Aesthetic Dimensions Research Articles

The elegance of lacquer: Unveiling traditional lacquer techniques in East Asia

This research delves into the intricate world of lacquer art in East Asia, aiming to unravel the relationships among artisan perspectives, aesthetic values, and the contemporary relevance of this ancient craft. The purpose is to provide a comprehensive understanding of how historical development, apprenticeship traditions, and evolving aesthetic values shape the intricate landscape of lacquer artistry. Employing a qualitative approach, this study conducts in-depth interviews with artisans and experts in the field of lacquer art. The research involves a comparative analysis of past literature, drawing upon historical and contemporary works to contextualize the findings within the broader trajectory of lacquer art. Thematic analysis is also applied to unravel the nuances of artisan perspectives, the transmission of knowledge through apprenticeship traditions, and the cultural and aesthetic dimensions embedded in lacquer paintings. This mixed-methods approach enriches the study by providing a holistic and nuanced exploration of the identified variables. The findings illuminate the enduring significance of apprenticeship traditions in preserving traditional lacquer techniques, with artisans actively navigating challenges posed by globalization and digital platforms. Aesthetic values, including symbolism and visual harmony, are revealed as integral components contributing to the narrative richness of lacquer paintings. The study uncovers the dynamic relationships among these variables, emphasizing the adaptive nature of lacquer art in a contemporary context. The implications extend to cultural preservation, heritage management, and educational initiatives, offering valuable insights for practitioners, policymakers, and educators involved in the realm of traditional crafts. The study contributes to theoretical frameworks on cultural continuity, knowledge transmission, and the socio-cultural dynamics of artistic practices.

Students' meaning-making in an open inquiry: two paths

AbstractIn science education, students need to work with laboratory elements that create conditions for them to learn to do science and experience the value of making meaning in this process. However, students rarely get to carry out investigations that resemble actual scientific practices. More often, they are encouraged to follow an already given knowledge structure, rather than allowed to shape it by themselves. In this study, we investigate how students' meaning-making processes develop when they work with an open inquiry with three degrees of freedom aimed at really doing science. Meaning-making in doing science involves both the typical science-content dimension and a sometimes more overlooked aesthetic dimension. Thus, to gain insight into the students' meaning-making in this, we rendered a thick description of the students' experience, including an analysis of the aesthetic dimension. We compared the processes of two student groups in year 9 and how, within their groups, they collectively made meaning of an open inquiry. The results showed how the processes took quite different turns, moving through peaks and troughs in each group. The first group began with resignation and ended up with a strong commitment towards the openness of the task. For the other group, the journey was quite the opposite. They began engaged, with a lot of ideas about a phenomenon that turned out to be impossible to create. This study shows that in this open process, the materials available and the teacher’s guidance are crucial for supporting the students’ meaning-making. This study therefore becomes an important contribution to a discussion about what is needed to help students make meaning in doing.

Toward a conceptualization of the musical self: A theoretical-methodological approach to subjectivity in independent musicians

The objective of this study is to advance a theoretical and methodological proposal for the analysis of subjectivity construction in independent musicians. Existing social and cultural theories of subjectivity have not satisfactorily addressed the artistic experience of musicians. We present an analytic model that highlights the place of language from a perspective informed by dialogical theories and which also incorporates the aesthetic dimension of subjectivity in the occupational field. By analyzing six narrative interviews, we offer a qualitative insight into how independent musicians subjectively experience their musical activity. We constructed dialogical dimensions associated with four subjective movements in the interviewees’ discourse: aesthetic, activity, authorship, and reflectivity. Our findings about the configuration of musical subjectivity yielded three core points of articulation: musical self, existential self, and musical-occupational self. The musical self emerges as a particular subjective configuration, since creative activity represents a point of vital and occupational grounding where the boundaries between work and subjective experience appear to fade. Employing the aesthetic dimension of subjectivity made it possible to add complexity to the articulation and integration of various subjective elements of a psychological and social nature that have traditionally been studied in isolation.

Beyond functionality: topographical complexity as a driver of aesthetic value in urban green infrastructure

Cities face growing challenges from stormwater: flooding, pollution, and habitat loss. Green infrastructure offers solutions, yet the aesthetic dimension is often overlooked. This study introduces the Buras Beauty Scale for objectively assessing the beauty of wetland configurations and emphasises its integration into green infrastructure projects. Our methodology involved surveying diverse groups, including non-architecture students and non-traditional architects, who perceived higher beauty in wetland configurations compared to traditional architects and architecture students (mean beauty scores: 7.8 and 7.5 vs. 6.2 and 6.4, respectively). Statistical analysis revealed a strong correlation (r = 0.731, p < 0.05) between beauty assessments and Shannon-Weaver entropy, highlighting the importance of topographic diversity. We also observed that higher beauty scores correlated with greater consensus among respondents, as evidenced by a decrease in the coefficient of variation from 0.52 to 0.34. Multicriteria analyses, integrating beauty with functionality, identified optimal wetland configurations for urban landscapes.

Surprise in Science: A qualitative study

AbstractA growing literature in philosophy of science focuses on the role of surprise in scientific practice. The aesthetic dimension of science is also gaining momentum in very recent discussions. While surprising results have been recognised as playing an important epistemic role in science, the literature so far has primarily focused on establishing the power of simulations and thought experiments as compared to experiments and the epistemic superiority of novel predictions over accommodations. In this paper we offer the first empirical analysis of the role of surprise as an aesthetic response, drawing from in-depth interviews with 215 scientists in four countries. We identify what roles scientists assign to surprising results, show that surprise is often experienced as an aesthetic response and identify properties, triggers, and outcomes of surprise in science.

Collective Translation as Forking (分岔)

Together with a Taiwanese working group, we have been producing a Chinese translation of Aesthetic Programming: A Handbook of Software Studies, a free and open source book first written by Winnie Soon and Geoff Cox in 2020, and released in English in a git repository, dynamic website, downloadable PDF and printed form. Apart from learning to code in p5.js, the book addresses the cultural and aesthetic dimensions of programming from its insides, as a means to think and act critically, and to understand the importance of programming as a cultural practice that can develop discussion of issues that are relatively under-acknowledged in technical subjects such as gender, race and sexuality. Importantly, the book is understood as a computational object, not released as a fixed and universal teaching resource, but rather a situated curriculum with the potential for extension and customization with other arts and coding communities. The use of Git has allowed the authors to formalize its production as an iterative process, allowing for reversioning and for others to fork a copy and customize with different references, examples, critical reflections and even new chapters. The interest is in forking a book like forking software, and incorporating local knowledge and examples, and how this resonates with a politics of cultural translation. This essay will elaborate on the process of running two open participatory workshops that were conducted in Taipei and London (in 2023) with the aim to challenge some of the normative social relations of production associated with translation, and explore other possibilities of collective practice. The politics of translation has been well-established in general, but what of the specifics of translating a book such as this? Aside from the technical and aesthetic challenges and implications, this raises the question of how the Chinese language model enforces particular hegemonic worldviews that occlude differences. With all the variants of Chinese language, how is this tied to expressions of colonial power that resonates with our use of English? Given the rich variations of Chinese and indigenous languages (not least in a Taiwanese context), we are curious how we might be sensitive to language diversity that challenges the Western-centrism of programming in English (and inherent nationalisms). We are also mindful of the way that “queer” politics has informed the way that terms can be appropriated/expropriated, as a means to “talk back” to the source codes of oppression. What are the implications of drawing the practices of forking and translating together?

Speaking for music?

How does musicology articulate the value of music and the study of music? This is an urgent question given the collapse of music provision in schools and its impact on the discipline at university level. One response has been to demonstrate the pro-social benefits of music through empirical work allied with approaches in psychology and sociology. While this is important, we should be wary of downplaying the aesthetic value of music at the expense of more obviously instrumental functions. A recent convergence of disciplinary interest in aesthetics, from neuroscience to political theory, suggests the aesthetic dimension of music, far from being some outdated fiction, remains a powerful challenge to habitual academic discourse. Against the trivialisation of music on the one hand, and the reductive readings of critical orthodoxies on the other, I argue that music affords modes of sense-making that have never been more needed. (This article is published in the thematic collection `The arts and humanities: rethinking value for today—views from Fellows of the British Academy’, edited by Isobel Armstrong.)

Metabibliographic Fiction: Metafiction After the Death of the Book in Steven Hall’s Maxwell’s Demon and Nicola Barker’s I Am Sovereign

ABSTRACT This essay examines the combination of an aesthetic interest in the book with metafiction’s self-reflexive literary strategies in two recent British fictions, Steven Hall’s Maxwell’s Demon (2021) and Nicola Barker’s I Am Sovereign (2019). Both fictions, I argue, engage in what I describe as “metabibliographic fiction.” Metabibliographic fictions are fictions that explore the intellectual, narrative, and aesthetic dimensions of metafiction, but do so in ways that incorporate forms of self-reference into their linguistic and graphic structures that engage with the book as a media device. Situating this work within the context of what N. Katherine Hayles terms “postprint,” the essay places metabibliographic fiction at the critical intersection of textual materialism, studies of bookishness, and taxonomies of aesthetic self-consciousness. It then analyzes metafictional and metabibliographic devices in Maxwell’s Demon and I Am Sovereign in order to open theories of the contemporary book to metafiction’s narrative and intellectual legacies.

Narrativity and the Idea of Narrative Identity in Law

Abstract How can an extension of the legal perspective with the idea of narrative unity be presented using the law and literature movement? Considering law as a complex semiotic object that is a product (and carrier) of culture makes it possible to see elements of narrativity from a theoretical and legal perspective. This is a significant phenomenon, especially aft er the cultural turn in the humanities. This article presents a problematisation of narrativity in legal discourse and the theory of law. As is well known, the theory of narration and the concept of narrativity have been widely used in the humanities, mainly in literary theory. I propose extending the narrative perspective to law by showing what research directions can be observed when using the concept of narration in the ethical and aesthetic dimensions of law. Finally, I discuss the thesis of narrative identity in relation to law. I adopt the perspective of examining law in the light of literary analysis.

Boundaries In Theatrical Representations of Violence

This paper investigates the role of symbolic violence in theater as a catalyst for fostering civic consciousness and a nuanced understanding of the human condition. By examining the dramaturgical, social, and aesthetic dimensions, the study explores how theatrical productions, through the metaphorical depiction of violence, transmute intense emotional experiences into vehicles for societal introspection and education. The analysis emphasizes the transition from overt physical aggression to more subtle forms of symbolic violence, and examines the implications of this shift for both the audience and the broader cultural discourse.

Is it a matter of design?

Rural and urban areas in China have traditionally represented contrasting realms, largely due to the country&amp;rsquo;s dual social structure. However, efforts to reduce inequalities and encourage harmonious planning are reshaping both urban and rural landscapes, leading to new hybridized forms of living. These transformations emphasize the importance of design disciplines in experimenting with innovative settlement models and architectural projects. Recognizing the interconnectedness and mutual dependence of urban and rural areas is a fertile perspective to frame the countryside as a significant frontier in China&amp;rsquo;s cutting-edge architectural movements. China&amp;rsquo;s rural revitalization strategy represents the latest initiative aimed at improving conditions in the Chinese countryside and enhancing the well-being of its residents. Aligned with the principles of ecological civilization, this policy calls for the development of new esthetic dimensions that reflect technological advancements, cultural diversity, socioeconomic values, and political narratives, echoing similar sustainable agendas worldwide. The contributions selected for this special issue showcase how various design attitudes have embodied the countryside development mandate in far-sighted proposals of transformation that addresses several crucial challenges of contemporary living, such as wealth distribution, economic stimulation, cultural heritage preservation, and the relationship with nature. These examples suggest that by challenging the ideological commitments supporting their feasibility, design practice, and research can be fundamental tools for reorienting policy formulation beyond solving specific issues through targeted design approaches.

The Logical Path of Applying Sora Technology in the Cultural Industry

Today, with the in-depth development of science and technology, the application of artificial intelligence has become a new driving force for the development of the cultural industry. As the latest technological achievement in the field of generative artificial intelligence, the rational application of Sora in the cultural industry can produce synergistic effects and significant results. This paper aims to sort out the application logic of Sora technology in the cultural industry, comprehensively showcasing its core features of technology-driven, multi-faceted synergy, and paradigm shift from the five elements of technology, information, talent, systems, and channels. In this process, in order to further optimize the application of Sora technology in the cultural industry, it is necessary to strengthen the construction through innovative strategies, and improve the technological, economic, and aesthetic dimensions, thereby contributing to the prosperity and flourishing of socialist culture with Chinese characteristics.

The Logical Path of Applying Sora Technology in the Cultural Industry

Today, with the in-depth development of science and technology, the application of artificial intelligence has become a new driving force for the development of the cultural industry. As the latest technological achievement in the field of generative artificial intelligence, the rational application of Sora in the cultural industry can produce synergistic effects and significant results. This paper aims to sort out the application logic of Sora technology in the cultural industry, comprehensively showcasing its core features of technology-driven, multi-faceted synergy, and paradigm shift from the five elements of technology, information, talent, systems, and channels. In this process, in order to further optimize the application of Sora technology in the cultural industry, it is necessary to strengthen the construction through innovative strategies, and improve the technological, economic, and aesthetic dimensions, thereby contributing to the prosperity and flourishing of socialist culture with Chinese characteristics.

Hypsēlà phroneîn. Orgoglio intellettuale e retorica del sublime. Una nota in margine a Paul. Rom. 11.21

In the early modern period, St. Paul’s moral injunction (Rom. 11.21) mḕ hypsēlophrónei allà phoboû, noli altum sapere, sed time («be not highminded, but fear») was often distorted as if it meant «you should not know high things» and was interpreted as a warning against intellectual knowledge. In reality, Saint Paul’s admonition recalls some traditional Greek commonplaces such as self-knowledge and thinking mortal thoughts. Furthermore, already the ancient experience of the hypsēlophroneîn couples the moral meaning with the intellectual one, but also includes an aesthetic dimension effectively illustrated by the rhetoric of sublime (as attested by Philo of Alexandria and especially by Longinus).

Do we think alike? Exploring user perceptions of road aesthetic dimensions in Nairobi

Do we think alike? Exploring user perceptions of road aesthetic dimensions in Nairobi

Communicating science through films: the case of the International Festival of Scientific and Educational Film (1956–1975)

ABSTRACT The Rassegna Internazionale del film Scientifico-didattico (International Festival of Scientific and Educational Film [IFSEF]) was a pioneering science-based public event held at the University of Padova from 1956 to 1975 in collaboration with the Venice International Film Festival. The IFSEF is treated as a case of a multiform space to question the permeable boundaries between hard scientific content and its aesthetic dimension, educational role, and science communication activity. Through the notions of ‘surplus of meaning’, ‘boundary object’ and ‘boundary space’, which are concepts at the intersection of science and technology studies, film studies and media studies, the IFSEF emerges as a distinctive moment in the construction of science as a multiform object in society, thus providing an opportunity to analyse the management of the evolving boundaries between scientific expertise and science communication at the dawn of modern science communication practice. The main point that emerges from the analysis of the IFSEF is the idea that the identity, meanings, structures and logics that characterise the IFSEF in many ways reflect crucial issues at the heart of the historical evolution of the boundaries between science and society, between the scientific community and other social actors, and between scientific epistemologies and different views of science-related content, thus contributing to a redefinition of the roles and identities of the actors involved in the configuration of the festival.

Persian Mobile Apps for Diabetic Patients: App Review and Evaluation Study

Background: The development of mobile apps in healthcare facilities helps users perform self-care effectively. Objectives: This study aimed to evaluate the quality, functionality, and features of Persian language diabetes mobile apps. Methods: Persian language diabetes self-management mobile apps were searched in the Android and iOS App Stores using relevant keywords such as "diabetes" and "blood sugar." Twelve apps met the inclusion criteria. Nine evaluators assessed the apps' quality based on the Mobile App Rating Scale (MARS), their functionality according to the IMS institute for healthcare informatics app functionality scoring system, and their features and content using a checklist. Results: The mean MARS score of the apps was 3.02 out of 5. Among the four dimensions of engagement, aesthetics, functionality, and information quality, functionality had the highest mean ± SD score (3.64 ± 1.13). Most of the apps used 5 - 7 out of the 11 defined functionalities. All self-management apps included the functionality of monitoring blood glucose levels, and the majority had health status monitoring features. Conclusions: The mobile apps had several drawbacks, including a lack of engagement strategies, insufficient evidence-based information for patients, limited guideline-based self-management functionalities, failure to evaluate clinical effectiveness in trials, and an absence of mutual communication with healthcare providers.

Aesthetics of Trademarks with an Asian Flavour

Trademarks should be considered not only as an intellectual property right but also as aesthetic creations influenced by various philosophies. A trademark can thus be understood as a word, a phrase, a symbol, a shape, a configuration or any other device introduced to distinguish the products of individual traders or manufacturers. Trademarks also have an aesthetic dimension. This means that aesthetics of trademarks can be revealed through the letters and morphemes as well as their literary, mythological, and religious associations. Trademarks play a crucial role in some commercial sectors. The aim of this article is therefore to present the aesthetics of trademarks through the lens of East Asian philosophies such as Confucianism and Daoism, as well as Japanese Zen. This analysis brings us to considerations of traditional aesthetic functionality. This means that the brand is the main decorative feature of the product or is the product itself. It can therefore be influenced by different philosophies, and the above cases even confirm this theory.

AESTHETICS IN THE “MAN-MACHINE-ENVIRONMENT” SYSTEM: THE SEARCH FOR HARMONY

The modern "human-technology-environment" (MMESE) system encompasses a wide range of interconnected issues. This system can be approached from various perspectives, including safety, efficiency, globalization, and more. The aim of this article is to explore the aesthetic dimension of MMESE in the aerospace context. In a broad sense, aesthetics serves as a space for realizing the "human-technology-environment" system. In practical terms, aesthetics serves as an indicator of the harmonious interaction of all components of this system. The aesthetic component acts as a catalyst for change, facilitating the implementation of improvements and new solutions in the professional environment. Within the "human-technology-environment" system, technical aesthetics enables the addressing of issues related to satisfaction, inspiration, as well as the ergonomics and comfort of aerospace engineering.

A Multimodal Discourse Analysis of Ideological Identity Endorsed on the University's Homepages

Whilst a plethora of research has taken into account the exertion of website homepages as a conduit for effectively conveying information, it is acknowledged that the matter of ideological values and how these ideals are manifested through such digital communication media has been somewhat overlooked. Thus, the research at hand attempts to go over how the university advertises its ideological construal on its homepages by way of the adoption of multiple modes, involving both linguistic and aesthetic dimensions, and video. In this investigation, multimodal approaches encapsulated by Kress (2010) and Pauwels (2012) were employed to address the ideological values through visual components on the university homepages. Drawing from the attainable data, the university's homepage is crafted utilizing two fundamental categories of semiotic methods such as a combination of visual and textual elements, as well as video to reinforce the aesthetic, nevertheless, it neglects to incorporate any semiotic resource that places particular emphasis on visual components. The strategic utilization of diverse multiple modalities of communication on the homepage has effectively promoted an array of constructive ideological ideals that hold significant worth for stakeholders and the public, considering the pivotal role that universities play in shaping societal beliefs and perspectives.