Babies’ engagement in music theater performances: A microanalytical study of the aesthetic experiences in early childhood.

Author(s):  
Miguel Barbosa ◽  
Mariana Vences ◽  
Paulo Maria Rodrigues ◽  
Helena Rodrigues
2008 ◽  
Vol 9 (4) ◽  
pp. 297-305 ◽  
Author(s):  
Jeanne Marie Iorio

Arts are an expectation in early childhood classrooms — traditionally, visual art, music, drama, and movement. The variety of understandings of art and aesthetic experiences shape approaches to arts education, particularly with young children. Attempts to define the aesthetic experience refer to the presence of an object, most commonly a work of art. The object becomes central to the human response within the aesthetic experience. Through the analysis of data documenting conversations between a child and an adult, the author have previously proposed child — adult conversations as aesthetic experiences. In this article, she re-examines excerpts from child—adult conversations from her research, negotiating the possibility of naming child—adult conversation as art, in order to recognise child—adult conversation as an aesthetic experience. This article continues the conversation around thinking of conversation as art, and the art of conversation — an integral component of pedagogy with young children.


2021 ◽  
Vol 13 (14) ◽  
pp. 8080
Author(s):  
Maria Grindheim ◽  
Liv Torunn Grindheim

Individuals’ capacities to contribute to more sustainable living are deeply influenced by their early life experiences. Hence, there is a need to discover which experiences are relevant to young children’s contemporary and future contributions to more sustainable living. Perceiving children as aesthetically oriented to the world and their sense of belonging as a core experience for social and cultural sustainability, and using the example of dancing, we investigate how such a sense of belonging can be supported through aesthetic first-person experiences. This article is therefore structured around the following research question: How can adults’ experiences of themselves, others and their sense of belonging—when dancing—inform explorations of ways to foster embodied and aesthetic belonging for social and cultural sustainability in early childhood education (ECE)? Drawing on a phenomenological study, we analyse interviews with four dancers, who differ in age, gender and dance genre. Our analysis reveals their experiences when dancing as being in a meditative state, having a sense of freedom and feeling body and mind as one, described as an overall “different”, resilient way of being and belonging in a social context. Our findings indicate that facilitating moments of sensible and bodily awareness can support a non-verbal understanding of oneself and others, as well as arguments for promoting aesthetic experiences while dancing as relevant to sustainable practices in ECE.


2018 ◽  
Author(s):  
Semir Zeki ◽  
Oliver Y. Chén ◽  
John Paul Romaya

AbstractThrough our past studies of the neurobiology of beauty, we have come to divide aesthetic experiences into two broad categories: biological and artifactual. The aesthetic experience of biological beauty is dictated by inherited brain concepts, which are resistant to change even in spite of extensive experience. The experience of artifactual beauty on the other hand is determined by post-natally acquired concepts, which are modifiable throughout life by exposure to different experiences (Zeki, 2009). Hence, in terms of aesthetic rating, biological beauty (in which we include the experience of beautiful faces or human bodies) is characterized by less variability between individuals belonging to different ethnic origins and cultural backgrounds or the same individual at different times. Artifactual beauty (in which we include the aesthetic experience of human artifacts such as buildings and cars) is characterized by greater variability between individuals belonging to different ethnic and cultural groupings and by the same individual at different times. In this paper, we present results to show that the experience of mathematical beauty (Zeki et al 2014), even though it constitutes an extreme example of beauty that is dependent upon (mathematical) culture and learning, belongs to the biological category and obeys one of its characteristics, namely a lesser variability in terms of the aesthetic ratings given to mathematical formulae experienced as beautiful.


2021 ◽  
pp. 1-15
Author(s):  
Elaine T. James

The introduction orients readers to the aesthetic dimensions of biblical poems and argues that poems as verbal arts are not reducible to rhetoric or a single “message” but rather operate with an excess of meaning that both involves and transcends semantic content. It suggests that biblical poems can be fruitfully examined by considering what kinds of aesthetic experiences they offer. It draws on the work of Alva Noë and Susan Sontag to offer an embodied description of the intellectual work that poems can accomplish as art. The introduction also provides a succinct overview of its chapters.


2021 ◽  
pp. 27-30
Author(s):  
Oshin Vartanian ◽  
Anjan Chatterjee

Following the rapid growth of neuroaesthetics, there was a need to systematize and organize the findings into a coherent and testable framework. With the “aesthetic triad,” the authors presented a model according to which aesthetic experience was viewed as the emergent property of the interaction of three large-scale systems in the brain: sensory-motor, emotion-valuation, and knowledge-meaning. Features that distinguished this model from others was that it was meant to apply to all aesthetic episodes (e.g., art, faces, architecture, etc.) and it acknowledged explicitly that a large variety of aesthetic experiences can emerge as a function of the specific ways in which these systems interact in the course of their emergence. To probe the model, the contribution of the knowledge-meaning system is likely of greatest interest, at least in part because that system encapsulates a large breadth of factors ranging from the personal to the cultural.


1978 ◽  
Vol 24 (3) ◽  
pp. 309-321 ◽  
Author(s):  
Vernon L. Allen ◽  
David B. Greenberger

An aesthetic theory of vandalism is proposed. The theory posits that the variables accounting for the enjoyment associated with socially acceptable aesthetic experiences are similarly responsible for the pleasure associated with acts of destruction. Previous theory and research in aesthetics have identified many important factors, such as complexity, expectation, novelty, intensity, and patterning, which are responsible for the pleasure that accompanies an aesthetic experience. These same psychological processes are involved in the destruction of an object. Furthermore, aesthetic variables implicated in an object's initial appearance and in its appearance after being vandalized may serve as eliciting or discriminative stimuli for destructive behavior. Several studies provide support for hypotheses derived from the aesthetic theory of vandalism. In conclusion, we examine the theory's practical implications for reducing vandalism in the schools.


2021 ◽  
Vol 7 (1) ◽  
pp. 47-68
Author(s):  
Madhu Govind ◽  
Marina Bers

Children’s robotics skills can be assessed in various ways, one being examining the unique projects that they create. This paper discusses the multi-phase development and testing of a robotics project rubric. The rubric considers both the programming concepts and the aesthetic design elements of a project, which enables researchers and practitioners to determine the overall level of complexity exhibited in the robotics project. This paper presents the background literature and theoretical framework that contributed to the rubric design and summarizes findings from iteratively developing and testing the rubric with a total of 173 robotics projects. Implications for future research and practice are also discussed.


2021 ◽  
Vol 7 (1) ◽  
Author(s):  
Eva Specker ◽  
Eiko I. Fried ◽  
Raphael Rosenberg ◽  
Helmut Leder

In recent years, understanding psychological constructs as network processes has gained considerable traction in the social sciences. In this paper, we propose the aesthetic effects network (AEN) as a novel way to conceptualize aesthetic experience. The AEN represents an associative process where having one association leads to the next association, generating an overall aesthetic experience. In art theory, associations of this kind are referred to as aesthetic effects. The AEN provides an explicit account of a specific cognitive process involved in aesthetic experience. We first outline the AEN and discuss empirical results (Study 1, N=255) to explore what can be gained from this approach. Second, in Study 2 (N=133, pre-registered) we follow calls in the literature to substantiate network theories by using an experimental manipulation, and found evidence in favor of the AEN over other alternatives. The AEN provides a basis for future studies that can apply a network perspective to different aesthetic experiences and processes. This perspective takes a process-based approach to aesthetic experience, where aesthetic experience is represented as an active interaction between viewer and artwork. If we want to understand how people experience art, it is central to know why people have different experiences with the same artworks, and, also, why people have similar experiences when looking at different artworks. Our proposed network perspective offers a new way to approach and potentially answer these questions.


2021 ◽  
Vol 11 (1) ◽  
pp. 99
Author(s):  
Oki Dirgualam ◽  
Dadang Suganda ◽  
Buky Wibawa ◽  
Kunto Sufianto

<p>This article describes the aesthetics of the big band jazz music by Salamander Big Band. Aesthetics is a study of the processes that occur in three basic elements: aesthetic objects, aesthetic subjects, and aesthetic values related to aesthetic experiences, aesthetic properties, and attractive and unattractive parameters. This paper presents the basic elements of western music aesthetics, especially big band jazz music, and how Salamander Big Band can implement the aesthetic values of western jazz big band music in the music played. This research uses a qualitative approach with a descriptive analysis method. Through a process of appreciation, habituation, additional insight into jazz music and continuous and consistent practice, Salamander Big Band members can adapt to cultures from outside Indonesia's popular music culture, namely playing American big band music with the right aesthetic.</p>


Author(s):  
Scott Contreras-Koterbay

If aesthetic and teleological judgments are equally reflective, then it can be argued that such judgments can be applied concurrently to digital objects, specifically those that are products of the rapidly developing sophisticated forms of artificial intelligence (AI). Evidence of the aesthetic effects of technological development are observable in more than just experienceable objects; rooted in inscrutable machine learning, AI’s complexity is a problem when it is presented as an aesthetic authority, particularly when it comes to automated curatorial practice or as a progressively determinative aesthetic force originating in an independent agency that is internally self-consistent.Rooted in theories of the post-digital and the New Aesthetic, this paper examines emerging new forms of art and aesthetic experiences that appear to reveal these capabilities of AI. While the most advanced forms of AI barely qualify for a ‘soft’ description at this point, it appears inevitable that a ‘hard’ form of AI is in the future. Increased forms of technological automation obscure the increasingly real possibility of genuine products of the imagination and the creativity of autonomous digital agencies as independent algorithmic entities, but such obfuscation is likely to fade away under the evolutionary pressures of technological development. It’s impossible to predict the aesthetic products of AI at this stage but, if the development of AI is teleological, then it might be possible to predict some of the foreseeable associated aesthetic problems. Article received: April 10, 2019; Article accepted: July 6, 2019; Published online: October 15, 2019; Original scholarly paperHow to cite this article: Contreras-Koterbay, Scott. "The Teleological Nature of Digital Aesthetics – the New Aesthetic in Advance of Artificial Intelligence." AM Journal of Art and Media Studies 20 (2019): 105-112. doi: 10.25038/am.v0i20.326.


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