Aesthetic

In this paper I attempt to contribute to the studies around the aesthetic of the grotesque on rock'n'roll as a form of poetic stylization and, in particular, the imaginary representation of the US band Queens of the Stone Age. The impressions of this aesthetic style seem to represent effectively the anxieties and contradictions of a full sensory stimuli and constant daily shocks that the citizens are exposed nowadays. Through art, the band seeks to raise issues relating to representations about the life of the authors and, later in his reception, associated with the reality of the viewing public by means of subjective imagination of every individual to get in touch with the work of the band.

The research explores and measures the factors that affect the intention to purchase the smartphone in Ho Chi Minh City. The authors send the online survey questionnaires and collected 246 valid respondents. The research uses Exploratory Factor Analysis (EFA) to explore the scale of the factors that influence the intention to buy a smartphone. Besides, the result from the multiple regression shows that the aesthetic, price, brand, product feature, social influence, and Electronic-Word-ofmouth are a positive effect on the intention to purchase a smartphone. E-WOM has the most significant impact on buying intention, while the price has the least impact. What is more, the research suggests some recommendations to businesses to attract more customers to purchase smartphones

What follows here is not a definition of art by decree. Nor is this some kind of art manifesto. We are not saying this is how art should be, or could be, but how it is, if you let go of the prison of aesthetics, and follow an infinitely more interesting conceptual trail. This is about uncovering and identifying an approach to art which avoids the triviality of sensory-based aesthetic theory and moves instead towards exploring the experiential worlds that art presents us with. And this approach is not about diminishing the sensory enjoyment of artworks, but about placing them in a much richer context, where they can work a far greater magic.

Advertising, mainly an aid for branding products, services or events to people commercially, plays a great role to construct the society, economy and state. It is not only a medium of publishing the content, also a subject of art and industry. Besides it plays a vital role in economic sphere. A successful or effective advertisement contains artistic and aesthetic elements to catch the attention of its audience. One can find useful information, source of entertainment and various beauty tips from advertisements and thus it becomes popular. It provides message to the customers or consumers. This research mainly aims to operate on various types of advertisements in Bangladesh, such as-newspaper advertisements, billboard promotion, Television Commercial (TVC) and digital advertising. The prime objective of the research is to evaluate the artistic and aesthetic elements of advertising in Bangladesh.

"ABSTRACT:
    This study assumes the subject's pursuit of meaning is generally incapacitating and should be suspended. It aims to demonstrate how such a suspension is theoretically accomplished by utilizing Lacan's formulae of sexuation integrated with his work in discourse theory and topology.
    Part I places this study into context by examining scholarship from the established fields of hermeneutics, phenomenology, (post)structuralism, aesthetic theory and psychoanalysis in order to extract out their respective theory of meaning. These theories reveal that an historical struggle with meaning has been underway since the Reformation and reaches near crisis proportions in the 20th century. On the one hand this crisis is mollified by the rise of Heideggerian-Gadamerian hermeneutical phenomenology which questions traditional epistemological approaches to the text using a new ontological conceptualization of meaning and a conscious rejection of methodology. On the other hand this crisis is exacerbated when the ubiquitous nature of meaning is itself challenged by (post)structuralism's discovery of the signifier which inscribes a limit to meaning, and by the domains of sense and nonsense newly opened up by aesthetic theory. These historical developments culminate in the field of psychoanalysis which most consequentially delimits a cause of meaning said to be closely linked to the core of subjectivity.
    Part II extends these findings by rigorously constructing out of the Lacanian sexuated formulae a decidedly non-hermeneutical phenomenological approach useful in demonstrating the sexual nature of meaning. Explicated in their static state by way of an account of their original derivation from the Aristotelian logical square, it is argued that these four formulae are relevant to basic concerns of textual theory inclusive of the hermeneutical circle of meaning. These formulae are then set into motion by integrating them with Lacan's four discourses to demonstrate the breakdown of meaning. Finally, the cuts and sutures of two-dimensional space that is topology as set down in L'étourdit are performed to confirm how the very field of meaning is ultimately suspended from a nonsensical singular point known in Lacanian psychoanalysis as objet a. The contention is that by occupying this point the subject frees himself from the debilitating grip of meaning."

A critical commentary that presents and contextualizes a film and video making practice spanning three decades. It locates a contemporary visual music practice within current and emerging critical and theoretical contexts and tracks back the history of this practice to the author’s initial screenings of work as part of the 1980’s British Scratch video art movement.

At the heart of the body of work presented here is an exploration and examination of methods and working practices in the encounter of music, sound and moving image.
Central to this is an examination of the affective levels that sound and image can operate on, in a transsensorial fusion, and political and cultural applications of such encounters, whilst examining  the epistemological regimes such work operates in.

A combination of factors has meant that work such as this, arising in the UK provinces, can fall below the historicizing and critical radar – these include the ephemeral and transitory nature of live performance work; the difficulties of documenting such work; the fragility and degeneration of emerging and quickly obsolescent formats; and a predominance of a London–centric focus on curating, screening and historicizing of experimental film and video art practices.

The author's film and video practice has been screened nationally and internationally over three decades, and has been recognized as exemplary practice both in the early 1980s at the inception of the Scratch movement and in more recent retrospectives. The critical commentary argues that this work contributes new knowledge of the history, contexts and practices of film and video art and audiovisual and visual music practices.

This article looks into the use of the idea of tradition in Jan  Mukařovský’s aesthetics. This idea doesn’t appear as one of his principal concepts, but its identification with the idea of structure places it in a prominent position to research the social and dynamic aspect of the aesthetics and artistic phenomena. Through the analysis of the principal elements of Mukařovský’s thought –structure, norm, value, aesthetic function, aesthetic object, reception and intentionality–, we can illuminate a notion of living tradition as a structural process from which to understand the historical changes of the artistic practices. Hereupon, is possible to establish a dialectic relation between tradition and
innovation, between practices that maintains the norms and those which transgresses them. The conclusion is an idea of tradition as a dynamic and flexible structure not only able to assimilate transgression, but also necessary for it.

The philosophical term is considers as a basic intellectual background of architecture throughout history, but the architectural theories that touched on this subject haven't been diagnosed this term clearly, so I bring this paper to diagnose this term in philosophical architectural knowledge through the epochs of time, what gives this paper an importance in the study of architectural theories is disintegrate the knowledge confusion about this term and thus will be the beginning for more accurately topics that related to what the philosophical-architecture term is. The problem of the current research has been represented by the lack of studies with regard to essence of the philosophical-architectural term and it's employ in architecture. The objective of the study was defined in an attempt to discover the philosophical-architecture term and its mechanism employed in architecture. To achieve this goal the structural approach in building knowledge about the philosophical-architecture term has been adopted according to the epochs of time starting from the Pre-Socratic era down to Present era, that gives a high holistic to this study in the diagnosis of the philosophical-architecture term. This study is dividing into two main stages, first is covering the Pre-Socratic to the Enlightenment era, the subsequent study is covering modernism to the present era.

The main scope of the research is to show how architecure: the making of metaphors is valid with  inteactive (kinetic and responsive) architecture. By its very definition interactive architecture is a metaphor conditioning “architecture” with “interactive”, and vice versa.; when something interacts it transfers; and, “transfer” is another word for metaphor; and,  as all metaphors “interactive architecture” makes the strange familiar and expresses one thing in terms of another: that is its two referents, “interactive” and “architecture”. This research will show that architecture makes metaphors with all sorts of technological and conceptual variations whether  static,responsive, interactive or kinetic. Each period in architectural history technology was the landmark of its period; perhaps ours will be marked by our moving parts.

The philosophy of art, or more generally, aesthetic doctrines, has consisted of debates on the
basic subjects of philosophy since Ancient Greece. The studies on the investigation of what is beautiful
started in Antiquity; however, they were handled systematically together with Kant's Critique of
Judgement. Philosophers interested in aesthetics prior to Schopenhauer dealt with the art of music
consistently within their own systems, without the need for a separate philosophy of music. The views of
these philosophers can be considered as a foundation in this field as the first studies of the literature of
the music philosophy.
This study will explore how Schopenhauer's thoughts about music were influenced by the
philosophers before his time, his criticisms towards them and the role of his relevant claims in the
philosophy of music. In addition, the study will also focus on whether Schopenhauer's views on music
are likely to be called a music philosophy.

This article analyzes the use of the long take in Wind by Hungarian director Marcell Iványi. The aim is to investigate the distinctive features of the long take in this short film as the basis for an aesthetic experience that engages the audience in a structuration process. The theoretical background for this study includes Deleuze’s interpretation of Bergson’s concept of duration and Giddens’ structuration theory.

Beauty, aesthetics and perceptions:
No discussion of beauty would be comprehensive without including aesthetics, sometimes synonymous with our concept of beauty.  In fact it is "our" sense of perceptions that really concerns us.  To what are we responsive?  What is relevant to our place and time?  (1.0)John Dewey believed that a truly aesthetic experience is one where a person is unified with activity.  (1.1)It is an experience that is so engaging and fulfilling that there is no conscious distinction between self and (1.2)object.  An aesthetic experience is one in which the attributes of both the individual and the environment or the internal and external are in harmony.  Our experience with physics, nature, society, politics, religion, geography, etc. of our time and place are the elements of our "potential" metaphors.  (1.3)They are potential until we exert the effort to either reify, exude or manifest these into a form.  It is our way of claiming this time and place.  To gain our identity in this time and place we are compelled to create and perceive from our encounters with things of the present with extent reality.  Our metaphors belong to us and superceed, parallel or subordinate to others.  Their relevance and embroilment into our context makes the difference.

"How did eighteenth-century aesthetics come to so strongly influence not only the theology but also the practice of Christianity by the late nineteenth century? The twelve essays in Sublimer Aspects seek to answer this question by examining interfaces between literature, aesthetics, and theology from 1715-1885. In doing so, they consider the theological import of canonical writers–such as Daniel Defoe, Alexander Pope, Voltaire, and Immanuel Kant–as well as writers whose work is now experiencing a revival, namely women writers–including Mary Anne Schimmelpenninck, Anne Brontë, Frances Ridley Havergal, Elizabeth Stuart Phelps, and Adelaide Procter. The volume concludes with essays on the possibility for hope within the Christian Romanticism of Samuel Taylor Coleridge, Thomas Carlyle and George MacDonald, whose texts continue to cultivate a sense of wonder in new generations.

Divided into five sections, essays by Ben Faber, Katherine Quinsey, Melora G. Vandersluis, Richard J. Lane, Natasha Duquette, Susan R. Bauman, Krista Lysack, Sandra Hagan, Roxanne Harde, Cheri Larsen Hoeckley, Franceen Neufeld, and Monika Hilder address mutually interdependent connections between providence and grace, sublimity and ethics, gender and hymnody, literature and activism, and finally, aesthetics and hope.


Review:

"With topics ranging from Daniel Defoe to Jacques Derrida, this book shows the reach and the long-standing importance of the aesthetics of the sublime. Natasha Duquette has assembled a plurality of voices in a fascinating mix of essays that provide a chronological study of the shifting representations of the sublime in eighteenth- and nineteenth-century literature. The religious and the Biblical sublime are well represented, in addition to secular manifestations of the sublime, even, as one author describes, in a movement from the 'aspiration of the Gothic spire to the madness of subterranean dungeons.' These scrupulously researched and well-written essays include analysis of Alexander Pope’s brilliant satires and Anne Brontë’s tenacious hymns, a rich range of material that will appeal to a wide audience."

Deborah Kennedy, Saint Mary’s University

"

El presente trabajo es un modo de conjugar la potencia activa del pensamiento estético deleuziano en relación con el arte, el teatro y la escritura. El cuerpo se presenta como el espacio privilegiado de creación y exploración de las sensibilidades, como un campo de batalla estético-político de las subjetividades. Así, el pensamiento corporante sería una cartografía estética de las sensaciones, donde el cuerpo conjura desde la crítica, lo lúdico y lo perverso, las insistentes formas de la identidad, de la mismidad, su armonía y su condición dogmática de capturar las fuerzas creativas.

Ophthalmic Plastic and Reconstructive Surgery (OPRS) is a relatively
new entity, but the art has been practiced in one form or
another from time immemorial. Reparative procedures had been
recorded in ancient China and India as well as in Celsus.

This paper examines three forest value orientations - clusters of interrelated values and basic beliefs about forests - that emerged from an analysis of the public discourse about forest planning, management, and policy in the United States. The value orientations include anthropocentric, biocentric, and moral/spiritual/aesthetic orientations toward forests. Computer coded content analysis was used to identify shifts in the relative importance of these value orientations over the period 1980 through 2001. The share of expressions of anthropocentric forest value orientations declined over this period, while the share of biocentric value expressions increased. Moral/spiritual/aesthetic value expressions remained constant over time. The observed shifts in forest value orientations have implications for identifying appropriate goals for public forest management and policy, developing socially acceptable means for accomplishing those goals, and dealing with inevitable conflict over fores...

The ancient Oke Idanre (Idanre Hills) is an outstanding heritage site in Ondo State and in Nigeria and it is a testimony of a settlement that has endured many centuries. An avalanche of rich historical/archeological and anthropological resources in the site not withstanding, the site has not been attracting upscale visitors who will stay longer and impact positively on the economies of the community rather many passersby tourists. It is therefore imperative to study the potentials of ancient Idanre Hills with a view to ascertain the genuineness and authenticity of the unique history of the people, highlight historic/archaeological features, the notable festivals associated with the culture and history of the people and how these can be developed to bring about sustainable socio-economic development to the region. The data used for the study are both qualitative and quantitative in nature, including administration of structured questionnaires to tourists, Focus Group Discussions, key...

The research focuses on understanding the scenic beauty of the landscape in the context of environmental planning, management focused on the forest landscape.Our landscape preferences are thought to be influenced by many factors: age, gender, ethnicity, regionality, recreational activity; some researchers even maintain there is an evolutionary basis behind certain landscape preferences. But of these factors, our dominant culture and history have played major roles in shaping our preferences for landscapes that are natural in character. Aesthetic appreciation of forest parks in the survey is made of the objective characteristics of the existing topography and vegetation. Data are taken from the map or text materials containing information about the terrain. The dominance elements and variable factors of landscapes appear in varying degrees, depending upon the viewing distance. The research automates aesthetic evaluation of forest landscapes using GIS.

El presente trabajo es un modo de conjugar la potencia activa del pensamiento estético deleuziano en relación con el arte, el teatro y la escritura. El cuerpo se presenta como el espacio privilegiado de creación y exploración de las sensibilidades, como un campo de batalla estético-político de las subjetividades. Así, el pensamiento corporante sería una cartografía estética de las sensaciones, donde el cuerpo conjura desde la crítica, lo lúdico y lo perverso, las insistentes formas de la identidad, de la mismidad, su armonía y su condición dogmática de capturar las fuerzas creativas.

This article examines some of the changes that took place in Tajik literature in the second half of the XIX century and the beginning of the XX century, the linguopoetic features of the language of poetry of the period, the factors of its formation. This article analyzes the historical trends in the literature of the peoples of the world and the influx of Western symbols in all types of works of art in the context of the literature of the Renaissance of Western European peoples and their share in the language and style of poetry. In addition, the researcher discusses in detail the formation of literary and aesthetic views in the cultural life of the period under study, the gradual development of fiction in terms of form and quality, as well as significant changes in the creative style, weight and rhyme structure of poetry.

This article examines some of the changes that took place in Tajik literature in the second half of the XIX century and the beginning of the XX century, the linguopoetic features of the language of poetry of the period, the factors of its formation. This article analyzes the historical trends in the literature of the peoples of the world and the influx of Western symbols in all types of works of art in the context of the literature of the Renaissance of Western European peoples and their share in the language and style of poetry. In addition, the researcher discusses in detail the formation of literary and aesthetic views in the cultural life of the period under study, the gradual development of fiction in terms of form and quality, as well as significant changes in the creative style, weight and rhyme structure of poetry

Presenting or eating are not only being physiological needs but also psychological needs related with taste and pleasure. Today a discipline called gastronomy studies above-mentioned needs in the light of different interdisciplinary areas such as art. Highlighted aesthetical concerns and creative styles while serving the food has grown in recent years and this trend indicates that gastronomy has a close relation with art. The aim of this study is to question the descriptive aspects of the gastronomy as an art or not. First, the terms of "aesthetic", "beautiful" and "creativity" are reviewed. The case of Ferran Adria's works was evaluated how avant-garde postmodern art movements effected. It was concluded that gastronomy can be accepted as an art and new cookery applications can be defined as contemporary art. As a matter of fact, Adrian's works reveals that he is not only the chef who changed cooking, presentation and eating habits radically but he is also an artist.

My proposal consists of devising an introduction to one of the multiple lines of developing thought of the Frankfurt School in Germany, of the critique of the traditional dialectic, based on the relation of the Frankfurtian thought with the French though of difference. From the aesthetic thought of Walter Benjamin and. Theodor Adorno to the rhetoric thought of Michel Foucault, mostly, or Gilles Deleuze. Thus, I propose to establish a link, which is mostly tense and conflictive,between the aesthetic and literary thoughts of the cited authors: a “constelations of forces”, to use the Adorno’s term.

16th century, the Malay culture began to grow in line with the teachings of Islam as a guide of life. Mosque become a symbol of Muslim communities, as well as the cultural values that have been adapted represent the maturity and readiness of Malay Muslim in manifest a lifestyle tradition into the community. Refinement of ornament that used to take from Hindu-Buddhist beliefs before were adopted and refined to the Islamic values based on the teachings of al-Quran and as-Sunnah delivered a certain message to convey a meaning ...

O objetivo deste artigo reside em trazer para o âmbito da filosofia política de Jacques Rancière as dificuldades associadas com a animalidade no direito, normalmente concebidas por meio das discussões referentes aos direitos dos animais. Em vez de se deter nas implicações especificamente jurídicas desses direitos, da extensão que possuem ou mesmo de sua fundamentação, o artigo, ao recorrer a uma leitura muito particular da filosofia de Rancière, pretende apontar as condições que permitem ou obstruem a representatividade dos animais no campo jurídico. Para tanto, a pesquisa desenvolvida situa a maneira como os sujeitos jurídicos são construídos por meio da formulação de demandas em meio a um espaço social que não lhes reconhecem como vozes a serem ouvidas, ou seja, contestam as narrativas que impedem o reconhecimento institucional de suas vozes. Certas narrativas consensualmente estabelecidas dificultam, senão impedem, que os animais apareçam perante o direito como entes cujas vidas possuem valor e consideração. Uma das questões apontadas é que, apesar da existência e da produção cada vez mais ampla de normas jurídicas comprometidas com a proteção dos animais, estas podem estar vinculadas a imperativos econômicos, excluindo determinadas espécies do seu âmbito de proteção e incidência. O artigo, por fim, salienta a importância de se manter em aberto questionamentos referentes a novas formas de juridicidade que levem em consideração, para além do cálculo de benefícios/custos e dos pressupostos antropocêntricos, o sofrimento e a condição precária dos entes não humanos.

This article examines some of the changes that took place in Tajik literature in the second half of the XIX century and the beginning of the XX century, the linguopoetic features of the language of poetry of the period, the factors of its formation. This article analyzes the historical trends in the literature of the peoples of the world and the influx of Western symbols in all types of works of art in the context of the literature of the Renaissance of Western European peoples and their share in the language and style of poetry. In addition, the researcher discusses in detail the formation of literary and aesthetic views in the cultural life of the period under study, the gradual development of fiction in terms of form and quality, as well as significant changes in the creative style, weight and rhyme structure of poetry.

This article examines some of the changes that took place in Tajik literature in the second half of the XIX century and the beginning of the XX century, the linguopoetic features of the language of poetry of the period, the factors of its formation. This article analyzes the historical trends in the literature of the peoples of the world and the influx of Western symbols in all types of works of art in the context of the literature of the Renaissance of Western European peoples and their share in the language and style of poetry. In addition, the researcher discusses in detail the formation of literary and aesthetic views in the cultural life of the period under study, the gradual development of fiction in terms of form and quality, as well as significant changes in the creative style, weight and rhyme structure of poetry.

"Metaphor" is a linguistic term which I extracted from its normal academic and esoteric context: fine arts, or, more specifically, poetry (to use an extreme).  The usefulness of doing this is to attain an already established framework which has application to the environmental arts and project management.  Metaphors are a communication tool which have broad, general and specific applications to language, graphics, speech, correspondence, charts, plans, specifications, schedules, and reports.
Metaphors are a kind of aesthetic philosophical base.  If the applied arts and project management had a metaphysics, this would be it.  Since one key is to combine design with contruction, and coordinate all the attendant problems, coordinative skills must be involved.  That coordinative skill has a linguistic counterpart which is the "metaphor".  By understanding how it works; particularly the kind of combining that integrates design with construction, planning with execution, and people with tasks, we become better managers, a key to the application of ideas: hence, metaphor's communicative aesthetic.
Metaphorical concepts remind managers that communications mean words that come alive "in" their audience.  Communication's objective is to implant "in" one that which is "in" another. Nowhere but in language do we come to grips with our deepest motivations and our highest ideals.  1.1A metaphor states one thing in terms of another; this is the crux of the additional effort every project requires and is indeed that extra reason for project managers manage metaphors.

L’appropriation des biotechnologies par les artistes en vue de créer des œuvres de « bioart » a souvent été considérée comme une démarche transgressive par rapport à la frontière qui délimite l’art et la science. Ma recherche vise à analyser un corpus de productions bioartistiques (Que le cheval vive en moi du duo Art orienté objet, Natural History of the Enigma, d’E. Kac et Ear on Arm de Stelarc) afin de mettre en perspective les « paramètres » par lesquels ont juge qu’il y a, notamment, appropriation et transgression, c’est-à-dire qu’il y a « art ». À partir de l’idée que les œuvres de bioart sont celles qui mettent à contribution les biotechnologies pour leur spécificité, c’est-à-dire la capacité à transformer le vivant, une analyse sémiologique met en évidence l’« incarnation » comme principale stratégie plastique du faire art dans les œuvres du corpus. En expérimentant les œuvres, le spectateur expérimente leurs conditions biologiques d’existence, qui sont similaires aux sienne...

L’appropriation des biotechnologies par les artistes en vue de créer des œuvres de « bioart » a souvent été considérée comme une démarche transgressive par rapport à la frontière qui délimite l’art et la science. Ma recherche vise à analyser un corpus de productions bioartistiques (Que le cheval vive en moi du duo Art orienté objet, Natural History of the Enigma, d’E. Kac et Ear on Arm de Stelarc) afin de mettre en perspective les « paramètres » par lesquels ont juge qu’il y a, notamment, appropriation et transgression, c’est-à-dire qu’il y a « art ». À partir de l’idée que les œuvres de bioart sont celles qui mettent à contribution les biotechnologies pour leur spécificité, c’est-à-dire la capacité à transformer le vivant, une analyse sémiologique met en évidence l’« incarnation » comme principale stratégie plastique du faire art dans les œuvres du corpus. En expérimentant les œuvres, le spectateur expérimente leurs conditions biologiques d’existence, qui sont similaires aux sienne...