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Статті в журналах з теми "Aesthetic attention":
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Okulov, Jaana. "Artificial Aesthetics and Aesthetic Machine Attention." AM Journal of Art and Media Studies, no. 29 (October 15, 2022): 13–28. http://dx.doi.org/10.25038/am.v0i29.534.
Анотація:
The aesthetics of artificial intelligence is often viewed in relation to the qualities of their generated expressions. However, aesthetics could have a broader role in developing machine perception. One of the main areas of expertise in aesthetics is the understanding of feature-based information, which involves how the aesthetics of sensory features can cause affective changes in the perceiver, and the other way around – how affective states can give rise to certain kinds of aesthetic features. This two-way link between aesthetic features and affects is not yet well-established in the interdisciplinary discussion; however, according to perceptual psychology, it fundamentally constructs the human experience. Machine attention is an emerging technique in machine learning that is most often used in tasks like object detection, visual question answering, and language translation. Modern use of technology most often focuses on creating object-based attention through linguistic categories, although the models could also be utilized for nonverbal attention. This paper proposes the following perceptual conditions for aesthetic machine attention: 1) acknowledging that something appears (aesthetic detection); 2) suspension of judgment (aesthetic recognition); and 3) making the incident explicit with expression (aesthetic identification and amplification). These aspects are developed through an interdisciplinary reflection of literature from the fields of aesthetics, perceptual psychology, and machine learning. The paper does not aim to give a general account of aesthetic perception but to expand the interdisciplinary theory of aesthetics and specify the role of aesthetics among other disciplines at the heart of the technological development of the human future. Article received: May 10, 2022; Article accepted: July 15, 2022; Published online: October 15, 2022; Original scholarly paper
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Onishchenko, E. I. "POLISH AESTHETIC DISCOURSE OF THE 20TH CENTURY: INTERPRETATION OF INTERPRETATIONS." UKRAINIAN CULTURAL STUDIES, no. 1 (2) (2018): 25–29. http://dx.doi.org/10.17721/ucs.2018.1(2).05.
Анотація:
The article is devoted to the analysis of the Polish aesthetic discourse of the twentieth century and the prospects for its interpretation in the Ukrainian aesthetics, particularly in the works by Kateryna Shevchuk, defended at the department of ethics, aesthetics and culture studies of Taras Shevchenko National University of Kyiv. These research greatly extend the idea of the aesthetic canon of the Polish thought, classically represented by the aesthetics R. Ingarden and W. Tatarkiewicz and reveal the names of virtually unknown in Ukraine Polish scientists, including special interest is the legacy of L. Blaustein, M. Wallis, H. Elzenberg and G. Ossowski. In particular, this perspective covers traditional for the twentieth century aesthetics problems, including psychology of art, collective aesthetic experience, ratio, fantasy, and imagination. Also, new interpretive perspectives of sublime and ugly, aesthetical experience are opened. The theoretical orientations of the Polish scholars, in one way or another, were connected with the cornerstones of the aesthetic science - its subject, the conceptual-categorical apparatus, the structure of aesthetic consciousness, the phenomenon of artistic creativity, the specific nature of art, and others. In the process of conceptual concretization, in the field of Polish aesthetics a number of problems have been rather clearly distinguished, among which the special attention of practically all of its leading representatives has attracted the phenomenon of aesthetical experience. K. Shevchuk’s investigation opens up an opportunity, at least in the format of a secondary interpretation, to join the research of the Polish scholars, whose work proved to be a giant "white spot" for the Ukrainian aestheticians. Introducing actually unexplored concepts Polish scientists to the modern Ukrainian aesthetic theory not only facilitates the opening of "unknown pages" in the history of the twentieth century aesthetics, but also makes actual mark of new approaches to the analysis of classical problems, the relevance of which will never be a subject of doubt.
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Rolke, Bettina, Madeleine Y. Stepper, Verena C. Seibold, and Elisabeth Hein. "Aesthetic Stimuli Attract Visual Spatial Attention." Art and Perception 7, no. 1 (March 6, 2019): 52–81. http://dx.doi.org/10.1163/22134913-20191101.
Анотація:
We investigated the relationship between attention and the aesthetic appearance of visual stimuli. In a first study, we evaluated the aesthetic value of pictures depicting chairs by means of a questionnaire. These pictures were categorized as aesthetic, neutral, or non-aesthetic and used in a second study, in which we employed a dot-probe task and a recognition memory task. In the dot-probe task, two pictures of chairs were presented to the left and to the right of fixation, followed by a dot at one of the chair pictures’ positions. Participants decided at which side the dot had been presented. To investigate the relation between the aesthetic value of the chairs and the orientation of attention, we paired either aesthetic or non-aesthetic pictures with neutral pictures. The results showed that participants reacted faster when the dot appeared at the position of the aesthetic chair than when it appeared at the position of the neutral one. Such a ‘congruency’ effect was absent for non-aesthetic chairs. This interactive pattern of results shows that aesthetic stimuli capture attention. In the recognition memory task, in which participants were asked to decide whether a chair had been presented before or not, aesthetic chairs were more accurately and faster recognized than neutral or non-aesthetic ones. Taken together, these results show that aesthetic stimuli entail prioritized cognitive processing. In a final study, we investigated which particular features of the aesthetic stimuli might be important for this effect by correlating the aesthetic evaluation of the pictures with their Gestalt impression.
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Wang, Ruoxi. "A Review of the Impact of Aesthetic Experience on Consumers' Purchase Decisions." Highlights in Business, Economics and Management 27 (March 21, 2024): 312–18. http://dx.doi.org/10.54097/c23kp344.
Анотація:
Nowadays, the society is in the era of the awakening of the national aesthetic consciousness, and people are paying more and more attention to their spiritual enjoyment of aesthetics. Especially in the consumption scene, consumers have begun to pay more attention to the aesthetic experience in the purchase process, but the research on aesthetic experience design has not been systematically sorted out. Based on the research of scholars in psychology, art design and brand marketing, this paper analyzes the aesthetic elements that affect aesthetic experience, as well as the differences in aesthetic preferences of different aesthetic power groups, and also analyzes the role of aesthetic experience in different purchase periods of consumption scenarios, as well as the thinking perspective of brands on aesthetic experience design. This paper concludes that products and consumer services with aesthetic elements can bring consumers a universal aesthetic experience, thereby stimulating purchase intention and driving purchase decisions. Based on this, in the future development of brands, people should pay attention to the research and setting of aesthetic experience according to product positioning, and academic research should also dig deeper into the laws of aesthetic experience and verify more detailed operation methods that can be implemented.
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Wilson, Alan T. "The Virtue of Aesthetic Courage." British Journal of Aesthetics 60, no. 4 (August 1, 2020): 455–69. http://dx.doi.org/10.1093/aesthj/ayaa022.
Анотація:
Abstract Theorists have recently been exploring the prospects for a virtue-centred approach to aesthetics. Virtue aesthetics encourages a re-focusing of philosophical attention onto the aesthetic character traits of agents, in the same way that virtue ethics and virtue epistemology have encouraged us to focus on moral and intellectual traits. In this paper, I aim to contribute to the development of virtue aesthetics by discussing aesthetic courage, the aesthetic analogue of one of the most widely acknowledged moral virtues. In addition to proposing an account of the nature of this trait, I also argue that aesthetic courage is vital for any sort of aesthetically virtuous life. It is not possible to possess any aesthetic virtue without possessing aesthetic courage. It is important, therefore, for any future development of virtue aesthetics to acknowledge the central importance of aesthetic courage.
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Ortlieb, Stefan A., and Claus-Christian Carbon. "Kitsch and Perception: Towards a New ‘Aesthetic from Below’." Art and Perception 7, no. 1 (March 6, 2019): 1–26. http://dx.doi.org/10.1163/22134913-00001091.
Анотація:
Although kitsch is one of the most important concepts of twentieth-century art theory, it has gone widely unnoticed by empirical aesthetics. In this article we make a case that the study of kitsch is of considerable heuristic value for both empirical aesthetics and art perception. As a descriptive term, kitsch appears like a perfect example of hedonic fluency. In fact, the frequently invoked opposition of kitsch and art reflects two types of aesthetic experience that can be reliably distinguished in terms of processing dynamics: a disfluent one that promises new insights but requires cognitive elaboration (art), and a fluent one that consists of an immediate, unreflective emotional response but leaves us with what we already know (kitsch). Yet as a derogatory word, kitsch draws our attention to a general disregard for effortless emotional gratification in modern Western aesthetics that can be traced back to eighteenth-century Rationalism. Despite all efforts of Pop Art to embrace kitsch and to question normative values in art, current models of aesthetic liking—including fluency-based ones—still adhere to an elitist notion of Modern art that privileges style over content and thereby excludes what is essential not only for popular taste and Postmodern art but also for premodern artistic production: emotionally rich content. Revisiting Fechner’s (Vorschule der Aesthetik, 1876) criticism of highbrow aesthetics we propose a new aesthetic from below (Aesthetik von Unten) that goes beyond processing characteristics by taking content- and context-related associations into account.
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Cuccuru, Kathrine. "Aesthetic Attention: A Proposal to Pay It More Attention." Estetika: The European Journal of Aesthetics 55, no. 2 (September 1, 2018): 155. http://dx.doi.org/10.33134/eeja.175.
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Knapp, Peggy A. "Aesthetic Attention and the Chaucerian Text." Chaucer Review 39, no. 3 (January 1, 2005): 241–58. http://dx.doi.org/10.2307/25094290.
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Madsen, Clifford K. "Focus of Attention and Aesthetic Response." Journal of Research in Music Education 45, no. 1 (April 1997): 80–89. http://dx.doi.org/10.2307/3345467.
Анотація:
In the present study, focus of attention to musical elements was investigated in an attempt to ascertain which elements are perceived as most prominent in relation to aesthetic response as demonstrated in previous work. One hundred experienced musicians listened to the last 20 minutes of Act I of Puccini's La Bohème. Fifty musicians indicated via the Continuous Response Digital Interface (CRDI) which of five musical elements (Melody, Rhythm, Timbre, Dynamics, or Everything) commanded their attention as they listened throughout the excerpt. Additionally, another 50 subjects, divided into five groups of 10 subjects each, registered their degree of attention for each specific musical element; these subjects had only one element presented on the CRDI dial with instructions to register their degree of attention to this specific element throughout the selection. Results from those subjects who tracked all elements simultaneously indicated that the highest percentage of attention throughout the entire excerpt was registered for Dynamics, followed closely by the elements Everything, Melody, Rhythm, and Timbre. For those subjects who responded to only one element, the highest degree of attentiveness was registered for Melody, followed by the elements Dynamics and Everything. Timbre was next in degree-of-attentiveness rating, and rhythm was by far the lowest. The element Melody was most closely related to aesthetic responsiveness for this Puccini excerpt.
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Knapp, Peggy Ann. "Aesthetic Attention and the Chaucerian Text." Chaucer Review 39, no. 3 (2005): 241–58. http://dx.doi.org/10.1353/cr.2005.0005.
Дисертації з теми "Aesthetic attention":
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Bowden, Alan Mark Christopher. "Aesthetic perception, attention and aesthetic psychology." Thesis, Durham University, 2015. http://etheses.dur.ac.uk/10992/.
Анотація:
What are the psychological foundations of aesthetic experience? Disagreements about how to answer this question underlie tensions between the experiences described by those in the developing field of everyday aesthetics and many art-centred accounts of aesthetic experience. I argue that neither has provided the psychological framework to support their arguments in favour of or against the extension of aesthetic experience into everyday life. Such a framework is required in order to reconcile the two fields. This thesis aims to develop an empirically informed aesthetic psychology which accommodates both everyday and paradigmatic aesthetic experience without compromising what is distinctive about each. In order to understand the oft-unacknowledged assumptions in everyday and mainstream accounts of aesthetic experience I distinguish between “broad” and “narrow” aesthetic psychology. I argue that each approach differs with respect to the necessity of attention for aesthetic experience. The narrow approach to aesthetic psychology underlies many contemporary accounts and places an “attention condition” on aesthetic experience; the broad approach underlies many accounts of everyday aesthetic experience and involves no such condition. I develop a broad psychological account of aesthetic perception as the perceptual representation of bound qualities and suggest that its minimal or “bare” form goes on in the absence of attention, whilst its “rich” form requires attention and supports characteristically appreciative activities of mind. Using contemporary empirical and philosophical work on attention and its relation to consciousness and cognition I argue that there is an attention condition on rich aesthetic perception (and aesthetic appreciation), but not on bare aesthetic perception: this establishes a broad aesthetic psychology. In this way I reconcile everyday and mainstream aesthetic experience by creating a continuum of aesthetic engagement which runs from the fleeting and unattended experiences of broad aesthetic psychology to the complex and appreciative experiences of narrow aesthetic psychology.
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Pane, Greta Lynn. "The First Scale of Attention: Linguistic Form and Aesthetic Experience in the Novel." Thesis, Harvard University, 2013. http://dissertations.umi.com/gsas.harvard:10905.
Анотація:
We read a novel one sentence at a time. The first scale of attention for even the longest novel is the play of forces within the thousands of individual sentences. This project aims to rescale the analysis of novelistic form, elucidating this play of forces: how do they shape attention, and how do structures of attention give rise to aesthetic experience? We recognize the importance of form in music and architecture in part because there is no referential content to distract us. When it comes to the realist novel, however, its rich referential field easily obscures the dynamics of experience created by form. This study seeks to elucidate those dynamics. Chapter One analyzes Austen’s long interval of tension. Austen’s capacious sentence stretches attention over an entire descriptive event, producing drama and crises even when events in the fictional world are characterized by equilibrium and serenity. With the syntax of the sentence unresolved, attention cannot rest. An achieved description thus has perceptual corollaries in temporal commitment, and in attention that is divided between the immediate claims of elaboration and the prospect of closure. In Dickens, microstructures of just one to three sentences elicit the sudden apercu. Like metaphor, the apercu emerges through our recognition of a meaningful relationship between actions, facts, and utterances. Dickens presents only the raw materials of discovery (say, by juxtaposing a character’s mutually contradictory statements), leaving to us the second-order activity of recognition (her disingenuousness). Chapter Three examines how Hardy employs linguistic analogues to represent the essential structure of perceptual experience. Chapter Four, on late James, shows how shifts in attention on two scales produce two distinct experiences. Shifts to the periphery of a scene act as a temporal ballast, adding weight to the perceived dimensions of the passage. Shifts within the sentence elicit intense perceptual involvement, even when that absorption exceeds what is warranted by the semantic plane. The essence of the novel’s referenced world can be preserved in memory, but linguistic form resists memory; it is immediate and ephemeral. During the act of reading, it is one of the novel’s greatest pleasures.
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Moubarak, Elizabeth. "A case study of a special needs class: how attention to aesthetic considerations informs learning and individual growth." Thesis, McGill University, 2011. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=104800.
Анотація:
A qualitative study of a special-needs class: how attention to aesthetic considerations informs learning and individual growth. This thesis describes a qualitative study of how attention to aesthetic considerations informs learning and individual growth in a special-needs class. The study is intended to provide an understanding of the evolving classroom environment and its influences on the individual students and myself as the teacher. The research context was a junior high school special-needs class (B111) of eleven students, one teacher and an attendant. Art-based educational research methods were used to conduct and analyze the data. Literature on aesthetics, meaning making and learning are discussed and connected to the documented comments, opinions and art works of the participants. The question whether or not a sense of belonging, if fostered through attention to aesthetic considerations, could motivate students to come to class and respect school grounds and property is addressed in the research. This qualitative study illustrates that getting to know the student population and the nature of the class and school is a crucial factor amongst others that contribute towards a healthy learning environment. This can be inspiring to administrators, educators, interior designers and architects when considering the factors involved in designing, building or organizing a school or classroom.Étude de cas d'une classe d'éducation spécialisée : De quelle façon l'esthétisme influence-t-elle l'apprentissage et le développement personnel?Ce mémoire présente une étude de cas sur la façon dont l'esthétisme influence l'apprentissage et le développement personnel dans une classe d'éducation spécialisée. L'objectif est de mieux comprendre l'environnement évolutif de la classe et de son influence sur les élèves et sur moi-même, l'enseignante de la classe témoin. Le cadre de cette étude était une classe d'éducation spécialisée (B-111), située dans une école secondaire de premier cycle. Onze élèves, une préposée et une enseignante ont pris part à cette étude. Les données ont été recueillies et analysées à partir de méthodes issues des récentes recherches en éducation de l'art et plus précisément, sur l'enseignement à partir de l'art. La littérature sur l'esthétisme, sur la négociation de sens et sur l'apprentissage a servi les besoins de cette étude et les commentaires, les opinions ainsi que les travaux artistiques des participants y sont reliés. La question à savoir si l'esthétisme de la salle de classe crée un sentiment d'appartenance, agissant comme source de motivation sur l'assiduité en classe et sur le respect de l'établissement scolaire a été soulevée. Cette étude de cas démontre l'importance de la création de liens avec les élèves. La connaissance de la nature spécifique de la classe s'avère être un facteur crucial dans la création d'un environnement d'apprentissage sain et équilibré. Cette étude inspirera peut-être les directeurs d'école et les commissions scolaires, les décorateurs d'intérieur et les architectes, lorsque viendra le temps de concevoir les plans architecturaux, la décoration, la construction et l'organisation d'une école ou d'une salle de classe.
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Essoukan, epee Hermann. "La Vision poétique du 'Monde' dans les films-essais Méditerranée de Jean-Daniel Pollet, Sans soleil de Chris Marker et Asientos de François L. Woukoache." Electronic Thesis or Diss., Université Grenoble Alpes, 2023. http://www.theses.fr/2023GRALL024.
Анотація:
La présente étude s’intéresse non seulement à l’idée d’un cinéma qui pense et participe à la pensée poétique, c’est-à-dire à l’idée de « la coulée du film qui s’apparenterait à celle de la pensée » pour parler comme Norman McLaren ; elle défend également l’idée d’un cinéma poétique et d’une poétique du cinéma axés sur une esthétique nouvelle de médiation et de création qui explore l’univers poétique. En plus de s’engager dans la définition d’un cinéma de poésie et d’une poétique du cinéma, cette étude entend contribuer à la compréhension de certains mécanismes esthétiques et artistiques qui affectent poétiquement l’attention des percept’acteurs (attention poétique) lorsqu’ils sont face aux effets et aux procédés filmiques qui ne jouent plus sur des effets immersifs et déterminants comme on peut le voir dans les cinémas populaires, de divertissement, de narration, et dans les films documentaires, mais sur des indéterminations perceptives, sur « la promenade esthétique » pour parler comme Jean-Marie Schaeffer et sur la « poétique du désœuvrement ».Les films-essais Méditerranée de Jean-Daniel Pollet, Sans soleil de Chris Marker et Asientos de François L. Woukoache, font naviguer les percept’acteurs – néologisme que nous employons à la place de spectateur, puisqu’il ne s’agit plus de spectacle dans ces films – dans une sphère atemporelle et les amènent à l’extérieur du temps, afin de briser la relation qu’ils entretiennent avec les films classiques et de proposer un regard nouveau de l’œuvre. Pour ces cinéastes de la poésie et de la mémoire, il s’agit de façon ambivalente de déraciner et d’ensevelir le mot, de bousculer les conventions et de rompre avec l’accoutumance à travers une vision poétique et « politique » au sens large (politico-historique) du monde, une esthétique nouvelle, un bricolage et braconnage artistique, engendrant une sorte de réinvention du langage.Mots-clés : Films-essais, modernité cinématographique, cinéma de poésie, attention esthétique, attention poétique, percept’acteurs, création artistiqueThe present study does not only examine the idea of a cinema that thinks and participates in the poetic thought, as stated by Norman McLaren as: ‟the flowing movement of the film that echoes that of the thought”, but it also argues for the idea of a poetic cinema and a poetics of cinema focused on a new aesthetic of mediation and creation that explores the poetic universe. In addition to engaging in the definition of a cinema of poetry and a poetics of cinema, this study intends to offer a deeper insight into the understanding of certain aesthetic and artistic mechanisms that poetically affect the attention of percept’acteurs (poetic attention) when they are faced with filmic effects/texts and processes that no longer rely on immersion and determining factors such as observed in popular cinemas, entertainment, storytelling, and documentary films. The attention of the percept’acteurs is rather drawn to the visual/perceptual indeterminacy, of the ‟aesthetic walk”, to sound like Jean-Marie Schaeffer and on the ‟poetics of idleness”.The essay-films Méditerranée by Jean-Daniel Pollet, Sans soleil by Chris Marker and Asientos by François L. Woukoache, make the percept’acteurs – a neologism that we use instead of spectator, since these films no longer deal with spectacle – to navigate in a timeless sphere and export them beyond the time, in order to break the relationship they maintain with classic films and to encourage a new look towards the artwork. For these filmmakers of poetry and memory, it’s about an ambivalent way to uproot and bury the word in order to defy conventions and break habits through a poetic and ‟political” vision in the broaden sense (Political-historical) of the world, a new aesthetic, a diy and artistic poaching, leading to a kind of reinvention of the language.Keywords: Essay films, Modern cinematography, a poetic cinema, aesthetic attention, poetic attention, percept’acteurs, artistic creation
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Yang, Taoxi [Verfasser], and Ernst [Akademischer Betreuer] Pöppel. "Inhomogeneity of visual space, discontinuity of perceptual time and cultural imprinting as exemplified with experiments on visual attention, aesthetic appreciation and temporal processing / Taoxi Yang ; Betreuer: Ernst Pöppel." München : Universitätsbibliothek der Ludwig-Maximilians-Universität, 2019. http://d-nb.info/119811195X/34.
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Homlong, Siri. "The Language of Textiles : Description and Judgement on Textile Pattern Composition." Doctoral thesis, Uppsala : Acta Universitatis Upsaliensis (AUU), 2006. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-7216.
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Werner, Petra. "Ett medialt museum : lärandets estetik i svensk television 1956-1969." Doctoral thesis, Södertörns högskola, Estetik, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-30912.
Анотація:
This thesis investigates the aesthetic interpretation of learning processes in television produced and broadcast in Sweden between 1956 and 1969. The thesis explores how these programmes are linked to concepts of Bildung by their aesthetics, by which the intangible cultural heritage is entrusted in the form of oral and visual traditions, storytelling and games/play, where learning is the common denominator. The programmes are divided into three categories: aesthetics of attentiveness, aesthetics of tale/storytelling and aesthetics of play. The detailed, thick, descriptions of the programmes emanating from the close-readings shall be, together with the aesthetic categories that I have formulated and expressed in a model, regarded as the survey’s key findings. The starting point of the central theoretical model of the thesis is André Malraux’s idea of an imaginary museum of imagination in which photo reproductions can constitute a collective memory, and thus bepart of an intangible heritage. Based on this idea of an imaginary museum, I have constructed a conceptual model called a medial museum, valid in its own time as well as for posterity. The theoretical models that the study gain support from are characterized by phenomenological and hermeneutical perspectives, as I refer to a phenomenological-hermeneutical method when analysing the programmes, and at the same time underline the phenomenological-hermeneutically based aesthetics in the analysed programmes, where aesthetic interpretation of learning processes in terms of attentiveness, tale and play is of a phenomenological-hermeneutic character. For a broad perspective on learning processes, theoretical support is acquired both from the German philosopher Hans-Georg Gadamer and his hermeneutic of traditions and from the French philosopher Jacques Rancière and his emancipatory ideas of pedagogy and aesthetics. Furthermore, the French philosopher Paul Ricœur and his thoughts on importance of storytelling for knowledge formation have had significant influence on the work. Regarding the concepts of play, I have made use of both Gadamer’s ideas of art experience as play and of Donald W. Winnicott’s theories about play as transitional area. In the programmes’ aesthetics is found a depiction of a broadened interpretation of Bildung, where processes of learning comprise a direct sensual perceiving, attentiveness, storytelling/tale and play. Moreover, within the programmes’ managing of an intangible cultural heritage, I have found an expression of an interplay between modernity and tradition, with emphasis on the historical significance of the present, and rooting in the past of everyday life, where expectation on the future and the memory of the past can co-exist. To summarise, the study suggests the possibility to understand aesthetics as an epistemology using sensuous experience as basis for a conceptual knowledge about how to understand the world. Thereby, one can comprehend aesthetics as pedagogy per se.
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Rooney, Kevin Kelley. "Vision and the experience of built environments: two visual pathways of awareness, attention and embodiment in architecture." Diss., Kansas State University, 2015. http://hdl.handle.net/2097/20597.
Анотація:
Doctor of PhilosophyEnvironmental Design and Planning Program
Robert J. Condia
The unique contribution of Vision and the Experience of Built Environments is its specific investigation into the visual processing system of the mind in relationship with the features of awareness and embodiment during the experience of architecture. Each facet of this investigation reflects the essential ingredients of sensation (the visual system), perception (our awareness), and emotions (our embodiment) respectively as a process for aesthetically experiencing our built environments. In regards to our visual system, it is well established in neuroscience that human vision divides into the central and peripheral fields of view. Central vision extends from the point of gaze (where we are looking) out to about 5° of visual angle (the width of one’s fist at arm’s length), while peripheral vision is the vast remainder of the visual field. These visual fields project to the parvo and magno ganglion cells which process distinctly different types of information from the world around us and project that information to the ventral and dorsal visual streams respectively. Building on the dorsal/ventral stream dichotomy, we can further distinguish between focal processing of central vision and ambient processing of peripheral vision. Thus, our visual processing of, and attention to, objects and scenes depends on how and where these stimuli fall on the retina. Built environments are no exception to these dependencies, specifically in terms of how focal object perception and ambient spatial perception create intellectual and phenomenal experiences respectively with architecture. These two forms of visual processing limit and guide our perception of the built world around us and subsequently our projected and extended embodied interactions with it as manifested in the act of aesthetic experience. By bringing peripheral vision and central vision together in a balanced perspective we will more fully understand that our aesthetic relationship with our built environment is greatly dependent on the dichotomous visual mechanisms of awareness and embodiment.
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Riley, Matthew. "Attentive listening the concept of Aufmerksamkeit and its significance in German musical thought, 1770-1790 /." Thesis, Boston Spa, U.K. : British Library Document Supply Centre, 2000. http://ethos.bl.uk/OrderDetails.do?did=1&uin=uk.bl.ethos.325815.
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Baldissera, Marcia. "Quelles expériences pour quels films? Les temps de notre relation esthétique au monde." Thesis, Paris, EHESS, 2017. http://www.theses.fr/2017EHES0074.
Анотація:
La thèse se propose d’analyser la structure esthétique de l’expérience cinématographique. On part d’une définition du film comme flux (audio-)visuel qui a un début, un déroulement et une fin. Partant du constat de ce principe constructif, la thèse entend montrer comment la structuration temporelle des films engendre des différences cognitives dans l'expérience spectatorielle. La notion de « structuration temporelle » renvoie à l'ordonnancement des plans et des sons dans leur durée en succession et/ou en simultanéité, tandis que l'adjectif « cognitif » fait référence aux processus d'acquisition et d'usage de nos connaissances. L’étude se fonde sur l'esthétique de Kant, la phénoménologie de Husserl, l'analyse du cinéma de Deleuze, l'Intentionnalité chez Searle, ainsi que la théorie esthétique et la théorie cognitive de la fiction de Schaeffer, dans une perspective interdisciplinaire et en prenant appui sur les données empiriques des sciences cognitives. La thèse déploie une analyse comparative du déroulement des processus de la réception cinématographique – la perception, l'attention et la compréhension – et rend compte des différents temps de cette réception, c’est-à-dire de la relation entre l'objet film et les spectateurs. L’objectif est double : il s’agit, d’une part, de mettre au jour les implications cognitives de la technique cinématographique dans l'expérience spectatorielle, en considérant notamment la fonction de cette technique et les principes, issus de l’Intentionnalité des auteurs, qui y sont inscrits ; et, d’autre part, d’évaluer la portée de ces principes constructifs et Intentionnels dans le cinéma contemporain, les dernières décennies ayant été marquées par une radicalisation progressive du rythme des films. Le cinéma devient à ce titre un exemple des structures temporelles qui soutiennent notre relation au monde réelThe aim of this thesis is to analyze the aesthetic structure of the cinematographic experience. We depart from a definition of film as an (audio)visual flux with a beginning, an evolution, and an end. From the evidence of this constructive principle, this thesis intends to show how the temporal structure of films generates cognitive differences in the spectators' experience. The notion of “temporal structure” is related to the ordering of shots and sounds within their durations in succession and/or in simultaneity, while the adjective “cognitive” refers to the acquisition process and use of our knowledge. This study is based on Kant's aesthetics, Husserl's phenomenology, Deleuze's cinema analysis, Searle's Intentionality, and Schaeffer's aesthetic and fiction cognition theories, in an interdisciplinary perspective, drawing on cognitive sciences empirical data. It is a comparative analysis of the unfolding of the cinematographic reception process – perception, attention and comprehension – and takes the different times of this reception into account, that is, the relation between the object film and the spectators. The objective is twofold: on the one hand it is a question of uncovering the cognitive implications of the cinematographic technique for the spectators' experience through close consideration of the functions of this technique and the principles which the authors’ Intentionality have inscribed upon it; on the other hand, it is a question of evaluating the scope of these constructive and Intentional principles on contemporary cinema, as recent decades have emphasized the progressive radicalization of filmic rhythm. Cinema becomes as such an example of the temporal structures that uphold our relation to the real world
Книги з теми "Aesthetic attention":
1
Cronin, Catherine Anne. Are contemporary visual artists exchanging aesthetic values and meaningful content for shock tactics and sensation to gain instant acclaim and public attention. London: LCP, 2001.
2
Sdegno, Emma, Martina Frank, Pierre-Henry Frangne, and Myriam Pilutti Namer. John Ruskin’s Europe. A Collection of Cross-Cultural Essays With an Introductory Lecture by Salvatore Settis. Venice: Fondazione Università Ca’ Foscari, 2020. http://dx.doi.org/10.30687/978-88-6969-487-5.
Анотація:
Ruskin’s work is strongly inscribed in the great European context, marking an important moment in the movement for the establishment of a community culture and spirit. The essays collected here intend to place the theme of Ruskin’s fruitful and essential relationship with Europe at the centre of a critical reflection, presenting themselves as opportunities for an in-depth study and a discussion on issues related to aesthetics, the protection of material and immaterial heritage, cultural and literary memory. By bringing to the attention of the scientific community the multiple aspects – geographic, historical-artistic, critical-aesthetic, literary, socio-political – of Ruskin’s work from inter- and transcultural perspectives, the volume aims to (re)discover a deliberately European Ruskin and to stimulate new research routes.
3
Volodina, Elena. Materials science: Design, architecture: in 2 t. Volume 1. ru: INFRA-M Academic Publishing LLC., 2022. http://dx.doi.org/10.12737/1039908.
Анотація:
The first volume of the textbook describes the main groups of building and finishing materials and products, their structure and properties.
Special attention is paid to the actual finishing materials, as well as their ecological and aesthetic features, which are important for creating an expressive subject-spatial environment.
The well-thought-out structure of the book allows you to successfully master the discipline in different formats of vocational education: secondary vocational, bachelor's, master's, professional retraining. The volume of the studied material is determined by the teacher in accordance with the requirements of the Federal State Educational Standard of the latest generation and the work program.
It is intended for students in the areas of training "Design", "Environment Design", "Architectural environment Design", "Architecture", "Architectural design". It will also be useful as a reference for practicing designers, architects, restorers, builders, teachers of materials science and a wide range of people interested in this field of knowledge.
4
Volodina, Elena. Materials Science: Design, architecture. ru: INFRA-M Academic Publishing LLC., 2022. http://dx.doi.org/10.12737/1046078.
Анотація:
The second volume of the textbook contains information about finishing materials, products and engineering systems in relation to the interior design of a modern building. Special attention is paid to the actual finishing materials, as well as their ecological and aesthetic characteristics, which are important for creating an expressive subject-spatial environment.
The well-thought-out structure of the book allows you to successfully master the discipline in different formats of vocational education: secondary vocational, bachelor's, master's, professional retraining. The volume of the studied material is determined by the teacher in accordance with the work program.
The content meets the requirements of the federal state educational standards of higher education of the latest generation.
It is intended for students in the areas of training "Design", "Environment Design", "Architectural environment Design", "Architecture", "Architectural design". It will also be useful as a reference for practicing designers, architects, restorers, builders, teachers of materials science and a wide range of people interested in this field of knowledge.
5
Serafimova, Vera, Ivan Pankeev, and L. G. Tyurina. History of Russian literature of the XX-XXI centuries. ru: INFRA-M Academic Publishing LLC., 2022. http://dx.doi.org/10.12737/1866868.
Анотація:
The textbook consists of review and monographic chapters, presents a modern view of the literary process of the XX — early XXI century, examines the work of poets, novelists, playwrights who caused an extraordinary rise in spirituality and culture of the period under consideration. The analysis of the top works of Nobel Prize laureates is given: I. Bunin, B. Pasternak, M. Sholokhov, A. Solzhenitsyn, I. Brodsky, writers- front—line poets and prose writers. Attention is paid to the work of writers of Russian emigration. The section "Modern prose" includes materials on philosophical and aesthetic searches in the works of such writers as V. Rasputin, L. Borodin, Yu. Polyakov, B. Ekimov, A. Bitov, V. Makanin, A. Kabakov, V. Tokareva, etc.
It offers questions and tasks for independent work, topics of abstracts, term papers and theses, a list of bibliographic sources.
Meets the requirements of the federal state educational standards of higher education of the latest generation.
Designed for students of higher educational institutions.
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Serafimova, Vera. History of Russian literature of XX-XXI centuries. ru: INFRA-M Academic Publishing LLC., 2020. http://dx.doi.org/10.12737/1138897.
Анотація:
The textbook consists of review and monographic chapters, presents a modern view of the literary process of the XX-beginning of the XXI century, examines the work of poets, prose writers, playwrights who caused an extraordinary rise in spirituality and culture of the period under consideration. The analysis of the top works of Nobel prize winners: I. Bunin, B. Pasternak, M. Sholokhov, A. Solzhenitsyn, V. Shalamov, I. Brodsky, writers-front — line poets and prose writers is given. Attention is paid to the work of writers of Russian emigration. The section "Modern prose" includes materials about philosophical and aesthetic searches in the works of such writers As V. Rasputin, L. Borodin, Yu. Polyakov, B. Ekimov, A. Bitov, V. Makanin, A. Kabakov, V. Tokareva, etc. It offers questions and tasks for independent work, topics of essays, term papers and theses, a list of bibliographic sources. Meets the requirements of the Federal state educational standards of higher education of the latest generation. It is intended for students of higher educational institutions.
7
Price, Lew Paxton. The oldest magic: The prehistory, ancient history, nature of, and early influence of music, with special attention to the role of the flute. Garden Valley, CA: L.P. Price, 1995.
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Stewart, Garrett. Attention Spans. Edited by David LaRocca. Bloomsbury Publishing Inc, 2024. http://dx.doi.org/10.5040/9798765102268.
Анотація:
Attention Spans’ chronological review of Garrett Stewart’s critical approach tracks and maps the evolution of intersecting disciplines from late New Criticism through structuralism, deconstruction, narrative theory (by way of narratography), poetics, and media studies, in which Stewart’s has been so persistent and so eloquent a voice. Excerpts from his twenty books are framed by editorial retrospect, then linked by Stewart’s own commentary on the variety – and underlying vectors – of his interpretive career across aesthetic forms, from Victorian narrative to recent American fiction, classic celluloid cinema to postfilmic digital effects, inert book sculpture and literary wordplay to the soundscape of singing on screen. Accompanied by a glossary of his many influential coinages, this cornucopia of analyses is also a chronicle of evolving paradigms in the work of intensive reading.
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Lanzendörfer, Anselma. Designated Attention. Edited by Christian Thorau and Hansjakob Ziemer. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780190466961.013.11.
Анотація:
During the nineteenth century, new ideas about how to listen to music were developed. This chapter analyzes concert programs from the Leipzig Gewandhaus from the late eighteenth century through the mid-nineteenth. It looks at one aspect that has been largely ignored: the actual form that the announcements of music in concert programs took. Designations of musical pieces began to provide more and more information, specifying details such as composers’ name, key, running number, tempo and mood markings, and programmatic titles. This development was asynchronous and uneven, encompassing some composers and genres much earlier and more thoroughly than others. This chapter argues that the designations of works of music in concert programs—for a long time the medium closest to the actual listening experience—can be studied as an important factor that shaped (and shapes) music perception (e.g., the prestige effect of “the Ninth” and aesthetic hierarchies).
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Bender, John W. Aesthetic Realism 2. Edited by Jerrold Levinson. Oxford University Press, 2009. http://dx.doi.org/10.1093/oxfordhb/9780199279456.003.0004.
Анотація:
Aesthetic property realism would seem to be committed to at least some version of the following two claims: (a) there is a distinctive category of predications or attributions used in describing art works and other objects of our aesthetic attention; and (b) it is correct to construe these attributions as asserting that certain aesthetic properties exist and are objectively true of art works and other objects. Although anti-realist challenges have focused mainly on deconstructing (b), there has also been considerable scepticism over (a), i.e. over the very concept of aesthetic properties. The distinction between the aesthetic and the non-aesthetic is one of those distinctions that has strong intuitive credibility but yields grudgingly to philosophical analysis.
Частини книг з теми "Aesthetic attention":
1
Sedgman, Kirsty. "Audience Attention and Aesthetic Experience." In The Reasonable Audience, 23–42. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-99166-5_3.
2
Mandal, Ranju, Susanne Becken, Rod M. Connolly, and Bela Stantic. "Residual Attention Network vs Real Attention on Aesthetic Assessment." In Recent Challenges in Intelligent Information and Database Systems, 310–20. Singapore: Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-16-1685-3_26.
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Novacich, Samuel. "Makeup and marquinha: aesthetics of the bodily surface in Rio de Janeiro." In Embodying Peripheries, 52–73. Florence: Firenze University Press, 2022. http://dx.doi.org/10.36253/978-88-5518-661-2.03.
Анотація:
This chapter focuses on two aesthetic practices on the urban periphery of Rio de Janeiro, Brazil. First, I discuss applications of bright, deliberately eye-catching makeup in the context of professional makeup salons, among amateur enthusiasts, and in relation to women’s empowerment classes at a community center in a small favela located in Rio’s downtown. Second, I describe a tanning practice known as marquinha (little mark), in which strips of tape are applied to the body and used to create precise tan lines. Taking as a starting point the assertion that aesthetics and political dynamics are inextricably entwined, I draw comparisons between these aesthetic practices and their relation to questions of sexuality and desire, power and self-empowerment, and to questions of race. In Rio de Janeiro, as elsewhere, aesthetics are particularly important to the politics of inequality that define the urban landscape. And while aesthetics may often express ideas and indeed “say something” about their practitioners, they are hardly just passive reflections of society. This chapter focuses instead on the pragmatic power of makeup and marquinha to “causar” (to cause) and make real material impacts on viewers. In describing these practices as pragmatic, I call attention to aesthetics as a relational practice that mediates between the self and other, and invites new social possibilities. As such, makeup and marquinha are understood as co-constitutive of the contexts within which they are found, shaping not only relations between individuals and things, but also, one’s understanding of the self.
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Nasser, Nasir A. "Rhinoplasty." In Oral and Maxillofacial Surgery for the Clinician, 775–813. Singapore: Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-15-1346-6_38.
Анотація:
AbstractThe nose occupies the centre of the face and receives enormous attention as a key aesthetic element. It is also an important organ contributing to vital functions of breathing and olfaction. A nose with ideal proportions creates a harmonious balance of aesthetic and psychological wellness. Whilst a rhinoplasty can significantly improve the quality of life of patients, there may be associated complications and undesirable outcomes. It is imperative that the surgeon desiring to practise the art and science of rhinoplasty should be familiar with the essential basics before embarking on this journey.
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Mäcklin, Harri. "Roman Ingarden on Aesthetic Attention." In Roman Ingarden’s Aesthetics and Ontology. Bloomsbury Academic, 2023. http://dx.doi.org/10.5040/9781350321533.0013.
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Basu, Sweta, and Narayanan Srinivasan. "Disinterested attention and aesthetic experience." In Progress in Brain Research. Elsevier, 2024. http://dx.doi.org/10.1016/bs.pbr.2024.05.012.
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Eaton, Marcia Muelder. "The Aesthetic Life." In Merit, Aesthetic and Ethical, 99–113. Oxford University PressNew York, NY, 2001. http://dx.doi.org/10.1093/oso/9780195140248.003.0008.
Анотація:
Abstract Aesthetic experience, as I have defined it, involves attending to—perceiving and reflecting upon—an object or event’s intrinsic properties considered worthy of that attention within a community into which one has been socialized. These experiences, I have argued, are not necessarily—indeed, are rarely—“pure” in the sense that one’s attention is aimed only at aesthetic properties. One can look at a painting or landscape, listen to a song or poem and, while paying due attention to shapes or rhythms or repetitions, also think about grandma, sex, oppression, or anything else. As long as one continues to perceive or reflect on aesthetic properties, one is having a genuine aesthetic experience. Aesthetic values are different than, but they are not necessarily separate from, other values. Still, some people’s lives include more occasions of aesthetic attention than do the lives of some other people. Stated simply, “the aesthetic life” is one in which at tending to intrinsic properties valued in one’s culture because they repay that attention plays a significant role in one’s life, both quantitatively and qualitatively. In this chapter, I shall look at a literary depiction of someone who leads such a life. I shall show in detail what it entails and suggest how even those whose lives are what we might call “very aesthetic” still lead lives in which the aesthetic is integrated with other values, in particular, with ethical values1.
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Nanay, Bence. "5. Aesthetics and the other." In Aesthetics: A Very Short Introduction, 56–71. Oxford University Press, 2019. http://dx.doi.org/10.1093/actrade/9780198826613.003.0005.
Анотація:
‘Aesthetic and the other’ looks at the interpersonal dimension of aesthetics. Aesthetics is rarely a solitary endeavour. We are social beings and there are very few aesthetic situations that are devoid of all social aspects. The discussion of the social dimension of aesthetics in the history of ‘Western’ aesthetics has been dominated by aesthetic agreements and disagreements. But the real question about aesthetic agreements and disagreements is not about who is right and who is wrong. It is about the ways in which our experiences depend on the allocation of our attention, our background beliefs and knowledge, as well as our past exposure.
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Hughes, Eugene, and Arnold Berleant. "Aesthetic Engagement as a Pathway to Mental Health and Well-being." In The Oxford Handbook of Mental Health and Contemporary Western Aesthetics, C12S1—C12N3. Oxford University Press, 2023. http://dx.doi.org/10.1093/oxfordhb/9780192866929.013.12.
Анотація:
Abstract It is widely accepted that the quality of interpersonal relationships is directly linked to the development and maintenance of a healthy sense of self. When it comes to mental health, the quality of relationships matters. Yet there has been limited research and attention given to the quality of our relationship with the physical world around us. Environmental aesthetics has emerged in the last fifty years from the fields of aesthetics and environmental philosophy, and philosopher Arnold Berleant developed the idea of aesthetic engagement to draw attention to the sensorial reciprocity between the perceiver and any given environment. Rejecting the subject–object dualism inherent in traditional accounts of aesthetic appreciation, aesthetic engagement points to how sense perception becomes central to understanding self-experience. This chapter examines the intersection between environmental aesthetics and the psychology of the self. Highlighting the psychological value of distinguishing between the aesthetic and non-aesthetic engagement with environments, the chapter proposes ways in which the concept of aesthetic engagement illuminates our understanding of what constitutes a psychologically healthy sense of self.
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Lee, Corina. "Aesthetic surgery." In Oxford Textbook of Anaesthesia for Oral and Maxillofacial Surgery, Second Edition, 93–106. 2nd ed. Oxford University PressOxford, 2022. http://dx.doi.org/10.1093/med/9780198790723.003.0009.
Анотація:
Abstract Orofacial aesthetic surgery concerns operative procedures of the mouth and face specifically undertaken for cosmetic purposes. This type of surgery has been part of a rapidly expanding healthcare sector, often undertaken in non-hospital-based environments, that is consequently relatively less evidence based than more established surgical specialities. This chapter describes a safe approach to anaesthesia for these procedures, highlighting procedure-specific requirements, as well as discussing the tenets of orofacial aesthetic surgery—smooth emergence from anaesthesia, meticulous blood pressure control, avoidance of nausea and vomiting, and provision of adequate analgesia—all measures designed to reduce postoperative haematoma formation. Important aspects of non-surgical facial procedures relevant to the anaesthetist are also described, with particular attention to the potential risks and safety strategies pertinent to laser surgery.
Тези доповідей конференцій з теми "Aesthetic attention":
1
Radeev, A. "FOR A NEW AESTHETICS, OR BACK TO AESTHETIC EXPERIENCE." In Aesthetics and Hermeneutics. LCC MAKS Press, 2022. http://dx.doi.org/10.29003/m2546.978-5-317-06726-7/58-60.
Анотація:
The paper examines the main forms of “new aesthetics” and reveals the relationship of these forms with the analysis of aesthetic experience. It is argued that attention to the procedural nature of aesthetic experience, attention tothe moments of aesthetic experience, the introduction of a concept of aesthetic experience as a sensory experience of a multi ple form opens up some prospects for productivity in the history, theory and practice of aesthetics.
2
Hou, Jingwen, Sheng Yang, and Weisi Lin. "Object-level Attention for Aesthetic Rating Distribution Prediction." In MM '20: The 28th ACM International Conference on Multimedia. New York, NY, USA: ACM, 2020. http://dx.doi.org/10.1145/3394171.3413695.
3
Pidaparthy, Hemanth, Abhay Chauhan, and Pavan Sudheendra. "Multi-level Attention Aggregation for Aesthetic Face Relighting." In 2024 IEEE/CVF Winter Conference on Applications of Computer Vision (WACV). IEEE, 2024. http://dx.doi.org/10.1109/wacv57701.2024.00401.
4
Marković, Suzana, Jelena Dorčić, Dora Rašan, Bruna Bucić, and Marko Blažić. "AESTHETIC GUEST EXPERIENCE IN RESTAURANT: A STATE-OF-THE-ART REVIEW." In 5th International Scientific Conference – EMAN 2021 – Economics and Management: How to Cope With Disrupted Times. Association of Economists and Managers of the Balkans, Belgrade, Serbia, 2021. http://dx.doi.org/10.31410/eman.s.p.2021.135.
Анотація:
The concept of customer experience has received considerable attention in various disciplines, particularly in tourism and hospitality research. However, the aesthetic guest experience has hardly been investigated in previous studies. Aesthetics involves what makes an object beautiful and what people feel when they encounter a beautiful object. Dining experience encompasses almost all senses together, which makes it difficult to measure this concept properly. Considering the important role of aesthetics in the dining experience, this study provides a review and synthesis of the literature to establish a foundation for the conceptual framework for measuring the aesthetic guest experience in restaurants. The main objectives of this study are to categorise and summarise the research on aesthetic guest experience, present a new conceptualization and conceptual model of the aesthetic guest experience in restaurants, and highlight the emerging trends and gaps in the literature. The findings of this study contribute to aesthetic theory and offer practical implications for restaurant managers regarding all aesthetic components that should be considered when designing a memorable aesthetic restaurant experience.
5
Xu, Munan, Jia-Xing Zhong, Yurui Ren, Shan Liu, and Ge Li. "Context-aware Attention Network for Predicting Image Aesthetic Subjectivity." In MM '20: The 28th ACM International Conference on Multimedia. New York, NY, USA: ACM, 2020. http://dx.doi.org/10.1145/3394171.3413834.
6
Sheng, Kekai, Weiming Dong, Chongyang Ma, Xing Mei, Feiyue Huang, and Bao-Gang Hu. "Attention-based Multi-Patch Aggregation for Image Aesthetic Assessment." In MM '18: ACM Multimedia Conference. New York, NY, USA: ACM, 2018. http://dx.doi.org/10.1145/3240508.3240554.
7
Rukavishnikov, A. "THE PRINCIPLE OF AESTHETIC EXEGESIS IN THE CONTEXT OF “THEOLOGY OF PRESENCE”." In Aesthetics and Hermeneutics. LCC MAKS Press, 2022. http://dx.doi.org/10.29003/m2562.978-5-317-06726-7/129-133.
Анотація:
The article attempts to consider the principle of aesthetic exegesis taken from theological aesthetics in the context of the “Theology of presence” formulated by theologian Pavel Evdokimov. Special attention is paid to iconosophy. Through Evdokimov's desire to build a theology of beauty with the help of a detailed analysis of both the icon painting itself and the role that the icon plays in Orthodox worship, the thesis about the fundamental possibility of interpreting the provisions of the Christian faith in an aesthetic mode is defended.
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Zhang, Andy S. J. "Teaching Computer Aided Product Design With Aesthetic Considerations." In ASME 2005 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. ASMEDC, 2005. http://dx.doi.org/10.1115/detc2005-85531.
Анотація:
This paper presents a study on how to utilize the computer based 3-dimensional parametric solid modeling software to integrate aesthetics into the lectures of product design related courses of a mechanical engineering curriculum to improve teaching and learning. The study indicates that when aesthetics were properly introduced into the classrooms of product design related courses; it created an environment that stimulated students’ imagination and creativity therefore enhancing their learning experience. When teaching product design courses, instruction tends to be focused on the underlying engineering requirements related to the product. Little is taught in the classroom about the aesthetic aspects of the product. As a result, the products created from the student’s design projects are mostly functional but not necessarily visually appealing. To address this issue, in teaching design-related courses, students were told to play the roles of both designers and consumers. After learning the basics of aesthetics, students were encouraged to inject their own aesthetic evaluations, considering themselves as customers, into the design process. This allowed the students to put more attention on the human elements (aesthetics) of their design. As a result, the students’ design projects have dramatically improved in content and in forms. The advances in computer based 3D parametric modeling software has made the integration of aesthetics into the engineering design curriculum possible. Both AutoDesk’s Inventor and PTC’s Pro Engineer Wildfire software packages were used in the classrooms. With the software’s enhanced spline and surface features, students were able to try different forms or shapes to generate the desired aesthetic effects that they weren’t able to create in the past.
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JiXiong, Ma, Zhang Hao, He KangJian, and Xu Dan. "Exploring affective image representation with visual attention and aesthetic fusion." In Fourteenth International Conference on Graphics and Image Processing (ICGIP 2022), edited by Liang Xiao and Jianru Xue. SPIE, 2023. http://dx.doi.org/10.1117/12.2680098.
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Liu, Caini, and ChengQi Xue. "Aesthetic Computational Model and Experimental Research Based on Seeking the Particle of Image Elements." In Intelligent Human Systems Integration (IHSI 2023) Integrating People and Intelligent Systems. AHFE International, 2023. http://dx.doi.org/10.54941/ahfe1002880.
Анотація:
As an important part of interface design, interface layout has attracted more attention. Previous researchers used mathematical methods to explore the relationship between interface layout and user aesthetics in order to quantify users' subjective feelings. However, the current computational aesthetic quantification algorithms generalize the interface elements into rectangular boxes for unified treatment by default. In the interface layout, graphic elements with different shapes will bring users different levels of aesthetic attraction. Therefore, simply "dividing" the interface elements into a series of rectangular blocks for attraction evaluation will affect the objectivity of the results. This paper proposes a computational model based on seeking the particle of image pixels and makes a multivariate linear analysis between the subjective score and the calculated values under the two computational models to explore whether the improved evaluation method is more in line with people's perceptual aesthetics. The calculation method of balance (BM) is taken as an example to verify. In the experiment, six test images are selected, and the number of image pixels and the centroid of pixels are counted with the help of Matlab and other software, which verifies the accuracy and objectivity of the new calculation method to measure the aesthetic layout of interface elements. The results show that the fitting effect between the data obtained by the beauty calculation model based on pixel particles and subjective ratings is better, which is more in line with the user's subjective preferences. Aesthetic calculation is the design trend in the future.
Звіти організацій з теми "Aesthetic attention":
1
Perera, Duminda, Vladimir Smakhtin, Spencer Williams, Taylor North, and Allen Curry. Ageing Water Storage Infrastructure: An Emerging Global Risk. United Nations University Institute for Water, Environment and Health, January 2021. http://dx.doi.org/10.53328/qsyl1281.
Анотація:
The Report provides an overview of the current state of knowledge on the ageing of large dams –an emerging global development issue as tens of thousands of existing large dams have reached or exceeded an “alert” age threshold of 50 years, and many others will soon approach 100 years. These aged structures incur rapidly rising maintenance needs and costs while simultaneously declining their effectiveness and posing potential threats to human safety and the environment. The Report analyzes large dam construction trends across major geographical regions and primary dam functions, such as water supply, irrigation, flood control, hydropower, and recreation. Analysis of existing global datasets indicates that despite plans in some regions and countries to build more water storage dams, particularly for hydropower generation, there will not be another “dam revolution” to match the scale of the high-intensity dam construction experienced in the early to middle, 20th century. At the same time, many of the large dams constructed then are aging, and hence we are already experiencing a “mass ageing” of water storage infrastructure. The Report further explores the emerging practice of decommissioning ageing dams, which can be removal or re-operation, to address issues of ensuring public safety, escalating maintenance costs, reservoir sedimentation, and restoration of a natural river ecosystem. Decommissioning becomes the option if economic and practical limitations prevent a dam from being upgraded or if its original use has become obsolete. The cost of dam removal is estimated to be an order of magnitude less than that of repairing. The Report also gives an overview of dam decommissioning’s socio-economic impacts, including those on local livelihoods, heritage, property value, recreation, and aesthetics. Notably, the nature of these impacts varies significantly between low- and high-income countries. The Report shows that while dam decommissioning is a relatively recent phenomenon, it is gaining pace in the USA and Europe, where many dams are older. However, it is primarily small dams that have been removed to date, and the decommissioning of large dams is still in its infancy, with only a few known cases in the last decade. A few case studies of ageing and decommissioned large dams illustrate the complexity and length of the process that is often necessary to orchestrate the dam removal safely. Even removing a small dam requires years (often decades), continuous expert and public involvement, and lengthy regulatory reviews. With the mass ageing of dams well underway, it is important to develop a framework of protocols that will guide and accelerate the process of dam removal. Overall, the Report aims to attract global attention to the creeping issue of ageing water storage infrastructure and stimulate international efforts to deal with this emerging water risk. This Report’s primary target audiences are governments and their partners responsible for planning and implementing water infrastructure development and management, emphasizing adaptat