Aesthetic Subject Research Articles

A Critical Exploration of Cultural and Aesthetic Representation of Shandong Dialect Translation in Red Sorghum

The translation of the Shandong dialect, specifically in the novel Red Sorghum authored by Mo Yan and translated by Howard Goldblatt, posed significant challenges to both translators and readers due to its local Chinese cultural richness. Previous researches mainly focused on its traditional translation strategies including foreignization and domestication. Exploration of the aesthetic value of dialect and its cultural representations in modern literature is a relatively new area of research yet to be developed. This paper revealed that translation operates in a complicated three-dimensional structure of translator (aesthetic subject), translated text (aesthetic object), and culture (social environment). In the process of translating dialect, the aesthetic experience and the Aesthetic Regulation Devices (ARD) adopted by the translator, as well as the beauty of characterization and symbolization come into play. Therefore, aesthetic values and cultural uniqueness are represented not only on the linguistic, but also on the spiritual level by contrasting the purity of the villagers in rural China and the brutality of the social turbulence that surrounds them. The paper demonstrated that dialect translation involves a multifaceted and dynamic equivalence between source and target language. The research findings indicated that translation techniques of domestication and foreignization are utilized significantly more often (82%) than the strategy of ARD (18%) during the translation process. This imbalance in strategy usage may result in a deficient representation of aesthetic and cultural values. The significance of this study lies mainly in its intention to reconstruct a more effective theoretical paradigm for dialectal translation procedures.

Investigating the Relationship between Balanced Composition and Aesthetic Judgment through Computational Aesthetics and Neuroaesthetic Approaches

Background: Symmetry is a special kind of balance. This study aims to systematically explore and apply the role of balanced composition in aesthetic judgments by focusing on balanced composition features and employing research methods from computational aesthetics and neuroaesthetics. Methods: First, experimental materials were classified by quantifying balanced composition using several indices, including symmetry, center of gravity, and negative space. An EEG experiment was conducted with 18 participants, who were asked to respond dichotomously to the same stimuli under different judgment tasks (balance and aesthetics), with both behavioral and EEG data being recorded and analyzed. Subsequently, participants’ data were combined with balanced composition indices to construct and analyze various SVM classification models. Results: Participants largely used balanced composition as a criterion for aesthetic evaluation. ERP data indicated that from 300–500 ms post-stimulus, brain activation was more significant in the aesthetic task, with unbeautiful and imbalanced stimuli eliciting larger frontal negative waves and occipital positive waves. From 600–1000 ms, beautiful stimuli caused smaller negative waves in the PZ channel. The results of the SVM models indicated that the model incorporating aesthetic subject data (ACC = 0.9989) outperforms the model using only balanced composition parameters of the aesthetic object (ACC = 0.7074). Conclusions: Balanced composition is a crucial indicator in aesthetics, with similar early processing stages in both balance and aesthetic judgments. Multi-modal data models validated the advantage of including human factors in aesthetic evaluation systems. This interdisciplinary approach not only enhances our understanding of the cognitive and emotional processes involved in aesthetic judgments but also enables the construction of more reasonable machine learning models to simulate and predict human aesthetic preferences.

FUZULIY SHE’RIYATIDAGI BA’ZI OBRAZLARNING ASKETSIZM NUQTAYI NAZARIDAN FALSAFIY TAHLILI

In this philosophical analysis attempt, the nature of the relationship (the act of thinking) between the poems of the wise poet Fuzulî and his mental world will be tried to be explained by the method of philosophical analysis. Our main purpose in doing this is to explain how the aesthetic bond (taking into account internal and external elements) is established between Fuzulî's poetry, an aesthetic object, and the aesthetic subject (Fuzulî) who created it. If it is possible to achieve this, it will be shown that the knowledge of the aesthetic subject (as aesthetic knowledge) will to some extent be free of subjectivity and have an informational value equivalent to rational knowledge. Fuzulî lived between approximately 1480-1556 and is a well-known figure as a man of letters and poet in the Turkish and Islamic world with his poems. He is one of the groundbreaking artists of Classical Islamic and Turkish Literature, with his knowledge of Arabic and Persian, which he knows well enough to write poetry, as well as his native language, Turkish. According to Fuzûlî, the art of poetry creates a privileged position that offers people the opportunity to rise above the total existence. Although Fuzûlî clearly demonstrates his superiority in the art of poetry in his ghazals, he deserves his fame as a poet with his masnavi named Leyla vü Mecnûn.

Exploring the Influence of Object, Subject, and Context on Aesthetic Evaluation through Computational Aesthetics and Neuroaesthetics

Background: In recent years, computational aesthetics and neuroaesthetics have provided novel insights into understanding beauty. Building upon the findings of traditional aesthetics, this study aims to combine these two research methods to explore an interdisciplinary approach to studying aesthetics. Method: Abstract artworks were used as experimental materials. Based on traditional aesthetics and in combination, features of composition, tone, and texture were selected. Computational aesthetic methods were then employed to correspond these features to physical quantities: blank space, gray histogram, Gray Level Co-occurrence Matrix (GLCM), Local Binary Pattern (LBP), and Gabor filters. An electroencephalogram (EEG) experiment was carried out, in which participants conducted aesthetic evaluations of the experimental materials in different contexts (genuine, fake), and their EEG data were recorded to analyze the impact of various feature classes in the aesthetic evaluation process. Finally, a Support Vector Machines (SVMs) was utilized to model the feature data, Event-Related Potentials (ERPs), context data, and subjective aesthetic evaluation data. Result: Behavioral data revealed higher aesthetic ratings in the genuine context. ERP data indicated that genuine contexts elicited more negative deflections in the prefrontal lobes between 200 and 1000 ms. Class II compositions demonstrated more positive deflections in the parietal lobes at 50–120 ms, while Class I tones evoked more positive amplitudes in the occipital lobes at 200–300 ms. Gabor features showed significant variations in the parieto-occipital area at an early stage. Class II LBP elicited a prefrontal negative wave with a larger amplitude. The results of the SVM models indicated that the model incorporating aesthetic subject and context data (ACC = 0.76866) outperforms the model using only parameters of the aesthetic object (ACC = 0.68657). Conclusion: A positive context tends to provide participants with a more positive aesthetic experience, but abstract artworks may not respond to this positivity. During aesthetic evaluation, the ERP data activated by different features show a trend from global to local. The SVM model based on multimodal data fusion effectively predicts aesthetics, further demonstrating the feasibility of the combined research approach of computational aesthetics and neuroaesthetics.

Analysis of visual communication elements in variable font design from the perspective of digital technology

With the maturity of digital technology, the effectiveness of information transmission has received extensive attention. Variable font design is regarded as an extension of graphic design in digital media art, and variable font design is studied from the perspective of information communication design. From the perspective of digital technology, based on the research theory of variable information communication design, combined with the specific methods of font design, the perception, cognitive methods, and aesthetic laws of aesthetic subject vision and psychology in the field of font variable design are discussed. Provide relevant theoretical support for information communication design activities with variable fonts. Based on artificial intelligence technology, a new interactive art expression method is proposed. By analyzing the main expression scenarios of interactive art, namely user information communication scenarios, interactive art push scenarios, interactive art promotion scenarios and personal service scenarios, it provides a scenario application basis for interactive expression, calculate the space complexity, space complexity and resource complexity, according to the complexity calculation results, carry out interaction design from three aspects of visual elements, multimedia elements, and human-computer interaction elements, integrate the topology structure after the interaction is realized, and in the network topology structure. The proposed model consists mainly of visual design, basic design elements, basic visual design, complete design and solution generation. It realizes the expression of interactive art of multimedia elements in display and control. The experimental results show that the interactive element extraction speed of the visual communication expression method based on artificial intelligence technology is increased by 30%, and the flexibility is stronger.

ВІЙНА ЯК ПЕРЕЖИВАННЯ: УКРАЇНСЬКЕ МИСТЕЦТВО ТА ЕСТЕТИЧНИЙ ДОСВІД В ЧАСИ РОСІЙСЬКО-УКРАЇНСЬКОЇ ВІЙНИ

The creativity of Ukrainian artists since the beginning of the full-scale Russian-Ukrainian war is primarily directed towards the artistic representation of the initial reaction to events that have become a tremendous challenge and shock to society. Their works serve an important purpose in comprehending the experienced and familiar experience for all Ukrainians. Additionally, they contribute to the documentation of this experience in an artistic form. This article will focus on the analysis of the aesthetic subject and the role of aesthetic values in the creativity of Ukrainian artists during the times of the Russian-Ukrainian war. It will also contemplate the role of Ukrainian art in shaping contemporary Ukrainian identity. The Russian-Ukrainian war continues to the present day. Ukrainian art is currently going through challenging times. However, many Ukrainian artists continue to pursue their craft, creating paintings, poems, music, scripts for theatrical performances, or films. Their works serve as artistic representations of the initial reaction to the war events, which have posed a tremendous challenge and shock to society. Consequently, they play a crucial role in reflecting on the experienced and shared Ukrainian experience, thus primarily serving a therapeutic purpose. Additionally, they contribute to the documentation and preservation of the war experience. This article focuses on the analysis of the aesthetic subject and the role of aesthetic values in the creativity of Ukrainian artists during the Russian-Ukrainian war. It will also highlight the relationship between aesthetic (artistic) perspectives and the socio-political discourse, which, in the conditions of war, exhibit an even closer connection than usual. Specifically, the role of Ukrainian art in shaping contemporary Ukrainian identity will be contemplated.

The Application of Painting Language in Literary Translation from the Perspective of Translation Aesthetics: A Case Study of Wiley's English Translation

Points, lines and surfaces are the expression forms of painting, while words, phrases and sentences are the expression forms of language. The mutual reference and combination of painting art and language art enriches the expression of literary translation, and makes literary translation, like painting, give full play to its unique aesthetic value and artistic emotion. Based on Liu Miqing's translation aesthetics theory, this paper analyzes the aesthetic object and aesthetic subject of translation, combines the viewpoint of painting language with translation, and discusses the use of painting language in Chinese poetry translated by Arthur Waley from two aspects: the use of lines and the construction of geometric figures, and the reproduction of painting language in poetry translation.

Kant's "Aesthetic Idea": Towards an Aesthetics of Non-Attention

In Critique of Judgment, Kant introduces a foundational theme in modern aesthetics by identifying the judgment of taste as a particular mode of attention. In distinction to the mode of attention in mundane experience that works by determining how an intuition can be subsumed under a concept, aesthetic attention celebrates the pleasure associated with the “unison in the play of the powers of the mind” confronted with “the manifold in a thing.” Aesthetic attention, in other words, is an aesthetic subject’s attention to itself and to the pleasures derived from flexing the power of imagination. In this respect, Kant’s aesthetics reaffirms its cartesian core, the primordial positing of the thinking and reflective I as the necessary preposition for experience. This strict distribution of attention toward the secure epistemological architecture of object and subject seems to vacillate, however, in Kant’s brief discussion of artworks as purveyors of “aesthetic ideas.” This article discusses the de-limitation of attention instigated by the aesthetic idea. The aesthetic idea is associated with the artwork as an object, but it immediately transgresses the limits of the object through an array of analogical instantiations of “spirit.” On the other hand, aesthetic ideas are subjectively appreciated, but this appreciation similarly transgresses subjective cognition in an inexhaustible ramification of associative thinking. Developing these characteristics of the “aesthetic idea,” the article proposes to excavate from Critique of Judgment a mode of aesthetic sensibility that eventually challenges the Cartesian architecture of subject and object and thus reposits aesthetics in a field of relational interdependency.

Epilogue: the ethico-politics of attention

ABSTRACT This epilogue moves from an autoethnographic reflection about interior design magazines to an interrogation of the workings of predatory capitalism in contemporary times of crisis. The text asks why in the context of ongoing global crises (including pandemics, environmental disaster, and extreme poverty) ‘our attention still fails to focus except very episodically, on the suffering of distant others’. Through mobilizing the aesthetic subject, and drawing on fictional works, the text argues that in order to ‘acknowledge those who are most vulnerable’ it is necessary to ‘come to intimate terms with global crises’, emphasizing the importance of the interventions in this special issue, as the subject of crisis needs first to question the very epistemology of being in crisis.

Diversification and division – ‘academic drift’ in Swedish teacher education in the aesthetic school subjects in a new higher education structure

ABSTRACT This study deals with the academisation or “academic drift” of teacher education in the aesthetic subjects in Sweden from the 1970s to the millennium shift. After long preparations that already began after the Second World War, TE, along with other vocational education, was integrated into the Swedish university system as part of the expansion of the higher education sector in 1977 (H77). The study’s aims were to describe and analyse how the conditions for teacher education in practical/aesthetic subjects changed in the new and diversified higher education sector. For the study, we drew on Official Reports of the Swedish Government (SOU), a type of authoritative policy text intended to influence an activity, but which govern less formally than “governing policy texts” like bills that are legislative in nature. Our study reveals that a division was made between the old, prestigious and discipline-based universities and the newcomers in terms of vocationally-based education. The entire teacher education ended up on the periphery of the new higher education sector. We establish that the absence of own academic structures and thereby power within the higher education structures has harmed the independent development of teacher education in the aesthetic subjects as part of the enlarged higher education sector in the process of them moving from school subjects to university-like disciplines.

Fisting

Beyond parody, gay men’s identification with heteromasculinity, in its dead seriousness, appears to Bersani as being almost mad. In spatial terms, madness marks a proximity to—and not a distance between—powerfully normative images of gender. In his reading of the dynamics of madness, Bersani embraces this instability of identification that may ultimately cause the subject to collapse. Gay sex practices provide the occasion for this scene of vertigo, which, in Bersani’s work, opens a space that exists after the fall of the ego and that is often further explored through a turn to art: following the death of the psychoanalytic subject, the aesthetic subject appears. This essay, however, returns to the scene of the sexual. It traces the path of sexual practices discussed by Bersani, from gay anal intercourse to rimming, finally introducing fisting as a sexual practice that deserves to be read in Bersanian terms, insofar as it produces a form of “new masculinity.”

Student conceptions of motivation to study revealed through phenomenography: Differences and similarities among primary school students

This study examined a group of primary Swedish students' conceptions of their own motivation for learning. Altogether, 68 students in Grades 3, 6, and 8 participated in the study, in which similarities and differences among students in the three grades were considered. Theoretical and methodological aspects were guided by the phenomenographical approach. For most students, positive and negative influences on motivation emerged in seven distinct categories: feelings, teachers, teaching, subjects, learning environment, classmates, and well-being. The apparent importance of good teachers, structured and varied lessons, practical aesthetic subjects and more group-rooms was similar across the three different grades. Differences that emerged were students' reduced joy in learning, decreased interest in mathematics, higher levels of stress and pressure, more worry and anxiety, higher degree of preparation for the future, and a greater need for individualisation for the older students. The study's results confirm previous research but also provide new knowledge about variations across the grades and more specific factors that promote or inhibit students' motivation to study.

Educational drama, traditional Chinese culture and current government policies

In this article, we present and discuss how traditional Chinese culture is connected to moral education (deyu), current governmental strategies in education and educational drama as an approach to moral education. We argue that the mixture in deyu of moral and ideological education in today’s China is nothing new, and totally consistent with China’s pre-revolutionary periods. Although current government strategies in education emphasize aesthetic subjects such as drama/theatre (Xiju), and include methods and conventions in educational drama, it is hard to perceive whether the policy is open to an explorative learning process, characteristic of educational drama, or rather implies a more classical approach, based on textbooks and memorization, or even pure learning techniques. Nevertheless, processual processes to drama seem to harmonize with ambitions in China’s current school reforms and to be relevant to moral education within a social framework.

Research on the Essentials and Skills of Taekwondo Technical Training

Research on the essentials and skills of taekwondo technical training is the focus of this paper. Through the aesthetic stage of Taekwondo's aesthetics, it summarizes the aesthetic intuition, aesthetic comprehension and aesthetic transcendence of the aesthetic subject in the aesthetic activities, and what kind of aesthetic function the subject should have in the aesthetic transcendence link. Taekwondo special athletes have relatively stable skills, basic specifications, and have the certain actual combat ability and competition experience. In the special training, it is necessary to combine the characteristics of the project and the specific conditions of the athletes. This paper gives the novel ideas for the efficient training.

Teaching vocational pupils in their pyjamas: a socio-material perspective on challenges in the age of Covid-19

PurposeDue to the global outbreak of Covid-19, Swedish teachers in upper secondary education were forced to conduct emergency remote teaching. As of today, there is a stream of research that addresses digitalization in education in light of the pandemic. Previous studies show that the challenges with the sudden intensification of digitalization have been particularly challenging in practical and aesthetic subjects. The research question is as follows: What challenges did vocational teachers experience during the emergency remote teaching caused by Covid-19 and what emergent tactics can be identified in vocational teaching practice?Design/methodology/approachThe empirical data consists of (1) interviews with two vocational teachers and, (2) workshops with 25 teacher students from different vocational programmes that addressed vocational teaching during the Covid-19 crisis.FindingsEmergency remote teaching meant challenges due to the changed socio-material environment that cannot easily be transformed to a vocational teaching setting. The challenges were related to authentic situations and material, problem solving and dexterity. Tactics that emerged as a response to the challenges were mainly connected to attempts to mimic vocational practices.Originality/valueContributions include explaining specific challenges and possibilities in developing vocational competence when teaching is digitalised. Furthermore, it increases the understanding of the relationship between theory and practice in vocational education. By adopting a socio-material perspective on vocational competence, the authors enhance the understanding of the importance of a shared socio-material environment.

Cities as aesthetic subjects

ABSTRACT This article explores the theory of the subject and of subjectivity in relation to recent debates on the emergence of cities as spaces that are transforming global politics and international relations. Engaging with the contributions to the theory of the subject in the work of Michael Shapiro, Gayatri Spivak, and Jodi Dean, the argument develops an account of the city as an aesthetic subject. In this account, subjectivity is not a property of an individual human but is instead a force and resource emerging through the subject’s engagement in the aporetic boundary practices that define and delimit the subject’s possibilities. This understanding of subjectivity is then developed in relation to the material metaphors of urban fabric as explored by China Miéville in his novel, The City & The City. The article concludes by revisiting the idea that cities have emerged as crucial spaces or actors in response to diverse global crises, arguing that accounts of cities that reproduce the model of the subject as an individual with defined properties–in terms of the qualities attributed to the city as it seeks to become a node in globalised networks–also fail to account for the politics of the city as an aesthetic subject. This politics is a ‘wild politics’, unbounded by the borders that seek to contain and separate fiction and fabrication, concept and material.

Approaching the concept of research in the 5-year teacher education programme in design, art, and crafts

In 1976, a master’s programme in art and design education was established at two pedagogical institutions in Norway. The programme can be seen as the first step in developing field-specific research education for professional teachers in the field. The programme was implemented without parallels at the universities and thus lacked an established research tradition on which to rely. The master’s programme has retrospectively been described as transdisciplinary in nature. This mode of knowledge production encourages disciplinary crossing and the study of reality from multiple angles. By 2023, at the latest, a 5-year teacher education programme for practical and aesthetic subjects, including design, art, and crafts, will be implemented in Norway. In this article, the concept of research, as it appears in the Norwegian national curriculum regulations for the upcoming programme, is analysed through a summative content analysis. The analysis addresses the questions of what characterises the concept of research in the national curriculum regulations and how the concept of research corresponds to the legacy of the original master’s programme established in 1976. Among the findings is that both profession-oriented research and artistic development work are acknowledged as research in the curriculum regulations, which agrees with both original ideas of the master’s in art and design education and transdisciplinary knowledge production. Teamwork as part of research appears to be an area for further development. This analysis suggests drawing on transdisciplinarity as well as experiences from ‘educational practice’ in teacher education in the further development of the concept of research.

Documenting disappearance: self-forgery and dissimulation as a means of mobility

ABSTRACT How have migrants and other displaced and internally excluded persons used dissimulation and self-forgery in service of mobility? How can we read an aesthetics of disappearance as more than just an aesthetical choice but as a source of activism? Following Jacques Rancière [The politics of aesthetics (G. Rockhill. Trans.). Continuum. (Original Work Published in, 2000)], I understand that such aesthetic acts are capable of creating ‘new modes of sense perception’ and, in doing so, produce alternative forms of political subjectivity. In this essay, I compare migrant self-representations and creative tactics of camouflage, mimicry, and dissembling with public practices, while looking at the extraterritorial space of the makeshift camp as a paradigm for preserving invisibility and anonymity. And yet, it is not just that aesthetic acts have the potential to produce novel forms of political subjectivity, as Rancière understood, but that, in order for the latter to be true, the equation needs to be reversed: political subjects must first be recognized as aesthetic subjects. As I place the multimedia work of Cold War East German artist Cornelia Schleime in conversation with the contemporary glitch art – drawings, paintings, video – of Kon Trubkovich, who was born in Moscow and left, at age eleven, following the Chernobyl disaster, I argue that to reorient the terms of visibility, it becomes necessary for subject-producers to stage the gaze that would otherwise objectify them.

Analysis Model of the Relationship between Public Spatial Forms in Traditional Villages and Scenic Beauty Preference Based on LiDAR Point Cloud Data

Traditional villages are historically, culturally, scientifically and aesthetically valuable, and a beautiful landscape is the primary embodiment of a traditional village environment. Urbanization and modernization have had a great impact on village landscapes. As an important aspect of traditional village landscapes, creating beautiful public spaces is an effective way to attract tourists and improve the well-being of residents. Landscape aesthetic activities are the result of the interaction between landscape objects and aesthetic subjects. Research on the relationship between the form of traditional village public spaces and subjective aesthetic preferences has long been neglected. This research examined 31 public spaces in traditional villages in the Dongshan and Xishan areas in Lake Taihu, Suzhou. An index system of public spatial forms in traditional villages was created, basic data of spatial forms were collected using a hand-held 3D laser scanner, and the value of the spatial forms index was calculated using R language. The scenic beauty estimation (SBE) method was improved, with the estimation of the beauty of the scenic environment based on VR panorama rather than traditional photo media. Parameter screening was performed using correlation analysis and full subset regression analysis, and four models were used to fit the SBE scores and grades. The results show that the majority of public spaces had lower than average SBE scores, and the four key indicators of average contour upper height, solid-space ratio, vegetation cover, and comprehensive closure predicted SBE. In addition, the linear model (R2 = 0.332, RMSE = 64.774) had the most accurate SBE level prediction and the stochastic forest model (R2 = 0.405, RMSE = 63.311) was better at predicting specific SBE scores. The model provides managers, designers, and researchers with a method for the quantitative evaluation of visual landscape preferences and quantitative landscape spatial forms and provides a reference for the protection and renewal of traditional village landscapes.

An Exploration of the Integration Path of Music Education and Examination in Primary and Secondary Schools in China

Aesthetic education makes full use of all aesthetic phenomena that exist in human society. In particular, the perception and understanding of beauty in work and the development of the human ability to make beauty part of the process and outcome of work. Music education is an important part of aesthetic education. By using music as an educational tool, music education develops special abilities and talents in specific types of art. In China, the integration between music examinations and aesthetic education brings a challenge to schools and public.How will schools put aesthetic subjects in the exam and what should be included in the exam? The paper introduced the background of the aesthetic education in China and discussed the roles of music in aesthetic education. To integrate the music education with the exams, the papers explores the paths of ability-originate exams, practical skills-originate exams and mind-developing originate exams, hoping to enlighten the public on the music course development in China.