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1
Sobolev, Yuriy. "Aesthetic Ideas and Concepts of the Hindu Tradition: Specific Features and Analogies." Vestnik of Northern (Arctic) Federal University. Series Humanitarian and Social Sciences, no. 3 (July 21, 2021): 119–27. http://dx.doi.org/10.37482/2687-1505-v108.
Анотація:
This article deals with the main ideas and basic concepts of Hindu aesthetics. The problem area reveals itself in the question of European culture’s perception of Hindu aesthetics. In this connection, the following questions are actualized: what can be considered as original aesthetic conceptions of Hinduism? is it possible to find direct analogies in other cultures? how relevant and correct is the conceptual apparatus describing various aesthetic phenomena? what is the role of the religious thought in the proposed aesthetic context? Proceeding from the historical and cultural position of aesthetic knowledge as it is presented in the European tradition, key approaches to the phenomenon of the aesthetic are shown, with the ideas of classical German philosophy – the cradle of aesthetic science (A. Baumgarten, I. Kant) – at the centre. The marked heterogeneity of aesthetic knowledge indicates its problematic status in the European historical-philosophical discourse and at the same time allows one to see, against its background, the harmonious place of aesthetics in Hindu culture. It mainly concerns the peculiarities of religious and worldview systems. Further, the paper studies the similarities and differences between the theoretical and ritual ideas and practices in Christianity and Hinduism. In particular, what they have in common is the importance of “threshold people” – liminal personae – in the spiritual life of society. Among the radical differences is the natural embedding of aesthetics in the religious system of India, while for European aesthetics, the religious world is just one of the spheres of the aesthetic. Using the method of comparative text analysis with reference to leading Russian orientalists and foreign researchers (V. Shokhin, D. Zilberman, E. Torchinov, R. Guénon, N. Gupta), the author takes a number of concepts as an example to demonstrate identity of religious and aesthetic ideas in Hindu and European cultures, as well as a possibility of mutual “cultural translation” of such basic concepts as aesthetics, the aesthetic, rasa and bhava.
2
Zimenko, T. V. "The Concept of Taste in South Korea: Historical, Aesthetical and Philosophical Aspects." Concept: philosophy, religion, culture 4, no. 4 (December 29, 2020): 83–101. http://dx.doi.org/10.24833/2541-8831-2020-4-16-83-101.
Анотація:
The focus of this paper is on the Korean aesthetic model of taste. In order to investigate the origins of aesthetics in Korea and its current place in Koreans’ lives, it analyzes the key concepts of the Korean aesthetics and spiritual aspects of life for Koreans. In a way to exemplify this cultural system, traditional Korean food is presented as a conceptual representation of the aesthetic experience. Its role in integrating different aspects of meanings and values in everyday lives of Koreans is also discussed. The research subject is studied through the complex lenses: its association with both the gastronomic taste, which comprises organoleptic perception and aesthetic judgements, and the semiotic aspect of culture, represented by basic units thereof – words. The optics of the interdisciplinary outlook of this method suggests a new approach to viewing Korean aesthetic of taste. The research shows that scientific approach to aesthetics was first adopted in Korea in the 1930s under the cospicuous cultural influence of the Japanese colonial rule; the ideas formed at that time still remain important aesthetic concepts. The study proposes that meot should be viewed as the most important and representative concept in Koreans’ everyday aesthetic experience. The cultural and historical analysis of Korean gastronomic culture suggests there is a number of specific cultural and cosmogonic meanings that were typical of the royal cuisine during the Joseon era and demonstrates how certain Korean dishes are endowed with aesthetic and existential values today.
3
Zimenko, T. V. "The Concept of Taste in South Korea: Historical, Aesthetical and Philosophical Aspects." Concept: philosophy, religion, culture 4, no. 4 (December 29, 2020): 83–101. http://dx.doi.org/10.24833/2541-8831-2020-4-16-83-101.
Анотація:
The focus of this paper is on the Korean aesthetic model of taste. In order to investigate the origins of aesthetics in Korea and its current place in Koreans’ lives, it analyzes the key concepts of the Korean aesthetics and spiritual aspects of life for Koreans. In a way to exemplify this cultural system, traditional Korean food is presented as a conceptual representation of the aesthetic experience. Its role in integrating different aspects of meanings and values in everyday lives of Koreans is also discussed. The research subject is studied through the complex lenses: its association with both the gastronomic taste, which comprises organoleptic perception and aesthetic judgements, and the semiotic aspect of culture, represented by basic units thereof – words. The optics of the interdisciplinary outlook of this method suggests a new approach to viewing Korean aesthetic of taste. The research shows that scientific approach to aesthetics was first adopted in Korea in the 1930s under the cospicuous cultural influence of the Japanese colonial rule; the ideas formed at that time still remain important aesthetic concepts. The study proposes that meot should be viewed as the most important and representative concept in Koreans’ everyday aesthetic experience. The cultural and historical analysis of Korean gastronomic culture suggests there is a number of specific cultural and cosmogonic meanings that were typical of the royal cuisine during the Joseon era and demonstrates how certain Korean dishes are endowed with aesthetic and existential values today.
4
Dai, Chuang. "Philosophical-aesthetic reflection in China in the century: Wang Guowei and Zong Baihua." Философская мысль, no. 12 (December 2020): 15–29. http://dx.doi.org/10.25136/2409-8728.2020.12.34614.
Анотація:
This article is dedicated to examination of the philosophical-aesthetic reflection in China in the XX century, and the impact of European aesthetics upon the development and transformation of the traditional Chinese aesthetics. The article employs the method of historical and cultural with elements of structural analysis of aesthetic text of the modern Chinese philosophers. In the XX century, a number of Chinese thinkers made attempts of reforming the traditional Chinese aesthetics, complementing it with the viewpoint of European philosophy. The article examines the paramount aesthetic thoughts of the modern Chinese philosophers Wang Guowei and Zong Baihua, and determines the impact of European philosophy upon them. The scientific novelty of this study lies in assessing the impact of the concepts of European aesthetics upon self-reflection and development of Chinese aesthetics in the context of cross-cultural problematic. It is demonstrated that Chinese modern aesthetics in many ways retains its connection with the tradition, which determines its specificity and imparts peculiar semantic symbolism. The conclusion is made that in the XX century, Chinese philosophers sought to complement the existing traditional Chinese reflection on art, which is based mostly on the ideas of Taoism and Buddhism, with what can be referred to as the Western viewpoint, associated with a scientific approach and scientific interpretation. Another vector in the area of humanistic understanding of the phenomenon of art was related to the attempts of interpretation of the European aesthetic thought from through the prism of Chinese traditional philosophy. The philosopher Wang Guowei tried to incorporate the European aesthetics into the scientific problematic of China. The philosopher Zong Baihua wanted to synthesize the Chinese and European aesthetic theories, and create what he believed is the modern Chinese aesthetics.
5
Pyrova, Tatiana Leonidovna. "Philosophical-aesthetic foundations of African-American hip-hop music." Философия и культура, no. 12 (December 2020): 56–62. http://dx.doi.org/10.7256/2454-0757.2020.12.34717.
Анотація:
This article is dedicated to the philosophical-aesthetic foundations of African-American hip-hop music of the late XX century. Developed by the African philosopher Leopold Senghor, the author of the theory of negritude, concept of Negro-African aesthetics laid the foundations for the formation of philosophical-political comprehension and development of the principles of African-American culture in the second half of the XX century in works of the founders of “Black Arts” movement. This research examines the main theses of the aesthetic theory of L. Senghor; traces his impact upon cultural-political movement “Black Art”; reveals which position of his aesthetic theory and cultural-political movement “Black Arts” affected hip-hop music. The author refers to the concept of “vibe” for understanding the influence of Negro-African aesthetics upon the development of hip-hop music. The impact of aesthetic theory of Leopold Senghor upon the theoretical positions of cultural-political movement “Black Arts” is demonstrated. The author also compares the characteristics of the Negro-African aesthetics and the concepts used to describe hip-hop music, and determines correlation between them. The conclusion is made that the research assessment of hip-hop music and comparative analysis of African-American hip-hop with the examples of global hip-hop should pay attention to the philosophical-aesthetic foundations of African-American hip-hop and their relation to Negro-African aesthetics, which differs fundamentally from the European aesthetic tradition.
6
Mulia, Prajanata Bagiananda, and D. ,. Dharsono. "EDITING CROSS-CUTTING IN THE FILM HAJI BACKPACKER." Capture : Jurnal Seni Media Rekam 11, no. 1 (November 27, 2019): 104–22. http://dx.doi.org/10.33153/capture.v11i1.2686.
Анотація:
The aim of this research is the revealing the use of editing cross-cutting formed in Haji Backpacker’s film. This research uses qualitative research method: interpretative analysis formalist aesthetics approach, editing cross-cutting of Karel Reisz through Sergei Eisenstein’s montage theory. This research focuses on studying the aesthetic and the application of editing cross-cutting in Haji Backpacker’s film. Editing cross-cutting observed from the forms, functions, relations of themes, and motivation of existence, until analysis of Sergei Eisenstein’s montage, those are metric, rhythmic, tonal, overtonal and intellectual. The results of this research reveals the artistic meanings of Haji Backpacker’s film as formalist aesthetics, and editing cross-cutting’s concepts that formed in Haji Backpacker’s film by Danial Rifki through montage analysis of Sergei Eisenstein.
7
Siuta, Halyna. "Terminology of receptive stylistics: the adaptation of other-disciplinary concepts." Terminological Bulletin, no. 5 (2019): 104–11. http://dx.doi.org/10.37919/2221-8807-2019-5-13.
Анотація:
Receptive stylistics is the latest trend in the stylistics of text. It studies the mechanisms of text perception, in view of the account time, socio-cultural and individual psychological factors of perception. This integrative model of textology combines the ideas of hermeneutics, phenomenology, receptive aesthetics and poetics, traditional poetics, linguоsynergetics etc. Maximum openness to the researching of the intellectual and communicative nature of the text is reflected in the terminology of receptive stylistics. One of the theoretical platforms of receptive stylistics is receptive aesthetics (aesthetics of the reception). Terminology of this scientific branch was actively accepted and integrated into the special language of the new stylistic direction. First of all, we are talking about key concepts such as aesthetic experience and horizon [expectations] of the author / reader, horizons of perception / understanding. empty spaces / semantic gaps in the structure of the text, identification of the reader with the text, specification of the text, actual dimension of the text, etc. Today, the Ukrainian receptive theory is structured by the concept of actualization of the text, the horizon of the text, the constitution of the text, the communicative certainty / uncertainty of the text. Emphasizing theoretical and methodological cores of contemporary Ukrainian receptive theory, it is necessary to focus on the national historical and cultural context of its constructing. Especially important from this point of view is the treatise by Ivan Franko From the Secrets of Poetic Art. Most of the theses of this work present a progressive vision of the deep psychological mechanisms of reading the artistic text in the measure of active perception, as lingual and aesthetic communication, dialogue between the author and the reader through the text. Also, the concurrence of Ivan Franko’s views with fundamental receptive principles of studying artistic text constitutes the scientific concepts of aesthetics, inductive aesthetics, perception, reception, suggestion, resonance, sensory vibration, etc. Consequently, the concept of reading and interpreting works of verbal art, formed in the treatise From the Secrets of Poetic Creativity, implicitly contains the basic principles of receptive aesthetics and poetics. Cardinally new philosophy of reconnaissance of the nature of artistic text, psycholinguistic mechanisms of influence on the reader, regularities of reception and interpretation at the end of the 20th century presented linguistic synergetic. Actual, and in some aspects methodological for receptive theory has become the following concepts of linguistic synergetic: nonlinearity of development, stability / instability of development, openness of the system, rhizomes, energy of the text, energy resonance, author’s energy, reader energy, etc. In contemporary receptive stylistic studies they do not stagnate, but are in a state of active deepening, refinement. For example, the concept energy of the text is coordinated with such established, well-known categories of stylistics as linguistic and literary tradition, lingual and cultural memory, reception and interpretation. Process of terminological borrowing and assimilation of units of other disciplines contributes to the development of an integrative terminological paradigm optimally adapted to the needs of the reciprocal description of the nature of artistic text.
8
Gannon, Matthew. "The Aesthetic Death Drive of Modernism." differences 31, no. 2 (September 1, 2020): 58–85. http://dx.doi.org/10.1215/10407391-8662174.
Анотація:
This essay argues not only that Wilhelm Worringer’s concept of the urge to abstraction from his work of art history Abstraction and Empathy (1908) prefigures Sigmund Freud’s notion of the death drive in Beyond the Pleasure Principle (1920) but also that Worringer’s aesthetics of nonrepresentational art solves in advance some key problems that Freud had in accounting for the modernism of his day. Though Worringer and Freud did not appear to ever engage with each other, their two central concepts share a high degree of compatibility, and it is possible to think of Worringer’s urge to abstraction as an aesthetic death drive. But because Freud argues that art is fundamentally pleasurable and rooted in mimetic representation, his own aesthetics remains insistently Aristotelian. By rejecting an Aristotelian paradigm, Worringer provides a modernist aesthetic theory of the death drive that Freud himself was never able to envision.
9
Astafyeva, Olga N., and Natalia V. Kuzmina. "“Interesting” in the Aesthetic Landscape of the City." Observatory of Culture 15, no. 6 (December 28, 2018): 693–707. http://dx.doi.org/10.25281/2072-3156-2018-15-6-693-707.
Анотація:
The article examines the aesthetic category of “interesting” as a dominant of urban environment development. The authors try to comprehend this category from the point of view of cultural knowledge. The article includes a theoretical section, where, basing on well-known concepts, the authors outline the principles of embedding the “interesting”, as something aesthetics and artistic, in the postmodern fabric of modern megacities. The analytical part of the article is based on specific examples represented by urban cultural landscapes, by the postmodern clash of art and non-art in urban space, by event communications and other forms of urban culture representation. The study resulted in designation of one of the main problems of modern cities: as a result of their excessive saturation with “interesting”, there can be observed a growing cultural and aesthetic insensitivity to the “interesting” among their citizens.From the methodological point of view, the study revealed that, in interpretation of modern phenomena of socio-cultural reality, it is not enough to proceed from the basic principles of a particular science. So, the interdisciplinary approach, as a methodological resource in demand today, allows revealing, by the example of the concept of “interesting”, the interconnection and interdependence of the methodological approaches of aesthetics and culturology for studying the cultural environment of modern cities.The authors analyze the “interesting” as an instrument of influencing on the cultural environment of the city and the perception of its text. As a result, the “interesting” intensifies the nonlinearity and fractality of urban space. On the example of Russian cities development, the article reveals that the formation of a new cultural environment is always connected not only with changing of artistic design solutions or/and aesthetics trends. The authors prove that the need for “interesting” widens the frames of the subject field of aesthetics. The “interesting” is moving to the center of interdisciplinary cultural studies.
10
Frisch, Simon. "The Aesthetics of Flow and Cut in the Way of Film: Towards Transnational Transfers of East Asian Concepts to Western Film Theory." Arts 8, no. 3 (September 16, 2019): 119. http://dx.doi.org/10.3390/arts8030119.
Анотація:
The general concepts in theorising the aesthetics of film are still rooted in occidental traditions. Thus, thinking about film is dominated by Western terms and aesthetic paradigms—such as “pieces of work”, the representation of reality or regarding the arts as an act of communication. From such an angle, it is difficult to describe different characteristics of the cinematic image, for example, its ephemeral character. In contrast to occidental thinking, the cultural traditions of East Asia are based on the concept of the way (dō or dao), which allow for the description of aesthetics of transitions and transformations. Inspired by the concept of kire-tsuzuki, as developed by the Japanese–German philosopher Ryōsuke Ōhashi, I shall, in this paper, describe some alternative ways of understanding appearance and occurrence in relation to the cinematic picture.
11
Heinrich, Falk. "(Big) Data, Diagram Aesthetics and the Question concerning Beauty." MedieKultur: Journal of media and communication research 31, no. 59 (March 8, 2016): 20. http://dx.doi.org/10.7146/mediekultur.v31i59.20084.
Анотація:
<p class="falk1">The article investigates whether and in which way artistic artefacts deploying big data can be experienced as beautiful. The question is relevant, because the sentiment of beauty indicates besides an immediate sensory valuation also changes in cultural values and epistemic frameworks. The article focuses on artistic data visualisations. It applies concepts of philosophical aesthetics in order to trace an altered notion of beauty and its artistic and cultural implications.</p><p class="falk1">The article’s introductory part presents some examples of data visualisations and introduces relevant notions of beauty and big data. The main part discusses the changes in our concept of beauty by analysing data visualisation in the light of conceptual art and its aesthetics of the sublime. Data visualizations present potentially unfathomable and complex information that is associated with the sublime, but represent data in a way that allows for understanding by means of imaginations, which are aspects of beauty. The article elaborates on the simultaneity of and oscillation between aesthetic beauty and the aesthetic sublime, by introducing Deleuze’s understandings of the concept of the diagram that is able to mediate between visualisation as representation and diagrams as performative machine of formation and displacement of data relations.</p>
12
Filipović, Aleksandar. "The origin of the aesthetic elements in traditional forms of Far-eastern martial arts." Issues in Ethnology and Anthropology 9, no. 1 (February 25, 2016): 145. http://dx.doi.org/10.21301/eap.v9i1.8.
Анотація:
In light of the fact that Far-eastern martial arts have to be viewed as an inseparable part of the cultural traditions of China and Japan, their aesthetic character is tied to traditional cultural concepts which dominate these cultures, such as the concept of the unity of opposites, better known as yin and yang; the concept of the Road (the Tao) as a symbol of continuing self-improvement; the concept of Chi or Qui energy which permeates the cosmos as well as individual beings, etc. These concepts owe their existence and development first and foremost to the religious and philosophical systems which shaped and influenced all segments of these two great cultures, and not just the martial tradition. On the other hand, performance arts weren’t spared this same influence. Performance arts and martial arts of the Far East had an intertwined history and strongly influenced each other. The aim of this paper will be to give an outline of the basic concepts connected to the aesthetics of the martial arts of China and Japan and point out the similar roots in other segments of cultural tradition.
13
Grubačić, Marko S. "A BRIEF LOOK AT THE PROBLEM OF DEFINING JAPANESE AESTHETIC TERMS, THEIR AUTHENTICITY AND INTERPRETATIONS IN THE TWENTIETH CENTURY (Kratak osvrt na problem definisanja japanskih esteskih pojmova, njihovu autentičnost i interpretacije u XX veku)." Folia linguistica et litteraria X, no. 28 (December 26, 2019): 113–26. http://dx.doi.org/10.31902/fll.28.2019.7.
Анотація:
This paper deals with the key concepts of Japanese aesthetics, whose peculiarities arose at the intersection of cultural-historical, poetic and literarytheoretical impulses at a time when clear distinctions between literary, visual and applied arts in Japan were absent. The analysis of the assumptions of their emergence - which frequently alternate between political and aesthetic propositions - is conducted by consulting and interpreting relevant sources in order to question or confirm the established interpretations. Keywords: Japanese Aesthetics, fūryū, iki, mono-no-aware, yūgen, nihonjinron, Mingei theory
14
Xie, Xiaolan. "Cultural Aesthetic Comparison of "Three Singing Methods"." Frontiers in Business, Economics and Management 1, no. 2 (April 24, 2021): 15–17. http://dx.doi.org/10.54097/fbem.v1i2.17.
Анотація:
The art of music is an important part of human culture. Vocal music art is closely related to traditional culture. Different social, historical and cultural factors of different nationalities have injected different ideological and cultural connotations into vocal music art. In their respective cultural atmosphere, vocal music art presents very different forms of expression. The traditional cultural concepts and national psychological consciousness formed under different religious backgrounds affect the traditional artistic concepts and the trend of vocal music art, and finally lead to the differences between Chinese and Western vocal music art and cultural aesthetics.
15
C, Porkai Athirai. "Tholkappiyar’s meyppadu and Bharathar’s Rasa – Concepts of Aesthetics." International Research Journal of Tamil 3, no. 3 (July 6, 2021): 47–52. http://dx.doi.org/10.34256/irjt2136.
Анотація:
Since ancient times, as Tamil and Sanskrit have been exchanging cultural practices, there are similarities in literary and grammatical principles. Many of Tholkappiyar’s literary principles about Meyppadu in aesthetics are found in Bharadhar’s the Sanskrit literary theorist too, who came after Tholkappiyar, in the north. The eight occasions where Meyppadu occurs, according to Tholkappiyar, are seen in Bharadhar’s also. As per Bharadhar Meyppadu is action. The base for the occurrence of these actions is feeling. Rasa is a feeling. Bhava is a Meyppadu. Feeling breaks out of Meyppadu. Bharadhar’s eight Bhavas are comparable with Tholkappiyar’s eight Meyppadu’s. The aim of the study is to prove that Bharadhar’s theory of Rasa in Sanskrit is a follow up of Tholkappiyar’s literary Meyppadu.
16
Singh, Sangeeta, and Martina Maria Keitsch. "Aesthetic Participation for Sustainable Development: A Case Study from Kathmandu, Nepal." Journal of Management and Sustainability 8, no. 4 (November 25, 2018): 96. http://dx.doi.org/10.5539/jms.v8n4p96.
Анотація:
Art and design are increasingly emphasizing the role of user participation and social inclusion. Some authors claim for example, that art processes should employ creative ideas, abilities and skills of diverse stakeholders. The idea of art as a social sculpture (Beuys) is not new. Art has played an important role for participation of different social groups in common cultural activities for many decades. The role of art, experience and participation in this sense connects Heidegger’s interpretation of the artwork, expressed for example, through the significant cultural role of the temple, with modern participatory art and design concepts. The following chapter discusses aesthetic participation as element of an established cultural practice and the role the artwork plays in this practice. Established means here: intrinsic with dynamic potential deliberately changing parts of the practice towards social inclusion. Following the introduction, the second section briefly introduces some current trends on aesthetic participation and continues with an appraisal of Heidegger’s ontological aesthetics. Employing insights from section two, the fourth section analyses aesthetic experience and participation within a case study done by the authors: The Akash Bhairab Temple at Indrachowk, Kathmandu Nepal. The fifth section summarizes possibilities and limitations of present concepts and discusses how ontological aesthetics can supplement these. Section six conclusively considers aesthetic participation as contribution to cultural sustainability. The insights of this study might be valuable for artists and educators as well as for stakeholders, who use aesthetic participation as an entry point for social decision-making and inclusion.
17
KOLKUTINA, Viktoriia, Lesia SYNIAVSKA, Volodymyr POHREBENNYK, Tetiana KORNISHEVA, and Natalia IAREMCHUK. "Literary Hermeneutics in The Context of Natiosophic Ideas." WISDOM 16, no. 3 (December 28, 2020): 41–52. http://dx.doi.org/10.24234/wisdom.v16i3.394.
Анотація:
The article looks at the literary hermeneutics in the context of natiosophic ideas by H.-G. Gadamer, S. During, M. Heidegger, E. Smith, E. Said, D. Dontsov. It investigates the freedom-centred nature of nationalism, discovers new meanings of the concept “cultural nationalism”, as well as the key concepts of the natiosophic aesthetics. The research outlines the natiosophic specifics of the interpretation system through the comprehension of the various concepts.
It sums up that nationalist interpretation is essentially natiologic (natiosophic), however, it is also literary, with the coherent semantic level of cognition. The evaluation here dominates over the formal-and-aesthetic level, which is quite common for such type of experience. Culturological aesthetics in the ontological existential dimension is deeply rooted in the nation’s being. It has a pronounced nation-creating nature, targeted at establishing a national identity that is grounded on the national idea. Under the colonial oppression, it finds its expression in the interpretation of the fiction texts as a writer’s spiritual-and-worldview systems of values.
18
Sernelj, Téa. "Different Approaches to Modern Art and Society: Li Zehou versus Xu Fuguan." Asian Studies 8, no. 1 (January 10, 2020): 77–98. http://dx.doi.org/10.4312/as.2020.8.1.77-98.
Анотація:
Proceeding from the inseparable relation between ethics and aesthetics in traditional (and often also modern) Chinese thought, this article aims to illuminate two important approaches to the aesthetic foundations of Chinese modernity. The relation between the individual and society, which is a core question of modern ethics, is reflected in most of the ethical theories of 20th century China. In this context, the article first presents Li Zehou’s theory of aesthetics and his definition of aesthetic experience. In this way, it aims to illuminate Li’s interpretation of modern art and society, and to posit it into a contrastive position to Xu Fuguan’s ethico-aesthetic theories, especially the ones regarding modernity and Western culture. The basic approaches applied by these two important modern Chinese scholars reveal great differences in attitude towards the spiritual and material development of humanity in the 20th century, which is especially interesting since they are both rooted in the abovementioned belief that ethics cannot be separated from aesthetics. Besides, Li Zehou sincerely admired Xu Fuguan’s work on traditional Chinese aesthetics and referred to his comprehension of general concepts of traditional Chinese aesthetics in many of his own works dealing with aesthetics.
19
Trafí-Prats, Laura. "Girls’ Aesthetics of Existence in/With Hayao Miyazaki’s Films." Cultural Studies ↔ Critical Methodologies 17, no. 5 (October 21, 2016): 376–83. http://dx.doi.org/10.1177/1532708616674996.
Анотація:
In this article, I analyze the processual aesthetic production of girl subjectivity in/with Hayao Miyazaki’s films through a feminist materialist perspective informed by the writings of Karen Barad, Rosi Braidotti, Donna Haraway, Elizabeth Grosz, and Affrica Taylor. I elaborate on feminist materialist concepts such as those of relational ontology, aesthetics of existence, worldmaking, mythopoesis, queer kin, and gender/sexual difference. With these concepts, I philosophically and ethnographically inquire in/with girl spectators who are interested in the experimentation with new modalities of existence that do not limit to those of success and alienation, but allow for creative possibilities of rupture, recomposition, and transversalization of girl subjectivities.
20
Sernelj, Téa. "Modernization of Beauty in China." Asian Studies 9, no. 2 (May 7, 2021): 165–79. http://dx.doi.org/10.4312/as.2021.9.2.165-179.
Анотація:
The article explores the socio-political and historical development of the great debate on aesthetics and the aesthetic fever in China during the 20th century. It introduces the main figures of the aesthetic movement and their aesthetic theories. It introduces the period of appropriation of the aesthetic debates to Marxist ideology that prevailed in China after 1949 and lasted until the end of 1970s. The 1980s and 1990s represent a shift in the Chinese aesthetic debate which focused on the adoption of Western aesthetic concepts and paradigms in a more scientific way. The article tackles the problem of Chinese society on the verge of the millennium, and problematizes the consumerism of art and attitudes towards aesthetics in general.
21
Eriksson, Birgit. "The Uses of Art: Contemporary Changes in Cultural Consumption and the Function of Art." Culture Unbound 3, no. 3 (December 21, 2011): 475–88. http://dx.doi.org/10.3384/cu.2000.1525.113475.
Анотація:
In recent years aesthetics and cosmopolitanism have been linked in new ways. On the one hand, contemporary research in the sociology of art indicates an increasing openness and a potential cosmopolitanism in aesthetic taste and consumption. On the other hand, aesthetic concepts and ideals play an important but often implicit role in some of the theories of globalization and cosmopolitanism that inform cultural studies. By examining the interaction between these two tendencies and relating it to sociological and aesthetic theories, I will discuss the characteristics and the possible social implications of the apparent new openness. Does it indicate an increasing tolerance and commonality? Or does it rather point towards a new and more individualized understanding of the social function and legitimacy of art?
22
Karam, А. "ESSENTIAL CHARACTERISTICS OF THE PHENOMENA “AESTHETIC COMPETENCE OF PERSONALITY”." Pedagogical education: theory and practice. Psychology. Pedagogy, no. 32 (2019): 81–85. http://dx.doi.org/10.28925/2311-2409.2019.32.11.
Анотація:
In the article it is revealed the essence of interpretation of the phenomenon of «aesthetic competence» from the point of view of philosophy, psychology, pedagogy, sociology, and cultural studies. Emphasis is placed on the interconnection of synonymous terms «readiness» and «preparedness»: «readiness» is a concept broader than competence and preparedness, which may be single, fragmented, that is, not to provide the full capacity to perform the functions of an activity. The essence of the outlined phenomenon is analyzed through its separate concepts, taking into account their relation: «aesthetic competence» with the concepts «competence», aesthetics «. Artistic and aesthetic competence is defined as a system of internal means of regulation of artistic and aesthetic actions, which includes artistic and aesthetic knowledge, social guidelines, skills and experience, aesthetic orientation, based on knowledge and sensory experience, free possession of artistic and aesthetic means and perception of artistic and aesthetic situation. The essence and features of aesthetic competence are revealed. The modern approaches to defining the concept of «aesthetic competence» are highlighted. The components of aesthetic competence are revealed. Specific features and factors influencing the development of aesthetic competence are highlighted. In conclusion, it is noted that the concept under study, aesthetic competence, should be differentiated into such varieties as aesthetic and artistic competence, while each of them, for a particular artistic profession, will at the same time have a general and specific meaning.
23
Dziamski, Grzegorz. "Performative nature of aesthetics." DYSKURS. PISMO NAUKOWO-ARTYSTYCZNE ASP WE WROCŁAWIU 26, no. 26 (September 1, 2019): 32–49. http://dx.doi.org/10.5604/01.3001.0012.9886.
Анотація:
Many lecturers of aesthetics feel that the subject of their lectures is not necessarily aesthetics, but history of aesthetics, the aesthetic views of Plato and Aristotle, Kant and Hegel, Hume and Burke, the British philosophers of taste and German romanticists. Does that mean that aesthetics feeds on its own past, is nurtured by reinterpretations of its classics, defends concepts and categories that inspire no one and do not open new cognitive perspectives? Does it mean that aesthetics is dead today, like Latin or Sanskrit, while its vision of art and beauty is outdated, invalid and totally useless? Aesthetics is a polysemous concept, which has never been sufficiently defined. It can determine a way of perceiving and experiencing the world that is specific for a given community, in other words, taste, yet it can also mean certain countries’ or regions’ contribution to aesthetic thought, to the aesthetic self-knowledge of man. Thus its dimension is practical, cultural and philosophical. Today aesthetics faces new challenges that it has to live up to; its major tasks include the defence of popular art, polishing the concept of aesthetic experience, aestheticization of everyday life and de-aestheticization of art, transcultural aesthetics and its approach to national cultures. In the book “Aesthetics: the Big Questions” (1998) Carolyn Korsmeyer reduces the main issues of contemporary aesthetics to six questions. The first question, old but valid, is a question about the definition of art. What is art? Nowadays everything can be art because art has shed all limitations, even the limitations of its own definition, and has gained absolute freedom. It has become absolute, as Boris Groys says. It has become absolute, because it has made anti-art a full-fledged part of art, and it has not been possible either to question or negate art since, as even the negation of art is art, legitimized by a more than 100 year long tradition, going back to the first ready-made by Marcel Duchamp in 1913. Today making art can be art and not making art can be art, as well, art is art and anti-art is art. The old question: “What is art?” loses its sense, and so does Nelson Goodman’s question: “When art?”. When does something become art? These questions are substituted by new ones: “What is art for you?”, “What do you expect from art?”. There can be a lot of answers, because defining art has a performative character. Louise Bourgeois has expressed the performative character of defining art in an even better way: “Art is whatever we believe to be art”. And for some reasons, which we do not fully realize ourselves, we want to make others share our belief.
24
Ngai, Sianne. "Our Aesthetic Categories." PMLA/Publications of the Modern Language Association of America 125, no. 4 (October 2010): 948–58. http://dx.doi.org/10.1632/pmla.2010.125.4.948.
Анотація:
The recent turn to aesthetics in literary studies has been embraced by some of its advocates as a polemical riposte to critique: a practice increasingly attacked from multiple directions but here specifically for doing artworks the disservice of reducing them to encryptions of history or ideology. But while the new or revived focus on pleasure (and, to a much lesser extent, displeasure)1 has been vaunted for the way in which it seems to circumvent the reduction of artworks to historical or ideological concepts, our aesthetic experience is always mediated by a finite if constantly rotating repertoire of aesthetic categories. Any literary or cultural criticism purportedly engaged with aesthetics needs to pay attention to these categories, which are by definition conceptual as well as affective and tied to historically specific forms of communication and collective life. But how does one read an aesthetic category? What kind of object is it, and what methodological difficulties and satisfactions does its analysis pose?
25
Sernelj, Téa. "The Problem of the Authenticity of the Aesthetic Concept qiyun shengdong." Asian Studies 9, no. 1 (January 8, 2021): 159–80. http://dx.doi.org/10.4312/as.2021.9.1.159-180.
Анотація:
The article explores Xu Fuguan’s analysis and interpretation of the concept of qiyun shengdong 氣韻生動, which is considered to be one of the most important, fundamental and complex concepts in Chinese aesthetics and art. It was created by Xie He in the Wei Jin period (220–420 AD), which is marked as a turning point in the development of Chinese aesthetics. The complexity of the concept of qiyun shengdong is reflected in literary works, painting, calligraphy, and music, as well as in literary theory and the theory of painting. According to Xu Fuguan, qi refers to the external features of the artwork, while yun expresses the internal characteristics that are a matter of the human spirit. For Xu, shengdong signifies the manifestation and fusion of qi and yun in the artwork. Xu Fuguan claimed that the profound comprehension of this concept is fundamental for understanding the essence of Chinese art. The article also addresses the problem of translating this aesthetic concept into English and discusses the problem of its authenticity.
26
Sernelj, Téa. "The Problem of the Authenticity of the Aesthetic Concept qiyun shengdong." Asian Studies 9, no. 1 (January 8, 2021): 159–80. http://dx.doi.org/10.4312/as.2021.9.1.159-180.
Анотація:
The article explores Xu Fuguan’s analysis and interpretation of the concept of qiyun shengdong 氣韻生動, which is considered to be one of the most important, fundamental and complex concepts in Chinese aesthetics and art. It was created by Xie He in the Wei Jin period (220–420 AD), which is marked as a turning point in the development of Chinese aesthetics. The complexity of the concept of qiyun shengdong is reflected in literary works, painting, calligraphy, and music, as well as in literary theory and the theory of painting. According to Xu Fuguan, qi refers to the external features of the artwork, while yun expresses the internal characteristics that are a matter of the human spirit. For Xu, shengdong signifies the manifestation and fusion of qi and yun in the artwork. Xu Fuguan claimed that the profound comprehension of this concept is fundamental for understanding the essence of Chinese art. The article also addresses the problem of translating this aesthetic concept into English and discusses the problem of its authenticity.
27
Dziamski, Grzegorz. "Performatywny charakter estetyki." DYSKURS. PISMO NAUKOWO-ARTYSTYCZNE ASP WE WROCŁAWIU 26, no. 26 (September 1, 2019): 32–50. http://dx.doi.org/10.5604/01.3001.0012.9866.
Анотація:
Many lecturers of aesthetics feel that the subject of their lectures is not necessarily aesthetics, but history of aesthetics, the aesthetic views of Plato and Aristotle, Kant and Hegel, Hume and Burke, the British philosophers of taste and German romanticists. Does that mean that aesthetics feeds on its own past, is nurtured by reinterpretations of its classics, defends concepts and categories that inspire no one and do not open new cognitive perspectives? Does it mean that aesthetics is dead today, like Latin or Sanskrit, while its vision of art and beauty is outdated, invalid and totally useless? Aesthetics is a polysemous concept, which has never been sufficiently defined. It can determine a way of perceiving and experiencing the world that is specific for a given community, in other words, taste, yet it can also mean certain countries’ or regions’ contribution to aesthetic thought, to the aesthetic self-knowledge of man. Thus its dimension is practical, cultural and philosophical. Today aesthetics faces new challenges that it has to live up to; its major tasks include the defence of popular art, polishing the concept of aesthetic experience, aestheticization of everyday life and de-aestheticization of art, transcultural aesthetics and its approach to national cultures. In the book “Aesthetics: the Big Questions” (1998) Carolyn Korsmeyer reduces the main issues of contemporary aesthetics to six questions. The first question, old but valid, is a question about the definition of art. What is art? Nowadays everything can be art because art has shed all limitations, even the limitations of its own definition, and has gained absolute freedom. It has become absolute, as Boris Groys says. It has become absolute, because it has made anti-art a full-fledged part of art, and it has not been possible either to question or negate art since, as even the negation of art is art, legitimized by a more than 100 year long tradition, going back to the first ready-made by Marcel Duchamp in 1913. Today making art can be art and not making art can be art, as well, art is art and anti-art is art. The old question: “What is art?” loses its sense, and so does Nelson Goodman’s question: “When art?”. When does something become art? These questions are substituted by new ones: “What is art for you?”, “What do you expect from art?”. There can be a lot of answers, because defining art has a performative character. Louise Bourgeois has expressed the performative character of defining art in an even better way: “Art is whatever we believe to be art”. And for some reasons, which we do not fully realize ourselves, we want to make others share our belief.
28
Fritz, Martin. "Hallische Avantgarde. Die Erfindung der Ästhetik und die Ästhetisierung des Christentums." Journal for the History of Modern Theology / Zeitschrift für Neuere Theologiegeschichte 21, no. 1-2 (January 15, 2014): 1–27. http://dx.doi.org/10.1515/znth-2015-0001.
Анотація:
AbstractAvantgarde in Halle: The Invention of Aesthetics and the Aestheticization of Christianity. The foundation of scholarly aesthetics by the Halle philosopher Alexander Gottlieb Baumgarten and Georg Friedrich Meier in the middle of the 18th century took place within a milieu that was shaped by both pietism and the Enlightenment. Martin Fritz demonstrates that aesthetics in Halle itself can be considered a synthesis of pietism and Enlightenment ideas. The sensualization of basic Christian concepts is of eminent relevance for these aesthetics, in order to reinvent the pietistic striving for intensive religious experiences through such „aestheticization.“ The romantic idea of „Kunstreligion“ (art religion), which continues to be significant in cultural life today, is also based on this programmatic notion of aestheticization. Building on this historical background, this article’s concluding systematic considerations argue for a theological revaluation of pertinent contemporary cultural phenomena.
29
Denil, Mark. "A Disquisition on Cartographic Style and Taste: with Attendant Remarks upon Aesthetics, Clarity, Design, and Mapicity." Cartographic Perspectives, no. 73 (September 1, 2012): 75–88. http://dx.doi.org/10.14714/cp73.711.
Анотація:
The discussions and findings of the 2012 NACIS Conference Aesthetics of Mapping sessions both turned and stumbled upon the definition of terms like aesthetics, clarity, and style. This paper attempts to situate these key concepts, along with others such as design, taste, and mapicity, in a broad and flexible theoretical framework that will facilitate a useful and applicable understanding. A structure is proposed wherein a map, a rhetorical object which exists under the aegis of mapicity (which is that quality of map-ness that makes a map a map), is brought into being through an aesthetic act of design. Design, which has both theoretical and craft aspects, governs the form of the artifact through adherence to conventional practices identifiable as styles. The balance between the choices available is a matter of taste, wherein the schema of mapicity is manifested judgmentally. Clarity, currently seen as a desirable attribute, is one of a range of aesthetic attributes contingently defined by the cultural interpretive community that provides the schema of mapicity.
30
Rejimon, P. K. "EXPLORING PHILOSOPHY OF ART IN INDIAN APPROACH." International Journal of Research -GRANTHAALAYAH 5, no. 9 (September 30, 2017): 217–23. http://dx.doi.org/10.29121/granthaalayah.v5.i9.2017.2234.
Анотація:
Art is one of the cultural activities of man through which he reaches his ideas, values, feelings, aspirations and reactions to life. The generic purpose of art is to provide aesthetic experience and enjoyment to the recipient. Art give outlet to the artist himself to reveal and express his innermost aspirations, feelings, sentiments and also the impressions of life. Aesthetics, the branch of philosophy devoted to conceptual and theoretical enquiry into art. Philosophy of Indian art is concerned with the nature of art and the concepts in terms of which individual work of art interpreted and evaluated. It deals with most of the general principles of aesthetic cognition of the world through any human activity. The human concern for art and beauty had been expressed at the very beginning of philosophy both in the East and West and it continues to the present. In India, philosophy of art is designated as saundaryasastra, which is evolved with an emphasis on inducing special spiritual or philosophical states in the audience or with representing them symbolically. It deals with most of the general principles of aesthetic cognition of the world through any human activity. The human concern for art and beauty had been expressed at the very beginning. The rich tradition of Indian aesthetics can be traced back to the second century BC with Bharata’s Natyasastra, the foundation text on Saundaryasastra. Indian aesthetics is evolved with an emphasis on inducing special spiritual or philosophical states in the audience.
31
Novikov, Vasily N. "Aesthetics of Interactivity: Between Game and Film. To Watch or to Play?" Journal of Flm Arts and Film Studies 10, no. 1 (March 15, 2018): 54–63. http://dx.doi.org/10.17816/vgik10154-63.
Анотація:
Abstract: According to recent research, video games are recognized as a new kind of art in the 21st century. Is it possible to distinguish the concepts of "entertainment" and "art" when dealing with this phenomenon? The purpose of this article is to analyze the significance of the game in contemporary society, to characterize the dominant features of "personal management" of a work of art, and to consider the influence of game aesthetics on the language of up-to-date cinema. The digital age, new technologies, computer modeling, and virtual aesthetics modernized the classical thesis of "life as a game" into a new philosophical concept. There are more and more attempts in succession to create a full-fledged virtual reality where a person could feel oneself be an individualized god, commanding over all the processes taking place with the one and ones life. The ultimate goal is the creation of such a global "game world" in which every person would be able to try oneself in any social role or avatar, building relationships with anyone, playing and enjoying it. So this desire for an interactive fusion of game forms with the objective reality that we are accustomed to is forming a rich and multilayered cultural platform nourishing diverse areas of contemporary art. The game industry has gone a long way of its development as a form of art. Nowadays video games and movies imitate each other and combine mixed aesthetic trends - the boundary between the Game and the Film is being increasingly blurred. On the one hand, games tend to the cinema, using professional directing, scriptwriting and cast. On the other hand, mainstream fiction of gaming technologies attracts many filmmakers looking for new artistic forms, concepts and visual mechanics that are interesting and relevant for the contemporary mass audience.
32
Novikov, Vasily N. "Aesthetics of Interactivity: Between Game and Film. To Watch or to Play?" Journal of Flm Arts and Film Studies 10, no. 2 (June 15, 2018): 50–60. http://dx.doi.org/10.17816/vgik10250-60.
Анотація:
According to recent research, video games are recognized as a new kind of art of the 21st century. Is it possible to distinguish the concepts of entertainment and art when dealing with this phenomenon? The purpose of this article is to analyze the significance of the game in contemporary society, to characterize the dominant features of personal management of a work of art, and to consider the influence of game aesthetics on the language of up-to-date cinema. The digital age, new technologies, computer modeling and virtual aesthetics modernized the classical thesis of the life as a game into a new philosophical concept. There are more and more attempts in succession to create a full-fledged virtual reality where a person could feel oneself to be an individualized god, commanding over all the processes taking place with the one and ones life. The ultimate goal is the creation of such a global game world in which every person would be able to try oneself in any social role or avatar, building relationships with anyone, playing and enjoying it. So this desire for an interactive fusion of game forms with the objective reality that we are accustomed to is forming a rich and multilayered cultural platform nourishing diverse areas of contemporary art. The game industry has gone a long way of its development as a form of art. Nowadays video games and movies imitate each other and combine mixed aesthetic trends - the boundary between the Game and the Film is being increasingly blurred. On the one hand, games tend to cinema, using professional directing, scriptwriting and cast. On the other hand, mainstreamification of gaming technologies attracts many filmmakers looking for new artistic forms, concepts and visual mechanics that are interesting and relevant for contemporary mass audience.
33
Kitriniaris, Alexandros. "Eco-ontological Systems of Human Interaction: Rethinking Ecology through Aesthetics." Acta Europeana Systemica 4 (July 14, 2020): 83–86. http://dx.doi.org/10.14428/aes.v4i1.57253.
Анотація:
The object of this paper is to connect ecology with ontology as a complex field of architectural system-based design, and more specifically, as a field worthy of aesthetic consideration. In the post-digital age, globalization seems to be one of the most important consequences for the loss of experience and meaning of space. The modern field of progress ishampered by various ideological stakes relating to the environmental and ecological awareness of place. These preclude the consideration of both the eco-systemic environmental approach, and the potential for cultural and technological evolution that is independent of new material conditions and new design tools that may be perceived as new forms of humanperception. The purpose of this paper is to connect ecology and aesthetics, with ontology as an intermediary. The human metabolic mechanism, as well as the perceptual and musculoskeletal systems, is related to a broad network of ecosystemic references. These references comprise the totality of the ecological approach, both of the environment and of the human individual and collective organization. Thus an ecological approach to aesthetics carries new methods of contemplating territories as background of human interaction. Territory is perceived as an energy threshold which corresponds to human interactions forming the principles of the Eco-ontological concept. To this end, comprehension of the territory as an Ecoontological system refers to the potential positive effect of this research based on systemic concepts with the purpose of improving living experience, especially in densely populated urban centers.
34
Kawalec, Anna. "What Philosophical Aesthetics Can Learn from Applied Anthropology." Symposion 7, no. 1 (2020): 41–53. http://dx.doi.org/10.5840/symposion2020714.
Анотація:
Through a detailed case study of investigations on beauty, I demonstrate that a thoughtful consideration of empirical evidence can lead to the disclosure of the fundamental assumptions entrenched in a philosophical discipline. I present a contrastive examination of two empirically oriented approaches to art and beauty, namely, the anthropology of art and the anthropology of aesthetics. To capture these two different ways of interpreting the available evidence, I draw upon a debate between Alfred Gell and Jeremy Coote on the understanding of beauty and art in the Dinka community. Following Gell, I reveal that the Western-centric predilection of Coote, who uses traditional aesthetic categories, leads to his failure to grasp the functional and causal roles of beauty in the social relations of the Dinka. In more general terms, my study reveals the inherent limitations of aesthetics as developed in the Western tradition and its Kantian legacy. Being steadily driven towards purely abstract and speculative concepts, such as ‘work of art,’ Western aesthetics has lost the ability to account for the causal role of beauty in social relations. By contrasting this approach with Gell’s anthropological approach to art, I indicate those fundamental assumptions of aesthetics as a philosophical discipline that apparently confine it to a particular cultural context, compromising its ability to account for the universal human condition. As my study illustrates, this limitation could be overcome by a thoughtful and unprejudiced examination of empirical evidence.
35
Khoroshilov, D. A. "Digital mind: mediatization of social cognition in culture, science and art." Social Psychology and Society 10, no. 4 (2019): 9–22. http://dx.doi.org/10.17759/sps.2019100402.
Анотація:
Psychology of social cognition as the construction of the image of the social world requires addition of the concept of deep mediatization (N. Couldry, A. Hepp). In the frames of modern sociology and cultural-historical psychology it should be talked about the mediatized construction of the image of the world, mediated by the language of mass communication. The code of media language — not verbal, but visual — is analyzed in the epistemological and methodological contexts of the visual turn in the humanities. The realization of this trend in Russian psychology is the aesthetic paradigm of the everyday life (T. Martsinkovskaya, M. Guseltseva, D. Khoroshilov). Its main idea is the comparative analysis of the languages of the scientific concepts and art and media images, what allows to explicate visibility optics of the everyday life in the modern society. The article concludes with the aesthetics and psychological explanation of the phenomena of deep mediatization of social cognition from Nicola Gogol to the popular TV series «Black mirror».
36
Hamblin, Sarah. "Exhausted Montage." Cultural Politics 15, no. 3 (November 1, 2019): 358–71. http://dx.doi.org/10.1215/17432197-7725507.
Анотація:
This essay argues that the conditions of contemporary finance capitalism have exhausted the revolutionary potential of political modernist aesthetics. The global ’68 conjuncture generated many of the fundamental concepts that continue to underscore how contemporary radical film practice is understood. As such, montage continues to occupy a central place in today’s radical aesthetic imagination, its model of active spectatorship still accepted as a vital expression of an autogestive oppositional politics. However, the economic and political landscape has changed significantly over the last fifty years such that the radical potential of political modernist aesthetics needs to be reevaluated. To this end, this essay examines how the shift from industrial to finance capitalism transforms montage and its concomitant investment in spectatorial autonomy into a conservative affirmation of the neoliberal subject. Now resembling the pattern hunters of speculative finance, the active spectator of political modernist cinema is today compromised by the new conditions of volatility, instability, hyperindividualism, and privatization that demand the same cognitive labor. In exploring how neoliberal ideology has absorbed and reframed the driving logics of 1968, this essay argues that montage’s radical political potential has been exhausted by the conditions of contemporary finance capitalism and instead calls for alternative modes of aesthetic engagement better equipped to at once express and oppose these new conditions of exploitation.
37
Woodward, Ashley. "Dispositif, Matter, Affect, and the Real: Four Fundamental Concepts of Lyotard's Film-Philosophy." Film-Philosophy 23, no. 3 (October 2019): 303–23. http://dx.doi.org/10.3366/film.2019.0118.
Анотація:
Jean-François Lyotard's work remains a largely untapped resource for film-philosophy. This article surveys four fundamental concepts which indicate the fecundity of this work for current studies and debates. While Lyotard was generally associated with the “theory” of the 1980s which privileged language, signs, and cultural representations, much of his work in fact resonates more strongly with the new materialisms and realisms currently taking centre stage. The concepts examined here indicate the relevance of Lyotard's work in four related contemporary contexts: the renewed interest in the dispositif, new materialism, the affective turn, and speculative realism. The concept of the dispositif (or apparatus) is being rehabilitated in the contemporary context because it shows a way beyond the limiting notion of mise en scène which has dominated approaches to film, and Lyotard's prevalent use of this concept feeds into this renewal. While matter is not an explicit theme in Lyotard's writings on film, it is nevertheless one at the heart of his aesthetics, and it may be extended for application to film. Affect was an important theme for Lyotard in many contexts, including his approaches to film, where it appears to subvert film's “seductive” (ideological) effects. Finally, the Real emerges as a central concept in Lyotard's last essay on cinema, where, perhaps surprisingly, it intimates something close to a speculative realist aesthetics. Each of the fundamental concepts of Lyotard's film-philosophy are introduced in the context of the current fields and debates to which they are relevant, and are discussed with filmic examples, including Michael Snow's La Région centrale (1971), Roberto Rossellini's Stromboli (Stromboli, terra di Dio, 1950), Francis Ford Coppola's Apocalypse Now (1979), and neo-realist cinema.
38
Bernstein, J. M. "Kant and Adorno on Mind and World: From Wild Beauties to Spiral Jetty." New German Critique 48, no. 2 (August 1, 2021): 107–23. http://dx.doi.org/10.1215/0094033x-8989274.
Анотація:
Abstract Theodor W. Adorno’s governing procedure in Aesthetic Theory is to reconstruct the terms and concepts of traditional aesthetics and the philosophy of art through the actuality of artistic modernism in its various guises. The necessity of this procedure turns on the recognition that modernist art has become a stand-in for the now-wrecked authority of living nature. Adorno contends that “natural beauty,” as elaborated by Immanuel Kant, is the recognition of that now-lost experience of nature, and that art beauty must be thereby interpreted as becoming the reconstructed afterimage of natural beauty. The article tracks the development of this thought from Kant’s account of “wild beauties” through Adorno’s chapter “Natural Beauty” to its actualization in Robert Smithson’s Spiral Jetty.
39
Zagidullina, Marina. "Mediaesthetics of blank forms: the material basis of cultural nomadism in the era of panmediatization." Przegląd Wschodnioeuropejski 9, no. 2 (November 30, 2018): 293–307. http://dx.doi.org/10.31648/pw.3215.
Анотація:
The article is devoted to the concept of the “empty form”. This concept is considered from philosophical, communicative, sociological, artistic and cultural points of view. The author follows Aristotle’s philosophy of hylomorphism and “eidos” and its transformation into the 20th century theory of “new materiality” with the “emptiness of the center” and “assemblage of things” concepts, in the modern linguistic approaches and in art and creative industries (i.e. painting, architecture, literature). The metaphor “frame without painting” (G. Zimmel) helps us understand the social potential of the “empty form” concept (as a functional stimulus and condition of perception). The modern communication situation, characterized by a panmediatization of all sides of societal life and a penetration of media in all forms of sociality, provides a number of conditions leading to an increase of the role of “empty forms” (including creativity based on “ready-to-use” empty forms considered as “vacuums waiting to be filled”). Panmediatization makes possible “the cultural nomadism” as a rambling from one empty form to another one. Panmediatization creates a “cultural nomadism” that consists of rambling from one empty form to another. One can see how the panmediatized communication field organizes this rambling: any “cultural nomad”, or rambler, is provided an opportunity to create new senses and new objects in the virtually endless and timeless space of this field. The technical aspect nature of this field generates the phenomenon of media aesthetics – the process of never-ending creative activity and consumption and evaluation of its results, where the aesthetic judgement is embodied in the technical procedures of the panmediatized communication field (i.e. “likes” or “sharing” of social media).
40
Nepsha, Viktor. "Landscape as a Category of Film Aesthetics: Key Approaches." Vestnik of Northern (Arctic) Federal University. Series Humanitarian and Social Sciences, no. 4 (September 21, 2021): 111–21. http://dx.doi.org/10.37482/2687-1505-v122.
Анотація:
This article examines a variety of approaches to the concept of landscape in the philosophy of film in order to establish terminological accuracy and highlight problematic topics in conversations about space in film aesthetics in particular and to clarify the status and boundaries of the term landscape in philosophical use in general. Three groups of approaches to landscape in the philosophy of film were identified in the course of the study and analysis of literature on this issue: landscape as an auxiliary element for the director/crew/viewer (Béla Balázs, Susan Cathleen Gunn, Chris Lukinbeal, etc.); landscape as an autonomous category which is more than just an applied landscape/setting in the frame and which in its interaction with cinematography helps the latter to express its specific features to the fullest (Tom Gunning, Martin Lefebvre, Jean Epstein); single approaches failing to fit into the above categories, with the concept of landscape being subject to author’s specific interpretation (Giles Deleuze, Amy Lynn Corbin). The variety of related areas that had to be addressed in the course of this study (from sociology and politics to cultural geography and Deleuze’s concepts) gave rise to numerous interpretations of the term landscape, even within the framework of film aesthetics. The results of the research roughly outline the problem field on the one hand and indicate the need to continue working in this problem field on the other. One of the problematic issues is the traditional use of the term landscape, while the specificity of the autonomous landscape–cinema interaction requires a thorough study.
41
Daugelaite, Aurelija, and Indre Grazuleviciute-Vileniske. "The Relationship between Ethics and Aesthetics in Sustainable Architecture of the Baltic Sea Region." Sustainability 13, no. 4 (February 19, 2021): 2259. http://dx.doi.org/10.3390/su13042259.
Анотація:
Architecture, as a mean of art and as a factor that physically shapes the environment, undoubtedly serves as a form of expression of ethical attitudes. It combines ethical values and responsibility for solving environmental problems with aesthetic qualities of the built environment. The holistic approach is gaining ground in the paradigm of sustainability, where architectural concepts such as biophilic, biomimetic, resilient, restorative, and others reinforce the idea of coexistence between humans and nature. In the 21st century, sustainability has become a global phenomenon; therefore, contemporary architecture is expected to reflect the idea of sustainability in its expression. This study explores the relationship between ethics and aesthetics in sustainable architecture in practice. Furthermore, this study attempts to illustrate how the architectural expression of certified sustainable buildings in the Baltic Sea region reflects the trends of sustainability within an ethical paradigm. The research question of this study is as follows: what are the prevailing aesthetic trends and are environmental ethical values expressed in the sustainable architecture of the Baltic Sea region? The study of examples of sustainable architecture was carried out by analyzing the three main databases of certified sustainable buildings—Deutsche Gesellschaft für Nachhaltiges Bauen (DGNB), Leadership in Energy and Environmental Design (LEED) and Building Research Establishment Environmental Assessment Method (BREEAM). The study found eight predominant groups of aesthetic expressions of sustainable buildings and the absence of a distinctive architectural expression that could be considered as sustainability aesthetics. It can be hypothesized that the lack of aesthetic distinctiveness of certified sustainable buildings could be related to the absence of cultural, aesthetically oriented criteria in building sustainability rating systems.
42
Fritsch-Oppermann, Sybille C. "Metaphors and metaphorical language/s in religion, art and science." Studia Philosophiae Christianae 56, no. 3 (September 30, 2020): 31–50. http://dx.doi.org/10.21697/spch.2020.56.3.02.
Анотація:
Languages play an essential role in communicating aesthetic, scientific and religious convictions, as well as laws, worldviews and truths. Additionally, metaphors are an essential part of many languages and artistic expressions. In this paper I will first examine the role metaphors play in religion and art. Is there a specific focus on symbolic and metaphoric language in religion and art? Where are the analogies to be found in artistic metaphors and religious ones? How are differences to be described? How do various (philosophical) concepts of aesthetics and theological concepts explain those different kinds of language and how, if at all, do they make use of them? Lastly: what could be added to aesthetics, philosophy and theology by examining carefully the role and importance of language, including nonverbal, sign language and especially metaphorical language? Without the human capacity for language, religions are scarcely imaginable. A widening of traditional exegesis and hermeneutics by taking into account nonverbal semantics is needed. Religion is a cognitive and linguistic phenomenon. By taking this seriously, we set and enable an agenda to discuss religion scientifically, leaving aside for the purpose of a scientific understanding and discourse about the inter-religious and the inner-religious claims of truth and absolutist claims. To sum it up: metaphor is introduced as an important means of language when it comes to religious conceptualization. Next, I will show that art, more than religion, deals with visual metaphor – the latter being an image that suggests a particular association, similarity or analogy between two (or more) generally unconnected visual elements. This often, but not always, functions in a roughly comparable fashion to the better-known concept of verbal metaphor. In addition, visual metaphor has developed many original and unique characteristics. These two sections are followed by another one dealing with (inter)cultural philosophy of religion and aesthetics, as well as the meaning of metaphors for these disciplines. The next section is on metaphor and metaphorical language in mathematics, natural sciences and art and how they are related, i.e. influence and help each other. I will discuss the critical approach to metaphors in natural science and provide a short introduction to the cultural history of mathematics and art. Mathematicians and artists have long been on the quest to understand the physical world they see before them and the abstract objects they know by thought alone. How have art and mathematics helped each other in representing each other’s concepts? A final section provides a summary and an outlook: theology is contextual as is science – and so is art. All these disciplines partly rely upon metaphor and by the help of metaphor get closer to an intercultural and interdisciplinary understanding. I shall argue that, by dealing more carefully with their metaphorical language and their own metaphors, together they become better equipped to map the world.
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Hron, Irina. "“Speak your word and break!”." European Journal of Scandinavian Studies 50, no. 2 (October 25, 2020): 355–74. http://dx.doi.org/10.1515/ejss-2020-2005.
Анотація:
AbstractBy tracing an alternative aesthetics of decomposition and fragmentation, this article offers a new understanding of the literary and poetological strategies Knut Hamsun uses to create a disintegrating text cosmos wherein the idea of ‘creation out of nothing’ (creatio ex nihilo) is one key to artistic originality. The article explores the interdependence of different notions of decline and shows that the image of the (biblical) fall is particularly important to the poetics and aesthetic structure of Hamsun’s Hunger (Sult, 1890). Around 1900, ideas of wholeness crumble, a decomposition which is reflected in the well-established philosophical and anthropological experiments of Nietzsche, Bourget and Simmel. Taking some of their aesthetic assumptions as a point of departure, the present paper argues that Hamsun’s novel offers an aesthetic variation on the decline of unity-based concepts, ranging from the subject to religious belief as well as to traditional storytelling.
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Werning, Stefan. "Walk-Through Corporate Aesthetics: Design Affordances in Tech Workspaces." Open Cultural Studies 3, no. 1 (January 1, 2019): 428–41. http://dx.doi.org/10.1515/culture-2019-0036.
Анотація:
Abstract The article at hand analyses the aesthetic dimension of contemporary “tech companies,” particularly how their characteristic rhetoric of creativity, collaboration and disruption is built into the aesthetics of the physical work environments. For that purpose, proceduralist reading and environmental storytelling, usually applied to analyse meaning-making in digital game spaces, are adapted to conduct a comparative spatial affordance analysis on material from Officesnapshots, one of the largest online repositories for workspace documentation. Expanding upon earlier definitions of spatial affordances as quasi-textual features, the article defines the design elements of tech offices as a continuation of verbal and (audio-)visual corporate rhetoric employed by companies like Google, Facebook or Etsy. It thereby contributes a material-semiotic dimension to current debates about the epistemic implications of these software platforms, which José van Dijck summarises using the term “platform society.” Besides game and play studies, elements of architectural semiotics and cultural analyses of support spaces (e.g. Kracauer 1999 and Moran 2005) as well as broader concepts such as the politics of theming (Freitag 2017) or the embedding of digital technologies into physical spaces (Kitchin and Dodge 2011) complement the theoretical framework.
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Ouyang, Chao Ying, Ya Jie Xiong, and Lin Li. "Application of Traditional Chinese Decorative Patterns in Ceramics Design." Advanced Materials Research 936 (June 2014): 2329–34. http://dx.doi.org/10.4028/www.scientific.net/amr.936.2329.
Анотація:
As an important part of traditional Chinese culture, traditional Chinese decorative patterns, to a great extent, symbolise local customs as well as social, political and economic circumstances of China. Ceramics is of both use value and aesthetic value. Decorative patterns facilitate the latter of the two as a main means. Nowadays, designers are facing a great challenge of how to inherit the aesthetics and the spirit of traditional Chinese decorative patterns and how to apply modern design concepts to contemporary ceramics design. This paper investigates the origins, implications, categorizations and application examples of traditional Chinese decorative patterns in both ancient and modern ceramics designs. Based on the investigation, the paper strives to demonstrate the essence of traditional Chinese decorative patterns, enhance the charm of modern ceramics design, as well as to explore new cultural added value of traditional Chinese decorative patterns.
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Gandolfi, Enrico. "Beyond Diagonal Sciences: Applying Roger Caillois’s Concepts of Symmetry and Dissymmetry to Journey." Games and Culture 12, no. 4 (September 14, 2016): 361–80. http://dx.doi.org/10.1177/1555412016667342.
Анотація:
The article aims to problematize the perspective of Roger Caillois beyond the relative more influential Les Jeux et les Hommes for Game Studies and then put the use of his theories to the test. By harnessing the alternative concepts of “symmetry” and “dissymmetry,” which are at the core of his approach, a textual analysis is applied to the high acclaimed video game Journey. Further suggestions from philosophy (“deconstruction” by Derrida), cultural studies (“the circuit of culture”), and game design support the study. Thus, symmetric and dissymmetric features (e.g., mechanics, aesthetics) are framed enlightening in-game processes further; conversely, the limits of these notions in game analysis are deepened along with some tendencies in misreading Caillois in the field.
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Ezepue, Ezinne M. "The New Nollywood: Professionalization or Gentrification of Cultural Industry." SAGE Open 10, no. 3 (July 2020): 215824402094099. http://dx.doi.org/10.1177/2158244020940994.
Анотація:
Nollywood is further gaining popularity due to its transformations, which bear resemblances to the processes of gentrification and professionalization. This is formalizing the industry as well as attracting professionals and instigating existing filmmakers to improve on their art. So far, filmmakers have continued to avail themselves for further trainings, aligning themselves with the emerging new and professionalizing Nollywood. This study is interested in finding out whether these changes within the industry are simply a professionalization process or a regeneration that can potentially gentrify the industry. Gentrification, an urban development term which captures the process that alters the structure of a district to suit middle- or upper-class taste, is burdened with the baggage of displacement and so attracts negativity. This study adopts gentrification as a metaphor. Thus, it captures a process where a once-not-so-aesthetic item available exclusively to the general masses becomes fanciful as a result of middle- or upper-class engagement. This study contextualizes the concepts of gentrification and professionalization to put in perspective class separation, formalization of Nollywood, emergence of the new Nollywood, and other transformations reshaping Nollywood and bringing about sectoring within the industry. This study concludes that Nollywood is currently gentrifying as well as professionalizing. Its gradual progression from its old, traditional form into a new quality and aesthetics conscious nature results from availability of resources for production and distribution, and an interaction with corporate bodies and between new film professionals and existing industry players who avail themselves for further trainings.
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Strukov, Vlad. "The queer coat: Konstantin Goncharov’s fashion, Russian masculinity and queer world building." Critical Studies in Men???s Fashion 6, no. 1 (September 1, 2019): 81–102. http://dx.doi.org/10.1386/csmf_00006_1.
Анотація:
I re-assess Russian sartorial economics of the 1990s by examining fashion by Konstantin Goncharov, who was credited for styling Russian rock stars and making costumes for artistic projects. I focus on the relationship between queer masculinity and sartorial practice. The former relies on a visual code encompassing a range of multi-platform, cross-media strategies and a network of references. The latter refers to a community of individuals engaged in the production of a characteristic style across different sites. The article proposes the concept of queer world-building, which brings together object-oriented and community-oriented practices. Central to Goncharov’s world is ‘the queer coat’, a costume designed for his clientele and a historically grounded metaphor for Russian society. It designates the process of creative re-modelling of pre-Soviet and Soviet aesthetics, producing a complex cultural exchange challenging dominant notions of masculinity. Goncharov’s cross-platform and intermedial work captures the spirit of multi-centric cultural activity of the 1990s.
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Kochetkova, Uliana. "Influence of Philosophical and Aesthetic Concepts on the Description of the Acoustic Characteristics of Vowels (Late 17th – Early 20th Centuries)." Vestnik Volgogradskogo gosudarstvennogo universiteta. Serija 2. Jazykoznanije, no. 3 (August 2020): 144–54. http://dx.doi.org/10.15688/jvolsu2.2020.3.13.
Анотація:
The article deals with the potential explicit or implicit impact of the cultural and scientific tradition on the way of thinking of the researchers in different epochs. The hypothesis is that aesthetic and philosophical thoughts may influence in some way the results of the scientific experiments. The paper follows the order of the research. It starts from the results of vowel acoustics measurements in 19th century and ends by finding their conceptual basis in works of the 17th century. Measuring vowel acoustic characteristics, researchers of the late 19th and early 20th centuries in most of cases used various sets of tuning forks. The brightest, i.e. characteristic tone of a vowel was defined by ear. The results of such experiments showed that there were intervals of one or more octaves between characteristic tones of various vowels. Among different factors that may lead to such results, beside the circumstances of the experiment itself, we suppose cultural, scientific and philosophical tradition. The analysis of the works of the authors who first explored acoustic characteristics of vowels, showed that the philosophy and aesthetics of the 17th century may have influenced directly or indirectly the descriptions of vowels during the following centuries. The idea of the main vowels of the Adam Alphabet may have had an impact on the acoustic instruments, while the idea of harmony and proportion, essential in time of the Scientific Revolution, may be found in vowel system descriptions up to the beginning of the 20th century.
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Weychert, Monika. "Zmieścić się w ramach." Politeja 16, no. 4(61) (January 31, 2020): 243–55. http://dx.doi.org/10.12797/politeja.16.2019.61.14.
Анотація:
To Stay within the Range. Three Attempts to Define Contemporary Roma Art in Poland
The concept of contemporary Roma art was introduced into the critical apparatus of aesthetics by Timea Junghaus in 2007, when she curated Paradise Lost, the first Roma Pavilion at the Venice Biennale, an unprecedented act and a strong political statement. It is therefore more intriguing than ever to observe attempts to redefine the idea of „contemporary Roma art”. A single exhibition – Kali Berga, one event, the same group of artists and the same set of artworks has inspired two contradictory concepts: Wojciech Szymański anticipated the concept of „post-Roma art”, while Anna Mirga-Kruszelnicka came up with the idea of the „art of the Roma”. As a cultural expert, I analyse the conceptualisation process of the phenomenon of contemporary Roma art.