Aesthetic Sense Research Articles

Examine the significance of the facial makeup pattern used in the Sichuan Opera and its interpretation

Sichuan Opera is a traditional Chinese opera in Chongqing. It is the most well-known local opera in Sichuan and a cultural symbol. This is a cultural symbol passed down through generations of performers. This makeup reflects the personality traits and aesthetic sensibilities of the Sichuan people, as well as the traditional Chinese opera facial makeup art. As a result, Sichuan Opera distinguishes itself from other operas and has become a global symbol of China's strength and resilience. Sichuan Opera facial makeup has a distinct artistic shape, vibrant colours, and intricate decorative patterns. Through their facial makeup, the characters' invisible, abstract and complex inner worlds, thoughts and emotions are displayed incisively and vividly. The pattern design of Sichuan Opera facial makeup reflects the artist's perception of life and opera characters, and it has both artistic and practical value. This paper aims to uncover the artistic value of the Sichuan Opera facial mask's graphic expression through a detailed analysis of the facial makeup structure, lines, and colours. It is no longer limited to opera, but is now widely used as a modelling tool in modern design.

Encountering Beauty, Enacting Self‐Love: Toward an Ethic of Black Self‐Regard

ABSTRACTThis article focuses on the relationship between evaluations of beauty and the ethics of living well. Separating these ideas typically involves understating how racism and patriarchy shape wider cultural and aesthetic sensibilities. I counter this tendency by foregrounding the precarity of vulnerable black children and the importance of self‐love in their efforts to flourish. My strategy involves placing Toni Morrison in conversation with Alexander Nehamas and Harry Frankfurt, philosophers who have carefully engaged the topics of beauty and love. By situating aesthetic judgment within ongoing practices of social formation and political contestation, I reveal the importance of linking beauty with practices of self‐regard while also detailing my criticisms of thinkers who downplay their significance. The effect is to position Morrison as an instructive guide for scholars interested in aesthetics, ethics, and politics.

A Case Study of Creative and Convergence Approach Arts-oriented Liberal Arts Curriculum Management Based on the Need for University Education Innovation

In overcoming the structural limitations of university education in the market economy system, this study was required to improve liberal arts education through the design and operation of an art-oriented liberal arts curriculum with a creative and convergent approach. To this end, first, the basis and examples of the need to improve university liberal arts education were examined through prior research on how the liberal arts curriculum system should be implemented to change the paradigm of university education in the digital era. As a methodical alternative to this, a case of curriculum operation was presented as an integrated or comprehensive learning practice to cultivate students' future design and necessary competencies through the design of an art-oriented liberal arts curriculum with a creative and convergent approach. The case of creative and convergent approach ‘Arts and Culture Planning’ liberal arts curriculum design and curriculum operation provides improvement measures through the application of customized teaching methods to foster students' actual career choices and era-required creative and convergence skills amid the current population decline and changes in the social environment after COVID-19.</br>The results of this study suggest that art-oriented liberal arts courses can play a role in opening possibilities for students when it comes to their career development in a way linked to their major. Such courses can also cultivate their aesthetic sensibility, appreciation for culture, and planning capabilities demanded by the times.

Analyzing the Influence of College Aesthetic Education Teaching on College Students’ Innovation Ability and Artistic Literacy Based on Decision Tree Classification Model

University-level aesthetic education can help students develop their aesthetic sensibilities, enhance their artistic and creative skills, maximise their artistic and creative potential, and produce more and higher-quality works of art. Aesthetic ability is crucial for students’ quality because it helps them better appreciate the appeal of artistic creations, enhance their art education, and advance in their future growth and development. Therefore, it should place a high value on aesthetic education at the university and work at various levels to gradually cultivate students’ sentiments and enhance their aesthetic skills. A new “Big Data era” has emerged as a result of the expanding and widespread use of IT and the massive amount of data that needs to be stored and used. There are several widely used methods for classifying data, including decision trees, Bayesian classification, Bayesian networks, and neural networks. In order to more effectively develop students’ aesthetic ability in college aesthetic education teaching activities, the impact of college aesthetic education on college students’ creative ability and artistic literacy was examined. This was done on the basis of a decision tree classification model. According to the experimental results, the decision tree model significantly increased the accuracy of preference classes while maintaining the same level of overall accuracy. The F-value of the decision tree model on various data sets was improved by 0.318 and 0.221, respectively, in comparison to the SVM algorithm. The development of innovation ability in university aesthetic education is crucial for developing students’ personalities, bettering study habits, enhancing aesthetic literacy, and developing comprehensive ability. As a result, we analyze the impact of university aesthetic education on college students’ innovation ability and artistic literacy using the decision tree classification model.

AN INSIGHT INTO THE DIFFERENCES OF PSYCHOLOGICAL DISPARATE MOTIVATIONS BETWEEN HACKERS AND CRACKERS

This paper considers two different classes of computer hackers, with a special emphasis on disparate motivations of hacking. Hackers’ psychology widely discussed in the media is almost entirely unexplored by psychologists. In this study, hackers’ and crackers’ motivation is investigated, using the study of values scale. One hundred and fourteen participants completed our online research instrument. The study of values and demographic data were questioned. Participants were categorized as hackers and crackers through their responses on two items questioned in the demographic datasheet. Results indicated that hackers were found higher on the motivations of seeking knowledge, aesthetic sense, social interactions, and mysticism while crackers were found more motivated due to their economical and political interests. Findings suggested that hackers hack for the thrill of learning and gathering information to gain intelligence. Hackers hack to make society a better place to live. Compared to hackers, crackers are incapable of normal social interactions, and their hacking is based on the motivations of getting money and power.

The Football Stadium in Morocco and the Dynamic of Struggle Over the Truth System, the Ultras Against the State

The football stadium has increasingly transformed from being a site of sport and football-supporting teams into a site of expressing social frustration. This transformation has been noticeable in Morocco since 2010, where the stadiums have become a remarkable space to criticize the political performance and policies of certain political institutions. Consequently, several clashes occurred between the ultras and the state, which endlessly looking for strategies to stop the ultras from gaining social ground. On the other hand, the new actors (ultra) seem to create a new aesthetic sense with their depicted non-usual political signs. In this regard, we argue that the limited space for participation (stadiums) defines two conflicting dynamics over the system of truth. In the same vein, the aesthetic practices in the stadiums are combating the dominant systems of truth by generating a "new distribution of the sense" which the ultras strongly believe in. To make this epistemic claim, we based our analysis on the theoretical contributions of the French philosopher Jacques Ranciére, which were deeply discussed and analyzed in his book "The politics of aesthetics: the distribution of the sensible.

A Study on the Application of Appreciation Education in Teaching Mathematics

Appreciation education is an educational method that helps students to get better development by finding and encouraging their shining points. With the deepening reform of quality education, the society’s concept of education has changed. It not only requires the all-round development of students’ moral grounding, intellectual ability, physical vigor, aesthetic sensibility, and work skills, but also encourages the application of appreciation for students’ education and classroom management. How to understand and use appreciation education has become the focus. By digging deeper and analyzing the connotation, theoretical basis and role of appreciation education, this study summarizes the current situation, characteristics and citation of the application of appreciation education in order to enhance the effectiveness of mathematics teaching and provide guidelines for theoretical researchers and front-line practitioners.

Beauty and Uncertainty as Transformative Factors: A Free Energy Principle Account of Aesthetic Diagnosis and Intervention in Gestalt Psychotherapy.

Drawing from field theory, Gestalt therapy conceives psychological suffering and psychotherapy as two intentional field phenomena, where unprocessed and chaotic experiences seek the opportunity to emerge and be assimilated through the contact between the patient and the therapist (i.e., the intentionality of contacting). This therapeutic approach is based on the therapist’s aesthetic experience of his/her embodied presence in the flow of the healing process because (1) the perception of beauty can provide the therapist with feedback on the assimilation of unprocessed experiences; (2) the therapist’s attentional focus on intrinsic aesthetic diagnostic criteria can facilitate the modification of rigid psychopathological fields by supporting the openness to novel experiences. The aim of the present manuscript is to review recent evidence from psychophysiology, neuroaesthetic research, and neurocomputational models of cognition, such as the free energy principle (FEP), which support the notion of the therapeutic potential of aesthetic sensibility in Gestalt psychotherapy. Drawing from neuroimaging data, psychophysiology and recent neurocognitive accounts of aesthetic perception, we propose a novel interpretation of the sense of beauty as a self-generated reward motivating us to assimilate an ever-greater spectrum of sensory and affective states in our predictive representation of ourselves and the world and supporting the intentionality of contact. Expecting beauty, in the psychotherapeutic encounter, can help therapists tolerate uncertainty avoiding impulsive behaviours and to stay tuned to the process of change.

POLITICAL AESTHETICS OF URBAN ENCOUNTERS


 Aesthetics and politics are intertwined in our everyday encounters and even nonverbal encounters are negotiations of meanings, values, and means of representation. The aesthetic political negotiation of urban encounters is politics beyond consensus and dissensus: an open-ended process of altered perception. Perception of difference, a feeling of safety, and a form of distanciation are required for the political potential to be actualized. This article begins by discussing urban encounters and the notion of politics. Politics takes place in the public sphere and is actualized in political negotiations, which in ephemeral encounters take the form of pondering, or hermeneutic understanding and judgment. The second section discusses the prerequisites: safety, distance, and difference. Two points are made. Firstly, the political encounter contains a practical-ethical demand for effort in our everyday life. Secondly, training aesthetic sensibility assists in this pursuit. This article is an example of an approach of inquiry that can be called political aesthetics.

The Gateway to the Pacific: Japanese Americans and the Remaking of San Francisco

The Gateway to the Pacific: Japanese Americans and the Remaking of San Francisco

Conic Diagrams

Textbooks may say that the so-called conic sections can be obtained from cones, but this is rarely proved. However, diagrams of the proof require no intuition for solids and can be read as flat. We construct the diagrams with ruler and compass and derive from them basic properties of conic sections as established by Apollonius of Perga, though again in a way that does not require a third dimension. The construction inevitably involves choices that give play to one’s aesthetic sense.

A Study on Art Make-Up Designs Applying Formative Images of Marc Chagall -Focusing on Practical Training Cases-

This Study is about art make-up designs applying formative Images of Marc Chagall focusing on practical training cases. The art makeup designs express aesthetical and emotional aspects of human mind. And the art make-up designs are in need of drawing skills and aesthetic sense. All the art make-up works were done by distortion, modifications and exagerations. The unique colors and the shapes of Marc Chagall’s art works were expresses in body torso through brush techniques. From this practical training cases, I expect that Marc Chagall’s painting skills could be applicable to the art make-up works. Finally, Six art make-up designs were created by six college students in Daejeon. The making process of art make-up designs were recorded every weeks by the students. Art make-up designs production method works with colors and geometric patterns inspired by flat art techniques hand-painting techniques. The results of this practical training cases contained different art make-up techniques and colors of Chagall's work. Formative characteristecs of Marc Chagall were applied to an expression method. New six art make-up designs were developed and the ides, types and expression method of art make-up were examined. In the future, we expect unique and beautiful high quality of art-make up designs.

Image and Responsiveness: Melih Cevdet Anday’s Poetry

This article studies the evolution of Melih Cevdet Anday’s poetic style with a particular emphasis on his use of imagery. Traditional accounts of Anday’s poetry have tended to call attention to the beginning of his poetic career as part of the Garip (Birinci Yeni) movement and eventual alignment with the aesthetic sensibility of the İkinci Yeni. Recently, critics have complicated this picture by demonstrating continuities in Anday’s early and late poetic styles, as well as calling into question the categorization of Anday with the İkinci Yeni. This article builds on this recent criticism by demonstrating continuities and changes in Anday’s descriptive practices across the different stages of his poetic career. A thorough examination of Anday’s imagery requires assessment of the careful distance he maintained from the other imageoriented practices in the modern era. To that end, Anday’s linguistic and philosophical approach to imagery are analyzed, as well as the tenor of the relationship Anday establishes between language and objective reality. Finally, the centrality of Wallace Stevens’s influence on Anday’s poetic style needs to be emphasized, since both poets challenge dominant image-oriented trends in modern poetry. Thus, Stevens’s influence on Anday proves instructive for an analysis of the poet’s changing style within the modernist context. The article builds on existing scholarly comparisons of the two poets by analyzing Anday’s 1965 translations of Stevens. Finally, it offers a detailed analysis of the formal, linguistic, and descriptive aspects of Anday’s poem “İstasyon" to demonstrate the nature of the poet’s philosophical negotiations between language and reality.

Hold Me: Togetherness as an Aesthetic Experience

AbstractThrough a conversational form, we weave together our experiences of making curious and conscious encounters with a work of art in a gallery, while grounding our nonlinear understandings of our shared aesthetic experience on the works of Maxine Greene, Peter de Bolla and Arnold Berleant. Holding, as our conceptual framework, seeds a kind of sensibility in us towards holding space to be dynamically in relation to each other and the work of art. The embodied and textual ways of conversing in this paper become a form of invitation to critically and creatively engage with the diverse meanings of aesthetic experience; an invitation to pause with and contemplate about how our embodied togetherness in the gallery led us to unexplored potentialities for seeking alternative ways of encountering the work aesthetically and internalising the aesthetic sensibilities and qualities that we experienced together in the gallery.

The Role of Creative Placemaking

The Role of Creative Placemaking

When the local encounters the global: aesthetic conflicts in the Chinese traditional music world

Through a case study of the Chinese traditional music world, this study explores how artists in different specializations within an art world working on an indigenous art form make sense of divergent aesthetics. By adopting both Becker’s (Art worlds: 25th anniversary edition, updated and expanded, University of California Press, Berkeley, 2008) view of art worlds as substantially existing communities shared by artistic individuals and Bourdieu’s (Poetics 12(4–5):311–356, 1983) emphasis on artistic divergences stemming from broader social structures, I build a theoretical framework regarding how implicit aesthetic conflicts coexist with explicit collaborations in an art world. Under the impact of cultural globalization, the Chinese traditional music world’s conventions have experienced a historical revolution. Since then, music performers enact frames to defend the aesthetics that they consider “traditional” that emphasize stability in terms of the musical content but that have highly idiosyncratic styles of performance. However, other types of musicians—namely those involved in composing, conducting, theoretical research—are more likely to enact frames defending aesthetics that express a willingness to “Westernize” based on their understandings and emphasize on innovation in terms of musical content and systematic and routinized styles of performance. Their framings shape their different reactions to their art world’s conventions. By analyzing this process, I show how local–global dynamics constitute aesthetic conflicts in an art world that is often considered highly local and traditional.

‘Theatre, Revolution and Love’: Moral–aesthetic education in Asja Lācis' proletarian children's theatre

Abstract This article explores the educational philosophy of Asja Lācis' proletarian children's theatre. Taking her post–First World War encounter with Russian street children as a starting point for my inquiry, I argue that Lācis regards the theatre as a rehearsal space for life. Here, children are to be absorbed into the craft of theatre, with the aim of honing their moral and aesthetic sense as a (self-guided) reorientation of their attention and desire towards (the possibilities of) the Good. Demarcating a porous educational theatre space that provides practical artistic opportunities for this education of attention, Lācis hopes to structure children's aesthetic, social, material and sensory engagement with their surroundings, whilst also ensuring their individual freedom as moral agents. Respecting children's ways of engaging in the world, Lācis posits theatrical improvisation as the key activity. Here, children create their own stories and metaphors about how life might be lived, thereby practising attention to, ‘testing’ and reflecting upon, the (possible) Good Life. The educator's pedagogical gesture is hereby that of observation: She pays attention to the social–artistic tensions that occur, as potential heralds of the child's unique way of embodying (and conceptualising) the Good Life. Theatre is here understood as a (negative) dialectical site of education, one that acknowledges the dark and uncertain relation between the child's commitment to the Good, and its (uncertain) coming into being in daily life. The student–teacher relationship can indeed become a pedagogical conduit for this search for (and embodiment of) wisdom, but cannot provide a blueprint as to how the journey might be conducted, or predict how the Good will manifest. It is in the ‘loving’ non-action of the educator, who honours the unpredictability of the arrival of virtue, and the unexpected form that it might take, that children's theatre is considered ‘truly revolutionary’: becoming a witness to Eros's (strange) presence in the child's unique gesture as a result.

Avatusse astudes. Jaan Kaplinski ja Ilmar Laabani loome kokkupuuted ja mitmekesisus. / Approaching Openness: Convergence and Diversity in the Creative Universes of the Poets Jaan Kaplinski and Ilmar Laaban.

The special issue of Methis on literature and openness brings together the oeuvres of two remarkable Estonian authors with an international scope: Jaan Kaplinski and Ilmar Laaban. They were poets, translators, essayists, original thinkers and public intellectuals whose works have travelled far beyond the boundaries of Estonian literature. Jaan Kaplinski (1941–2021) published more than 60 books in Estonia and equally many abroad, as his work has been translated into more than 30 languages. Ilmar Laaban (1921–2000) fled Estonia for an exile in Sweden to escape Soviet occupation in the spring of 1943. He has left his mark on Estonian literary history with his surrealist collection of poetry Rroosi Selaviste (1957) and practising the genre of text sound poetry in Estonian, Swedish and French.
 
 Jaan Kaplinski’s name was put forward as a possible candidate for the Nobel prize in literature on several occasions. Laaban, who was well acquainted with contemporary European literature and its authors, translated into Swedish poems by the German-Jewish poet Nelly Sachs who received the Nobel prize in 1966, while Kaplinski rendered into Estonian poetry by Tomas Tranströmer, the Swedish recipient of the prize in 2011. Kaplinski also pointed out that it was the anthology 19 moderna franska poeter (1948), co-edited by Laaban and Erik Lindegren, that had given Tranströmer an impetus towards becoming a poet. In addition, similarities of outlook have also been observed between Tranströmer and Kaplinski himself. For instance, Ivar Ivask, a long-time editor-in-chief of the Oklahoma-based journal World Literature Today, underscored the significance of openness in Tranströmer’s poetry, while his dedicatory poems to Kaplinski and Laaban connect the authors with such notions as scope, infinity, openness, eternity and freedom. Openness appears as the core concept in this cluster of notions related to a lack of boundaries and contractedness in time, space and society that becomes manifest in the oeuvres of both Kaplinski and Laaban. Their works are also characterised by an intense engagement with the semantic possibilities afforded by different languages as well as employing linguistic regularities towards the end of formal innovation.
 
 20th-century intellectual history, that provided the context for the creative growth of both authors, involved remarkable cases of addressing of the openness concept, notably by figures such as the philosopher Karl Popper and the semiotician Umberto Eco. Popper famously launched his concept of open society as one in which an individual has to face personal decisions, which opposes it to a magical or tribal totalitarian society. In the artistic realm, Eco discussed the open work that involves the audience’s collaboration with the author in detecting meaningful arrangements in the work, making artistic response an interactive process. Such plurality and multiplicity accompanies formal innovation that correlates with a modern, avant-garde feeling for life. The 20th century also gave rise to personality psychology that considers openness to be one of the key personality dimensions, the so-called Big Five. In psychology, openness involves receptivity to new experiences, creativity, intellectual curiosity, and an advanced aesthetic sense. Recent studies have shown that particularly the presence of the latter two components tends to be in correlation with an environmentally aware outlook.
 
 Kaplinski and Laaban belonged to different generations and spent their formative years in markedly different conditions yet were united in the attention they paid to language as a system of signs and to studying its possibilities in their creative work, which in Kaplinski’s case was framed by an explicitly ecological take on life. The present special issue on literature and openness comprises six studies concentrating on facets of Jaan Kaplinski’s and Ilmar Laaban’s creative universes by literary scholars from both sides of the Atlantic. In addition, the issue includes two articles that deal with representing trauma in literature and theoretical issues in digital humanities. The issue concludes with the section of theory mediation presenting a translation of Ilmar Laaban’s Swedish-language article “Musiken, samhället, revolutionen” (“Music, society, revolution”, 1969) that is accompanied by a commentary by Hasso Krull.

A Literary Review on Cosmetics from Ayurveda Perspective w.s.r. to Beauty

From the ancient times to present era, through all cultures and through the span of centuries, mankind has been pre-occupied with youth and physical appearance. The increased demand of beautification is evident by number of beauty contests, beauty centers, various cosmetic items like creams, lotions, powder etc. now available in the society. Scope of Ayurveda in the field of cosmetology has been established due to its unique concept about Beauty and effective, cheaper and long lasting Beauty therapy without any adverse effect. Healthy Personality is the basis of Beauty and this could be achieved through Dhatusamyata i.e. the state of balanced Dosha, Dhatu, Mala, Agni, and many more. The factors which determine the beauty are Prakrit, Sara, Samhanana in generalized way, Twak, Varna, Prabha, Chhaya from the general aspect, Pramana of various Angavayavas determines the organic Beauty, Dirghayu Lakshanas described in texts give the aesthetic sense and fundamental base of Personality and Beauty. The factors contributing towards beauty Dosha, Dhatu in their normal functioning status contribute to maintain the Beauty, ‘Agni’ in equilibrium state, by digestion and metabolism produces Bala, Varna, Ojas, Dhi, Dhriti, Smriti etc., Matrijadi Shad Bhavas and Panchamahabhautic combinations contribute in creating inherent Beauty, Age, Sex, Religion, Race and anthropology also have considerable impact upon the Beauty. The factors enhancing Beauty are adjuvants like – Dinacharya, Ritucharya, Achara Rasayana, Various methods in the form of internal medicines like Mahakashaya, Surgical treatment like Plastic surgery, Vaikritapaham, Diet as Hitatam, Matravat, Sadapathya dravyas, Medicines like Rasayana, Ghrita, Taila etc are useful. Hence, Safe solutions, no adverse effects, use of natural herbs, long lasting impacts etc. have made Ayurveda as choicest cosmetology.

QUEER (A)EDI-(M)OLOGY: ON CALLIMACHUS’ AETIA PROLOGUE

In the prologue of Callimachus’ Aetia, every single word opens up a wide, virtually boundless spectrum of suggestions, intimations, and evocations. In this paper, I heed Callimachus’ formal intricacies, joining the decoding game that has vexed and entertained ancient and modern readers by homing in on the para-etymological potentialities of the verb ἀείδω (‘I sing’). I wish to explore the possibility that, in this architext of Callimachean programmatics, ‘singing’ may amount to a sort of aesthetic satisfaction in self-deprivation, with formal elements mobilizing a spiral of eating and non-eating. This exploration offers the opportunity to think about Callimachean ‘singing’ as a challenge to conventional notions of human subjectivity and to the very idea of poetic immortality, expressing something like the wish of a poète maudit not for monumental permanence, but for a looping insistence. We may then see Callimachean aesthetics as less rarefied, aristocratic, and decorous than it is usually made out to be. In the recalcitrance, the unruly looping of poetic form, we may glimpse an aesthetic sense that is more subversive, shaped by temporal stuckness, a rejection of fulfillment, and a hunger that rejects the lack that is satisfaction. I first locate the possibility of an alternative para-etymologizing of ἀείδω within the prologue's discourse of corporeality, in its precarious opposition of thinness and fatness. I then search the epigram dedicated to Heraclitus and the Hymn to Demeter for traces of the restless aesthetics inherent in this para-etymologizing, which I will ultimately connect with queer temporality. The Callimachean hymn invites us to see the poetic persona of the Aetia's proem in a new light—as a counterpart of the starving binge eater Erysichthon, Demeter's enemy, who is barely distinguishable from the goddess herself.