Gotowa bibliografia na temat „Subtractions aesthetics”

Structures in architecture acts as a load-bearing element on mechanical systems. In addition, structures can also provide spatial and aesthetic expressions in architectural with the use of certain techniques and materials that bring out the structure expression. The problem discuss in this paper relates to aesthetic parameters used to examine the structural expression on architectural. The research method used is descriptive analytical method conducted with study of the literature on aesthetics, based on parameters: visual complexity, texture and colour, symmetry of the form and familiarity using the case study of Ship Passenger Terminal building such as Qingdao Cruise Passanger Terminal, Kai Tak Cruise Terminal and Salerno Maritime Terminal.The result shows that visual complexity parameter were exposure the form of curved structures and folding structures, the use of lattice, single-mass, and different building imagery. The texture and colour parameter are subtle textures with curved patterns, use of aluminium or concrete materials,and ivory white to bring out the buildings with the color of the sea.The symmetry of the form parameter shows a natural scale, a rectangular geometric shape that is subjected to addition or subtraction, and the proportion 2:1 between the envelope and open façade. The familiarity parameter is repetition of asymmetric curved patterns form make rhythm that raises perception of the visual aesthetic of the building.

In an essay entirely devoted to the subject of dance in Alain Badiou's Handbook of Inaesthetics [Petit manuel d'inesthétique (Badiou 2005b)], we find the following contentious statement: “Dance is not an art, because it is the sign of the possibility of art as inscribed in the body” (69). At first glance, this statement seems strangely familiar to the reader versed in writing about dance, particularly philosophical writing. “Dance is not an art”: Badiou critiques Mallarmé as not realizing this as the true import of his ideas. It is familiar because it attests to a certain problem in aesthetic thinking, one that relates to the placement and position of dance and the works that comprise its history into what can be seen as certain evaluative hierarchies, particularly vis à vis the relation of dance to other art forms, and in particular, those involving speech and writing. Dance seems to suffer from a certain marginalization, subtraction, or exclusion, and its practice seems to occupy a place of the perennial exception, problem, or special case. The strangeness of the statement, on the other hand, relates to the widespread view outside of academic writing that the status of dance “as art” is actually completely unproblematic. What follows therefore is a critical commentary on this assertion of Badiou, placed both in the context of Badiou's writing, and in the wider one pertaining to the problem of exclusion just outlined.

Abstract: This research based on thinking of creativity in Art has not only limited to the new art but also it has done by changing the art to the other media. In the research context ,the creativity is done by changing the art to the extranation. This research is for describing the form of Perburuan novels transformations and the artistic damage of Perburuan film, directed by Ricard Oh. The focus of the study was the transformation of elements in the ecranisation process of Perburuan novel, including 1) characters and characterizations, 2) plot, 3) settings, 4) themes, 5) storytelling style, and 6) the damage of the changing for film aesthetic. The research shows that the transformation from Perburuan novels to film can make some changes, such as subtraction, addition, and variety changing which gives some aesthetics damages of films and this study is based on the idea that creativity in the literature realm is not only about creating new works but also can be performed on old works by making appropriate transformations and not violating ethics. Keywords: transformation, Perburuan novel, ecranisation Abstrak: Penelitian ini didasari pemikiran bahwa kreativitas dalam ranah sastra tidak hanya terbatas pada penciptaan karya sastra baru, tetapi juga dapat dilakukan dengan melakukan pengubahan karya sastra ke dalam media lain. Dalam konteks penelitian ini kreativitas dilakukan dengan mengubah karya sastra ke dalam film melalui proses ekranisasi. Penelitian ini bertujuan mendeskripsikan bentuk-bentuk transformasi novel Perburuan dan dampak artistiknya dalam film Perburuan garapan sutradara Richard Oh. Fokus penelitian ini adalah perubahan unsur-unsur novel Perburuan, yang meliputi 1) tokoh dan penokohan, 2) alur, 3) latar, 4) tema, 5) gaya bercerita, dan 6) dampak perubahan itu terhadap estetika film. Penelitian ini menunjukkan bahwa transformasi dari novel Perburuan ke film mengalami beberapa perubahan berupa penciutan, penambahan, dan perubahan bervariasi, yang secara keseluruhan memberi dampak estetika terhadap film serta didasari oleh pemikiran bahwa kreativitas dalam ranah sastra tidak hanya pada penciptaan karya baru, tetapi juga dapat dilakukan pada karya lama dengan melakukan pengubahan yang sesuai dan tidak melanggar etika. Kata kunci: transformasi, novel Perburuan, ekranisasi

Andrew Marvell's “The Garden” foregrounds the role of subtraction in aesthetic creation and seeks to imagine sameness independent of metaphor, similarity, and relation. The poem employs a subtractive poetics that challenges modern presuppositions about the networked, connected essence of literature. It also points to the critical limitations of recent accounts of surface and formalist reading, both of which still present poetry as productive, especially insofar as it heightens attention. For Marvell, in contrast, the value of lyric resides in the ways in which it challenges the dialectical notion of creative destruction and, instead, conceives of an annihilation that does not transform into its more respectable opposite. “The Garden,” then, shows that we and our students are overburdened with connection—that there is too much relation, not too little—and that the function of poetry is to dismantle these links in the interest of creativity.

The polemic on waiting for human emancipation in music belongs to the modern aesthetic plane, where Adorno's and Heidegger's manuscripts occupy a specific place. However, while Heidegger's ontology of the waiting implies waiting for the metaphysics of presence (Will), Adorno maintains that music should rather express "waiting in vain" (vergebliches Warten) by its spatio-temporal structuration, given that "after Auschwitz" philosophy with metaphysical assumptions is no longer possible. In the light of Adorno's modem interpretation of waiting in vain, my aim is to examine Badiou's conception of the Event-Subject in music. The thesis of this paper is that Adorno's concept of waiting in vain expresses defeatism of the known (perseverance-of-self) - which, due to its own character of filled affect of disappointment, does not leave time-space for newness. On the trail of Badiou's ontology of subtraction, I oppose the conception of affirmative, non-eschatological, chiliastic expectation ("surplus of waiting") to the passive waiting in vain in music.

Piotr Szczęsny set himself on fire in protest of the Polish government in October 2017. Charged with political orientation, his selfimmolation posed a challenge to the news media, forcing it deep into the gutter the suicide archive, where commentators debated appropriate aesthetics of protest in a country whose imagery imagery is predominately thanatic; in a nation-state that has been resurrected after its many occupations yet still remains within a sacrificial grave, with death as the cornerstone of community. In this article, I situate Szczęsny’s death within the nightmare-bound post-Soviet political scene through historically contextualizing the debate around his suicide, where the act itself was criticized on the basis of its inappropriate aesthetics of irrational selfharm. I argue that such binding of a/political catastrophe in a bundle of representations corresponds to what François Laruelle calls media intellectualism, a form of engaging suffering that relies on its mediation. Seeking an alternative discourse of engaging the a/political act, I look to Katerina Kolozova’s non-standard politics of pain and to Oxana Timofeeva’s work on “the catastrophe.” These positions, which I call stances of the unsubject, offer us different starting points for creating solidarity in spaces of void, pain and depression. For the unsubject, pain is the prerequisite for forming the political, albeit in a non-standard manner, where politics cannot oscillate around representations, ideologies or identities. Rather than mediate self immolation, I ask whether the way that we define “the political” could benefit from a subtraction of mediation, from a catastrophic thinking in parallel with the brutality of the real, rather than the repetition of (national) trauma. Author(s): Bogna M. Konior: Title (English): Media Intellectualism or Lived Catastrophe? Mediating and Suspending the A/political Act Journal Reference: Identities: Journal for Politics, Gender and Culture, Vol. 15, No. 1-2 (Summer 2018) Publisher: Institute of Social Sciences and Humanities – Skopje Page Range: 166-185 Page Count: 20 Citation (English): Bogna M. Konior, “Media Intellectualism or Lived Catastrophe? Mediating and Suspending the A/political Act,” Identities: Journal for Politics, Gender and Culture, Vol. 15, No. 1-2 (Summer 2018): 166-185.

Since Mo Yan was given the Nobel Prize for Literature，literary translation has been heatedly debated. Howard Goldblatt, as one of Mo Yan’s major translators of English world, is gaining global eyes. And his translations are so popular that some scholars claim that Howard flatters MoYan himself, and he has rewritten Mo Yan. To make the debate known to the public, the thesis explores Howard’s translation of Red Sorghum, based on the perspective of Media-translatology. In the translation, Howard Goldblatt has made addition, subtraction, rearrangement, etc., in the translation. His changes and adjustments are quite different from the ST, but it retains the image, structure of the ST, and it adopts aesthetic fidelity, which is a universal principle in literary translation. Howard’s choice of MoYan is another reason to help him achieve success in translation for western readers are particularly interested in Mo Yan’s invention of genre, style, techniques and language. And what Howard’s action has coincided with the significant opening-up policy of China is also a great power to popularize his translation. Actually, Howard’s performance and practice are necessary steps to communicate culture in cross-cultural interactions, he is not only a communicator of Chinese literature, modern and contemporary, but also a constant contributor of world civilization and culture, for his new attribute in translation—a thirdness.

Abstract Aim To assess the objective orthodontic treatment needs of patients treated in an accredited Orthodontic Clinic in North America using a retrospective cross sectional study and the Dental Aesthetic Index (DAI). Methods and Materials One hundred pre- and post-treatment study models were randomly selected from the model storage facility of the clinic. Only the pre-treatment study models were assessed using the DAI. The pre - treatment and post- treatment ages for each case were noted as recorded on the corresponding study models. The range for the pre-treatment age was 10 to 52 years, and from 12 years, 4 months to 54 years for the post-treatment age range. The duration of treatment for each case was calculated by subtracting the pre-treatment age from the post-treatment age (range of treatment duration, 9 to 125 months). Descriptive statistics as well as chi-square statistics were employed to analyze the data. Results Fifteen cases had normal or minor malocclusions with no treatment or slight need for treatment. Definite malocclusions with treatment highly desirable accounted for 22 cases and severe malocclusion with treatment highly desirable was found in 16 cases. Forty-seven cases had handicapping malocclusion with treatment considered mandatory. While a statistically significant association (p<0.05) was found between duration of treatment and severity levels of malocclusion (DAI scores), the association between pre-treatment age and DAI scores was not significant (p > 0.05). Conclusions Eighty-five percent of the study sample needed orthodontic treatment with different malocclusion severity levels, while 47% of the cases qualified for publicly subsidized treatment due to handicapping malocclusions. The association between duration of treatment and DAI score groups (malocclusion severity levels) was found statistically significant. It could be helpful for more clinic-based (demand populations) studies on treatment needs be undertaken across the globe using the DAI, at least for the purposes of comparison. Citation Onyeaso CO, BeGole EA. Orthodontic Treatment Need in an Accredited Graduate Orthodontic Center in North America: A Pilot Study. J Contemp Dent Pract 2006 May;(7)2:087-094.

Many fluctuation-driven phenomena in fluids can be analysed effectively using the generalised Lagrangian-mean (GLM) theory of Andrews & McIntyre (J. Fluid Mech., vol. 89, 1978, pp. 609–646) This finite-amplitude theory relies on particle-following averaging to incorporate the constraints imposed by the material conservation of certain quantities in inviscid regimes. Its original formulation, in terms of Cartesian coordinates, relies implicitly on an assumed Euclidean structure; as a result, it does not have a geometrically intrinsic, coordinate-free interpretation on curved manifolds, and suffers from undesirable features. Motivated by this, we develop a geometric generalisation of GLM that we formulate intrinsically using coordinate-free notation. One benefit is that the theory applies to arbitrary Riemannian manifolds; another is that it establishes a clear distinction between results that stem directly from geometric consistency and those that depend on particular choices. Starting from a decomposition of an ensemble of flow maps into mean and perturbation, we define the Lagrangian-mean momentum as the average of the pull-back of the momentum one-form by the perturbation flow maps. We show that it obeys a simple equation which guarantees the conservation of Kelvin’s circulation, irrespective of the specific definition of the mean flow map. The Lagrangian-mean momentum is the integrand in Kelvin’s circulation and distinct from the mean velocity (the time derivative of the mean flow map) which advects the contour of integration. A pseudomomentum consistent with that in GLM can then be defined by subtracting the Lagrangian-mean momentum from the one-form obtained from the mean velocity using the manifold’s metric. The definition of the mean flow map is based on choices made for reasons of convenience or aesthetics. We discuss four possible definitions: a direct extension of standard GLM, a definition based on optimal transportation, a definition based on a geodesic distance in the group of volume-preserving diffeomorphisms, and the ‘glm’ definition proposed by Soward & Roberts (J. Fluid Mech., vol. 661, 2010, pp. 45–72). Assuming small-amplitude perturbations, we carry out order-by-order calculations to obtain explicit expressions for the mean velocity and Lagrangian-mean momentum at leading order. We also show how the wave-action conservation of GLM extends to the geometric setting. To make the paper self-contained, we introduce in some detail the tools of differential geometry and main ideas of geometric fluid dynamics on which we rely. These include variational formulations which we use for alternative derivations of some key results. We mostly focus on the Euler equations for incompressible inviscid fluids but sketch out extensions to the rotating–stratified Boussinesq, compressible Euler, and magnetohydrodynamic equations. We illustrate our results with an application to the interaction of inertia-gravity waves with balanced mean flows in rotating–stratified fluids.

Dancing Brush video installation is dedicated to legendary Taiwanese dancer Tsai Jui-Yue (1921-2005) in the memory of her suffering, creativity and faith in life. This work reveals the true meaning of Chinese scroll paintings as an infinity of time and space. It draws on the notion of mobility as expounded in the I Ching or Book of Changes. Dancing Brush creates a modern cityscape where the principal of Taoism, ancient Chinese landscape painting, and calligraphy meet new media aesthetics. The focus of this thesis is to reassess media arts practice and aesthetics via the traditions of Chinese Taoist aesthetics. The research was conducted in three dimensions: ??non-linear aesthetics?? in Chinese arts as the new media art form, ??unity of emptiness and fullness?? as the animation principle, and ??subtraction aesthetics?? as the principle of creativity. I propose Dancing Brush video installation as a presentation of ??aesthetics of wandering contemplation??. The work suggests a feature of Chinese moving image aesthetics as a ??spatial montage?? form of media arts. I applied the Taoist ??decreative-creative process?? as the creative method in which the ??decreative?? process leads to the ??creative??. The ??decreative-creative process?? is based on the Taoist teachings of zi-ran (spontaneity) and wu-wei (non-action). I interpret it as ??subtraction aesthetics: less is more??. The process is to eliminate interferences with restricted narrative format and visual effects, then to receive the immediate presentation of things as pure materials. Through the subtracting process, it gains not less but more. Kong Bai (emptiness or formless) in Chinese art is the result of subtraction aesthetics. It reveals the creative principle derived from the Taoist idea of ??usefulness of useless??. The ??subtracting process?? in creating animation is to bring ??unknown?? to life. The ??image beyond image?? is the product of ??unity of emptiness and full?? where Chinese artistic realm yi-jing is created.