Aesthetic Theory Research Articles

The Musical Aesthetics of "Likad" Composed by Dewa Ketut Alit

The music “Likad” was composed in 2020 by Dewa Ketut Alit, a composer born and living in Pengosekan Ubud, Bali. The purpose of this study is to explore (1) the process of formation, the form of the work which consists of, (2) the form, (3) the content or things discussed in this work, and (4) the aesthetics of the form "Likad". The reason for carrying out this research is considering that the work "Likad" contains innovations that are important to examine for clarity, as one manifestation of the development of gamelan music, especially Balinese gamelan. This research is qualitative in nature which reveals the clarity of the creative process, the form of "Likad". The data source for this study is the work of "Likad" himself. The values contained in the work of "Likad" were examined by theory of musical form and theory of aesthetics. Data in this study were obtained through observation, and interviews. The results of this study, among others, the title "Likad" which means ‘difficult’ is reflected in the kotekan pattern of this work which is made more complex than the Balinese traditional pattern. Most of these works present interlocking patterns and a kind of ostinato or short rhythm with repetitions that tend to be more intense. This work raises the issue of Covid-19, in which many parties are ‘likad’ or unable to do activities freely.

AESTHETIC THEORY IN TURKIS MUSIC PERFORMANCE METHODS

The issue of what should be the elements that make up the aesthetics in Turkish Music performance methods has not been adequately addressed scientifically. However, Turkish music contains the rich aesthetic accumulation of a deep-rooted cultural heritage that extends to the present day. It is inevitable that the aesthetic elements in the maqam, rhythm and melodic structures of Turkish Music works will make significant contributions to both academic studies and performance. In this context, aesthetics and music philosophy especially in the creation processes of musical works have a special importance. Therefore, the study of aesthetic elements in the genres and forms of Turkish Music repertoire emerges as a compulsory field. The value of aesthetics, which is defined as the way of searching for the beautiful, in Turkish Music works is directly proportional to the compositions of the makams and tempos. In the analysis of a musical work, the form that forms the building blocks of the work is very important. Aesthetic questioning on the form should be made through the elements of motif, sentence, clause and section. However, studying all of the aesthetic elements of Turkish Music, which has a very wide repertoire, requires a lot of effort and time. In this article, first of all, aesthetic perception, aesthetic attitude, aesthetic pleasure etc. related to aesthetic theory. By emphasizing the main concepts, the aesthetic elements in the performance of Turkish Music works with the aesthetic questioning method, which is one of the most basic elements of creativity, are studied under the headings by giving examples.

Cooing and Wooing: The Re-expression of the Phonetic Elements in the English Translation of Book of Poetry from the Perspective of Translation Aesthetics

This paper analyzes the aesthetic characteristics of the Book of Poetry and Xu Yuanchong's translation of it, and how Zhu Guangqian's theory of translation aesthetics applies to Xu's translation. The paper focuses on the beauty of phonetic elements in conveying aesthetic information, specifically the use of rhyme and rhythmic musicality. It examines various forms of rhyme used in the Book of Poetry, including rhyme in single and double lines, cross-rhyme, and rhyme in the first and second lines followed by the third and fourth lines. Xu's translation is praised for its preservation of the musicality of the original text, especially the rhythmic musicality, and his use of onomatopoeia. The paper argues that Xu's translation philosophy is complementary to Zhu's theory of translation aesthetics, emphasizing the pursuit of beauty and artistry of the translation based on faithfulness to the original text. The analysis sheds light on the unique charm and profound ideas of the Book of Poetry and how they are conveyed through the beauty of language structure.

Mondrian’s rendition of Schopenhauer’s metaphysics of will and disinterested aesthetic experience

Despite the pivotal role of German philosopher Arthur Schopenhauer (1788-1860) in the sophistication of Modern aesthetics and art theories in the 20th century and his special attention to aesthetic experience, considerably little is known about the impacts of his aesthetic theory, particularly pertaining his account on conception disinterested aesthetic experience formed based on his metaphysics of will, on some of the most enriched Modern art theories like Piet Mondrian’s Neo-Plasticism. On the other side of the spectrum, Mondrian’s Neo-Plastic paintings, his universal pure abstract style, have been well examined through historical approaches and Modernist theories, especially about the Greenbergian account and Modern styles like De Stijl art movement in the last few decades. Moreover, his quasi-philosophical writings have been vastly scrutinized in the light of their impacts on Theosophic, Platonic, and Hegelian doctrines. Interestingly, Mondrian, in his theoretical writings, explicitly refers to the Schopenhauerian conception of disinterested contemplation and the requirements for having a universal aesthetic experience. Yet, Mondrian’s account of Schopenhauer’s notion of disinterested contemplation, namely for notions like individual will, Will, intellect, cessation of subserviency of intellect to the will, and so on, has not been scrutinized through an aesthetic lens. Hence, this article first aims to investigate Mondrian’s rendition of Schopenhauer’s metaphysics of will and his account of disinterested aesthetic experience. Indeed, this article proposes this hypothesis that Mondrian, who always sought to unveil the Platonic Idea of an objective manifestation of a universal equilibrium (harmony) or pure beauty as truth through his universal Neo-Plastic art, was heavily influenced by Schopenhauer’s metaphysics of will and his attitude toward aesthetic contemplation which is disinterested and objective. At the end of this article, it becomes clear that Mondrian’s conception of pure intuition and his contemplative approach to aesthetic experience intimately conform to Schopenhauer’s view on the notion of disinterested aesthetic attention or contemplation narrated within his metaphysics of will.

Embodiment in online education: promising practices

Embodied experiential learning is central to dance/movement therapy (DMT) education. During the pandemic, DMT educators pivoted to hybrid-online educational delivery and attended to multiple dimensions of student learning and societal crises while attempting to maintain educational quality. Building on the Community of Inquiry (CoI) framework and embodied aesthetic theories of care, the authors explored how educators and supervisors accounted for embodied learning in DMT education and training in an online setting. Data were generated and analysed reflexively from a preliminary conference workshop survey and workshop interactions. An aesthetic, relational experience of caring may be incorporated into an online learning space through developing intra and interpersonal oscillation, which can validate embodied experiences and aid in developing bodily agency. The authors elaborate on emerging promising practices and considerations for future research.

Adorno, Jiddu Krishnamurti, and Critical Theory: Negative Dialectics and Non-identity Thinking

ABSTRACT This paper explores the relationship between the thought of Theodor W. Adorno and Jiddu Krishnamurti. It focuses upon how both thinkers employ a determinately negative epistemology and revise Hegelian dialectics as a manner of ratiocination to resolve socio-political problems. It is argued that Krishnamurti’s negative epistemology is rendered more robust when read along with Adorno’s critical theory, aesthetic theory, and notions of negative dialectics and non-identity thinking. It is hoped that this synthesis of thought raises the possibility for ongoing creative responses to contemporary socio-political challenges over and above either political demonstration or intellectual retreat.

Baroque Modernity: An Aesthetics of Theater

Book Review| June 12 2023 Baroque Modernity: An Aesthetics of Theater Baroque Modernity: An Aesthetics of Theater. By Joseph Cermatori. Baltimore: Johns Hopkins University Press, 2021. xxii + 298 pp. Jennifer Buckley Jennifer Buckley Jennifer Buckley is associate professor of English and theatre arts at the University of Iowa. She is author of Beyond Text: Theater and Performance in Print after 1900 (2019), which won the 2020 Outstanding Book Award from the Association for Theatre in Higher Education. Her current book project is provisionally titled Act without Words: Speechless Performance on Modern Stages. Search for other works by this author on: This Site Google Modern Language Quarterly 10574846. https://doi.org/10.1215/00267929-10574846 Cite Icon Cite Share Icon Share Facebook Twitter LinkedIn Email Permissions Search Site Citation Jennifer Buckley; Baroque Modernity: An Aesthetics of Theater. Modern Language Quarterly 2023; 10574846. doi: https://doi.org/10.1215/00267929-10574846 Download citation file: Zotero Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search Books & JournalsAll JournalsModern Language Quarterly Search Advanced Search The text of this article is only available as a PDF. Copyright © 2023 by University of Washington2023 Article PDF first page preview Close Modal You do not currently have access to this content.

The aesthetics of sustainable industrial design: Form and function in the circular design process

AbstractThe relationship between form and function has long been a point of debate in the design community. Particularly, the famous principle ‘form follows function’ has been a focal point of such discussions. Since its introduction, many studies have been undertaken by theorists and practitioners to challenge or disprove this injunction. Furthermore, from the modern perspective of sustainability which has attracted global attention over the past few decades, there is a crucial link between design and sustainability. That is, poor designs, generally, lead to poor products which contribute to environmental and economic degradation. Consequently, understanding the relationship between form and function in design could contribute to a more sustainable environment. In this paper, first, we explore the views of some influential figures of the twentieth century's industrial design on this essentially philosophical, yet practically crucial, axiom of modernism. Then, we propose a design process model for aesthetic‐sustainable industrial design drawing on a theory of design aesthetics and the principles of circular design. This model integrates a circular design module into the industrial designer's theory of aesthetics to complement the design process in terms of sustainability. The proposed design process model could help designers establish an appropriate relationship between the form and the intended function of a product to contribute to lowering its environmental impact.

Exploration of Aesthetic Ideas in Bronze Patterns of the Xia, Shang and Zhou Periods

From the perspective of historiography, bronze is a highly concentrated material representation of the social, political, religious and cultural aspects of the Xia, Shang and Zhou Dynasties. From the perspective of aesthetics, bronzes are the physical embodiment of the artistic aesthetics of the Xia, Shang and Zhou dynasties. However, by integrating history and aesthetics, bronzes are the epitome of the development of Chinese aesthetics from primitive aesthetic consciousness to traditional Chinese aesthetic thought. The patterns in bronzes became an important carrier of the aesthetic concepts of the ancestors. With the development of productive forces, the development of bronze craft reached its peak in the Shang and Zhou Dynasties, and bronze wares played an important role in the political and social life of the ancestors as a tool for rituals and divination, and the decorations in them left a colorful mark in the history of the world's fine arts. This paper takes bronze patterns as the entry point, takes the basic theories of aesthetics and art history as the basis for elaboration, places the Xia, Shang and Zhou bronzes in different era backgrounds, analyses and explains the aesthetic characteristics of their decorative patterns and the aesthetic ideas behind them, reveals the basic aesthetic connotations of the Xia, Shang and Zhou bronze patterns, and unearths the spiritual roots of the formation of traditional Chinese aesthetic ideas.

Hegel’s Aesthetic Theory of Tragedy in the Light of the Three Kingdoms

Hegel’s aesthetic theory of tragedy is divided into three parts: occurrence, development and resolution, in which the root cause of tragedy is conflict, the way of tragedy development is struggle, and the result of tragedy resolution is reconciliation. The ancient Chinese novel Romance of the Three Kingdoms contains conflicting loyalties and righteousness, and is set against the backdrop of war. Its tragic causes and tragic effects are in line with Hegel’s aesthetic theory of tragedy. Therefore, by analysing the ancient Chinese novel, we can gain a deeper understanding of Hegel’s aesthetic theory of tragedy.

Identities and aesthetic representations in the black diaspora literature

The representation of black identity in African American literature is a subject of great and critical concern. Scholars have made deliberate efforts to address the racial issues, language, its oral nature among others; but little attention has been given to the identity and the representation of these identities in African American Literature. This study therefore, is an attempt to examine the concept of identity and its aesthetic representations in African American literature. The study engages a survey of texts in fiction, nonfiction, poetry, drama, speeches, musical forms, rap and film which are selected as a result of their relevance to the research focus. These texts are subjected to critical analysis while references are made to secondary texts where applicable. It is discovered that the literature of the black diaspora. considers identity as a major theme in its discourse and this is represented in all forms of their literature. Identity, which could refer to a sense of ownership, is a major concern in the literature of the Black diaspora.

Artificial Intelligence (AI) – based strategies for point cloud data and digital twins

Artificial Intelligence (AI), specifically machine learning (ML) and deep learning (DL), is causing a paradigm shift in coding practices and software solutions across diverse fields. This study focuses on harnessing the potential of ML/DL strategies in the geospatial domain, where geodata possesses characteristics that align with the concept of a “lingual manuscript” in aesthetic theory. By employing ML/DL techniques, such as feature evaluation and extraction from 3D point clouds, we can derive concepts that are specific to software, geographical areas, and tasks. ML/DL-based interpretation of 3D point clouds extends geospatial modelling beyond implicit representations, enabling the resolution of complex heuristic-based reconstructions and abstract concepts. These advancements in artificial intelligence have the potential to optimize and expedite geodata computation and geographic information systems. However, ML/DL encounters notable challenges in this domain, including the need for abundant training data, advanced statistical methods, and the development of effective feature representations. Overcoming these challenges is essential to enhance the performance and efficacy of ML/DL systems. Additionally, ML/DL-based solutions can simplify software engineering processes by replacing certain aspects of current adoption and implementation practices, resulting in reduced complexities in development and management. Through the adoption of ML/DL, many of the existing explicitly coded GIS implementations may gradually be replaced in the long term. Overall, this research illustrates the transformative capabilities of ML/DL in geospatial applications and underscores the significance of addressing associated challenges to drive further advancements in the field.

Nothing to See? Paying Attention in the Dark Environment

A cloudy November evening deep in an old forest. It is really dark, and I try to observe my environment. I discern the difference between the treetops and the dark sky and the snow-covered ground. Everything else is formless. My vision is quite useless, and the other senses are weak in these circumstances. Only the background hum is audible and most aromas are erased by the freezing temperature. In a winter outfit, all I can feel is the moving air on my face. Yet, this is not sensory deprivation, there are things to observe. What is it possible to discern when the visual stimulus is minimized? This article focuses on the aesthetic experience of darkness by analyzing a visit to a deep natural darkness and attempts to connect this distinct case to aesthetic theory. The emphasis is on the descriptive analysis of the challenges of seeing in the darkness.

Attention, Affect, and Aesthetic Experience

The article suggests a conceptualization of the interrelationship between attention, affect, and aesthetic experience. It supplements classical aesthetic theory by integrating knowledge from neurophysiology, developmental psychology, and psychoanalysis. Furthermore, the article proposes a distinction between a variety of types of affect that are discussed with a view to their potential contribution to elaborating the concept of aesthetic experience in the Kantian tradition and to reflecting different qualities of attention.

Value, Virtue, and Vivienne Westwood: On the Philosophical Importance of Fashion

Abstract In the aforementioned quote, Vivienne Westwood sketches a role for fashion that elevates it from the prosaic to the status of art, as something important, life-enhancing, and worthy of pursuit. Here, a philosophical treatment of Westwood’s vision of fashion that does justice to the artistic and life-enhancing value that fashion can realise is offered, using an emergent theory in contemporary analytic aesthetics. The virtue theory of art delineates the intrinsic worth of art in terms of the opportunities it provides for us to exercise and cultivate virtues such as courage, self-expression, imagination, wit, or authenticity. Our engagement with art can subsequently be genuinely life-enhancing in lieu of the constitutive role the virtues play in living well. The present study takes Westwood’s claims as a jumping-off point, considering how they speak not just to her own designs but to our relationship with our clothes more broadly. Fashion is defended as a practice that performs this function in analogous ways to other genres of art and thus has clear artistic value as well as enables us to live well. Given this potential, just as Westwood claimed, there are reasons to perform the practice well because it has importance for the ways in which it can realise artistic value and aid us in living well.

Seni Ukir Kayu Balairung Koto Piliang Nagari Paninggahan Kabupaten Solok Sumatera Barat

This research aims to determine the art of carving applied to the Koto Piliang Nagari Paninggahan hall, Solok Regency, West Sumatra. The problem is focused on the sculptural art that is applied to the balairung which takes the idea of nature takambang being a teacher, which comes from the motif of the names of plants, animals and the names of other natural objects. In order to approach this problem, Fielman's aesthetic theory was used with qualitative research methods. The data were collected through field studies, literature studies, interviews as well as documentation and comprehensive data analysis. This study concludes that the sculptural art applied to the balairung has an aesthetic value that describes the harmony and harmony of people's lives in Minangkabau and has a kinship life system, togetherness in the governance system in Minangkabau society. Keywords: Carving Art; Balairung Koto Piliang; Peninggahan, Solok Regency

Rancière, music, and the musicality of teaching

Abstract While the aesthetics of Rancière is a well-explored topic, there has been something missing from the reception of his works, and that is the relation between Rancière’s aesthetics and music. However, in recent years an interest in this relation has resulted in several academic contributions, which is sign enough that there is in fact a musical element in his works. Rancière himself, in response to this reception, has acknowledged as much. Music is a human form of expression that uses the physicality of air to produce vibrations that encounter and resonate with the human body. Musicality is the ability to attend to such vibrations and harness the expectations and surprises that they bring about. In this article, I explore how a musical approach to Rancière’s writings can inform educational philosophy, especially as regards the practice of teaching. Particular attention is paid to his notion of the sensorium as a sensible realm where we experience and encounter difference and otherness, in political events as well as in teaching situations. Attending ethically to these situations is predicated on a certain sensibility that involves certain aesthetic qualities. In this article, I explore this sensibility as a particular educational musicality. Drawing from educational philosophy, the aesthetic theory of Jacques Rancière, and music philosophy, I connect this musicality of teaching to an ability to navigate in an ethical space that comes to life through a material/sensible community of interests formed in teaching practice. I use the term acousmatic experience as an explorative device in an attempt to depict teaching practice as something that can bring about a specific educational sensorium.

The Man of Action of French Romanticism. Aesthetic Views of Victor Hugo and their Embodiment in Poetry and Dramaturgy

The subject of the study is the fundamental philosophical and aesthetic problems in the romantic aesthetics of one of its leaders in France - Victor Hugo. The evolution of his aesthetic views is traced - from adherence to the aesthetics of classicism and royalist views to the established theory and artistic practice of romanticism, colored with democratic pathos. The core of Hugo's aesthetics is revealed - the original concept of the grotesque, which has found a convincing embodiment in his poetry, drama, historical novels. Such main themes as the correlation of the tragic and the comic, the beautiful and the ugly, the sublime and the base, content and form, freedom and order, historical truth and fiction in art, romantic symbolization in the context of the formation of the concept of the artistic essence of romanticism by Hugo are considered. The features of his artistic and aesthetic concept related to the national specifics of art, local color, the problems of artistic taste, inspiration, imagination, aesthetic pleasure, artistic style, genius, talent are analyzed. The main conclusion of the study is the conclusion that all these topics form the basis of Hugo's judgments about the nature of romantic drama as the pinnacle of 19th century poetry and its differences from classic tragedy. The multidimensional nature of this study predetermined the use of a number of methodological approaches: philosophical and aesthetic approach, art history analysis, comparative, interdisciplinary methods. The author's special contribution lies in the fact that the study of Hugo's aesthetic theory and artistic practice is based on original material. The article provides a comparative analysis of the embodiment of Hugo's aesthetic views in various types and genres of art. Such a study was undertaken for the first time in domestic science.

Mythopoetics of Images in Olonkho "Nyurgun Bootur the Swift" by K. Orosin and P. Oyunsky

The article is devoted to the mythopoetics of images in the Yakut heroic epic olonkho "Nyurgun Bootur the Impetuous" - an archaic version of the storyteller K. G. Orosin and the author's version of olonkho "Nyurgun Bootur the Impetuous" by the Yakut writer, poet P. A. Oyunsky. Comparative analysis of archaic and author's olonkho texts does not involve consideration of the volumes of olonkho, which differ greatly in the style of presentation and detail in them; there is no goal to determine the algorithm of comparative characteristics, since the texts have different chronological, historical conditions of creation.The purpose of the study is to determine the role and significance of the mythopoetics of images in the olonkho "Nyurgun Bootur the Swift" by K. G. Orosin and P. A. Oyunsky. Special attention is paid to the interpretation of traditional images in Olonkho. The scientific novelty of the presented research consists in an attempt to analyze and compare the images in the olonkho "Nyurgun Bootur the Impetuous" by K. G. Orosin and P. A. Oyunsky with the definition of their significance in the conceptual picture of the world reflecting the ethical and aesthetic representations of the people, their ethno-cultural consciousness. It is known that in the epic science of the same name olonkho K. Orosin and P. Oyunsky are assigned to the group of the central local tradition of Yakutia. At the same time, the conducted research has shown that olonkho has a complex historical origin, as evidenced by the revealed differences in the creation of mythological images-characters.

Ornamental Art of Kalasan Temple in The Perspective of Art Philosophy

The beauty of Kalasan Temple façade can be seen from its variety of decorations known as the pearls of Central Java art in the 8th century AD. The artwork manifests in the aesthetics and artistic value of Kala-Makara, leaf tendrils (purnakalasa), paper paste, apsara-apsari figures. The purpose of this writing is to gain knowledge and insight about the decorative artistic expressions carved on the temples. The method used is qualitative research observing its form, content and meaning. The analysis uses contextual analysis, which is to look at the relationship between ornaments and their context by basing on the motion of lines, the shape of art objects, and rhythmic compositions. The discussion will use aesthetic theory, artistic value and symbol theory to be able to explain the form of beauty in the decorative art of Kalasan Temple. The result shows that the selection of ornamental art ornaments is combined with the right proportions, symmetry in the arrangement and precise processing to produce artistic expression in achieving transcendent ideas.