The Influence of Non-mainstream Culture on the Aesthetic Judgment of Fashion Trends

2015 ◽  
Vol 19 (2) ◽  
pp. 42-47
Author(s):  
Fan Wu
Keyword(s):  
Aesthetic Judgment ◽  
Future Research ◽  
New Era ◽  
History Of ◽  
One Step ◽  
The Aesthetic ◽  
The Moment ◽  
Fashion Designers ◽  
Mainstream Culture ◽  
Looking Back

By looking back into the history of fashion, if any fashion element went even one step beyond the traditional standards, it would be considered as betrayal. All betrayals would be undoubtedly resisted by mainstream culture (aristocracy culture). After the recent half century, postmodern fashion designers have been evoking people to question and debate about the traditional aesthetic standards of fashion. It is the moment of fierce shocks between mainstream and non-mainstream culture, and traditional and modern aesthetics. The inspiring spark broke through all fetters and would bring about the aesthetic judgment of non-mainstream culture into the saintly palace of high fashion. The consciousness of the non-mainstream culture of postmodernism will continue to create newer items and turn fashion culture into a new era. It is important for future research on aesthetics to directly look to impacts on human aesthetics in fashion, and furthermore, in attitudes towards values or life.

scholarly journals VISUALIZING THE CITY IN ROOFTOPPING PHOTOGRAPHY

2021 ◽  
Vol 70 (1) ◽  
pp. 80-88
Author(s):  
Vladimir V. Abashev ◽  
Keyword(s):  
Public Space ◽  
Social Space ◽  
Analytical Framework ◽  
The Gaze ◽  
Energy Flows ◽  
History Of ◽  
Urban Imagination ◽  
The Aesthetic ◽  
The Moment ◽  
The City

The article examines the representation of the city in rooftopping photography. Methodologically, the research is based on A. Lefebvre’s concept of social space, and also M. de Certeau’s concept of spatial practices as agents of its production. The principal notions in this analytical framework employed in the article are the urban imaginary and the gaze in constructivist understanding, which not only reflects, but also forms the object of vision. Rooftopping photography is considered in the context of the history of the view of the city from above, which has become an important factor in the urban imagination. The expansion of rooftopping photography into the public space and the presentation of cities is associated with the development of new communication and optical representation technologies in the 2010s. The analysis of the rooftoppers’ visualizing of the city carried out in semantic, aesthetic and rhetorical aspects revealed its substantive and aesthetic qualities. Rooftoppers photos capture the moment when a person faces the city as a whole. The city converges with natural and landscape objects. In the night panoramas that make up the bulk of roofer photography, the city is represented as a space of energy flows. In rhetorical terms, in contrast to the metonymy of a promenade, roofer photography is metaphorical. In general, it is concluded that the subject of rooftopper photography is not so much the identity of the city as its universal urban beginning embodied in the centers of the world’s megalopolises. Following D. Nye and his interpreters, the aesthetic mode of the city in roofer visuality is interpreted as urban version of the sublime.

scholarly journals Acoustic architecture before science. The case of Amsterdam's Concertgebouw

2016 ◽  
Vol 5 (1) ◽  
pp. 10-23
Author(s):  
Darryl Cressmann
Keyword(s):  
Objective Measure ◽  
New Era ◽  
Architectural Acoustics ◽  
Acoustic Design ◽  
Effective Form ◽  
Mathematical Formulas ◽  
History Of ◽  
Concert Halls ◽  
The Aesthetic ◽  
Enclosed Space

Concert halls are designed for attentively listening to music. To guarantee that the listening experience mediated by these buildings is acoustically correct, architects rely upon math- ematical formulas to measure and predict how a building will sound. Armed with these formulas, they are able to experiment with unconventional concert hall designs without compromising the acoustics. The achievements of modern architectural acoustics are a valorisa- tion of the mathematical formulas used to predict acoustics. Indeed, the development of a predictive theory of architectural acoustics by Wallace Sabine in 1900 has been celebrated as the beginning of a new era of understanding sound and acoustic design. However, overlooked in this scientific triumphalism are the aesthetic standards that shape the acoustic design of buildings for music. Sabine’s formula transformed our understanding of how music behaves in an enclosed space, but it did not change our understanding of how music should sound in these spaces. In this paper I explore these points through a history of the acoustic design of Amsterdam’s Concertgebouw, which opened in 1888. Through an examination of the history of the acoustic design of the Concertgebouw, I describe the process of acoustic design prior to Sabine as a process of aural imitation. With this concept I reconceptualise the history of acoustic architecture to better recognise, first, how Sabine’s theory is simply a more effective form of aural imitation, and second, how the quantification of sound has led to a subjective idea of good sound becoming fixed as an objective measure of what good sound should be. 

Utilization and Protection of Water Resources in China: 1978–2018

2018 ◽  
Vol 06 (04) ◽  
pp. 1850022
Author(s):  
Jun XIA ◽  
Qiting ZUO
Keyword(s):  
Water Resources ◽  
Water Use ◽  
Future Research ◽  
Social Changes ◽  
New Era ◽  
Smart Water ◽  
History Of ◽  
To Come ◽  
Reform And Opening Up ◽  
Water Resources Utilization

Since the reform and opening up, China has undergone fundamental economic and social changes, along with which the concepts, researches, and practices related to the utilization and protection of water resources have also changed dramatically. Therefore, it is of great significance to systematically summarize China’s 40-year history of water use and protection, and look to the future demand in the new era. By consulting the literature, the authors have sorted out the process of water resources utilization and protection in China between 1978 and 2018, and divided it into development-focused stage (1978–1999), comprehensive utilization stage (2000–2012) and protection-focused stage (2013 to present). Based on the development demand in the new era, the authors believe that the protection-focused stage will continue for a period of time (till 2025 or so), and a smart water use stage will emerge in the years to come. The authors have also proposed the priorities and directions for future research on water resources utilization and protection in the construction of the Belt and Road, the development of the Yangtze River Economic Zone, the coordinated development of Beijing–Tianjin–Hebei region, the construction of the Xiong’ an New Area, and the implementation of the Rural Revitalization Strategy.

The Audio-Visual Aesthetics of Music and Dance

2020 ◽  
Author(s):  
Guido Orgs ◽  
Claire Howlin
Keyword(s):  
Music Perception ◽  
Future Research ◽  
Visual Aesthetics ◽  
Evolutionary Origins ◽  
Rhythmical Activity ◽  
History Of ◽  
The Common ◽  
The Aesthetic ◽  
Musical Accompaniment ◽  
Rich History

Dance and music appear to belong together: Conventional definitions of dance often conceive it as a rhythmical activity in which a series of steps is performed to musical accompaniment. Indeed, dance and music share many similarities such as rhythm and may have co-evolved as a form of nonverbal communication between groups of people. Despite a rich history of composers and choreographers exploring the aesthetic relationship between dance and music, only a few scientific studies have systematically explored how the visual aesthetics of dance interact with the auditory aesthetics of sound and music. In this chapter we will focus on such interactions; we will explore the common evolutionary origins of dance and music and review existing research on how dance and music influence each other to produce an audio-visual aesthetics of sound and movement. The chapter will explore interactions in both directions: music influences dance perception by altering movement expressiveness, orienting visual attention, and by modulating memory. At the same time music perception strongly depends on groove and danceability and is shaped by the listener’s dance experience. The chapter closes with a review of methodological challenges to studying the audio-visual aesthetics of dance and music and suggestions for future research in this field.

scholarly journals Maximum Effect for Minimum Means: The Aesthetics of Efficiency

Design Issues ◽  
2016 ◽  
Vol 32 (1) ◽  
pp. 41-51 ◽  
Author(s):  
Odette da Silva ◽  
Nathan Crilly ◽  
Paul Hekkert
Keyword(s):  
Design Theory ◽  
Sensory Properties ◽  
Aesthetic Judgment ◽  
Future Research ◽  
Maximum Effect ◽  
Aesthetic Appreciation ◽  
Effect Relationship ◽  
The Aesthetic ◽  
Principle Of Maximum ◽  
The Way

The aesthetic judgment of an artifact is usually interpreted as an assessment of the artifact's sensory properties. But an artifact can also be appreciated, and still aesthetically, for the way it fulfills its purpose. Existing design theory does not provide the concepts required for describing this aspect of aesthetic appreciation and so cannot fully explain what people mean when they say a product is beautiful. In this paper, we develop an understanding of the aesthetic judgment based on the principle of maximum effect for minimum means. We explain how a means–effect relationship can be established between a product and its purpose or effect, and how the product and the effect can be perceived to be minimal and maximal. We also explain how the appreciation of this relationship depends on a set of assumed alternatives for both the product or means and the effect. Finally, we provide some directions for future research into design aesthetics.

scholarly journals Vulgar Sociologism: The History of the Concept

2019 ◽  
Vol 18 (3) ◽  
pp. 286-308
Author(s):  
Vladimir Bystrov ◽  
Vladimir Kamnev
Keyword(s):  
Literary Criticism ◽  
Point Of View ◽  
Ancient Greek ◽  
Aesthetic Value ◽  
Work Of Art ◽  
Sociological Approach ◽  
Aesthetic Pleasure ◽  
History Of ◽  
The Aesthetic ◽  
The Moment

This article can be considered as the history of the concept of vulgar sociologism, including both the moment of the emergence of this concept and its subsequent history. In the 20th century, new approaches were formed in the natural sciences about society and man which assumed to consider all of the ideas from the point of view of class psycho-ideology. This approach manifested itself somewhat in the history of philosophical and scientific knowledge, but chiefly in literary criticism (Friche, Pereverzev). As a result, any work of art turns into a ciphered message behind which the interest of a certain class or group hides. The critic has to solve this code and define its sociological equivalent. In the discussions against vulgar sociology, M. Lifshitz and his adherents insisted on a limitation of the vulgar-sociological approach, qualifying it as a bourgeois perversion of Marxism. They saw the principle of the criticism of vulgar sociology in the well-known statement by K. Marx about the aesthetic value of the Ancient Greek epos. The task of the critic does not only reduce to the establishment of social genetics of the work of art because he also needs to explain why this work causes aesthetic pleasure during other historical eras. In the article, it is shown that later attempts to reduce the complete spectrum of modern western philosophy and aesthetics into a paradigm of vulgar sociology of the 1920s is an unreasonable exaggeration. At the same time, in discussions in the 1930s, the question of the need of the differentiation of the vulgar-sociological approach and a sociological method in general was raised. As for sociology, this question remains relevant even today.

Migration and Modernities

2019 ◽  
Keyword(s):  
Native Americans ◽  
Literary History ◽  
Historical Study ◽  
Racial Categories ◽  
Geographic Boundaries ◽  
The Us ◽  
Technological Developments ◽  
History Of ◽  
The Aesthetic ◽  
Eighteenth And Nineteenth Centuries

Migration and Modernities recovers a comparative literary history of migration by bringing together scholars from the US and Europe to explore the connections between migrant experiences and the uneven emergence of modernity. The collection initiates transnational, transcultural and interdisciplinary conversations about migration in the eighteenth and nineteenth centuries, demonstrating how mobility unsettles the geographic boundaries, temporal periodization, and racial categories we often use to organize literary and historical study. Migrants are by definition liminal, and many have existed historically in the spaces between nations, regions or ethnicities. In exploring these spaces, Migration and Modernities also investigates the origins of current debates about belonging, rights, and citizenship. Its chapters traverse the globe, revealing the experiences — real or imagined — of eighteenth- and nineteenth-century migrants, from dispossessed Native Americans to soldiers in South America, Turkish refugees to Scottish settlers. They explore the aesthetic and rhetorical frameworks used to represent migrant experiences during a time when imperial expansion and technological developments made the fortunes of some migrants and made exiles out of others. These frameworks continue to influence the narratives we tell ourselves about migration today and were crucial in producing a distinctively modern subjectivity in which mobility and rootlessness have become normative.

Evaluation of concomitant gynecological pathology in group of patients of reproductive age with tumors and tumor formations

2020 ◽  
pp. 10-14
Author(s):  
N. V. Spiridonova ◽  
A. A. Demura ◽  
V. Yu. Schukin
Keyword(s):  
Diagnostic Errors ◽  
Ovarian Tumors ◽  
Reproductive Age ◽  
Women Of Reproductive Age ◽  
Predisposing Factor ◽  
Ovarian Tumours ◽  
Preoperative Diagnostic ◽  
Neoplastic Process ◽  
History Of ◽  
The Moment

According to modern literature, the frequency of preoperative diagnostic errors for tumour-like formations is 30.9–45.6%, for malignant ovarian tumors is 25.0–51.0%. The complexity of this situation is asymptomatic tumor in the ovaries and failure to identify a neoplastic process, which is especially important for young women, as well as ease the transition of tumors from one category to another (evolution of the tumor) and the source of the aggressive behavior of the tumor. The purpose of our study was to evaluate the history of concomitant gynecological pathology in a group of patients of reproductive age with ovarian tumors and tumoroid formations, as a predisposing factor for the development of neoplastic process in the ovaries. In our work, we collected and processed complaints and data of obstetric and gynecological anamnesis of 168 patients of reproductive age (18–40 years), operated on the basis of the Department of oncogynecology for tumors and ovarian tumours in the Samara Regional Clinical Oncology Dispensary from 2012 to 2015. We can conclude that since the prognosis of neoplastic process in the ovaries is generally good with timely detection and this disease occurs mainly in women of reproductive age, doctors need to know that when assessing the parity and the presence of gynecological pathology at the moment or in anamnesis, it is not possible to identify alarming risk factors for the development of cancer in the ovaries.

The Goal of the Moment (Summary of the Lecture Delivered by Ivan Ilyin in May 1917)

2019 ◽  
Vol 60 ◽  
pp. 424-428
Author(s):  
Alexandra I. Vakulinskaya
Keyword(s):  
The State ◽  
October Revolution ◽  
Legal Consciousness ◽  
New Order ◽  
History Of ◽  
The Moment

This publication is devoted to one of the episodes of I. A. Ilyin’s activity in the period “between two revolutions”. Before the October revolution, the young philosopher was inspired by the events of February 1917 and devoted a lot of time to speeches and publications on the possibility of building a new order in the state. The published archive text indicates that the development of Ilyin’s doctrine “on legal consciousness” falls precisely at this tragic moment in the history of Russia.

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