Introduction

2021 ◽  
pp. 1-15
Author(s):  
Elaine T. James
Keyword(s):  
Semantic Content ◽  
Intellectual Work ◽  
Aesthetic Experiences ◽  
Susan Sontag ◽  
The Aesthetic

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.

An Invitation to Biblical Poetry

2021 ◽  
Author(s):  
Elaine T. James
Keyword(s):  
Wisdom Literature ◽  
Intellectual Work ◽  
Verbal Art ◽  
Aesthetic Experiences ◽  
Biblical Poetry ◽  
The Bible ◽  
Irreducible Complexity ◽  
Prose Narratives ◽  
The Aesthetic

An Invitation to Biblical Poetry is an accessibly written introduction to biblical poetry that emphasizes the aesthetic dimensions of poems and their openness to varieties of context. It demonstrates the irreducible complexity of poetry as a verbal art and considers the intellectual work poems accomplish as they offer aesthetic experiences to people who read or hear them. Chapters walk the reader through some of the diverse ways biblical poems are organized through techniques of voicing, lineation, and form, and describe how the poems’ figures are both culturally and historically bound and dependent on later reception. The discussions consider examples from different texts of the Bible, including poems inset in prose narratives, prophecies, psalms, and wisdom literature. Each chapter ends with a reading of a psalm that offers an acute example of the dimension under discussion. Students and general readers are invited to richer and deeper readings of ancient poems and the subjects, problems, and convictions that occupy their imagination.

scholarly journals MYSTERY AS A META-GENRE IN THE DRAMA OF THE TWENTIETH CENTURY

2021 ◽  
pp. 18-26
Author(s):  
K. Oliinyk
Keyword(s):  
Twentieth Century ◽  
World Order ◽  
Semantic Content ◽  
Point Of View ◽  
Dramatic Works ◽  
Life And Death ◽  
The Matrix ◽  
General Feeling ◽  
The Aesthetic ◽  
Definition Of

The article examines the specificity of existence of the renewed mystery genre as a meta genre in the twentieth century. The main literary study views on the definition of ancient and medieval / Christian ritual mystery are analyzed. The beginning of the twentieth century was full of a general feeling of catastrophe and tragic hopelessness. In artistic terms, the consequence of this was the activation of Christian issues, motives, plots, religious genres (miracles, morality and mystery). The most universal from the point of view of the ideological message and content for the writers of the twentieth century. was the matrix of the medieval mystery, which retained the ritual basis in its primary structure. This made it possible for the multilevel organization of the action and the space for it. The genre of medieval mystery is being modified, it ceases to be a purely form of religious action and acquires the quality of a meta genre. There is a transition from the religious sphere to the secular one, and the aesthetic one is replacing the didactic load. Mystery begins to exist on the edge of genres as a synthetic formation, showing intentions to “help” other genres. A large number of dramatic works of the twentieth century. ("Forest Song" by Lesia Ukrainka, "Iconostasis of Ukraine" by Vіra Vovk) comes close to the mystery, using its archetypal components: the ideas of faith in the absolute beginning, governing the eternal rotation of life and death, world order and harmony, death and rebirth, transformations of the human soul, chosenness and initiation associated with trials, sacrifice, deepening into mysticism. Such works are a certain imitation with elements of mythological or religious subjects. So, the twentieth century, actualizes a certain involvement of the semantic content of dramas to the mysteries, bringing the mystery to the level of the meta genre.

scholarly journals The Biological Basis of Mathematical Beauty

2018 ◽  
Author(s):  
Semir Zeki ◽  
Oliver Y. Chén ◽  
John Paul Romaya
Keyword(s):  
Aesthetic Experience ◽  
The Other ◽  
Cultural Backgrounds ◽  
Mathematical Culture ◽  
Extensive Experience ◽  
Aesthetic Experiences ◽  
Biological Basis ◽  
Mathematical Beauty ◽  
The Aesthetic ◽  
Biological Category

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.

The Aesthetic Triad

2021 ◽  
pp. 27-30
Author(s):  
Oshin Vartanian ◽  
Anjan Chatterjee
Keyword(s):  
Rapid Growth ◽  
Large Scale ◽  
Aesthetic Experience ◽  
Emergent Property ◽  
Aesthetic Experiences ◽  
Large Scale Systems ◽  
Sensory Motor ◽  
The Aesthetic ◽  
Meaning System ◽  
The Brain

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.

An Aesthetic Theory of Vandalism

1978 ◽  
Vol 24 (3) ◽  
pp. 309-321 ◽  
Author(s):  
Vernon L. Allen ◽  
David B. Greenberger
Keyword(s):  
Aesthetic Experience ◽  
Aesthetic Theory ◽  
Psychological Processes ◽  
Previous Theory ◽  
Discriminative Stimuli ◽  
Aesthetic Experiences ◽  
Destructive Behavior ◽  
Initial Appearance ◽  
The Aesthetic ◽  
Practical Implications

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.

scholarly journals Associating With Art: A Network Model of Aesthetic Effects

2021 ◽  
Vol 7 (1) ◽  
Author(s):  
Eva Specker ◽  
Eiko I. Fried ◽  
Raphael Rosenberg ◽  
Helmut Leder
Keyword(s):  
Cognitive Process ◽  
Aesthetic Experience ◽  
Experimental Manipulation ◽  
Art Theory ◽  
Aesthetic Experiences ◽  
Future Studies ◽  
Psychological Constructs ◽  
The Social ◽  
The Aesthetic ◽  
Active Interaction

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.

scholarly journals ESTETIKA PERMAINAN MUSIK BARAT PADA BIG BAND SALAMANDER

2021 ◽  
Vol 11 (1) ◽  
pp. 99
Author(s):  
Oki Dirgualam ◽  
Dadang Suganda ◽  
Buky Wibawa ◽  
Kunto Sufianto
Keyword(s):  
Descriptive Analysis ◽  
Music Culture ◽  
Big Band ◽  
Aesthetic Experiences ◽  
Band Music ◽  
Jazz Music ◽  
Music Aesthetics ◽  
The Aesthetic ◽  
The Right ◽  
Aesthetic Values

<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>

scholarly journals The Teleological Nature of Digital Aesthetics – the New Aesthetic in Advance of Artificial Intelligence

2019 ◽  
pp. 105
Author(s):  
Scott Contreras-Koterbay
Keyword(s):  
Artificial Intelligence ◽  
Machine Learning ◽  
Media Studies ◽  
Technological Development ◽  
Aesthetic Experiences ◽  
Real Possibility ◽  
Digital Aesthetics ◽  
Curatorial Practice ◽  
Digital Objects ◽  
The Aesthetic

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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