Статті в журналах: "Art appreciation"

1

Knapic, Diane. "Art Appreciation." Journal of Psychosocial Nursing and Mental Health Services 47, no. 7 (July 1, 2009): 7. http://dx.doi.org/10.3928/02793695-20090701-07.

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2

Lass, Jack. "Art appreciation." New Scientist 215, no. 2875 (July 2012): 26. http://dx.doi.org/10.1016/s0262-4079(12)61943-5.

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3

Masta, Bob. "Art appreciation." New Scientist 215, no. 2877 (August 2012): 31. http://dx.doi.org/10.1016/s0262-4079(12)62072-7.

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4

Noël Carroll. "Art Appreciation." Journal of Aesthetic Education 50, no. 4 (2016): 1. http://dx.doi.org/10.5406/jaesteduc.50.4.0001.

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5

Ishizaki, Kazuhiro, and Wenchun Wang. "Visualizing and deepening thoughts through art appreciation." Visual Inquiry 10, no. 3 (December 1, 2021): 371–83. http://dx.doi.org/10.1386/vi_00062_1.

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We studied methods to help people visualize and deepen their thoughts through art appreciation and how to apply these methods. First, we present the concept of appreciation skills as a scheme to promote thought visualization during the art appreciation process. Then, we propose a model of metacognition using appreciation skills as a theoretical framework for monitoring and controlling thoughts during art appreciation, and we offer tools to help viewers metacognize their thoughts. Additionally, we present and analyse creative approaches for appreciating art physically through multiple senses (sight, touch, sound, smell) as well as practices for visualizing and deepening thoughts through collaborative visual representations. We found that supporting metacognition during the art appreciation process from the perspective of appreciation skills can be particularly effective for novice viewers. In addition, the collaborative creation of short videos may encourage non-art major students to visualize their thoughts and have more varied interpretations of artwork.

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6

Seabolt, Betty Oliver. "Defining Art Appreciation." Art Education 54, no. 4 (July 2001): 44. http://dx.doi.org/10.2307/3193903.

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Pandaleke, Stefanny, and Meyltsan Maragani. "Maengket Sebagai Sarana Pendidikan Seni Melalui Aktivitas Apresiatif dan Kreatif." GETER : Jurnal Seni Drama, Tari dan Musik 2, no. 1 (April 1, 2020): 24–33. http://dx.doi.org/10.26740/geter.v2n1.p24-33.

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The efforts to develop student potential, preservation and development of art through appreciative and creative activities are important things to do. Maengket, as a traditional art in North Sulawesi has the potential as a means of art education through appreciative and creative activities. The discussion in this article is about how the process of art appreciation and creation in learning Maengket as a learning material for Cultural Arts, so that students gain an aesthetic experience. Appreciation activity begins with the introduction or description about Maengket. Then the second step is the analysis of the text from Maengket which includes music and dance movements. The next step is evaluation by giving a summary of the material and looking on the student responses to activities in the previous steps. Furthermore, the creation activities in Maengket learning stand on the concepts and ideas that have been obtained in previous appreciation activities. Each student is given the freedom to express every ideas and express it honestly and personally. Thus, Maengket learning as teaching material in Arts and Culture learning can be more optimized. Keywords: Art Education, Appreciation, Creation, Maengket

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8

KV, LILLY, and SUDHAKAR VENUKAPALLI. "Children's Appreciation of Different Artistic Genres: Representational, Non-representational, and Abstract." International Journal of Arts and Humanities Studies 3, no. 1 (March 9, 2023): 55–63. http://dx.doi.org/10.32996/ijahs.2023.3.1.8.

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Making art and appreciating art are essential human behaviours. As the idiom goes, “beauty lies in the eye of the beholder” we find diverse opinions about art and differences in the experiences elicited through art by individuals. When one perceives art, the close association between sensory and perceptual processing results in aesthetic emotions and aesthetic judgement and helps him/her build meaning. Children’s appreciation of artworks can be categorised into the perceptual level, contextual level and analytical level of appreciation. The objective of the present study is to explore children’s levels of art appreciation. The study is conducted on 60 grade IX children (equal number of boys and girls) in the age group of 13-15 years with no arts education background. They are from rural and urban backgrounds located near Hyderabad in the state of Telangana. Children’s appreciation of artworks is elicited by showing them artworks belonging to three artistic genres: representational, semi-representational and abstract artworks. The results of gender-wise analysis of children’s appreciation according to three levels of appreciation indicate that boys and girls show a statistically significant difference only at the perceptual level of appreciation among representational artworks. For semi-representational artworks, boys and girls display a statistically significant difference at the contextual level of appreciation. On the other hand, in relation to abstract artworks, boys and girls display statistically significant differences in appreciation at perceptual, contextual, and analytical levels of appreciation. The research findings are a clear indication that teachers should encourage children to engage with, reflect upon and value their experiences with artworks and their beauty.

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9

Heidt, Ann H. "Creating Art Appreciation Activities." Art Education 39, no. 1 (January 1986): 23. http://dx.doi.org/10.2307/3192937.

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10

Dean, Diane R., and Debora Milam. "Art Appreciation and Technique." G/C/T 8, no. 5 (September 1985): 47–50. http://dx.doi.org/10.1177/107621758500800526.

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11

Abe, Akinori. "Abduction in Art Appreciation." Philosophies 7, no. 6 (November 20, 2022): 132. http://dx.doi.org/10.3390/philosophies7060132.

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Individuals usually go to art museums to enjoy artworks. Generally, in order to appreciate the art in museums, a brief summary of certain information is provided as a caption. Viewers usually read these descriptions to aid their understanding. To provide broader technical support for this activity, several researchers have proposed a protocol for art appreciation. For instance, Leder et al. proposed a stage model for aesthetic processing, which combines aspects of understanding and cognitive mastering with affective and emotional processing. We have also conducted several experiments in order to determine the effect of information during art appreciation. For instance, we conducted an experiment where information about a piece of art was offered gradually and incrementally. In the experiment, the participants seemed to be able to gradually understand the artwork according to the obtained information. Our observations indicate that they tried to create stories for the artworks in order to explain the obtained information. In addition, for the abstract artworks, if they saw the title, they understood the artworks within their own explanation in the context of the title. Our research framework suggests that we can consider this observed framework as a process of abduction, where the incremental presentation of details about art helps a user form a hypothesis about the piece of art. In this paper, we will analyze artwork appreciation and understanding with this framework from the viewpoint of abduction.

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12

Dalton, Catherine M. "The art of appreciation." Business Horizons 50, no. 6 (November 2007): 441–44. http://dx.doi.org/10.1016/j.bushor.2007.06.002.

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13

Kasatkina, T. A. "Dostoevsky: Art theory and art appreciation theory." Voprosy literatury, no. 6 (December 25, 2022): 62–80. http://dx.doi.org/10.31425/0042-8795-2022-6-62-80.

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The article discusses the author problem in art and focuses on one particular aspect of Dostoevsky’s theory of creative process, namely, his view of reader/audience response, of the author’s high responsibility and their reciprocation necessary for an adequate communication. In his intricately humorous Winter Notes on Summer Impressions [Zimnie zametki o letnikh vpechatleniyakh], Dostoevsky uses comical situations of his own non-encounters with architecture, artefacts and personalities of a very closely related, ‘second home’ culture, which nevertheless remained altogether diﬀerent to that of Russia, in order to describe the core principles of interaction which drive the understanding and correct appreciation of art. These principles not only stipulate the possibility of artist-recipient interactions within an act of artistic creation and its appreciation, but also enable communication between two dissimilar cultures that is based on productive cooperation rather than antagonism. Dostoevsky stresses the responsibility of both the artist and the recipient of art for accurately transmitting and perceiving meanings, and argues the importance of a sincere eﬀort on behalf of the two in order to ensure adequate communication

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14

Bračun Sova, Rajka. "Art Appreciation as a Learned Competence: A Museum-based Qualitative Study of Adult Art Specialist and Art Non-Specialist Visitors." Center for Educational Policy Studies Journal 5, no. 4 (December 31, 2015): 141–57. http://dx.doi.org/10.26529/cepsj.121.

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Since Bourdieu, it has been argued that art appreciation requires “knowledge”. The focus of this qualitative study was to examine art appreciation as a learned competence by exploring two different groups of museum visitors: art specialists and art non-specialists. The research was conducted at Moderna galerija in Ljubljana. Twenty-three adults were recruited and accompanied during their visit to the museum. Participants were requested to “think out loud”, which meant to talk about what they saw, thought, and felt about the artworks. There was a short interview conducted with each participant before entering the museum to gain insight into their art-related and museum-visiting experience. The analysis of the data revealed that some processes of art appreciation were similar within the two groups. Both art specialists and art nonspecialists interact with museum objects physically and intellectually; they see contents and formal qualities as a whole; they respond emotionally to artworks; appreciation includes their personal experience; they search museum interpretation/information for their understanding. Some noticeable differences were found. Art specialists respond to artworks with more understanding and are willing to put more effort into art appreciation, whereas art non-specialists respond with less understanding and put less effort into art appreciation. This paper focuses on the differences between the two groups; reflective and spontaneous appreciation of art, objective and subjective appreciation of art and the effort put into art appreciation. The paper ends with a discussion of the implications of the study for the teaching of art and museum education.

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15

TAMAKI, Haruya, Tsugunosuke SAKAI, Ryuichi YOSHIDA, Yousuke OTA, Hiroshi TAKEMURA, Hiroshi MIZOGUCHI, Fusako KUSUNOKI, et al. "Study on Art-Appreciation Support System to Active Appreciation." Proceedings of JSME annual Conference on Robotics and Mechatronics (Robomec) 2016 (2016): 2A2–13b6. http://dx.doi.org/10.1299/jsmermd.2016.2a2-13b6.

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16

Desa, Noor Enfendi, Syed Alwi Syed Abu Bakar, and Noor A'yunni Muhamad. "The Basis of Art Appreciation." Idealogy Journal 5, no. 2 (September 28, 2020): 97–106. http://dx.doi.org/10.24191/idealogy.v5i2.231.

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This study revolves around identification of ways to observe or appreciate art since an artwork possesses its own aesthetic values which are related to a philosophy or an artist’s cognitive style in conveying the meaning behind an artistic piece. According to Kamus Dewan Edisi Ke-4 (2007), aesthetic is one of the branches of philosophy that deals with the nature of beauty and taste, as well as the philosophy of art. In this research, the two main parts involved are the definition of terms and an analysis on artwork. Three components in definition of terms are describing art and style, art and idea, as well as art and context.

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17

Anderson, Tom. "Attaining Critical Appreciation Through Art." Studies in Art Education 31, no. 3 (1990): 132. http://dx.doi.org/10.2307/1320760.

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18

Irvine, Hope. "The Dangers of Art "Appreciation"." Art Education 44, no. 1 (January 1991): 14. http://dx.doi.org/10.2307/3193262.

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19

PÁLMAI, KATALIN. "Art Appreciation on Hungarian Television." Journal of Art & Design Education 5, no. 1-2 (June 1986): 159–66. http://dx.doi.org/10.1111/j.1476-8070.1986.tb00196.x.

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20

QUEENAN, JOHN T., and GAIL WHIMAN-ELIA. "An Appreciation of Modern ART." Clinical Obstetrics and Gynecology 43, no. 4 (December 2000): 942–57. http://dx.doi.org/10.1097/00003081-200012000-00023.

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21

Villers, Caroline. "The science of art appreciation." Nature 343, no. 6253 (January 1990): 19. http://dx.doi.org/10.1038/343019a0.

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22

Leddy, Thomas, and Bjarne Sode Funch. "The Psychology of Art Appreciation." Journal of Aesthetic Education 34, no. 1 (2000): 118. http://dx.doi.org/10.2307/3333663.

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23

Wolf, Aline D. "Art appreciation for the young." Day Care & Early Education 14, no. 1 (September 1986): 18–19. http://dx.doi.org/10.1007/bf01620523.

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24

Thompson, William Forde, and Mark Antliff. "Bridging two worlds that care about art: Psychological and historical approaches to art appreciation." Behavioral and Brain Sciences 36, no. 2 (March 18, 2013): 159–60. http://dx.doi.org/10.1017/s0140525x1200180x.

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AbstractArt appreciation often involves contemplation beyond immediate perceptual experience. However, there are challenges to incorporating such processes into a comprehensive theory of art appreciation. Can appreciation be captured in the responses to individual artworks? Can all forms of contemplation be defined? What properties of artworks trigger contemplation? We argue that such questions are fundamental to a psycho-historical framework for the science of art appreciation, and we suggest research that may assist in refining this framework.

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25

Song, Mi Sook. "Combination of art and technology: The aesthetics of borrowing from media art." Liberal Arts Innovation Center 13 (November 30, 2023): 45–67. http://dx.doi.org/10.54698/kl.2023.13.45.

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This study examines aspects of appropriation art using mechanical and digital reproduction and reconsiders its aesthetic signifi cance. In addition, we looked at the new direction of liberal arts education by examining how the beauty and aesthetics of borrowed works help a different appreciation and understanding of classical paintings. Modern art has continued to spread and develop into new art through its encounter with media following the development of science and technology. Media art, a form of combining media with art, generally refers to the introduction of various mass media such as photography, TV, video, and computers into art. Appropriation art, which emerged as a result of the development of media, is the creation of new works by using and transforming images of other people's works. The essence of borrowed art is that it creates a multilayered aesthetic of familiarity and newness seen in borrowed works, creating an aesthetic that is diff erent from the original work. It lies in manifesting. Recently, images from traditional paintings have been copied and used as important motifs in Korean contemporary art. Borrowing traditional paintings in media art can present a new methodology for art education. For example, in the case of Lee Lee-nam's work <New Geumgangjeondo> (2009), the original image is exposed at the beginning of the video, and the composition and structure of the original work, which is considered familiar, is perceived again. This changes from superfi cial recognition of the original work to actual recognition. You can create an opportunity to do so. After appreciating the work with learners, time to analyze and discuss the original work can lead to new refl ections on the original work. In addition, by allowing learners to freely copy and modify traditional paintings using digital technology, it can stimulate a serious attitude and interest in the original work. Through this, it is judged that there will be enough room to break away from the traditional appreciation attitude based on contemplation and become an active subject of appreciation. Therefore, borrowed art can be expected to expand the scope of learners' aesthetic experience and provide a new experience of appreciating original works as a viable methodology in art education.

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Lemos, João. "Kant and Recent Philosophies of Art." Kantian Review 26, no. 4 (December 2021): 567–82. http://dx.doi.org/10.1017/s136941542100039x.

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Abstract This article is to be a bridge between Kant’s aesthetics and contemporary art – not by being a paper on Kant and contemporary art, but rather by being on Kant and contemporary philosophy of art. I claim that Kant’s views on the appreciation of art can accommodate contextualism as well as ethicism. I argue that not only does contextualism fit Kant’s views on the appreciation of art; in §§51–3 of the third Critique, Kant’s appreciation of art is in accordance with contextualism. I go on to argue that not only does ethicism fit Kant’s views on the appreciation of art; in §§51–3, Kant’s appreciation of art is in accordance with ethicism.

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27

Garneau, David. "Arte Indígena: de la apreciación a la crítica de arte." Revista Sarance, no. 49 (December 12, 2022): 69–85. http://dx.doi.org/10.51306/ioasarance.049.04.

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El artículo comienza con el reclamo del artista Aborigen australiano Vernon Ah Kee alrededor de la ausencia de crítica a su arte. Su demanda parte del reconocimiento de que el arte contemporáneo, es decir, arte que participa en los discursos y las instituciones artísticas internacionales, solo es considerado como tal cuando es objeto de crítica. Al no atraer a la crítica, el arte Aborigen queda fuera de las altas esferas del mundo artístico. Esta resistencia puede explicarse por un racismo institucional: la cultura dominante se niega a reconocer al arte Aborigen como arte contemporáneo. O, quizás, tiene que ver con que el arte Aborigen es tan avanzado y diferente del arte dominante que, para los críticos y sus puntos de vista, es difícilmente aprehensible. Hasta recientemente, el arte Aborigen era apreciado, por los coleccionistas, como hermoso e interesante. No así por las instituciones, que lo consideraban en términos de producciones culturales. Las obras de arte Aborigen eran entonces relegadas a los museos, como piezas antropológicas, y no como objetos artísticos a ser expuestos en galerías. Para evitar malinterpretaciones y usos incorrectos, es importante distinguir el arte Aborigen del arte Indígena. El arte Aborigen es arte tradicional o arte pensado para la contemplación no-Aborigen pero que no participa de los discursos y las instituciones del mundo internacional del arte. El arte Indígena, una nueva clase de arte, en cambio, sí lo hace. Para ello, es indispensable la crítica que reflexiona sobre cómo lo hace. La emergencia de artistas Indígenas que trabajan con contenidos y estilos no tradicionales y el surgimiento de la curaduría Indígena, pone en evidencia que parte de este arte es arte contemporáneo por lo cual, debe ser abordado desde la crítica de arte. Si los críticos no-Indígenas no quieren o no se sienten capaces de escribir sobre el arte Indígena, es imprescindible una nueva generación de críticos Indígenas de arte Indígena. Sin embargo, también podría ser útil contar con críticos que puedan actuar de una forma no colonial habiendo aprendido a “leer” y escribir sobre el arte Indígena.

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Liu, Pei, and Satha Phongsatha. "Application Research on Enhancing the Cognitive Ability of Art Appreciation of Senior High School Students in Chengdu through Virtual Reality Technology." International Journal of Innovative Research and Scientific Studies 5, no. 3 (September 30, 2022): 236–48. http://dx.doi.org/10.53894/ijirss.v5i3.676.

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The application of virtual reality technology in art appreciation teaching can effectively guide students to recognize and appreciate art works from the visual, auditory and tactile aspects. By simulating the reproduction of the real scene of art works, the students' cognitive ability and appreciation ability of art appreciation can be improved. This paper aims to apply virtual reality technology to art appreciation teaching, improve students' cognitive ability of art appreciation, and adopt the quantitative and qualitative modes of research. This quasi-experimental study uses pre-test and post-test, and uses two different methods of traditional teaching modes and virtual reality technology teaching mode to compare the test results of the cognitive ability of art appreciation two groups of students. The data were analyzed by mean and standard deviation, and the research hypothesis was tested by independent sample t-test and paired sample t-test. The hypothesis test results showed that the students in the experimental group achieved good results in the test of virtual reality technology applied to art appreciation. Finally, the qualitative data of face-to-face interviews reflect the positive evaluation of the technology and the satisfaction of improving the cognitive ability of art appreciation. The main survey structure shows that art appreciation learning combined with virtual reality technology is effective and could be considered as a useful technical tool. It gives students the opportunity to learn and practice more comprehensively in the art class, thus improving their cognitive and aesthetic abilities.

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Duarte, Antonio Manuel, and Niki P. Constantinidi. "Traces of knowledge and use of cues of sensory processing in ancient Greek art." Arte, Individuo y Sociedad 34, no. 2 (January 13, 2022): 521–40. http://dx.doi.org/10.5209/aris.74463.

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This study aimed to find evidence of the presence, in ancient Greek art, of cues (triggers) for sensory processes involved in the appreciation of visual arts, within the framework of the psychology of art. The presence of such cues in ancient Greek art can suggest the existence of knowledge about them, together with their use, already by ancient Greek artists. For the study, a sample of image reproductions of ancient Greek art (from the archaic to the Hellenistic period - ca. 7th - 1st century BC) was submitted to a thematic-content analysis. This analysis revealed the presence of all most relevant known cues that trigger specific sensory processes involved in visual arts appreciation. Results suggest an intuitive knowledge of these processes by ancient Greek artists (probably based both on personal experience and social sharing), which aligns with the seminal role of ancient Greek art both in the extended use of those cues in western art and in the modulation of a “western way” of appreciating art.

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Matsumoto, Koji. "Appreciating visual arts may not foster medical diagnosis skills." F1000Research 12 (January 19, 2023): 79. http://dx.doi.org/10.12688/f1000research.129219.1.

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Background: This article examined intervention studies that used appreciation of visual arts to foster observation skills and discussed their effectiveness in making accurate diagnoses in terms of expertization. Methods: In order to collect journal articles and academic books (written in English) on empirical intervention studies that examined the use of visual arts for cultivating observation skills in health professionals’ education and training, the author first targeted articles that had been included in previous systematic reviews. In addition, they conducted a manual search. From this body of literature, the author selected studies that objectively measured observation skills only through the appreciation of visual art. They collected and read around 300 articles and selected 12 studies after applying the inclusion and exclusion criteria. Results: This article revealed no concrete evidence on whether appreciating visual art contributes toward an accurate diagnosis. Extant studies determined that such appreciation facilitates the observation of more visual features and a detailed view over time. However, they did not confirm the positive effects of appreciating visual arts on an accurate diagnosis. This article also confirmed that such appreciation does not reduce misdiagnoses or develop tolerance toward ambiguity that prevents premature closure. Moreover, the transfer of observation skills from one context to another is unlikely to be as successful as the intervention studies had intended. Conclusions: For fostering diagnostic skills, providing students with many instances of medical cases and appropriate knowledge to evoke implicit learning for extracting subtle differences in the cases, should be prioritized over visual art appreciation. On the other hand, such appreciation may foster verbalization skills and understanding or extraction of the patient’s background and context. These competencies may cultivate teamwork and perspective-taking, indirectly leading to an accurate diagnosis.

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Xu, Xi, and Zhenhua He. "Cultivation of Students’ Painting Appreciation Ability Based on Virtual Reality." Journal of Sensors 2021 (November 27, 2021): 1–14. http://dx.doi.org/10.1155/2021/9115994.

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The advent of the digital age has had a profound impact on people’s lives, and therefore began to add virtual reality content to the art classes of school students, aiming to continuously adapt to the needs of the times for art classes and aesthetics. In order to explore the status quo of the virtual reality technology based on the modern boom in the students’ appreciation of painting ability, In this paper, literature analysis, collect data from the old model model reconstruction method and questionnaire, analyze the effect of virtual reality technology for students to appreciate the impact of, simplifies the algorithm. And create appreciation for the culture of virtual experiment platform. In studying the impact of virtual reality technology on appreciating ability, 25% of boys are selected and 75% of girls are selected. 85% of the people who own personal computers conducted experiments, and the results showed that 60% of students log in for 1.5-4 hours, 19% of students log in for 4-9 hours, and 15% of students log in for 9-14 hours. The number of students who log in for more than 14 hours only accounts for 6%. Frequent participation in the appreciation ability through the network model is significantly different from the general painting course appreciation ability, and the performance is extremely significant. In addition, the students’ overall affirmation level of information ability is 4.0, which is significantly higher than the even value of the 5.0 scale, which shows that the improvement of college students’ painting appreciation ability through the network virtual platform is huge. It is basically realized that starting from the acquisition and processing of virtual platform information, a virtual platform model that has a substantial improvement in students’ appreciative ability is designed.

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Yan, Lulu. "Exploration on the Application of Digital Resources in High School Art Appreciation Teaching." Occupation and Professional Education 1, no. 1 (January 2024): 86–89. http://dx.doi.org/10.62381/o242113.

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With the progress of science and technology, China's society has entered the era of digitization and informatization. Applying digital resources to high school art appreciation teaching can enrich art-teaching resources, make teaching forms more vivid and intuitive, greatly improve the teaching efficiency of art appreciation, and build an efficient art classroom. In addition, this can also create a relaxed teaching atmosphere and cultivate students' aesthetic appreciation ability. The application of digital resources in high school art appreciation teaching is an inevitable trend of teaching reform and development in the new era. Based on this, this paper first analyzes the application value of digitalization in high school art appreciation teaching, and then specifically elaborates on the innovative application path of digital resources.

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Lee, Eun-Hee, and Ji-Hyun Sohn. "Expanding Recognition of Art through Conceptual Art Appreciation Activities." Journal of Research in Art Education 23, no. 3 (July 31, 2022): 83–101. http://dx.doi.org/10.20977/kkosea.2022.23.3.83.

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34

.KV, Lilly, and Dr Sudhakar Venukapalli. "Art and Aesthetic Appreciation in Children." International Journal of Scientific and Research Publications (IJSRP) 11, no. 1 (December 6, 2020): 112–18. http://dx.doi.org/10.29322/ijsrp.11.01.2021.p10911.

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Combs, Allan L., Julia Black, Alan O'Donnell, Ruth Pope, Jerry Buckner, Lisa Crow, Karen Ray, and Josef A. Vandermeer. "Absorption and Appreciation of Visual Art." Perceptual and Motor Skills 67, no. 2 (October 1988): 453–54. http://dx.doi.org/10.2466/pms.1988.67.2.453.

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For 37 participants, 16 men and 21 women, scores on the Tellegen Absorption Scale significantly correlated with liking for abstract paintings but not with liking for representational ones. After completing the scale, each participant viewed 20 paintings in quasirandom order, 10 of representational works and 10 of abstract ones. Each was rated on a scale from 1 for strongly disliked to 5 for strongly liked. The Pearson correlation of .48 for abstract paintings was significant, while that of .16 for representational ones was not.

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Wulandari, Wulandari. "Art appreciation in cultural arts subject." JPPI (Jurnal Penelitian Pendidikan Indonesia) 5, no. 1 (February 20, 2019): 11. http://dx.doi.org/10.29210/02018289.

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Abrahams, Daniel, and Gary Kemp. "Trust and the appreciation of art." Ratio 35, no. 2 (October 19, 2021): 133–45. http://dx.doi.org/10.1111/rati.12326.

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Matthews, P. M. "Aesthetic Appreciation of Art and Nature." British Journal of Aesthetics 41, no. 4 (October 1, 2001): 395–410. http://dx.doi.org/10.1093/bjaesthetics/41.4.395.

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Reilly, Erin. "Art as Experience, rather than Appreciation." Journal of Children and Media 5, no. 4 (November 2011): 471–74. http://dx.doi.org/10.1080/17482798.2011.599534.

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Eom, Joung-A. "Embodied empathic feeling in art appreciation." Journal of Aesthetics & Science of Art 60 (June 30, 2020): 191–226. http://dx.doi.org/10.17527/jasa.60.0.07.

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Song, Baoqing, Bingyang He, Zehua Wang, Ruichong Lin, Jinrui Yang, Runxian Zhou, and Yunji Cai. "Research on Open Practice Teaching of Off-Campus Art Appreciation Based on ICT." Sustainability 14, no. 7 (April 4, 2022): 4274. http://dx.doi.org/10.3390/su14074274.

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Анотація:

Art appreciation is an effective way to promote artistic literacy and is also an important component of aesthetic education in school. With the help of information and communication technology, the authors organized open practice teaching for students to learn art appreciation outside school. During the COVID-19 epidemic, local art appreciation education could not be carried out in the city where the authors’ school is located. With the support of mobile positioning technology and information platforms, students were able to carry out 32 art appreciation activities in their hometowns during this period. Through the mobile positioning information submitted by students, feedback questionnaires, after-view data, and other data, learning achievements were identified. A correlation analysis of the data submitted by the students on the information platform confirmed that satisfaction with the art appreciation activity directly affected their interest in art. The correlation reached 0.78. Satisfaction was strongly correlated with psychological expectations (0.67) and art information obtained in the early stage (0.61). The authors propose that using information and communication technology to carry out art appreciation education outside the school is the way to promote the sustainable development of aesthetic education in school.

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Lin, Chih-Long, Si-Jing Chen, and Rungtai Lin. "Efficacy of Virtual Reality in Painting Art Exhibitions Appreciation." Applied Sciences 10, no. 9 (April 26, 2020): 3012. http://dx.doi.org/10.3390/app10093012.

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Virtual reality (VR) technology has been employed in a wide range of fields, from entertainment to medicine and engineering. Advances in VR also provide new opportunities in art exhibitions. This study discusses the experience of art appreciation through desktop virtual reality (Desktop VR) or head-mounted display virtual reality (HMD VR) and compares it with appreciating a physical painting. Seventy-eight university students participated in the study. According to the findings of this study, painting evaluation and the emotions expressed during the appreciation show no significant difference under these three conditions, indicating that the participants believe that paintings, regardless of whether they are viewed through VR, are similar. Owing to the limitation of the operation, the participants considered HMD VR to be a tool that hinders free appreciation of paintings. In addition, attention should be paid to the proper projected size of words and paintings for better reading and viewing. The above indicates that through digital technology, we can shorten the gap between a virtual painting and a physical one; however, we must still improve the design of object size and the interaction in the VR context so that a virtual exhibition can be as impressive as a physical one.

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Kang, Taehwan. "Art Education through Three-Dimensional Art: The Possibility of Art Play." Korean Society of Culture and Convergence 44, no. 9 (September 30, 2022): 751–63. http://dx.doi.org/10.33645/cnc.2022.9.44.9.751.

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This paper examines the trend of elementary art education through three-dimensional art, and examines the expansion and possibility of elementary art education through the possibility of art play that can arouse interest and interest, not merely an educational infusion-type education. In the contemporary elementary art, experience, expression, and appreciation are emphasized, and the interest and interest of learners and children is emerging as an important factor. Through this, we investigated the possibility of understanding contemporary art from various angles and three-dimensionality and communicating through all the senses of the body as well as simply visual elements in art appreciation and experience. Through elementary art education, the development of creativity that can understand objects and objects that are closely related to our daily lives as aesthetic objects and implement them as works is meaningful in this study in that children can apply expanded thinking not only in art but also in other fields.

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Park, Jeong Kee. "A Study on the Teaching and Learning Method of Art Appreciation of Elementary School Students Subject to Learning Support Based on Positive Psychology." Korea Institute of Design Research Society 7, no. 4 (December 31, 2022): 78–87. http://dx.doi.org/10.46248/kidrs.2022.4.78.

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This study sought to find out the characteristics of students subject to learning support and to prepare an art appreciation learning plan based on positive psychology to improve basic education in the speaking, listening, and writing areas of elementary school students. Through literature research, we found the meaning of art appreciation education, starting with the understanding of students subject to learning support, and eventually, based on Seligman's positive psychology, we designed an art appreciation teaching and learning process using emotion cards that can explain his thoughts and feelings. In conclusion, art appreciation learning using the strengths of positive psychology is meaningful in encouraging individual and self-directed learning for students, and it is also meaningful in art appreciation education activities that provide positive emotions as an alternative to enhancing basic communication opportunities.

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Tan, Jing. "Analysis of the effect of art design combined with drug therapy on college students’ depression." CNS Spectrums 28, S1 (March 2023): S10. http://dx.doi.org/10.1017/s1092852923000755.

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BackgroundWith the increasing social employment pressure, the psychological pressure of college students in their daily study and life is also increasing. Because students’ physical and mental growth is not sound, it is difficult for them to carry out targeted self-intervention and adjustment against psychological pressure, which leads to long-term accumulation of negative psychology and eventually forms depressive symptoms. In recent years, the number of depression patients in colleges and universities has been increasing. It is necessary to form a daily treatment strategy system that is in line with students’ psychological characteristics.Subjects and Methods90 students diagnosed with depression were selected and divided into three groups. The first group was a single drug intervention group, which only used the common form of depression drug intervention. The second group was a single art design appreciation intervention, which used professional art design and appreciation psychological intervention strategies to intervene students’ depression. The third group is the design appreciation and drug combined intervention group. The students in this group participated in professional art design and appreciation psychological intervention while taking antidepressant drug treatment. The study collected the depression psychological status of the three groups of patients before and after treatment, and used the collected data for quantitative analysis.ResultsThe research results showed that before the start of treatment, the Self-Rating Depression (SDS) scores of the three groups of students with depression were 63.21 points in the single drug intervention group, 64.32 points in the single art design appreciation intervention group and 63.54 points in the art design appreciation and drug combined intervention group. It showed that the levels of depression symptoms of the three groups of students before the intervention were similar. After intervention, the SDS score of the single drug intervention group decreased to 45.22 points, the SDS score of the single art design appreciation intervention group decreased to 46.51 points, and the SDS score of art design appreciation and drug combined intervention decreased to 40.13 points. It can be seen that the intervention effect of art design appreciation and drug intervention is the most obvious. Compared with the other two methods, this method is more conducive to the depression intervention for students.ConclusionsFrom the comparison of the patients’ condition in the single drug intervention group, the single art design appreciation intervention group, and the art design appreciation and drug combination intervention group before and after the intervention, it can be seen that the art design appreciation and drug combination intervention strategy designed by the research is more conducive to forming a better intervention effect in the student group, helping them to establish a psychological reaction mechanism in life with antidepressant drugs and reduce the severity of self-depression.Table 1.Group intervention effectGroupNumber of group membersSDS score before treatmentSDS score after treatmentSingle drug intervention3063.2145.22Single art design appreciation intervention3064.3246.51Art design appreciation and drug joint intervention3063.5440.13

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Bullot, Nicolas J., and Rolf Reber. "The artful mind meets art history: Toward a psycho-historical framework for the science of art appreciation." Behavioral and Brain Sciences 36, no. 2 (March 18, 2013): 123–37. http://dx.doi.org/10.1017/s0140525x12000489.

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AbstractResearch seeking a scientific foundation for the theory of art appreciation has raised controversies at the intersection of the social and cognitive sciences. Though equally relevant to a scientific inquiry into art appreciation, psychological and historical approaches to art developed independently and lack a common core of theoretical principles. Historicists argue that psychological and brain sciences ignore the fact that artworks are artifacts produced and appreciated in the context of unique historical situations and artistic intentions. After revealing flaws in the psychological approach, we introduce a psycho-historical framework for the science of art appreciation. This framework demonstrates that a science of art appreciation must investigate how appreciators process causal and historical information to classify and explain their psychological responses to art. Expanding on research about the cognition of artifacts, we identify three modes of appreciation: basic exposure to an artwork, the artistic design stance, and artistic understanding. The artistic design stance, a requisite for artistic understanding, is an attitude whereby appreciators develop their sensitivity to art-historical contexts by means of inquiries into the making, authorship, and functions of artworks. We defend and illustrate the psycho-historical framework with an analysis of existing studies on art appreciation in empirical aesthetics. Finally, we argue that the fluency theory of aesthetic pleasure can be amended to meet the requirements of the framework. We conclude that scientists can tackle fundamental questions about the nature and appreciation of art within the psycho-historical framework.

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Wang, Zuochuan. "College art appreciation teaching on aesthetic psychology of depressed university students." CNS Spectrums 28, S2 (October 2023): S25. http://dx.doi.org/10.1017/s1092852923003115.

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BackgroundThe prevalence of depression is increasing due to the tremendous pressure of life and study. Depression may lead to excessive depression, thinking disorder, cognitive dysfunction, other problems, and extreme behaviors such as suicide. To improve the treatment effect of depression, to study the auxiliary treatment of art appreciation teaching on the psychological influence of patients with depression.Subjects and Methods Twenty depressed college students who received art appreciation teaching were selected as the experimental group, and 20 other depressed college students were selected as the control group. The 17-item version of the Hamilton Depression Scale (HAM-D) was used to collect data from the two groups of college students. Five art appreciation courses were taken as a cycle, and five courses were taken as a course of treatment. In each process, the two groups of college students were tested for depression scores until the end of three courses.ResultsThe average scores of the experimental and control groups were 20 and 25 after one session and 15 and 23 after three sessions, respectively. The experimental group significantly improved psychological adjustment and emotion management, while the control group had no significant change.ConclusionsLearning and appreciating artworks can change negative emotions, improve self-awareness and cognition, and cultivate positive emotional experiences. Therefore, colleges and universities should pay attention to and strengthen the teaching of art appreciation and provide effective psychological intervention and aesthetic education help for college students with depression.

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Heriyawati, Yanti, and Afri Wita. "Exploring Maritime Art toward the Appreciation of Coastal Literacy." Harmonia: Journal of Arts Research and Education 22, no. 2 (December 31, 2022): 283–97. http://dx.doi.org/10.15294/harmonia.v22i2.37140.

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This paper aims to show appreciation of maritime artworks. There is much global literature on art appreciation but only a few foci on maritime art appreciation. Filling the vacancy requires the study of how the community or public values maritime artworks in the context of the coastal community’s literacy. This article presents the results of maritime art appreciation through Focus Group Discussion (FGD). The participants included academicians, government officials, artists, creators, community, kiyai, and students. The maritime artworks appreciated were “Segara Garam’ and “Tasbih Pesisir” as natural and virtual artworks. Respondents’ insight, knowledge, and experience showed varied perceptions. Respondents with maritime culture backgrounds were quite expressive in expressing the importance of the coastal community’s local wisdom values, while respondents without maritime culture backgrounds paid more attention to artistic and aesthetic aspects instead of to meaning. Appreciation experience showed the importance of perception of maritime art in actualizing local genius. Maritime art appreciation was performed to improve people’s awareness of strengthening maritime culture literacy. Sociocultural differences influenced how they appreciated and produced maritime culture knowledge maritime culture. Respondents’ cognition and affective abilities show varied interpretations, perceptions, and definitions of art values.

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Berthoud, Luiza Esper. "Art History and Other Stories." ARS (São Paulo) 18, no. 38 (April 30, 2020): 197–217. http://dx.doi.org/10.11606/issn.2178-0447.ars.2020.162471.

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Through the analysis of one erroneous piece of art criticism, an essay by Goethe that re-imagines a lost ancient sculpture, I demonstrate the difficulty that the discipline of art history has with conceptualizing the experience of art making and how one ought to respond to it. I re-examine the relationship between art making and art appreciation informed by ideas such as the Aristotelian view of Poiesis, Iris Murdoch’s praise of art in an unreligious age, and Giorgio Agamben’s call for the unity between poetry and philosophy. I also argue that much of modern art criticism has forgotten Arts’ earlier conceptual vocation, and propose methods of appreciating art that are in themselves artistic.

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KimChangSik and 이재영. "A Study on the Development of Programs for Art Appreciation: Problems in Creative Thinking in Art Appreciation." Journal of Research in Art Education 8, no. 2 (July 2007): 101–26. http://dx.doi.org/10.20977/kkosea.2007.8.2.101.

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