Definition Of Aesthetics Research Articles

Branding collaborative pan-Asian authorship in the transnational works of New Thai cinema auteur Pen-ek Ratanaruang

ABSTRACT This article examines the definition and characteristics of pan-Asian film authorship and aesthetics advocated by the late Wouter Barendrecht, film producer of Fortissimo Film Sales, as employed to promote the Thai film auteur Pen-ek Ratanaruang. Through collaboration with East Asian film industries, such as the ones in Japan, Hong Kong, Singapore and South Korea during the period of intensified pan-Asian co-production at the turn of the century, Pen-ek was branded a pan-Asian auteur for the global film market on account of his pan-Asian identity, rather than his association with the New Thai Cinema label. Barendrecht employed two strategies – the auteur as brand, and the region as brand – to construct the image of this new pan-Asian author. By considering these branding strategies, it can be argued – following Nissim Otmazgin and Eyal Ben-Ari – that a cultural imbalance between East Asia and Southeast Asia still persists: East Asia as cultural producer and Southeast Asia as market.

The Violent Aesthetic Embodiment of the Charm of the Villains in the Films

The aesthetics of violence are mainly in the sense that violence is presented in an aesthetic way, and poetic pictures and even imaginary shots are used to express the violence and violence of human nature. Viewers themselves are often amazed at the artistic expression and have no specific discomfort with the content. This paper mainly analyzes the three films from many aspects. The three films have different backgrounds and plots, and their commonalities are bright aesthetic expressions and rich lens language. This paper analyzes the aesthetic embodiment of the unique charm of the villain in the film from many angles, interprets the aesthetic language of the film by means of violence aesthetics, and studies it by means of examples. This paper finds that violence aesthetics is presented in an artistic way in the senses and a deeper understanding of the definition of violence aesthetics.

A Study of Aesthetic Elements in Raheem Gul’s Novel “The Search for Paradise”

Every artist's concept of beauty is his individual process and it varies according to his location and environment. Beauty has its own form which belongs to our mind. Therefore, beauty is also a creation of our imagination and passion and desire. The level of beauty is different in different people and it keeps changing. There can be no single definition of aesthetics; its different aspects can be understood by its different interpretations. Aesthetics is the feeling and expression of the consciousness of human nature. Along with human literature, science, philosophy, psychology, religions and other social sciences have also been the main topic in sociology on the compatibility and conflict between man and society. In the novels of Rahim Gul, man is seen as a clear personality. Here the individual creates his personal behavior from the overall behavior of the society. That is, the characters are the main point of the novel, living in a certain era. In fact, it is a novel in search of truth, which has been expressed by Amtal. In the novel, three main characters are Amtal, Waseem and Atif

A Study of Aesthetic Elements in Raheem Gul’s Novel “The Search for Paradise”

Every artist's concept of beauty is his individual process and it varies according to his location and environment. Beauty has its own form which belongs to our mind. Therefore, beauty is also a creation of our imagination and passion and desire. The level of beauty is different in different people and it keeps changing. There can be no single definition of aesthetics; its different aspects can be understood by its different interpretations. Aesthetics is the feeling and expression of the consciousness of human nature. Along with human literature, science, philosophy, psychology, religions and other social sciences have also been the main topic in sociology on the compatibility and conflict between man and society. In the novels of Rahim Gul, man is seen as a clear personality. Here the individual creates his personal behavior from the overall behavior of the society. That is, the characters are the main point of the novel, living in a certain era. In fact, it is a novel in search of truth, which has been expressed by Amtal. In the novel, three main characters are Amtal, Waseem and Atif

JOHN MAWURNDJUL'S ART IN PARIS

abstract The Musée du Quai Branly Jacques Chirac (MQBJC) in Paris includes a commissioned ceiling mural by Australian artist John Mawurndjul. Neither the identity of the artist nor the cultural meaning of the work features strongly as part of the visitor experience for this work. Such interpretation is, in general, pushed to the margins in the museum's permanent exhibits. Paradoxically, the temporary exhibits are treated differently. The paper details how the power of John Mawurndjul's art is developed in relation to social activities on his own country as well as his cross‐cultural engagements with the broader art world. Cultural meaning and strong principles of aesthetics are developed through this creativity. The paper presents these insights as interpretational possibilities for Mawurndjul's mural and questions whether an avowed museum of world arts can continue to ignore the development of a more cross‐cultural definition of aesthetics and a relational approach to develop and interpret its permanent exhibits.

The Cultural Art Aesthetic Behavior of Entrepreneurship Education for College Students in the Characteristics of Film and Television Media.

This exploration aims to promote the organic integration of innovation and entrepreneurship education and art education, further promote the reform of college Students’ cultural and aesthetic education, improve college Students’ aesthetic perception ability, and help contemporary colleges establish a correct political morality. This thesis aims to further promote the reform of college Students’ cultural and aesthetic education, improve college Students’ aesthetic perception ability, and help contemporary colleges establish correct political and moral values. First, the connotation of college Students’ aesthetic education and the definition of cultural aesthetics are introduced, which is based on the characteristics of two-way interaction, multiple selectivity, timeliness and popularization of film and television media in the new media era; then, the way of questionnaire is adopted. With five universities as the research object, 250 questionnaires are distributed, and 235 valid questionnaires are collected, with a valid response rate of 94%. Finally, through the six questions, it is concluded that 68.9% of the students watch 3–5 h a day, and 4.3% of the students watch more than 7 h; 89.4% of the students hold that the same products as stars in film and television will exert an impact on consumption. Film and television culture and art have a positive and negative impact on college Students’ cultural aesthetic perception. The positive impact is that the film and television media not only provides a good way to cultivate the aesthetic perception ability of contemporary college students, but also helps them to establish the correct aesthetic values. The negative impact is mainly reflected in two levels, namely, the vulgarization of film and television media works and the consumption of aesthetic concepts. The advantage of this exploration is to put forward the reform measures of college Students’ cultural and artistic aesthetic education under the current educational background in China to help colleges better carry out college Students’ cultural and artistic aesthetic education. Based on this, the reform measures of college Students’ cultural aesthetic education under the current education in China were put forward, so as to help colleges and universities better carry out college Students’ cultural aesthetic education.

Existential Aesthetics

Abstract The aim of what I propose to call “existential aesthetics” is to investigate the various ways in which art and certain kinds of aesthetic practice or aesthetic experience can be of existential importance to people. Section I provides a definition of existential aesthetics, while Section II delineates this emerging field from cognate areas of research. Sections III and IV explore various subcategories and examples of existential aesthetics. Section V seeks to identify important avenues for future research and Section VI presents some concluding thoughts about the potential of existential aesthetics and why philosophers should be encouraged to fulfill this potential.

Space exploration inspiration for fashion styling and design in six decades since 1960: A review

Launch date of the first artificial satellite Sputnik 1 was on October 4, 1957, therefore it was commonly considered to be the starting year of the space age. Being inspired by the rapid developments in space and universe explorations, André Courrèges, Pierre Cardin and many other designers opened the frontier territory of the space-age era in the fashion community. From 1964, André Courrèges extensively used the white and silver metallic colours which soon became the definition of aesthetics at that time and was named Godfather of the space-age designer. On the other hand, Pierre Cardin demonstrated his early space-age work at the Paris Fashion Week in 1968 and was called the pioneer of the space-age fashion designer. For the six decades up to now, at least 15 fashion designers launched the so-called “Fashion communities’ interplanetary mission” in different years: André Courrèges (1964), Mary Quant (1965), Reed Crawford (1966, specialized in hat design), Pierre Cardin (1968), Paco Rabanne (1968), Thierry Mugler (1979), Issey Miyake (1995), Alexander McQueen (1995), Nicolas Ghesquière (2007), Hussein Chalayan (2007), Christopher Kane (2011), Raf Simons (2014), Donatella Versace (2016), Karl Lagerfeld (2017), Nicolas Ghesquière (second time in 2019, as the artistic director of Louis Vuitton) and Iris Van Herpen (2019). The purpose of this paper is to systematically and methodically review the inspiration and significant influence of space exploration and universe discovery on the fashion aesthetics, styling and design in six decades from 1960 to the current year. Major creative ideas included new colours such as silver, new materials such as metallic, new styling such as flying saucer, new patterns such as totems, and the use of new technologies such as 3-dimensional (3D) printing, with the most important considerations of noble, elegancy and aesthetics. Also, the feedback influence of the space-age fashion on the new generation SpaceX and Boeing suits is discussed.

How is it possible to go from perceptual cognition to beauty?-Perfection as the basis of judgment of appreciation

This paper is based on two questions about Baumgarten's aesthetics-how is it possible to go from perceptual cognition to beauty and how does perfection serve as a basis for judgement of appreciation. Firstly, this paper reanalyzes Baumgarten's definition of aesthetics, and concludes that the real research field of aesthetics is "free art" that can provide pleasure to people's emotions. "Free art" as the object of appreciation has its own kind of perfection. Secondly, this paper focuses on the consummation of perceptual cognitive ability of the appreciative subject, and restores the logical reasoning process from perceptual cognition to the possibility of beauty by analyzing three directions of consummation. Thirdly, combining with the historical evolution of the theory of perfection, this paper discusses the basis of perfection as the judgment of appreciation from two aspects of quality and quantity respectively. Finally, this paper combs the concept of clarity of extension proposed by Baumgarten, and makes some attempts to solve the universality problem in the judgment of appreciation.

Dynamics of Performing Aesthetics in Architecture: A Critical Study

In architecture, Venustas (aesthetics) is always considered an important attribute along with Firmitas (firmness) and Utilitas (usefulness). Pursuing aesthetics/ beauty is one of the architect’s primary roles. However, it is critical to comprehend ‘What is aesthetics?’ and its implications for the built-unbuilt environment and human beings. In a world where everything is changing, are the definitions, concepts, and parameters of aesthetics consistent? Is it subject to change over time? If so, should architectural students and professionals be aware of it and trained in it? This study aims to critically assess and analyse the dynamic aspects of aesthetics from 3300 BCE to present and establish the ‘best fit’ definition of aesthetics in architecture. The methodology used for the study is a mixed-method approach, a comprehensive analysis of relevant literature to investigate the origin of aesthetics and aesthetics in philosophy, environmental psychology and architecture. The aspects, criteria and sub-criteria identified from the analysis. The consensus is taken from expert interviews and a questionnaire survey (n=72). Findings reveal that aesthetics in architecture is dynamic/ ever-changing. It has nine contributing aspects that make aesthetics a performing aesthetics that emphasises the enhanced worth and value for money invested. These nine aspects are spatial organisation, functional efficiency, social, psychological, environmental, maintenance, sustainability, technology, and economics.

La experiencia del asombro: una aproximación expansiva a la estética cotidiana

A diferencia de Melchionne (2013) y Naukkarinen (2013), abogo por una definición expansiva de la estética cotidiana que, además de las experiencias más comunes y cotidianas, incluya los festivales, el turismo y un sinnúmero de actividades llevadas a cabo diariamente por artistas y profesionales de diversas áreas. Establezco continuidades entre las estéticas de la vida diaria, del arte y de la naturaleza. Por ejemplo, el acto de mirar a través de una ventana puede involucrar aspectos de las tres estéticas. Aunque coincido con Melchionne (2013) en que la estética cotidiana está muy ligada a las preguntas por la búsqueda del bienestar subjetivo, asumo una aproximación más expansiva basada en estudios sicológicos recientes sobre la experiencia del asombro; ello con el fin de enfatizar la importancia de esa experiencia en tal búsqueda, vinculando así, los aspectos más sobresalientes de la estética cotidiana, la estética del arte y la estética de la naturaleza.

A Farewell to Art: Aesthetics as a Topic in Psychology and Neuroscience

Empirical aesthetics and neuroaesthetics study two main issues: the valuation of sensory objects and art experience. These two issues are often treated as if they were intrinsically interrelated: Research on art experience focuses on how art elicits aesthetic pleasure, and research on valuation focuses on special categories of objects or emotional processes that determine the aesthetic experience. This entanglement hampers progress in empirical aesthetics and neuroaesthetics and limits their relevance to other domains of psychology and neuroscience. Substantial progress in these fields is possible only if research on aesthetics is disentangled from research on art. We define aesthetics as the study of how and why sensory stimuli acquire hedonic value. Under this definition, aesthetics becomes a fundamental topic for psychology and neuroscience because it links hedonics (the study of what hedonic valuation is in itself) and neuroeconomics (the study of how hedonic values are integrated into decision making and behavioral control). We also propose that this definition of aesthetics leads to concrete empirical questions, such as how perceptual information comes to engage value signals in the reward circuit or why different psychological and neurobiological factors elicit different appreciation events for identical sensory objects.

Are Some Perfumes Works of Art?

What more do we need to fully appreciate perfumes, beyond considering them objects for aesthetic appreciation? My contention is that our appreciation of some perfumes would be largely incomplete, unless we acknowledged them as works of art. I defend the claim that some perfumes are works of art from the point of view of different definitions. Nick Zangwill's aesthetic definition makes it easy to defend the proposed claim, but is not very informative for the purposes of fully appreciating some perfumes. On the other hand, Jerrold Levinson's intentional‐historical definition and Dominic Lopes's approach to defining art make it more challenging to defend the proposed claim. I show that, even so, the challenge may be met. Moreover, the challenge is well worth engaging with, since tackling it uncovers features of some perfumes that are essential to their full appreciation.

Protomodernism and Rhyme: Dickinson and Hopkins, 1876–1886

. Emily Dickinson and Gerard Manley Hopkins have often been described as “protomodernist” poets. However, the term protomodernist has been employed in imprecise ways, encompassing both intellectual and aesthetic aspects of their work. In response, this essay argues for an aesthetic definition of modernism that focuses on the poets' experimentation with the medium. By way of illustration, it examines Dickinson's and Hopkins's experimental use of rhyme, arguing that their stylistic innovations, rather than their worldviews, mark them as protomodernist. With reference to concepts in aesthetics drawn from figures such as Kant, Hegel, and Rancière, as well as critical perspectives on, and quantitative analysis of, the poets' rhyming experiments, this essay further contends that Dickinson's and Hopkins's use of rhyme constitutes not a superficial embellishment but rather a central component of their poetic thinking.

The Haunting Aesthetics of Tacoma

Video games are well suited to exploring questions of philosophical intent through their construction and design. Exploring the layered and complex forms of video game design and aesthetics is a growing area of gaming studies that is pointing toward these larger and important questions, even changing the way gaming studies is being approached by scholars. This article examines the relationship between video games’ design and aesthetics and Derrida’s conceptual framework of hauntology. Using Mannon and Temkin’s definition of glitch aesthetics, I conduct a close visual analysis of Tacoma as a case study in how Derrida’s hauntology is present within video games. Tacoma’s aesthetic choices bring to light how video games play with Western understandings of presence, life, and death.

МЕТАФОРА В ДИСКУРСИВНОЙ ПОЭТИКЕ АРПАДА КОВАЧА

The article provides an overview of the main theoretical and methodological premises of discursive poetics and indicates the key role of metaphor in this analytical and interpretive frame. The topic is delivered on the basis of a long-term research of Árpad Kovács who proposed an original integrative analysis (from sign to genre particulares) when referring to the classic texts of Russian, Hungarian and Western European literature. He is also known as the founder of the Budapest school of discursive poetics. In contrast to the range of linguistic, philosophical and aesthetic definitions of metaphor, Kovács complements and develops the poetical tradition of metaphor studies and demonstrates the multidimensional phenomenon of metaphor by analyzing and interpreting literary texts. The metaphor in Kovács’s discursive poetics demonstrates the organic connection between poetics and the existential sphere of life experience. The article gives a set of concepts such as “intonation metaphor”, “existential metaphor”, “metaphorical digression”, which were introduced or reinterpreted by Kovács.

Aesthetic Representation in English to Chinese Translation of Business Letter

With the increasing frequency of commercial activities and international contacts, Business English has become imperative medium for international communication. Business letter, as an important branch of business English, plays a crucial role in international trade. This paper introduces the definition of translation and aesthetics, aesthetic representation, discusses business letter and its language characteristics, makes an analysis of word, sentence and discourse translation of English business letter from the perspective of aesthetic representation. It aims to provide a new perspective for the translation of business letter.

Aesthetic Properties, the Acquaintance Principle, and the Problem of Nonperceptual Arts

Abstract Aesthetic theories of art have always had trouble with nonperceptual artworks. James Shelley’s solution of broadening the notion of perception to cover properties that are directly felt is incomplete, until we specify what kind of response to a given property suffices to qualify it as aesthetic. I argue that all aesthetic properties are inherently evaluative and always prompt a positive response in the perceiver, since they are the outcome of an unpredictable and successful interpenetration of formal and semantic elements. An aesthetic definition can legitimately deny that conceptual works are art to the extent that they are not able to formally support the aesthetic qualities usually attributed to them, as is shown by their lack of compliance with the acquaintance principle, while at the same time the definition does not run the risk of undermining the aesthetic status of literature, on which it sheds new light.

Reflexões Acerca da Definição Estética de Arte de Monroe Beardsley

Monroe Beardsley presents an aesthetic definition of art in “An Aesthetic Definition of Art” (1983), in which he claims that there is a necessary connection between art and aesthetics. Beardsley proposes that a work of art is something made with the intention of having the capacity to satisfy an aesthetic interest. Noël Carroll claims that there are artworks created without aesthetic intentions and that some artworks do not have the capacity to provide aesthetic experiences. In addition, Carroll argues that there are artworks whose status of art is prior to the appreciation of these works as art. The aim of this paper is to present Beardsley’s aesthetic definition of art and analyze how objections to it can be answered.

Important Considerations for Performing Prepectoral Breast Reconstruction.

Prepectoral breast reconstruction has emerged as an excellent technique for postmastectomy reconstruction, as it allows for full preservation of a patient's pectoralis major muscle and chest wall function. This reduces pain, eliminates animation deformity, and results in high patient satisfaction. Safely performed prepectoral breast reconstruction requires a careful patient selection process before committing to the procedure, taking into account comorbidities, radiation status, and oncologic criteria such as tumor location and breast cancer stage. Furthermore, a thorough intraoperative assessment of mastectomy skin flaps is critical, with careful and precise confirmation that the skin is viable and well perfused, prior to proceeding with prepectoral breast reconstruction. This can be done both clinically and with perfusion assessment devices. The use of acellular dermal matrix (ADM) has enhanced outcomes and aesthetics of prepectoral reconstruction, by providing implant coverage and soft-tissue support. The ADM also adds the benefit of reducing capsular contracture rates and offers full control over the aesthetic definition of the newly reconstructed breast pocket. Aesthetic enhancement of results requires routine use of oversizing implants in the skin envelope, careful selection of full capacity or cohesive gel implants, and autologous fat grafting. In this way, patients in all clinical scenarios can benefit from the full muscle-sparing technique of prepectoral breast reconstruction, including those undergoing immediate reconstruction, delayed reconstruction, and delayed conversion from a subpectoral to prepectoral plane to correct animation deformity.