Towards the Synthesis of Aesthetic Product Form

2000 ◽  
Author(s):  
Stephen N. Smyth ◽  
David R. Wallace
Keyword(s):  
Industrial Design ◽  
Evolutionary Process ◽  
Product Form ◽  
Brand Identity ◽  
Synthesis Process ◽  
Digital Representations ◽  
Aesthetic Form ◽  
Design Cycle ◽  
The Aesthetic

Abstract A method for the synthesis of aesthetic product form is proposed. The approach attempts to bring computation to bear on the notion of brand DNA, a term which is used in industry loosely to refer to the aesthetic form elements that contribute to brand identity. The designer defines the origin of an evolutionary process by interactively describing the archetype, or skeleton, of the desired form based on existing product geometry. The system uses the skeleton to generate a variety of forms, or surface skins. The designer selects appealing surfaces for further evolution in form space. It is envisaged that this synthesis process will be applied within an integrated industrial design cycle that supports the rapid alternation between physical and digital representations of product geometry.

Measure, Modulation and Metadesign: NC Fabrication in Industrial Design and Architecture

2019 ◽  
Vol 33 (1) ◽  
pp. 66-82
Author(s):  
AnnMarie Brennan
Keyword(s):  
Machine Tool ◽  
Architectural Design ◽  
Industrial Design ◽  
Computer Numerical Control ◽  
Numerical Control ◽  
Curved Surfaces ◽  
Aesthetic Form ◽  
History Of ◽  
Post War ◽  
The Aesthetic

Abstract Just as the capabilities of machine tool design influenced the aesthetic form of streamlined industrial design products during the mechanical age, the embedded curves and splines of digital software employed by architects today originated in the offices of automobile and aeroplane manufacturers from the post-war era. The use and reproduction of smooth, curvilinear forms would not appear in the field of architecture until many decades after their development within industrial design. The current relationship between architecture and industrial design is forged through the innovative use of Computer Numerical Control fabrication and the parametric procedures and software invented for its use. This article investigates the history of designing and fabricating complex, curved surfaces in industrial design and architecture in order to establish the technological and theoretical links between these two fields. It involves the transfer of technological knowledge amongst a diverse cast of designers, engineers and architects from multiple continents that took place over a period of 40 years. Moreover, this research claims that the origins of parametric architectural design can be found in this moment of developing and programming numerically controlled machines.

STUDY OF DECORATIVE VARIETY IN GORONTALO KARAWO FABRIC IN AESTHETIC AND SYMBOLIC ELEMENTS

ARTic ◽  
2019 ◽  
Vol 3 ◽  
pp. 121-134
Author(s):  
Apsari Dj Hasan
Keyword(s):  
Manufacturing Process ◽  
The Philippines ◽  
Aesthetic Theory ◽  
Cultural Meanings ◽  
Aesthetic Value ◽  
Aesthetic Form ◽  
Decorative Motifs ◽  
Symbolic Meanings ◽  
The Aesthetic

This study aims to examine the decorative types of Gorontalo karawo fabrics in aesthetic and symbolic elements. Researchers want to know as made in the research design, aspects that are present in the decoration of fabrics in aesthetic and symbolic elements. This study uses a number of related theories to get results, and as a determinant, the authors use aesthetic theory, as well as historical approaches. With this theoretical basis, the author seeks to describe the aesthetic aspects and symbolic meanings that exist in Gorontalo karawo fabric. Through the data collection of the chosen motif and provide a classification of motives, the part is used as a reference for research material. The results showed that Gorontalo filigree had an aesthetic value consisting of unity formed from the overall decorative motifs displayed, complexity formed by complexity in the manufacturing process, and intensity of seriousness in the manufacturing process or the impression displayed on the filigree motif. The aesthetic form also reflects the diversity of meanings for communication, such as the symbol of a leader with his noble instincts, a symbol of cultural cooperation, which is worth maintaining, and ideas about nature conservation. This research proves that the decoration in Gorontalo filigree cloth (karawo) does not only act as a visual value, but also as a communication of cultural meanings and social status. Of all these distinctive motifs show a relationship between humans and humans and humans with nature. The influence of culture from the Philippines is also known to have a strong influence on the emergence of the Gorontalo filigree namely manila filigree.

Brief Analysis for the Aesthetic Form of Chinese Garden Art

2014 ◽  
Vol 584-586 ◽  
pp. 650-653 ◽  
Author(s):  
Bian Ling Zhang
Keyword(s):  
Development History ◽  
Artistic Conception ◽  
High Uniformity ◽  
Aesthetic Form ◽  
The World ◽  
The Aesthetic ◽  
Aesthetic Forms

Chinese garden art has developed gradually along with the neutralization--lasting appeal--artistic conception trend till to the peak, meanwhile, those aesthetic forms can be existed synchronously with historical advancement, logic arrangement in parallel and correspondence as well as abundance and deepening of the interior connotation and exterior extension, which represent the high uniformity of the development history and logics of Chinese garden art. Nowadays, the landscape garden development is required to probe its root, explore its cultural soul, so as to base itself upon the garden industry all over the world. Additionally, the function of traditional aesthetic form will show the powerful functions, declare publicly the deep influence of modernized landscape garden development.

scholarly journals The New Mirror: Reflecting on inhabitant behaviour in VR and VR visualisation

2021 ◽  
Author(s):  
B Wang ◽  
Tane Moleta ◽  
Marc Aurel Schnabel
Keyword(s):  
Virtual Reality ◽  
Augmented Reality ◽  
Software Development ◽  
User Experience ◽  
Computational Design ◽  
Digital Representations ◽  
Traditional Design ◽  
Design Cycle ◽  
Immersive Systems ◽  
Modern Era

Technology inevitably evolves and develops rapidly in the modern era, industries and professions continue to strive in integrating, adapting and utilising these advancements to improve, optimise and improve the process of design to manufacture to the user experience. One such system that fits into this category is the advent of Virtual Reality and Augmented Reality. The numerous possibilities to which these visually and spatially immersive systems opportunities for immense innovation often lacks direction or an ultimate goal thus rendering this piece of software to often be little more than a visualisation tool.This paper recognises the unique position that VR allows and seeks to interrogate and deconstruct current, traditional design processes to better utilise VR in aiding and reinforcing the idea of partial testing of ideas and concepts throughout the design cycle. Different sciences such as psychology, processes and automation from computational design and considerations within software development will be employed and injected into the broader architectural context in which this research presides. In addition to the VR headset, eye tracking external hardware are integrated to develop a seamless tool and workflow that allows us, as designers to better interrogate clients behaviour within our designed digital representations which leads to validations, evaluations and criticisms of our actions within the architectural realm.

scholarly journals Development of painting in Maratha area

2016 ◽  
Vol 4 (9) ◽  
pp. 198-202
Author(s):  
Sushma Jain
Keyword(s):  
Madhya Pradesh ◽  
Human Beings ◽  
Aesthetic Form ◽  
The Aesthetic ◽  
The Many

The painting tradition in the Maratha region dates back to prehistoric times. Human beings have left examples of paintings with a very careful reflex of behavior. In the primitive tendons of Madhya Pradesh, we are surprised today by the many linear signs of the human and the aesthetic form of the weapons, following the craving to be cultured and ornate on that barbar. मराठा क्षेत्र में चित्रकला परंपरा का प्रारंभ प्रागैतिहासिक काल से होता है। मानव ने बहुत ही प्रांरभ में व्यवहार की सजगता के साथ चित्रों के उदाहरण छोड़े हैं। मध्यप्रदेश की आदिम कंदराओं में हमें उस बर्बर पर सुसंस्कृत और सुअलंकृत होने की लालसा के अनुगामी मानव के रचे अनेक रेखीय चिन्ह तथा अस्त्र शस्त्रों के सौंदर्य प्रधान रूप आज हमंें आश्चर्य चकित करते है।1

Dam Epilogue: The Textual Person

2007 ◽  
Author(s):  
Tony Crook
Keyword(s):  
Social Relations ◽  
Vantage Point ◽  
Knowledge Practices ◽  
Aesthetic Form ◽  
The Aesthetic

Angkaiyakmin notions of a person's efficacy circulating beyond themselves and combining with others is used in this chapter as a vantage point on anthropological interpretative artefacts, and the section argues that these contemporary aesthetics of anthropological knowledge-making produce interpretative forms after a particular understanding of subjectivity and personhood. The chapter specifically compares the capacities of Bolivip and anthropological knowledge-practices, and considers how each form of knowledge adheres to a powerful aesthetic that is taken for granted by the respective practitioners. Recognition and currency for artefacts – the capacity to animate analytic and social relations in others – is governed by exhibiting this demanding aesthetic form. The chapter then addresses the insights from Bolivip knowledge-practices to anthropological knowledge-practices: by adopting the vantage point of ‘the textual person’, the aesthetic principles through which anthropological knowledge is given form are outlined, and the means by which anthropologists circulate parts of themselves to others – their efficacy and ‘relations’ – are examined. The ‘textual person’ figure makes explicit the form of subjective relationality that informs anthropological interpretation.

Introduction

2019 ◽  
pp. 1-14
Author(s):  
Dana Seitler
Keyword(s):  
Aesthetic Experience ◽  
Gender And Sexuality ◽  
Fin De Siecle ◽  
Literary Fiction ◽  
Economic Equality ◽  
Aesthetic Form ◽  
Fin De Siècle ◽  
History Of ◽  
The Aesthetic ◽  
Aesthetic Ideas

This book explores the pivotal role that various art forms played in American literary fiction in direct relation to the politics of gender and sexuality at the turn of the century. I track the transverse circulation of aesthetic ideas in fiction expressly concerned with gender and sexuality, and I argue that at stake in fin-de-siècle American writers’ aesthetic turn was not only the theorization of aesthetic experience, but also a fashioning forth of an understanding of aesthetic form in relation to political arguments and debates about available modes of sociability and cultural expression. One of the impulses of this study is to produce what we might think of as a counter-history of the aesthetic in the U.S. context at three (at least) significant and overlapping historical moments. The first is the so-called “first wave” of feminism, usually historicized as organized around the vote and the struggle for economic equality. The second is marked by the emergence of the ontologically interdependent homosexual/heterosexual matrix—expressed in Foucault’s famous revelation that, while the sodomite had been a temporary aberration, at the fin de siècle “the homosexual was now a species,” along with Eve Sedgwick’s claim that the period marks an “endemic crisis in homo-heterosexual definition.”...

The Moral Aesthetics of Compulsory Ultrasound Viewing and the Theological Future of Abortion

2018 ◽  
Vol 32 (1) ◽  
pp. 78-87 ◽  
Author(s):  
Craig Hovey
Keyword(s):  
United States ◽  
The United States ◽  
Religious Groups ◽  
Moral Significance ◽  
Us States ◽  
Moral Response ◽  
Abortion Debate ◽  
Aesthetic Form ◽  
The Will ◽  
The Aesthetic

By law, women seeking abortions in some US states must undergo compulsory ultrasound viewing. This article examines the moral significance of this practice, especially as understood by pro-life religious groups, in light of Foucault’s recently published lectures on ‘The Will to Know’ and the place of the aesthetic. How does the larger abortion-debate strategy of ‘showing’ and ‘seeing’ images—whether of living or dead fetuses—work as an aesthetic form of argument that intends to evoke a moral response in the absence of reason-giving? The article draws on recent, parallel debates regarding disgust before concluding with a theological response to the priority of will over knowledge and vision over action as commentary on the future of abortion debate and law, especially in the United States.

Tymieniecka’s phenomenology of life

2001 ◽  
Vol 2 (1) ◽  
pp. 103-134
Author(s):  
Gary Backhaus
Keyword(s):  
Phenomenological Study ◽  
Evolutionary Process ◽  
Life Forms ◽  
Moral Sense ◽  
Constitutive Function ◽  
Passive Synthesis ◽  
Evolution Of Life ◽  
The Aesthetic ◽  
The Mind ◽  
Transformative Function

Anna-Teresa Tymieniecka expands the phenomenological study of meanings (sense-bestowal) into an onto-genetic inquiry by grounding it in a phenomenology of life, including the emotional dimension. This phenomenology of life is informed by the empirical sciences and its doctrines parallel the new scientific paradigm of open dynamic systems. Embedded in the dynamics of the real individuation of life forms, human consciousness emerges at a unique station in the evolutionary process. Tymieniecka treats the constitution of sense as a function of life, and thus the transcendental constitutive function of the cognitive, objectifying intentionality of consciousness, the purview of classical phenomenology, is viewed as a project that is limited in its scope. According to the phenomenology of life, meaning-genesis is exhibited throughout the various stages of structurization in the evolution of life. This paper highlights the transformative function of the “Imaginatio Creatrix,” which is the dynamic process at the human station of evolution that accounts for humanity’s inventive capacities necessary for the construction of a human world. The Imaginatio Creatrix transforms the more primitive stirrings of the human “soul” into subliminal passions of human existential significance. The enactive theory of the mind corroborates Tymieniecka’s rejection of Husserl’s doctrine of passive synthesis. However, Tymieniecka’s study of the creative function offers a key for further advancement in enactive theory. Three sense-bestowing functions of the Imaginatio Creatrix account for the human expansion of life: the Aesthetic/Poetic sense, the Objectifying Sense, and the Moral Sense. The Moral Sense, for Tymieniecka, is not the product of reasoning powers, but rather the fruit of subliminal passions that acquire their moral aspect through trans-actions guided by the “benevolent sentiment.”

Departure and Repatriation as Cold War Dissensus: Domestic Ethnography in Korean Documentary

2017 ◽  
Vol 22 (2) ◽  
pp. 433-457
Author(s):  
Jinhee Park
Keyword(s):  
Cold War ◽  
South Korea ◽  
North Korea ◽  
Domestic Space ◽  
South Korean ◽  
Private Realm ◽  
Aesthetic Form ◽  
The Aesthetic ◽  
The Cold War ◽  
The Given

Abstract This article examines autobiographic documentaries about families that expose “dissensus” in the mapping of transborder migration and diasporic desire that were the results of the Cold War in North Korea, South Korea, and Japan. Jae-hee Hong (dir. My Father’s Emails) and Yong-hi Yang (dir. Dear Pyongyang and Goodbye Pyongyang) document the ongoing Cold War in their fathers’ histories through their position as a “familial other,” who embodies both dissensus and intimacy. Hong reveals that anticommunism in South Korean postwar nation building reverberated in the private realm. Yang documents her Zainichi father, who sent his sons to North Korea during the Repatriation Campaign in Japan. The anticommunist father in South Korea (Hong’s) and the communist father in Japan (Yang’s) engendered family migration with contrasting motivations, departure from and return to North Korea, respectively. Juxtaposing these two opposite ideologies in family histories, as well as juxtaposing the filmmakers’ dissonance with the given ideologies in domestic space, provide the aesthetic form for “dissensus.” The politics of aesthetics in domestic ethnography manifests in that the self and the Other are inextricably interlocked because of the reciprocity of the filmmaker and the communist or anticommunist subject.

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