Introduction

2019 ◽  
pp. 1-16
Author(s):  
Kriss Ravetto-Biagioli
Keyword(s):  
Machine Vision ◽  
Feedback Loop ◽  
Interactive Media ◽  
Human Perception ◽  
Narrative Cinema ◽  
The Spectator ◽  
The Aesthetic

The digital uncanny emerges when we confront massive empirical datasets that have the capacity to anticipate practices, responses, experiences, and expressions that previously have been used to distinguish the human from the nonhuman—thinking, empathy, and consciousness. The film Ex-Machina illustrates how the digital uncanny emerges from personalized targeting techniques, but it cannot account for the feelings we get when we interact with computational media. Narrative cinema treats its spectators as subjects that can recognize and identify with characters and situations. While film is immersive, it is not interactive, and cannot directly address the spectator nor install her in a feedback loop. With interactive media, however, spectators are not always addressed as subjects but they remain within the sensory, within the aesthetic element. Interactive artworks bypass a human-centered perspectival mode of viewing, but, at the same time, they do not simply assume machine vision takes over human perception. They simultaneously challenge the idea of a unified subject (whether inhuman, nonhuman or posthuman) as well as notions of singularity or renewed assertions of humanism.

From Altered States to Altered Titles: A Close Analysis of the Title Sequence to Ken Russell's Altered States (1981)

2015 ◽  
Vol 12 (4) ◽  
pp. 556-571
Author(s):  
Jack Post
Keyword(s):  
Altered States ◽  
Thematic Structure ◽  
Personal Projects ◽  
Mise En Abyme ◽  
Narrative Representations ◽  
Close Analysis ◽  
Film Images ◽  
The Spectator ◽  
To Come ◽  
The Aesthetic

Although most title sequences of Ken Russell's films consist of superimpositions of a static text on film images, the elaborate title sequence to Altered States (1981) was specially designed by Richard Greenberg, who had already acquired a reputation for his innovative typography thanks to his work on Superman (1978) and Alien (1979). Greenberg continued these typographic experiments in Altered States. Although both the film and its title sequence were not personal projects for Russell, a close analysis of the title sequence reveals that it functions as a small narrative unit in its own right, facilitating the transition of the spectator from the outside world of the cinema to the inside world of filmic fiction and functioning as a prospective mise-en-abyme and matrix of all the subsequent narrative representations and sequences of the film to come. By focusing on this aspect of the film, the article indicates how the title sequence to Altered States is tightly interwoven with the aesthetic and thematic structure of the film, even though Russell himself may have had less control over its design than other parts of the film.

scholarly journals THE BODY IN THE HISTORY OF WESTERN EUROPEAN AND RUSSIAN THEATRE: CULTURAL VARIABILITY OF SHAME

Articult ◽  
2021 ◽  
pp. 19-31
Author(s):  
Leila F. Salimova ◽  
◽  
Keyword(s):  
Scientific Knowledge ◽  
Performing Arts ◽  
Point Of View ◽  
The Body ◽  
Ethical Aspect ◽  
Close Relationship ◽  
History Of ◽  
The Spectator ◽  
The Aesthetic ◽  
Considerable Body

Modern scientific knowledge approaches the study of the physical and aesthetic bodies with a considerable body of texts. However, on the territory of the theater, the body is still considered exclusively from the point of view of the actor's artistic tools. Theatrical physicality and the character of physical empathy in the theater are not limited to the boundaries of the performing arts, but exist in close relationship with the visual and empirical experience of the spectator, performer, and director. The aesthetic and ethical aspect of the attitude to the body in the history of theatrical art has repeatedly changed, including under the influence of changing cultural criteria of "shameful". The culmination of the demarcation of theatrical shame, it would seem, should be an act of pure art, independent of the moral restrictions of society. However, the experiments of modern theater continue to face archaic ethical views. The article attempts to understand the cultural variability of such a phenomenon as shame in its historical and cultural extent using examples from theater art from antiquity to the present day.

scholarly journals Out of Bounds: Confronting War Crimes and the Breakdown of Justice with Contemporary Art

2021 ◽  
pp. 52
Author(s):  
Catherine Bernard
Keyword(s):  
Aesthetic Experience ◽  
War Crimes ◽  
The Political ◽  
Embodied Experience ◽  
International Conflicts ◽  
Administration Of Justice ◽  
Collective Remembering ◽  
The Spectator ◽  
Marc Quinn ◽  
The Aesthetic

Recent art has turned to judiciary and extra-judiciary practices, specifically in the context of international conflicts, in order to assert art’s political accountability and relevance to our capacity to historicise the present. The war in Iraq inspired works that directly address issues of representation and remediation, such as Marc Quinn’s Mirage (2008), in which the aesthetic experience opens onto an ambiguous experience of the breakdown of justice. Other works have chosen to turn carceral space itself into the site of a collective remembering that harnesses affect to a critical reflection on the administration of justice, on assent and dissent. This article will turn to key works by Marc Quinn and Trevor Paglen that confront extra-judiciary malpractices, but also to recent collective art projects involving an interdisciplinary take on the experience of imprisonment, such as Inside. Artists and Writers in Reading Prison (2016), in which artists of all backgrounds responded to Oscar Wilde’s De Profundis on the very premises of Wilde’s incarceration, as well as the work of 2019 Turner Prize co-recipient: Jordanian sound artist Lawrence Abu Hamdan whose recent works rely on testimonies from Syrian detainees and probe the political pragmatics of aural art. All these works have turned to the document—literary, visual, aural—to reflect on the process of experiential mediation. How does the experience of imprisonment, or extra-judiciary malpractices, come to the spectator? How are they read, heard, interpreted, remediated? The article ponders the remediation and displacement of aesthetic experience itself and the “response-ability”—following Donna Haraway’s coinage—of such a repoliticised embodied experience. It will assess the way by which such interdisciplinary works rethink the poetics of the documentary for an embodied intellection of justice—and injustice—in the present.

scholarly journals ARTISTIC COMPONENT IN MODERN INDUSTRIAL ARCHITECTURE

2020 ◽  
pp. 123-128
Author(s):  
A. A. Kharytonova ◽  
◽  
Y. R. Kravchuk ◽  
Keyword(s):  
Technological Process ◽  
Human Perception ◽  
City Development ◽  
Environmental Friendliness ◽  
Industrial Facilities ◽  
Industrial Enterprises ◽  
Industrial Buildings ◽  
Industrial Architecture ◽  
Spatial Composition ◽  
The Aesthetic

The article is devoted to the consideration of the features of the formation of the appearance of objects, taking into account the technological process, the identification of fixed assets and methods of creating the spatial-spatial composition of buildings within the existing city development. These are: the Nestle plant in Mexico, the Fagus factory, the construction of the Leeds incinerator, etc. Industrial architecture is an integral part of society. The presence and functioning of industrial enterprises characterizes the economic and political independence of the state. Industrial areas are usually large in area. and environmental friendliness. It is extremely important for modern industrial design to take into account the energy efficiency of a building, as industrial buildings are directly related to the consumption of natural resources, most of which are exhausted. in the design and reconstruction of industrial facilities nowadays, in addition to taking into account the technological process, it is extremely important to pay attention to the exterior and interior decoration of buildings. This not only affects the aesthetic component of human perception, but also promotes the productivity of workers. Many industrial structures are included in the social and cultural life of the city, combining several additional functions, in addition to the main (industrial). The development of industrial architecture is closely linked to the development of facing materials, which are often used aluminum. But in the construction of industrial buildings can be used and other materials that allow you to create many color schemes. All factors determine the need to create an aesthetic environment that meets the needs of society.

Perception Based Method for Measuring the Aesthetic Quality of the Urban Environment

2017 ◽  
Vol 42 (2) ◽  
pp. 11-19
Author(s):  
Hourakhsh Ahmad Nia ◽  
Resmiye Alpar Atun ◽  
Rokhsaneh Rahbarianyazd
Keyword(s):  
Urban Environment ◽  
Spatial Configuration ◽  
Human Perception ◽  
Urban Morphology ◽  
Urban Environments ◽  
Human Cognition ◽  
Aesthetic Perception ◽  
Aesthetic Quality ◽  
The Aesthetic ◽  
Aesthetic Values

This study assesses changing aesthetic values and their characteristics in urban environments based on human perception. With this in mind, a model for assessing the aesthetic values of the urban environment based on the three steps of human cognition has been developed to elaborate the user's perception in different urban environments. The results of the survey confirm that by changing urban morphology the aesthetic perception of the environment also changes. The finding of this research opens up a new window for urban planners to assess the aesthetic effects of the elements of urban spatial configuration for future urban development.

“Beauty” Based on the Functionality of Smart Skin in Buildings

2017 ◽  
Vol 42 (4) ◽  
pp. 60-69
Author(s):  
Salar Salah Muhy Al-Dın ◽  
Hourakhsh Ahmad Nia
Keyword(s):  
Theoretical Analysis ◽  
Human Perception ◽  
Comprehensive Understanding ◽  
Aesthetic Value ◽  
Aesthetic Evaluation ◽  
The Future ◽  
The Difference ◽  
The Aesthetic ◽  
Smart Skin

The aim of this study is to extend the rationale and comprehensive understanding in respect of the notion of functionality and beauty in the smart skin buildings. Smart skin in buildings plays a key role in improving building functionality, and the future lies in the use of innovative smart skin strategies. The methodology focused on the objectivity and subjectivity of human perception to assess the aesthetic value of a building's smart skin. A theoretical analysis has been conducted based on the results of the investigation model and fortified by comparing the results with the findings obtained through the opinions of experts based in AHP methodology. The study demonstrates that there is a relation between both the aesthetic value and the functionality of the smart skin of a building. The findings revealed the difference in the aesthetic evaluation between the subjective functionality and the objective functionality of the building skin. The findings contribute useful evidence for the promotion of our understanding regarding the aesthetic value of the smart skin of a building, based on its functionality.

Aisthesis and Dispositif: The Pulse and Its Analogues

2020 ◽  
pp. 97-129
Author(s):  
Sharon Jane Mee
Keyword(s):  
Short Story ◽  
Penal Colony ◽  
The Spectator ◽  
The Aesthetic

This chapter discusses Jean-François Lyotard’s concept of aisthesis, which he develops through an examination of the executing apparatus in Franz Kafka’s short story ‘In the Penal Colony’. Aisthesis provides scope for defining the ‘felt’ spectatorship of the pulse, which can be differentiated from the aesthetic spectatorship concerned with the rhythms of the apparatus. By examining the viewing conditions established for William Castle’s The Tingler (1959), which saw cinema seats wired with electric devices that would ‘tingle’ their occupants, this chapter finds that what this apparatus ‘exposes’ is the aisthetic sensations of the spectator. It considers how the ‘machine-like’ prescription of the apparatus breaks into the energetic work of the dispositif of cinema at the site of the spectator, and more broadly, where the dispositif stands as a social apparatus in what is, for both Kafka’s and Castle’s apparatus, a disciplinary act.

Characterization of the effect of fabric structure on the optical properties of woven fabrics

2019 ◽  
Vol 23 (1) ◽  
pp. 58-70
Author(s):  
Paniz Khosravani ◽  
Nazanin Ezazshahabi ◽  
Masoud Latifi
Keyword(s):  
Optical Properties ◽  
Structural Parameters ◽  
Human Perception ◽  
Comparative Judgment ◽  
Woven Fabrics ◽  
Woven Fabric ◽  
Content Type ◽  
Weave Structure ◽  
The Aesthetic ◽  
Fabric Surface

Purpose This paper aims to study the optical properties of woven fabrics. Design/methodology/approach The current study was carried out to objectively evaluate the luster of a group of woven fabrics with different weave structures and weft densities, with the aid of a goniophotometer. The results obtained from the objective luster measurement were validated by a set of pair comparison subjective tests using Thurstone’s law of comparative judgment. Findings The proper correlation with the R2 value of more than 0.96, between subjective and objective tests, confirmed the reliability and accordance of objective results with the human perception of luster. Statistical analysis of the luster results clarified that the effect of fabric structural parameters such as weave structure and weft density are significant at the confidence range of 95 per cent. The highest luster index was achieved for the twill 3/1 weave structure and the lowest luster belonged to the plain pattern. In addition, an increase in the density of the fabric leads to better luster. Moreover, it was concluded that the surface roughness affects the luster. A rise in the roughness value of the woven fabric causes reduction in its luster property. Originality/value Optical properties of woven fabrics, which are mainly attributed through the measurement of luster, are important for qualifying the aesthetic characteristics of the fabrics with various weave structures. Bearing in mind the influence of fabric surface properties on the aesthetic features of cloths, obtaining information in this field is a guide for selecting the suitable fabric for various end uses.

scholarly journals O corpóreo e a erupção da bestialidade em Carne e Sozinho Contra Todos, de Gaspar Noé // The bodily and the eruption of bestiality in Meat and I Stand Alone, by Gaspar Noé

2019 ◽  
Vol 16 (3) ◽  
pp. 786
Author(s):  
Josette Alves de Souza Monzani ◽  
Mario Sergio Righetti
Keyword(s):  
Life History ◽  
The Body ◽  
The Social ◽  
History Of ◽  
Historia De Vida ◽  
The Spectator ◽  
The Aesthetic ◽  
Aesthetic Procedures

Resumo: Procura-se apontar de que modo os procedimentos estéticos do diretor franco-argentino Gaspar Noé acabam por realizar uma proposta de cinematografia radical que estabelece uma tensão no compartilhamento sensorial entre o corpo da tela, o corpo da câmera e o corpo do espectador. Carne (1991) e Sozinho Contra Todos (1998) narram a história de vida do Açougueiro, um cidadão à margem da sociedade metropolitana francesa, marcada por represamentos afetivos que o comprimem e levam a cometer ações bestiais marcadas por ‘enganos’, equívocos que o prejudicarão para sempre.O corpo cinematográfico de Noé faz uso da imagem e do som hápticos, trilhando um caminho batailleano - através da transgressão, da sensorialidade e da experimentação do abjeto -, e através deles busca induzir no espectador o que denominamos afeto carnal e corporeidade imanente como forma de pontuar as questões sociais e éticas propostas pelo diretor. Abstract: It is tried to point out how the aesthetic procedures of the French-Argentine director Gaspar Noé end up making a proposal of radical cinematography that establishes a tension in the sensorial sharing among the body of the screen, the body of the camera and the body of the spectator. Meat (1991) and I Stand Alone (1998) chronicle the life history of the Butcher, a citizen on the fringes of French metropolitan society, marked by affective imprisonments that compel him to commit bestial actions marked by ‘mistakes’, mistakes that will do him harm forever. The cinematographic body of Noé makes use of haptic image and sound, traversing a Bataillean path - through transgression, sensoriality and experimentation of the abject - and by them seeks to induce in the viewer what we call carnal affection and immanent corporeity as a way of punctuating the social and ethical questions proposed by the director.

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