Impacts of facial filters on Instagram: self-image, digital vulnerability, and aesthetic standards in Brazil

The field of popular fiction is a relatively unexplored terrain in African American as well as American literary history and criticism. Reasons for this exclusion or oversight are manifold and range from academic practices and aesthetic standards that qualify a text for inclusion in the canon, to the politics of publishing, and the stereotypes or myths that persist about African American readers and their reading habits. In the fields of literary criticism and the teaching of African American literature, for example, scholars and critics alike have restricted their efforts to reviewing, promoting, and canonizing only those texts that fit the prevailing aesthetic and literary standards. While this paradigm - the New Criticism and the reading practices it has encouraged - has allowed for the inclusion of a few women writers and writers of color, it has kept in place a rigid division between high and low, or elite and mass culture, an emphasis on invention over convention, and a distinction between literary and commercial forms of literature that have shaped literary scholarship and reading practices to this day.

Produce that does not meet sellers’ esthetic standards may be redirected to alternative uses or wasted, but consumer trends indicate potential marketability of blemished produce. We conduct a nonhypothetical experimental auction to elicit consumer willingness-to-pay (WTP) for produce of varying degrees of blemish and test whether valuations are affected by (1) information on food waste resulting from grocery stores’ esthetic standards and (2) additional information on the environmental impacts of food waste. WTP for blemished produce increases as consumers become informed, but the information effects vary by blemishing degree. Market simulations indicate that introducing blemished produce can increase retailer revenue.

Automotive coatings and methods of their application to automotive components are examples of cutting-edge surface technologies. In addition, they also satisfy a number of other requirements, which are mainly long life of materials, satisfaction of consumers’ aesthetic standards, optimized performance, and they should also meet environmental regulations. These achievements are the result of 100 years of trial and error experience, methodologies, technological advances, but also scientific research. The varnishing process of cataphoresis consists of several steps, namely: chemical degreasing, double hot rinsing, surface activation, zinc phosphate, double cold rinsing, passivation, cold rinsing, cataphoretic node, double ultrafiltrate rinsing, calcination, and cooling. The result of these operations is a surface that effectively resists corrosion, strikes, and is ready for further surface applications. The aim of the work was to perform MSA and SPC analyses with the assistance of the Palstat software. The analyses help us to identify and prevent the occurrence of defects in the process of varnishing by cataphoresis. The software mainly uses the functions of statistics. The control chart, one of the seven QC tools, is a good example of this. Finally, we have evaluated the technological process of cataphoretic varnishing of a selected product of the automotive industry using correctly chosen methods.

Worldwide, there is a great contradiction when it comes to food waste. On the one hand, it is estimated that up to 40 % of the globally produced food is lost or wasted every year, on the other hand about 925 million people suffer from malnutrition. In addition, food production has to be increased by 70 % to feed a population of 9 billion people in 2050. Due to these estimations, it becomes increasingly important to start initiatives to reduce food waste and its impact on natural resources. One reason why fruits and vegetables are wasted in developed countries is aesthetic standards set by retailers. Aesthetic standards regulate the shape and appearance of fruits and vegetables. Retailers have set these standards based on the assumption that consumers are only willing to buy fruits and vegetables without any cosmetic flaws. The result is that produce which are misshapen are sorted out in advance and go to waste. Within this context, this paper has two main objectives: first, to explore the attitudes of consumers towards fruits and vegetables with cosmetic flaws; and second, to unveil how these attitudes influence consumers’ purchase intentions. A survey was conducted for this research in order to investigate whether this food waste is avoidable or not. A total of 213 participants from Germany took part in the survey. The results of this research indicate that consumers in Germany are potentially willing to buy misshaped fruits and vegetables and have a positive attitude towards them. However, the degree of willingness and the attitude of consumers depend on the price of the product and on the type of cosmetic flaw. Based on the assumption that consumers are willing to buy misshaped fruits and vegetables, retailers have the possibility to take responsibility and ease their aesthetic standards for an additional offer of misshaped products. This Corporate Social Responsibility (CSR) initiative would create environmental and social benefits as well as economic benefits for the retail sector.

With the progress of the times and the development of society, big data technology has initially covered all areas of society, which has brought great help to people's lives and enterprise innovation. In the era of big data, computer technology is one of the simplest, most widely used and most frequently used technologies. With the improvement of people's quality of life and aesthetic standards, traditional image design and visual communication can no longer meet people's aesthetic standards. Therefore, relevant design enterprises have introduced computer technology into the system of graphic image design and visual communication design, in order to innovate image design and improve visual communication quality. According to the quality and aesthetic problems existing in current graphic image design and visual communication design, this paper analyzes the concepts and functions of computer graphic image design and visual communication design, and then summarizes the system composition of computer graphic image design and visual communication design, so as to reflect the powerful functions of computer graphic image design and visual communication design system. Keywords-analysis computer;

Khadzhi-Murat, Tolstoi's last major fiction, stands alone in his oeuvre in flagrant violation of his late ethical and aesthetic standards—an unprecedentedly dark apprehension of the human condition and a reconceptualization of piety. At its heart are silences—literal, near-, figurative, and implicit—in unspoken critique of all nontrivial language, narrative, moralizing, and teaching. Silence first strikes the reader in the hero's refusal to murmur against God as he dies, but retrospectively turns up everywhere, despite the obvious presence of lots of words: in the peculiar plot that has nothing to say; in the refusal to perform the usual Tolstoian adjudication of the disparate viewpoints depicted; in the hero's childhood reminiscences, hidden from listeners even as the essential in them is hidden from him; in the painful taciturnity of God himself, which, like the other core themes, is purposefully barely mentioned. Khadzhi-Murat's, indirection enacts an intuition whose mere assertion would fail, since it is an intuition about assertability itself. Something central has shifted for Tolstoi; now it is through silence and absence—the gaps in the said and the sayable—that the most important truths come to us, hence that is the only truthful way to inscribe them.

Introduction Most residents of South Africa's larger cities will, when prompted, immediately recall having noticed one or more wall paintings, or murals, somewhere in town. Fifteen years ago, it can be ascertained, the response to such a question would have been very different--mostly due to circumstances associated with South Africa's political situation under an oppressive apartheid regime. While there were a few murals in South African cities and townships during the 1970s and 80s (1), urban mural art has only recently emerged as a highly visible phenomenon and tremendously flourished ever since. This paper will focus mostly on so-called `community murals' (a term to be elaborated upon below) as opposed to muralised advertisement, graffiti, and commissioned wall decorations, often executed by a single artist, as well as all forms of traditional African rural homestead paintings (2). Community mural art is mostly a post-apartheid phenomenon, its emergence closely connected with political change and liberalisation in South Africa. Despite this close correlation with political processes, mural art appears to be strikingly unpolitical and uncritical in content. Murals are often perceived to be unchallenging, boringly re-iterating what we already know. They have a long tradition of being associated With advertisement or graffiti, justifying the fact that they are not taken seriously as art. (3) This paper will suggest that there is more to murals than meets the eye. It aims to challenge some of the common stereotypes and assumptions associated with urban community murals and question the customary (and often dismissive) ways of reading their contents. This attempt to reposition mural art is based on the premise that the reception and perceived meaning of murals may be a very different one to different communities (4) and that the current perception of mural art within academia rests solely on one societal group's reading and frames of reference. Postcolonial theory will provide the theoretical framework to first expose the subversive character of community murals as a form of visual arts practice located in opposition to `fine art', and then illustrate with reference to a few examples how a critical dimension manifests itself in the imagery of mural art in South Africa. `Community art' versus `fine art' Despite the current rapproachement of `high art' and `low art' realms in artistic practices and strategies of display, South Africa is still largely polarised between `fine art' on one end of the scale, and various forms of `low art', including craft, commercial art and what has been labelled `community art' on the other. `Fine art' usually implies academic training according to European (or more generally Western) models, although this may be substituted by more informal training if the artist is invested with great natural talent in accordance with the concept of `genius'. `Fine art' entails, knowledge and mastery of a specific norm of artistic ability, which is closely associated with Western aesthetic standards and artistic practices. `Fine art' in South Africa clearly follows international trends as evidenced, for example, by the recent 2nd Johannesburg Biennale, Trade Routes--both in terms of art production and modes of display. After the end of South Africa's pariah status under apartheid and in particular the cultural boycott, South African artists clearly enjoy taking part in and meeting the challenges of a wide international competition in a global art world. `Community art' on the other hand, of which mural art plays an important part, is a collaborative art form that may involve the participation of non-trained artists, who do not necessarily adhere to `fine art' aesthetic standards and artistic techniques. Most importantly, community mural art often places more emphasis on the artistic process than on the final product, the painting itself. As opposed to such public art works as conventional monuments or sculptures, which could be called `fine art in public places', `community art' is highly site specific and presumes an active engagement of the local community in one form or another. …

Este artigo propõe uma reflexão a respeito de alguns aspectos presentes na cosmologia guarani que se referem à vida e ao tempo. A partir das falas e reflexões de alguns pensadores guarani – em sua maioria anciãos e pajés - podemos vislumbrar a existência de uma estratégia para a duração cuja invenção e/ou descoberta é remetida a Nhanderu Tenonde, principal divindade do cosmos guarani. Tal estratégia tem como ponto nodal a alternância entre tempos (dia/noite e tempo velho/tempo novo - ou ara yma/ara pyau) e espaços (opy/oka – casa de reza/pátio), operada pelos movimentos de coisas, palavras e pessoas – a troca – que seguem certos padrões estéticos – a linha e o círculo – e que replicam posições relacionais específicas – “em frente” e “na frente”; ela expressa a relação entre dois processos de transformação mutuamente implicados: mbo-jera (o florescimento) e aguyje (a renovação).

Network subculture represents the values and aesthetics of the new generation. Relying on the Internet, social media and other new media to spread, it has new aesthetic standards and cultural symbols, and there are some special social behavior patterns and cultural norms, which will have some conflicts with traditional culture, but also bring some new possibilities for the inheritance and development of traditional culture. The emergence of network buzzwords is not only an innovation in language form, but also an embodiment of social and cultural changes. This paper studies the linguistic features and sociocultural relations of modern Chinese network buzzwords, and analyzes their features in language form, pragmatic function and cultural connotation through the overview and classification of network buzzwords. Combined with the social and cultural background, this paper discusses how the meaning and communication mode of network buzzwords reflect the hot issues, cultural trends and group identity of the current society. This paper probes into the impact of network buzzwords on traditional culture from three aspects: value concept, aesthetic standard and social behavior mode, and gives corresponding solutions.

Anthropometric and aesthetic analysis of the Indian American woman's face

Women are equal or near equal to men in as far as sheer number is concerned, constituting almost 50% of the world population. However, it is common knowledge that this is where all comparisons end. Women's lives, the social pressures they are subjected to and the compulsions to comply with them are in great measure a contrast to that of men. From the earliest humans, women have been associated with sexuality (Salisbury, 2001). Although modern civilization has brought about socio-economic and political changes women's live and the way women are viewed have changed little. Patriarchal society that we live in even today expects women to achieve certain standards of aesthetics, although it is physically, emotionally and financially costly (Travis & Payne, 2007). Society holds certain beauty myths, and women are condemned for not taking care of themselves, "since it implies defying hierarchy of men in society" (Smolak & Moore, 2001). Media, which is a powerful tool influencing public opinion, has only been propagating these myths. As a result women's body image has undergone a significant change over the years. This has created another form of psych °social control over women. This paper tries to examine the impact of mass media on women's lives in relation to their physical and psychosocial health.

Since the early days of the Islamic era, Translation from Arabic into Persian and vice versa has been a common skill and has provided common grounds in various literary fields between the two historical nations. However, translation movement from European languages into Arabic, beginning in the revolution era in the Arab world and prior to the Constitution era in Iran posed a profound impact on almost all aspects of the two societies. This paper exclusively presents the impacts and achievements of translation affecting the growth and development in literature and its related areas including modernization, new trends in education, prose & poetry, novels and new literary schools. Finally, towards the end of the paper, some other functions of translation and its influences on literary forms and languages and, hence, the standards of aesthetics and literary essence as well as the addressee's tastes will be discussed.

Definitions of beauty and art have been turned upside down when trying to describe 20th century and postmodern art. The classical sense of beauty looks toward the replication of nature as its inspiration. The development of Impressionist art and modern art forced the rules of aesthetics to be rethought and revised. Old standards of aesthetics were brought into question with each successive artistic challenge. This article endeavors to explore the meaning of beauty and the aesthetic experience as it relates to defining art.

Studies suggest the inter-rater reliability of judges at wine competitions is higher than what would be expected by random chance, but lower than what is observed when experts in other fields make judgments specific to their expertise. To further contextualize the (un-) reliability of wine judging while also extending the study of fine water, we examine the inter-rater reliability of judges at an annual international competition for bottled waters. We find that the inter-rater reliability of water judging is generally better than chance and, at best, about the same as the inter-rater reliability of wine judging at some wine competitions. These results suggest that perceptible differences between fine waters exist but are less pronounced than those between fine wines and, also, that aesthetic standards with respect to fine waters exist but are currently less established than those for fine wines.

日本文坛一代文豪谷崎润一郎继承和发展了日本的唯美主义文学，被誉为“大谷崎”，生前曾多次被提名为诺贝尔文学奖的候选人，他主张“第一是艺术，第二是人生”，坚持“艺术至上”的审美标准，毕生追求“异国情调”，其中创作了大量的以中国为舞台的“中国趣味”式小说，他曾先后两次到过中国，但是两次中国行对其创作却产生了截然相反的影响。本文拟从谷崎润一郎两次中国游历与其创作关系的角度，分析产生不同影响的原因。 Tanizaki Junichiro who is the Japanese literary generation writer inherited and developed the Japanese aestheticism literature, known as the “big Qi”. He had repeatedly been nominated for Nobel Prize candidate. He advocated “art is the first, second is the life”, and adhered to “art is su-preme” aesthetic standards. He devoted all his life to the pursuit of “exotic”, and created a lot of “Chinese fun” novels based on China as the stage. He has been to China twice, but the two visits have produced opposite effects on his creation. This paper intends to analyze the reasons for the creation of the relationship between Yazaki Junichiro and the two time of his creation.