Aesthetics Of Interaction Research Articles

Dialogue In The Poetry Of Ibn Muqbil (A Reading Of The Aesthetics Of The Text)/ الحوار في شعر ابن مقبل (قراءة في جماليات النص)

The dialogue represents an essential part of the aesthetics of the literary text, with the aesthetic interaction and multiplicity of voices within the text that it achieves. It helps to reveal the features of the creator's personality and its psychological tendencies. Through his conversation, the creator may look to show the characters who surrounded him, which may have affected his creative process. It psychologically impacted the creator and created an essential influence on the recipient. The method research is the theory of reading and reception and the mechanisms of the German theorist (Wolfgang Iser) in revealing the aesthetic effect of the creative artistic and poetic techniques that the text carries. The most important result of the research is that there is much dialogue in Ibn Muqbil's poetry, employing him to express psychological impulses such as grief, illness, and love toward the beloved woman or to complain about her. Dialogue contributed to the aesthetic of influence through artistic techniques that exposed creative poetics and the susceptibility of ancient texts to permanence, life, and harmony with theories of modernity (such as reading and receiving theory).

Generative Mechanisms of Female Body Anxiety in the Social Media Context - A Web Ethnography Study Based on Xiaohongshu Groups

The prevalence of social media, with its overly edited photos and videos, has intensified aesthetic interactions and comparisons for women, exacerbating body image anxiety and affecting their quality of life and mental and physical health. This study combines cyber ethnography and in-depth interviews, analyzing self-narratives of women's groups on Xiaohongshu to explore the mechanisms of body image anxiety from the perspectives of self-regulation and social construction, and to research beneficial ideas and strategies for alleviating women's body image anxiety.

Virtual fashion experiences in virtual reality fashion show spaces.

Virtual reality (VR) provides a new fashion space and fashion experience. This study focuses on immersive VR and fashion shows to empirically explore the VR fashion space and fashion experience. Insights specific to fashion have not been presented in as much depth in the literature; thus, the current findings are particularly valuable and insightful. This study employed three immersive VR (IVR) fashion show stimuli and in-depth interviews according to a semi-structured questionnaire. Collected data were analyzed based on the concept of VR space and VR experience derived through literature research. The VR fashion space was divided into three types and VR experiences of cognitive presence, sensible immersion, emotional immersion, and aesthetic interaction were derived accordingly. First, the physical representation of a fashion show induced a cognitive and emotional sense of presence, in which users felt as though they had moved to the same time and place as those at the fashion show. Second, participants experienced cognitive confusion owing to the differences with a priori experiences in the fashion show space (i.e., reality and imagination coexist). Third, participants transcended the limitations of physical reality while in the fashion show space of pataphysics (which was realized with human imagination), and they moved beyond the stage of confusion that is experienced while facing realistic objects to connect to creative inspiration. The difference in the properties of VR space may be associated with distinct VR fashion experiences. The findings suggest that (1) a priori elements such as sociocultural contexts and personal experiences differ in the experiential dimension of virtual space, (2) the VR fashion show space induces a psychological experience between brand and consumer, and (3) creative inspiration and exploratory play can be greatly induced in a user if the immersive fashion space is further from the original source.

Bringing Design Patterns to Life: Applying Christopher Alexander’s Theory of Living Structure in HCI

As digital technologies increasingly impact humanity, human–computer interaction (HCI) researchers and designers must find ways to create digital experiences that help us feel whole, affirm our lives, and encourage us to care for each other and our planet. The theory of living structure developed by Christopher Alexander is highly relevant to this end. Living structures are those that stir up feelings of wholeness, inspiration and comfort. Alexander’s theory, which he refined empirically with a research team over six decades, demonstrates how to identify, evaluate and generate living structure. This article illustrates how Alexander’s theory of living structure can be applied to digital design. The theory supports and furthers several threads of concern in HCI, including calm technology, value sensitive design, aesthetic interaction, and humanity-centered design. While Alexander is best known for originating the concept of design patterns, his theory of living structure may prove to be a much stronger compass for designing a favorable digital future.

Research on the design method of rural public space based on aesthetic interaction concept

Rural public space is not only the carrier of rural residents ' daily life and public activities, but also the link to maintain villagers ' community feelings and the support of traditional culture. It plays a crucial role in rural construction. At present, designers for the design of rural public space, still stay in the " function " level. Based on the concept of aesthetic interaction , this paper applies the concept of interaction design to architectural design , discusses the feasibility of applying " beauty " as the entry point and " interaction " as the core design method in the design of rural public space , and summarizes a set of reasonable and effective design methods from the three aspects of spatial function compound , in the locality and perceptual guidance .

Воображаемая столица и реальная провинция в комедии Л. Гайдая «Инкогнито из Петербурга»

The article analyzes the film by Leonid Gaidai Incognito from St. Petersburg (1977) based on the N.V. Gogol’s play The Government Inspector. The author draws attention to the preservation of theatrical aesthetics, which is revealed in the spatial accents and the interaction of the characters. The comedic core of the play, the misunderstanding, is enhanced by the eccentric accents characteristic of the aesthetics of silent cinema. The key dramatic structure of the film is the various types of urban spaces — an imaginary idea of capital city and a real provincial town, as well as the dialogue of their artistic incarnations in the film. The activation of comedy effects takes place at the intersection of extremely serious elements and their childishly naive interpretation and implementation, decoration and attempts to imitate the surrounding space with “adult” (capital) images. The “unofficial” side of the artistic world is exposed by its permanent presence on the periphery of the frame and the stubborn, but not articulated desire to return to familiar forms. The film traces the idea that regardless of the hierarchical way of life, the form of statehood, the existence of a Russian person remains unshakable, only external attributes change in accordance with ideological dominants, but at a fundamental level, the established way of life does not undergo significant changes. Incognito from St. Petersburg can be described as the intellectual apogee of the interaction of various aesthetics and comedic dominants. Masterfully alternating escalation and aggravation with containment and smoothing Gaidai keeps tension and dynamic of the dramaturgy. Eccentric elements, subtly woven into the artistic fabric, allowed the director to inscribe and remove Gogol’s motifs in the prism of his own era and its problems.

Critical Infrastructure Studies in the Social Sciences and Humanities

Over the last 20-30 years there has been an interdisciplinary «infrastructure shift». Infrastructural themes have taken root in academic research in the social sciences and humanities. The methodological strategies of this approach have demonstrated their explanatory power in addressing many contemporary problems, which makes this approach attractive. Critical infrastructure study has emerged as a basis for combining thinking about the complex relationships between society and its material structures. It can be postcolonial research, feminist theories, science and technology research, and more. Infrastructure is a mixture of things and ideas imbued with a variety of attitudes. The critical study of these relationships requires the comparison of views of different disciplines and many fields, such as information systems (large technical systems), big data analysis (Big Data), science and technology research, cultural, political, and philosophical approaches. The main methodological approaches to the critical infrastructure study are presented in the journal «Roadsides», which is a forum devoted to the study of the social, cultural and political life of infrastructure. The name itself is a metaphor referring to different types of interactions that occur near infrastructures. In the article some aspects of interaction of architecture, policy, museum, public space, aesthetics, environmental sustainability and infrastructure are discussed. However, the critical study of infrastructure is still not well represented in domestic humanitarian and social studies. This article aims to show the potential of infrastructure approach for interdisciplinary research of culture, ecology, space, city, including feminist, postcolonial optics.

Revisiting the South Korean Youth Culture and T’ongkit’a Music

ABSTRACT T’ongkit’a music grew out of the 1960s Korean youth culture, which was centered on elite university students. Previous studies on t'ongkit’a music often highlight its political and social consciousness, but even in its heyday, t’ongkit’a music’s relationship with political activism was limited and accidental. Though it should not be overlooked that the youth’s music was a new mode of social and aesthetic interaction and communication, its political values and effects are rather a later invention of the progressive popular music researchers

The requirement for the interaction of religion and aesthetics in the modernity of the art world

Art is a necessary aspect of existence, as Nietzsche puts it so beautifully: "Art makes life conceivable and worthy of living.” (F. Nietzsche, The Birth of Tragedy, trad. W. Kaufmann, New York, 1967). Otherwise, it leads to a crisis known as "disability," which includes the incapacity to comprehend, perform, and present. As Nietzsche compares the artist to Hamlet in his book, the artist is shown to be capable of achieving nothing, and his incapacity stems from the fact that there is no longer any link between knowledge and action, and therefore even Dionysus happiness, It makes no difference in the world. The root of this incompetence is a critical issue that must be addressed in order to solve art-related issues

Revolution and reality shows: Nepal’s CPN and the media worlds of late capitalism

As performance reality television shows have become popular in Nepal, singers, musicians and dancers from the various communist parties’ cultural groups have begun to take part in them and draw on them for artistic inspiration. Yet reality shows are also closely associated with neo-liberal capitalism, and these artists’ participation has thus been criticized by some on the political left. This article examines the resulting interaction of aesthetics and values when communist artists, reality show expectations and cultural criticism meet. I draw on twenty years’ engagement with Nepal’s music industry as a performer and ethnographer, and in-person and online fieldwork with communist cultural groups between 2012 and 2021. I focus on artists associated with the far-left party known officially as the Communist Party of Nepal and informally as Biplav’s CPN; a party that emerged from the former CPN (Maoist). Outlining points of articulation and conflict between the values of these Maoist artists and of commercial music and dance competition reality shows, I argue that as communists living in late capitalism, these artists strive to use reality shows as platforms and as sources of artistic inspiration to shape reality and inspire others towards their dreams of creating a more egalitarian society.

Surrealist Artworks as a Stimulus for Student Artistic Expression

Abstract Works of fine art present an inexhaustible source of imagination, aesthetics, and creativity and can stimulate the development of personal creativity. Communication with artworks is possible if trained to understand and aesthetically experience them. It is therefore important to be in contact with the rich symbolic meanings of the language of art. If we want to educate students to be able to communicate and understand the cultural dynamics of art forms and to successfully communicate with art forms in the future and develop their visual art literacy, we should implement artistic educational content in higher education. Contact with artworks allows students to better understand their thoughts and feelings and, if using appropriate methods, an artwork can stimulate students to be creative. This paper investigates the influence of Surrealist paintings (made by Rene Magritte and Salvador Dali) on stimulating the artistic creativity of 46 first-year students of Early and Preschool Education at the Faculty of Humanities and Social Sciences in Split, Croatia. The results are presented using a qualitative methodology, i.e. a specific method of aesthetic transfer (perception, reception, and reaction) that brings the observer of the artwork into aesthetic interaction with the work and stimulates their experience of the work along with their creativity. Experiencing the artworks of Surrealism aroused students’ emotions and aesthetic experience, allowing them to create background stories about the observed. Using various freely chosen art techniques, they also made their own artworks, which influenced the development of student creativity.

Existential type of artistic consciousness:genesis and ways of development in the literature of the XIX century

The article traces the origins of existentialism on the examples of writers and philosophers of the XIX century. The history of the study of the category «artistic consciousness» and the category «existential consciousness» is considered. The theoretical substantiation of the concepts of «artistic consciousness» and «existential consciousness» is proposed. The terms «existential» and «existentialist» are distinguished. The term «existential» is applied to writers and philosophers of the XIX century. S. Kierkegaard, M. Lermontov, F. Tyutchev, A. Schopenhauer, F. Dostoevsky, L. Tolstoy, A. Chekhov, F. Nietzsche are represented as existential writers. It shows the path that existential consciousness took in literature in the XIX century from Kierkegaard's «Knight of Faith» to Nietzsche's «Antichrist». The author makes an assumption about the existence of an existential type of artistic consciousness, considered as a type of artistic and aesthetic interaction of a person with the world, expressed in artistic creativity. It is suggested that in the twentieth century, the existential consciousness of a free person who found himself in a world where «God died» fell into an enchanted circle of absurdity. The opposite approach, considering human freedom as a gift from God, suggests using it in the name of creative improvement. Such a path leads to harmony with God, elevating the human creator to the role of a co-author of Divine creativity. Only this way is able to bring existential consciousness out of the dead end of the absurd.

I. Kant: How is aesthetic possible?

The subject of the research is the ways of substantiating the fundamental concept of aesthetic science -- the category of aesthetic in Kant's philosophy. The author examines such aspects of the topic as the content of transcendental philosophy, in which the mind indulges in a purely aesthetic occupation, draws for himself the structure of the whole, the congruence of the conditions of the work of art of a priori fulfillment of feelings, understanding the category of beauty under the sign of aesthetic intention cogito, analysis of how the artist combines the aesthetic aspects of the thing in itself with the incommensurable worlds in the work art. The aesthetic exists in a kind of universal space, which is defined by the transcendental as the "last foundation". The main conclusions of the study is the statement that, by analogy with transcendental aesthetics, Kant admits an aesthetic of pure practical reason that is not identical to it, expressing the hope that in the future it will be possible to comprehend both as elements of the unity of the entire faculty of pure reason. The author's special contribution to the study of the topic is the search in the context of the philosophical interpretation of the concept of aesthetic pleasure, as it is carried out within the framework of Kant's moral philosophy. The novelty of the research lies in identifying the dramaturgy of the foundations of the aesthetic, which does not presuppose any of its scenario as a basis for building aesthetic thinking, in revealing how the system of aesthetic interactions and syntheses correlates with structures ideally initial in relation to the world and man, with absolute foundations, without which there is no aesthetics.

Existential Paradigm of Artistic Consciousness: Russian Literature of the XIX Century as a Carrier of Ideas of Religious Existentialism

Based on the theoretical developments of the scientific philological school of the Ural Federal University (UrFU), the article analyzes the category of "artistic consciousness" and identifies an existential paradigm within this category. Special attention is paid to tracing the history of the study of the category "artistic consciousness" by UrFU scientists from the Soviet period to our time. The author of the article explores the origins of existentialism using the examples of writers and philosophers of the XIX century. As existential writers and philosophers of the XIX century, S. Kierkegaard, A. Schopenhauer, F. Nietzsche are represented among Western European thinkers and M. Lermontov, F. Tyutchev, F. Dostoevsky, L. Tolstoy, A. Chekhov are among Russian writers. The author of the article comes to the conclusion that the Russian literature of the XIX century is the bearer of unique ideas of religious existentialism. The author assumes the existence of an existential type of artistic consciousness, considered as a type of artistic and aesthetic interaction of a person with the world, expressed in artistic creativity, and suggests that in the twentieth century the existential consciousness of a free person who found himself in a world where "God died" fell into an enchanted circle of absurdity. The opposite approach, considering human freedom as a gift from God, suggests using it in the name of creative improvement. Such a path leads to harmony with God, elevating the human creator to the role of a co-author of Divine creativity.

КЕЙСЫ ЭКСПРЕССИОНИЗМА В СОВРЕМЕННОЙ ДРАМАТУРГИИ И ТЕАТРЕ (НА ПРИМЕРЕ ПЬЕС Т. ЛЕТТСА, В. СИГАРЕВА)

This article analyzes the plays of American and Russian authors (T. Letts "August. Osage County", V. Sigarev "Ladybugs Return to Earth") for the reception of expressionist dramaturgy and theater. The author uses a system-cultural approach with elements of the case method (situational analysis). As a result of the study, the author comes to the conclusion that in the considered plays, despite the mass of mental and worldview differences of their authors, the difference in the creative method of the latter and in the problems of their works, the socio-historical conditions in which the plays were created, an expressionist tradition is found ( to a greater or lesser extent) - in the attraction to intimacy, existential situations, the problem of freedom, the theme of fathers and children, at the level of acting, in the absence of an optimistic perspective and the general expressionist concept of man and the world, designated by Yu.B. Borev (“individuality, confused by the chaos of the world”). The choice was justified by the popularity of the above authors and their works among the domestic audience, as well as the presence of international awards. The artistic originality of the works, in the author's opinion, is due to the complex and paradoxical interaction of expressionist aesthetics with the realistic method.

Introducing a Framework for Crafting E-Textiles: Exploring a Material Investigation into Technology

This paper introduces a framework and recommendations for crafting e-textiles, advocating craft as an embodied, knowledge-generating practice employing innovative materials and processes. It offers a material investigation into technology to create e-textiles that embed digital capabilities to support more meaningful and connected forms of expression. The framework and recommendations interweave concerns around collaborative, sensorial and aesthetic interaction to conceptualise the relationship between experiences and materials that are lively and animated. The framework conceives lively experiences as a central component of crafted e-textiles that aspire to be meaningful and worthwhile. A material practice activates our sensory awareness and facilitates embodied actions leading to experiences that have much to reveal about people and their interactions through participation and engagement. Applications of the framework and recommendations can structure a material approach to e-textiles and support open exploration and emergent participant behaviour. The framework and recommendations are intended to support more enriching, personally conceived design contexts engaging technology to craft e-textiles that contribute social value and stimulate emotional response in people.

A Study on Microclimate characteristics and energy balance within near-river riparian systems

Riparian microclimate studies are gaining increasing attention due to their close ecological, climatologic and aesthetic interactions with lives in both natural and urban areas. Historically, many researchers studied thermal regimes of rivers and river temperature responses to different management strategies. Near-river microclimate characteristics and relevant energy balance were not fully understood. This review documents recent research on near-river microclimatic features and energy exchanging processes, roles of macroclimate, rivers, riparian vegetation and topography play in microclimate mitigation, their ecological importance in terms of biodiversity support and human thermal comfort promotion. It also emphasizes potentials of studies on integration of rivers and plants, as well as their controls on heat exchanging. This study is hopefully useful for river scholars to strengthen the comprehension for further research, as well as for river designers and managers to make informed decisions of sustainable urban development.

‘That They Point Is All There Is to It’: Wittgenstein’s Romanticist Aesthetics

Why is aesthetics important to Wittgenstein? What, according to him, is the function of the aesthetic? My answer consists of three parts: first, I argue that Wittgenstein finds himself in an aporia of normative consciousness – that is to say, a problem with regard to our awareness of the world in terms of its relation to a norm. Second, I argue that the function of Wittgenstein’s aesthetic writings is to deal with this aporia. Third, through a comparison with Friedrich Schlegel’s writings on allegory, I try to show that the way in which Wittgenstein resolves the aporia renders him a Romanticist philosopher. The point of an aesthetic interaction, for Wittgenstein, is that it can render clear what cannot be described without running against the walls of our cage: the absolute. Through aesthetic interactions we are able to (indirectly) access a ground for norms by which we experience ourselves as unconditionally bound.

Próba nakreślenia teorii konferencji jako pedagogiczno-artystycznego widowiska kulturowego. Na przykładzie przebiegu konferencji „Od inspiracji do kreacji. Wyzwania edukacyjne i artystyczne”

The aim of the article is an attempt to outline the theory of the conference (scientific), taking into account its actual course, including the reported content, as the ontic basis of its real structure. At the heart of this concept is a myth whose stories form the basis for the emergence of cultural spectacles. In the case of a conference conceived as a spectacle, the founding form (myth) is skholé. The conference itself is shaped in two overlapping areas: firstly, it is subject to the process of ritualization, and secondly, it is subject to the coexistence of universal praxis. In view of the subject of the conference mentioned and analyzed here, this theory takes into account aesthetic and pedagogical interactions (principles), ignoring others (ethics, economy, politics, religion). The conference theory should contribute to the understanding of its coherent thinking and operation structure; the importance of its impact on its participants, the legitimacy of its organization and study; the possibility of consciously shaping its course, in the cognitive - methodological context (I omit the otherwise important socio-cultural aspects).

Cultural Landscape Discourse: The Cross-European Approach

Various approaches are purposed for the discourse about the cultural landscape. This issue is revealed in the origin of the European tradition where the fundamental criteria are provided for recognizing the cultural landscape within its form and content. In a broad sense, the term ‘cultural landscape’ is the palimpsest of the Earth as a derivational landscape created by the anthropological factor. In this case, a culture is a tool, and the landscape is a platform where, due to ethnical groups, nations, and humans, a unique cultural landscape is created.Throughout the evolution review, the focus in the terminology of scientific context is revealed in its specification where the interpretive methodology is involved. It is to indicate the terminology of the cultural landscape, where the synthetic characteristics were discovered. This implies the accurate holistic perception of form in the time continuum. In the analysis of this definition, which provides for an interdisciplinary approach, a comprehensive study has been conducted. Its place is in the academic field of relevant scientific discussion. The use of this term implies a possibility of a holistic approach in the study of certain phenomena, revealing the links between their components. It is emphasized that the cultural landscape achieves the results of the correction of native and historical landscapes and indicates people’s ethical welfare. Its interpretation meets the requirements of civilization about the conscious activity of the citizen and society in the progress of institutions of memory, the interaction of modern aesthetics with the forms of the past, and the formulation of development strategies for the future. Aspiration for this work is to introduce this definition in the Ukrainian scientific discourse. Manuscript received 25.08.2020