studiously ignored (Truax 1980). In a recent, also informal article (Truax 1999) addressed as a ‘letter to a twenty-five-year old electroacoustic composer’, I predicted that the term ‘computer music’ would probably disappear since in an age where the computer is involved in nearly all electroacoustic music production, this term, which once distinguished a type of music from that made with analogue, electronic equipment, seemed today to be impossible to define rigorously. Therefore, the concept of the ‘aesthetics of computer music’, proposed as a panel discussion topic, initially seemed to me to be doubly suspect as to its meaning.
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Wang, Jian, i Yen Hsu. "Does Sustainable Perceived Value Play a Key Role in the Purchase Intention Driven by Product Aesthetics? Taking Smartwatch as an Example". Sustainability 11, nr 23 (30.11.2019): 6806. http://dx.doi.org/10.3390/su11236806.

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In the face of a wide range of consumer electronic products, how can consumers take into account the sustainable development of the ecological environment during their purchase and consumption? This study established a new product aesthetics classification, divided it into interface aesthetics and product form aesthetics, and proposed a new conceptual model to test the impact of interface aesthetics and product form aesthetics on sustainable perceived value and purchase intention. In this study, smartwatches were used as the subject and a two-stage survey was carried out to collect samples from common consumers of consumer electronic products. Partial least squares (PLS) was employed to test the conceptual model and corresponding hypotheses on data collected from 425 survey samples. The research results suggested that interface aesthetics and product form aesthetics must be mediated by sustainable perceived value so as to have a positive impact on consumers’ purchase intention. Therefore, sustainable perceived value is a mediating variable for adjusting product aesthetics and purchase intention. In addition, sustainable perceived value greatly affects consumers’ green consumer behavior. Increasing the emotional durability established between consumers and products through sustainable perceived value to prolong the life of products reduces resource consumption and wave costs, and promotes sustainable development of ecological resources.
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Celona, Luigi, i Raimondo Schettini. "A Genetic Algorithm to Combine Deep Features for the Aesthetic Assessment of Images Containing Faces". Sensors 21, nr 4 (12.02.2021): 1307. http://dx.doi.org/10.3390/s21041307.

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The automatic assessment of the aesthetic quality of a photo is a challenging and extensively studied problem. Most of the existing works focus on the aesthetic quality assessment of photos regardless of the depicted subject and mainly use features extracted from the entire image. It has been observed that the performance of generic content aesthetic assessment methods significantly decreases when it comes to images depicting faces. This paper introduces a method for evaluating the aesthetic quality of images with faces by encoding both the properties of the entire image and specific aspects of the face. Three different convolutional neural networks are exploited to encode information regarding perceptual quality, global image aesthetics, and facial attributes; then, a model is trained to combine these features to explicitly predict the aesthetics of images containing faces. Experimental results show that our approach outperforms existing methods for both binary, i.e., low/high, and continuous aesthetic score prediction on four different image databases in the state-of-the-art.
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Neill, Ben. "Pleasure Beats: Rhythm and the Aesthetics of Current Electronic Music". Leonardo Music Journal 12 (grudzień 2002): 3–6. http://dx.doi.org/10.1162/096112102762295052.

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Angel, Maria, i Anna Gibbs. "Geospatial Aesthetics Time, Space, Agency and Movement in Electronic Writing". Sprache und Literatur 42, nr 2 (22.11.2011): 13–21. http://dx.doi.org/10.1163/25890859-042-02-90000003.

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

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

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Phillips, Christine Michelle. "The influence of aesthetics on website user perceptions". Diss., Wichita State University, 2007. http://hdl.handle.net/10057/1495.

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As Internet users become more sophisticated, so do their requirements for the websites they utilize. Two major factions in the field of website design have argued over the importance of site usability vs. site appeal. Previous research examined site usability as a main component of user satisfaction on the Internet. Current research is beginning to examine the aesthetic appeal of websites and the impact on user satisfaction. This research attempted to address the following questions: 1. Do individual differences affect user ratings of site appeal? 2. Do usability and appeal manipulations to websites affect satisfaction, perceived usability and interest in the site? 3. Does the type of task a user is completing on the Internet impact their awareness of the site’s appeal and usability? In a two part study, users evaluated the aesthetic appeal of site homepages to determine if individual differences impact site first impressions. In a follow up study, users completed different types of tasks on sites with varying levels of appeal and usability. Results indicate that there individual differences do not appear to influence on site appeal ratings. When users are asked to evaluate sites with varying degrees of appeal and usability, their first impressions are most influenced by the appeal of the site. Those viewing the sites with low appeal were not positively influenced by the site’s usability, even when the site was easy to use. Participants viewing sites with high appeal were aware of changes to usability and their site ratings decreased when the site had poor usability. Finally, task type appeared to impact user judgments on the site. Participants actively searching for information were more aware of usability issues than participants instructed to explore the site with no specific task requirements.
Thesis (Ph.D.)--Wichita State University, College of Liberal Arts and Sciences, Dept. of Psychology
"December 2007."
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Phillips, Christine Michelle Chaparro Barbara. "The influence of aesthetics on website user perceptions /". Diss., A link to full text of this thesis in SOAR, 2007. http://hdl.handle.net/10057/1495.

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Sheppard, Adam. "Aesthetic Practices in my Live Electronic Music". Scholarly Repository, 2009. http://scholarlyrepository.miami.edu/oa_theses/202.

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Live music has the ability to unite individuals and affect them on both cognitive and emotional levels. Its time-honored tradition remains the true test of a musical work?s strength and longevity. Electronic music in particular has had some difficulty in establishing well-formed performance practices in its relatively short life span. The problem may not be one of sonic, but rather visual inhibition and general discontinuities between the audience and performers. In this paper I raise three questions of aesthetic value concerning live performance. Why do we go to live musical performances? How do we perceive sound? How do we correlate physical gestures? To answer, I make observations on selected works spanning the continuum of the field.
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Corder, Nathan Anthony. "Determining Conditions| Towards an Aesthetic of Emergence in Live Electronic Music". Thesis, Mills College, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10822167.

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The concept of emergence, and/or emergent properties, is one that has gained resurgence within the realm of various branches of science and the humanities. Emergence is an idea that explains to/for us how dynamical systems, complexes of elements, bodies, and even concepts, begin to exhibit properties and behaviors that are at least seemingly greater than the sum of their parts- how irreducible, novel, complexities arise from constructs of fundamental entities. I argue that in some music of 20th and 21st century American experimentalists, we have music that is under-theorized and lacking in an appropriate contextualization in regards to emergent properties within music. I claim that a careful distinction between indeterminate forms and emergent properties is needed to further develop how we think about these works, and examine them in light of more recent philosophical and aesthetic developments. This paper does not aim to lay out a fully ontology or metaphysics of what emergence is in general, but rather works towards a working definition of a kind of emergence present within the music of various American experimental composers (John Bischoff, Tim Perkis, Chris Brown, David Tudor), and how to apply such a definition of emergence to an aesthetic framework of understanding live electronic music.

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Salimun, Carolyn. "The relationship between visual interface aesthetics, task performance, and preference". Thesis, University of Glasgow, 2013. http://theses.gla.ac.uk/4256/.

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The purpose of this thesis was to develop a conceptual framework that shows the relationship between aesthetics, performance, and preference in computer interface design. To investigate this relationship, the thesis focused on investigating the effect of layout aesthetics on visual search performance and preference. This thesis begins with a literature review of related work followed by the rationale for conducting this research, in particular, defining what it meant by visual aesthetics in the context of interface design. Chapter 4 focused on investigating the effect of layout aesthetics on performance and preference. The results show that response time performance and preference increased with increasing aesthetic level. Preference and performance were found to be highly correlated. Chapter 5 focused on investigating users’ layout preference when they were not involved with a performance-based task. The results showed, surprisingly, that preference was highest with a “moderate” level of layout aesthetics and lowest with “high” and “low” levels of aesthetics. Chapter 6 focused on investigating visual effort by measuring eye movement pattern during task performance. The results showed that visual effort increased with a decreasing level of aesthetics. Chapter 7 extended the experiment in Chapter 4 using more “ecologically valid” stimuli. The results essentially replicated the results produced in Chapter 4. Chapter 8 focused on investigating the relationship between so-called “classical” aesthetics and background “expressive” aesthetics. The results showed that task performance using classical aesthetics was highest with high and low levels of aesthetics and worst with medium levels of aesthetics. Performance with expressive aesthetics increased with decreasing aesthetic levels. This thesis concludes with a conceptual framework for aesthetic design to help interface designers design interfaces that look aesthetically pleasing while at the same time supporting good task performance.
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Lackamp, Denise. "Aesthetic and moral judgments the moral value of immoral art /". abstract and full text PDF (free order & download UNR users only), 2007. http://0-gateway.proquest.com.innopac.library.unr.edu/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:1442870.

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Cooke, Patricia K. "From the sublime to duende: a cross-cultural study on the aesthetics of artistic transcendence". Thesis, Wichita State University, 2008. http://hdl.handle.net/10057/2032.

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For centuries, artists have used their works as a means of communication. Such communication can, at times, connect artist and audience in a unique experience which defies barriers of both language and culture. Although artists have written about this experience--referred to here as “artistic transcendence” or “artistic transport”--since classical times, no word seemed able to encompass its meaning until Longinus used the word “sublime” to describe it. The concept has since undergone several reinterpretations, beginning with the additions by Joseph Addison in the eighteenth century, and continuing to the present day in which the word remains subjective and its uses diverse. Consequently, the notion of artistic transport now requires a new definition--one which embraces both the classical and eighteenth-century notions, yet also incorporates a contemporary understanding of the concept. This thesis submits that the Spanish word duende not only fulfills, but exceeds these requirements. Both the sublime and duende contain elements of a struggle between artist and art, an ability to elevate both artist and audience to a higher realm, and shared roots in the classical notion of artistic transport. Using primary texts from Gorgias’ “Encomium of Helen” to Lorca’s “Play and Theory of the Duende,” this thesis establishes a connection between the classical notion of artistic transport, the eighteenth-century understanding of the sublime, and the twentieth-century concept of duende. Furthermore, the analysis demonstrates how duende, which contains both historical and contemporary connotations, represents the modern sublime both in works of art as well as in the artistic process itself.
Thesis [M.A.] - Wichita State University, College of Liberal Arts and Science, Dept. of English
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Cooke, Patricia K. Waters Mary. "From the sublime to duende : a cross-cultural study on the aesthetics of artistic transcendence". A link to full text of this thesis in SOAR, 2008. http://hdl.handle.net/10057/2032.

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Ryan, Teresa Maria. "This ecstatic nation : the American landscape and the aesthetics of patriotism /". abstract (UNR users only), 2007. http://0-gateway.proquest.com.innopac.library.unr.edu/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3280751.

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Thesis (Ph. D.)--University of Nevada, Reno, 2007.
"August 2007." Includes bibliographical references (leaves 191-221). Library also has microfilm. Ann Arbor, Mich. : ProQuest Information and Learning Company, [2008]. 1 microfilm reel ; 35 mm. Online version available on the World Wide Web.
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Gower, Peter W. "Resorting to aesthetics measuring the visual qualities of selected new urbanist-style resort developments in the Lake Tahoe region /". abstract and full text PDF (free order & download UNR users only), 2007. http://0-gateway.proquest.com.innopac.library.unr.edu/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:1447698.

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Książki na temat "Electronic aesthetics"

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Listening through the noise: The aesthetics of experimental electronic music. New York: Oxford University Press, 2010.

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The aesthetics of ambivalence: Rethinking science fiction film in the age of electronic (re)production. Westport, Conn: Greenwood Press, 1992.

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Bayle, François. Musique acousmatique: Propositions-- positions. Paris: Institut national de l'audiovisuel, 1993.

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The digital musician. New York: Routledge, 2012.

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Hugill, Andrew. The digital musician. New York: Routledge, 2008.

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Raaijmakers, Dick. Cahier "M": A brief morphology of electric sound. Leuven, Belgium: Leuven University Press, 2000.

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Dunne, Anthony. Hertzian tales: Electronic products, aesthetic experience, and critical design. Cambridge, Mass: MIT Press, 2006.

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Dunne, Anthony. Hertzian tales: Electronic products, aesthetic experience, and critical design. Wyd. 2. Cambridge, Mass: MIT Press, 2005.

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Dunne, Anthony. Hertzian tales: Electronic products, aesthetic experience, and critical design. Cambridge, MA: MIT Press, 2005.

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Music and the emotions: The philosophical theories. London: Routledge & Kegan Paul, 1985.

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Części książek na temat "Electronic aesthetics"

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D’Errico, Mike. "Compression Aesthetics: Transducing Segregation in the Los Angeles Beat Scene". W Electronic Cities, 115–29. Singapore: Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-33-4741-0_8.

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Brooks, Terrence A. "The effect of textual aesthetics on information retrieval". W Electronic Publishing, Artistic Imaging, and Digital Typography, 454–63. Berlin, Heidelberg: Springer Berlin Heidelberg, 1998. http://dx.doi.org/10.1007/bfb0053291.

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Sparrow, Laurent. "Variations in Visual Exploration and Physiological Reactions During Art Perception When Children Visit the Museum with a Mobile Electronic Guide". W Aesthetics and Neuroscience, 131–37. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-46233-2_9.

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Marrington, Mark. "The DAW, Electronic Music Aesthetics, and Genre Transgression in Music Production". W Producing Music, 52–74. New York, NY : Routledge, 2019. | Series: Perspectives on music production series: Routledge, 2019. http://dx.doi.org/10.4324/9781315212241-4.

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Buscher, Monika, i John Hughes. "Screen Scenery: Transposing Aesthetic Principles from Real to Electronic Environments". W Social Navigation of Information Space, 90–111. London: Springer London, 1999. http://dx.doi.org/10.1007/978-1-4471-0837-5_6.

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Tyurina, Anastasia. "Searching for New Aesthetics: Unfolding the Artistic Potential of Images Made by the Scanning Electron Microscopy". W Springer Series on Cultural Computing, 103–19. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-42097-0_7.

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"Aesthetics and Art". W Electronic Media Criticism, 233–55. Routledge, 2000. http://dx.doi.org/10.4324/9781410600745-19.

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Emmerson, Simon. "‘Playing Space’: Towards an Aesthetics of Live Electronics". W Living Electronic Music, 89–116. Routledge, 2017. http://dx.doi.org/10.4324/9781351217866-4.

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Prince, Patric D. "The Aesthetics of Exhibition: A Discussion of Recent American Computer Art Shows". W Electronic Art, 81–88. Elsevier, 1988. http://dx.doi.org/10.1016/b978-0-08-036978-5.50017-2.

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Furuhata, Yuriko. "Tange Lab and Biopolitics". W Beyond Imperial Aesthetics, 219–42. Hong Kong University Press, 2019. http://dx.doi.org/10.5790/hongkong/9789888455874.003.0011.

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This chapter theorizes an afterlife of Imperial Japan's biological metaphors of lifeworld and circulation in the work of Japanese architect Tange Kenzō and his associates who came to form the internationally renowned movement of Metabolism in the early 1960s. Transposing these imperial metaphors onto postwar Japan's national body politic, Tange and other Metabolist architects frequently used the biological metaphors of blood circulation and the central nervous system to articulate their vision of urban planning. Focusing on the impact of electronic communication technologies on architecture, this chapter will explore how the modern biopolitical idea of maintaining the organic life of the nation persisted into the postwar period, and how this perspective on biopolitics in turn compels us to rethink certain assumptions we make about electronic media and information technologies.
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Streszczenia konferencji na temat "Electronic aesthetics"

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Pham, Binh. "Design for aesthetics: interactions of design variables and aesthetic properties". W Electronic Imaging '99, redaktorzy Bernice E. Rogowitz i Thrasyvoulos N. Pappas. SPIE, 1999. http://dx.doi.org/10.1117/12.348457.

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Vessel, Edward A., Jonathan Stahl, Natalia Maurer, Alexander Denker i G. G. Starr. "Personalized visual aesthetics". W IS&T/SPIE Electronic Imaging, redaktorzy Bernice E. Rogowitz, Thrasyvoulos N. Pappas i Huib de Ridder. SPIE, 2014. http://dx.doi.org/10.1117/12.2043126.

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van Nes, Floris L. "Aesthetics versus utility in electronic imaging". W Electronic Imaging 2008, redaktorzy Bernice E. Rogowitz i Thrasyvoulos N. Pappas. SPIE, 2008. http://dx.doi.org/10.1117/12.764857.

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Schloss, Karen B., i Stephen E. Palmer. "Aesthetics of color combinations". W IS&T/SPIE Electronic Imaging, redaktorzy Bernice E. Rogowitz i Thrasyvoulos N. Pappas. SPIE, 2010. http://dx.doi.org/10.1117/12.849111.

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Balinsky, Helen. "Evaluating interface aesthetics: measure of symmetry". W Electronic Imaging 2006, redaktorzy Jan P. Allebach i Hui Chao. SPIE, 2006. http://dx.doi.org/10.1117/12.642120.

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Sahyun, M. R. V. "Aesthetics and entropy II: a critical examination". W IS&T/SPIE Electronic Imaging, redaktorzy Bernice E. Rogowitz, Thrasyvoulos N. Pappas i Huib de Ridder. SPIE, 2013. http://dx.doi.org/10.1117/12.2019098.

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van Nes, Floris L. "Visually representing reality: aesthetics and accessibility aspects". W IS&T/SPIE Electronic Imaging, redaktorzy Bernice E. Rogowitz i Thrasyvoulos N. Pappas. SPIE, 2009. http://dx.doi.org/10.1117/12.805847.

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Sahyun, M. R. V. "Aesthetics and entropy: optimization of the brightness distribution". W IS&T/SPIE Electronic Imaging. SPIE, 2012. http://dx.doi.org/10.1117/12.903638.

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Polmeer, Gareth. "Sublating Time: Hegel’s speculative philosophy and digital aesthetics". W Electronic Visualisation and the Arts. BCS Learning & Development, 2016. http://dx.doi.org/10.14236/ewic/eva2016.49.

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Kakarala, Ramakrishna, Abhishek Agrawal i Sandino Morales. "Comparing humans to automation in rating photographic aesthetics". W IS&T/SPIE Electronic Imaging, redaktorzy Qian Lin, Jan P. Allebach i Zhigang Fan. SPIE, 2015. http://dx.doi.org/10.1117/12.2084991.

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