scholarly journals Dlaczego jedzenie musi być piękne?

2018 ◽  
Vol 21 (2) ◽  
pp. 69-85
Author(s):  
Dominika Zagrodzka
Keyword(s):  
21St Century ◽  
Creative Process ◽  
Roland Barthes ◽  
Open Letter ◽  
Work Of Art ◽  
Preliminary Research ◽  
The Aesthetic ◽  
The Individual ◽  
The Erotic

Dlaczego jedzenie musi być piękne?W  artykule omawiam problem estetyzacji jedzenia. Analizuję dwudziestojednowieczne manifesty napisane przez szefów kuchni, takie jak Open Letter to the Chefs of Tomorrow i  Statement on the ʻnew cookeryʼ. Szczególnie interesuje mnie język, jakiego używają, mówiąc o  jedzeniu i  gotowaniu. Często jest on podobny do języka używanego do opisu sztuki i  procesu twórczego. Przykładowo, jednym z  najpopularniejszych terminów jest termin „interpretacja”, dotyczący zarówno działań kucharzy, jak i  jedzących. Podkreśla się, że akt jedzenia powinien być całościowym doświadczeniem i  dostarczać emocji zarezerwowanych dla sztuki. Czy rzeczywiście możemy mówić o  podobieństwie jedzenia do dzieła sztuki i  gotowania do tworzenia? Odwołując się między innymi do rezultatów wstępnych badań, jakie prowadziłam, chcę pokazać, jak koncepcja estetyzacji codzienności Wolfganga Welscha koresponduje z  ideą Georga Simmla o  estetycznej sile wspólnego stołu. Okazuje się, że chodzi nie tylko o  podawanie pięknych dań. Aby osiągnąć satysfakcję estetyczną z  posiłku, szczególnie ważne jest, z  kim i  w  jakim otoczeniu jemy. Wspólnota jest czymś nadbudowanym nad jednostkową satysfakcją. Roland Barthes zaznaczał także, że reguły i  zakazy obowiązujące podczas jedzenia zostały stworzone, aby ukryć erotyczny, indywidualny aspekt jedzenia. Why food must be beautiful?In my article I discuss the problem of the anesthetization of food. I analyzed the 21st century manifestos written by the chefs, including Open Letter to the Chefs of Tomorrow and Statement on the »new cookery«. I am particularly interested in the language they use talking about food and cooking. It is often similar to the language which is used to describe the work of art and the creative process. For example, the most popular term is ‘interpretation’ concerning the activities of cooks and eaters. It is emphasized that the act of eating is supposed to be holistic experience and should provide feelings reserved for art. But how much can you actually talk about the similarity of food to the pieces of art and about the similarity of cooking to creating something? Referring to the results of the preliminary research that I conducted, I want to show how to combine Wolfgang Welsch’s concepts about everyday aesthetisation and Georg Simmel’s ideas about the aesthetic power of a community table. It turns out that it is not just about to serve beautiful plates. To be satisfied with the meal it is also important who we eat with and in what setting. The community is something appearing over the individual satisfaction. Roland Barthes admitted that the rules and prohibitions are designed also to cover the erotic aspects of feasting.

scholarly journals Compositional System of Osvaldas Balakauskas

2018 ◽  
Vol 54 (2) ◽  
pp. 45-95
Author(s):  
Gražina Daunoravičienė
Keyword(s):  
20Th Century ◽  
21St Century ◽  
Creative Process ◽  
Cultural Context ◽  
Soviet Period ◽  
Aesthetic Value ◽  
Early 21St Century ◽  
The Aesthetic ◽  
Compositional System ◽  
The Relationship

Against the background of the Lithuanian professional music modernisation over the late Soviet period through to the early 21st century, the study focuses on the theoretical-compositional system of dodecatonics by the most consistent Lithuanian modernist Osvaldas Balakauskas (b. 1937). Based on it, the conceptualisation of the composer’s creative process, the modern expression construing specificity, the socio-political and cultural context, and the aesthetic value will be revealed. By interpreting the process of modernisation from the viewpoint of parataxical comparativism, the relationship between the dodecatonics and other 20th century ­stheoretical-compositional systems as well as the theoretical tradition will be examined. The issues of individualisation of the 12-tone technique and the implementation of the principles of the Dodecatonics in Balakauskas’’ compositions will be discussed. The system is contextualised in the milieu of the inculcation of “formalistic” modernist doctrines in Lithuania and the USSR and of the updating of composing systems and the development of new ones.

scholarly journals The performative turn at Inhotim: installation art and Baudelairean modernity

2013 ◽  
Vol 23 (3) ◽  
pp. 13-30
Author(s):  
Lauren S. Weingarden
Keyword(s):  
Aesthetic Experience ◽  
Installation Art ◽  
Charles Baudelaire ◽  
Art Museum ◽  
Transformative Experience ◽  
Work Of Art ◽  
Botanical Gardens ◽  
The Spectator ◽  
The Aesthetic ◽  
The Individual

This article explores the participatory turn in installation art as part of a trajectory from Baudelairean modernity to twentyfirst-century postmodernity, as represented at Inhotim, the outdoor contemporary art museum and botanical gardens in Brumadinho, MG. In his 1862 essay “The Painter of Modern Life,” Charles Baudelaire defined modernity as fleeting, transitory and fragmentary. Baudelairean modernity initiated a breakdown of boundaries between art and life and between high art aesthetics and popular culture, which continues in the work of installation artists. In the sites of installation art, the spectator is compelled to extend – rather than complete – the work of art in his/her own time, prior experiential encounters and transformative afterthoughts. The shift from the isolated work of art to the experiential one not only complicates how and where works of art are viewed, but also radicalizes the materials that constitute the work of art – whether those materials are extracted from the quotidian sphere or complex technologies, each undergoes a process of defamiliarization and reactivation to produce the transformative aesthetic experience. The individual installations in Inhotim’s “outdoor museum” engage the spectator in a dynamic/participatory experience with spatial, temporal and material relationships that define the very essence of art’s reciprocity, or contrast with the natural and man-made worlds. It is the rarefied setting of Inhotim’s botanical gardens that makes the participatory and transformative experience central to the aesthetic encounter with installation art.

Analytic Approaches to Aesthetics

Philosophy ◽  
2010 ◽  
Author(s):  
Peter Lamarque
Keyword(s):  
21St Century ◽  
Systematic Study ◽  
Art Criticism ◽  
18Th Century ◽  
Continental Philosophy ◽  
Analytic Approach ◽  
The Subject ◽  
The Aesthetic ◽  
The Individual ◽  
Aesthetics Of Nature

Aesthetics is broadly that branch of philosophy concerned with fundamental questions about the nature of beauty, the nature of art, and the principles of art criticism. Some of these questions go back to the ancient Greeks, but systematic study of the foundations of aesthetics did not begin until the 18th century. Analytic philosophers turned their attention to this branch of the subject relatively late and in the 1940s and 50s tended to be scornful of what they found (John Passmore famously wrote of the “dreariness” of aesthetics in 1951 in the journal Mind). However, in the fifty years up to the turn of the 21st century, and beyond that point, analytic approaches to aesthetics developed with considerable sophistication and there is now a huge literature on all aspects of the subject under the broad heading of “analytic aesthetics.” Other approaches exist, of course, notably that associated with Continental philosophy, which is more historically oriented. The analytic approach is rooted in the analysis of concepts (albeit increasingly informed by work in the empirical sciences) and tends to examine issues about the nature of art and the aesthetic qualities of objects in an ahistorical manner, even if noting and evaluating ideas from earlier periods. In the years since the early 1990s there has been a notable growth in attention to the individual arts (music, painting, literature, film, etc.). Important developments in the aesthetics of nature and the environment have also occurred.

Only with Beauty Man Shall Play

2017 ◽  
Author(s):  
Erika Fischer-Lichte
Keyword(s):  
French Revolution ◽  
Greek Tragedy ◽  
Aesthetic Education ◽  
Free State ◽  
Work Of Art ◽  
The Spectator ◽  
The Aesthetic ◽  
The Individual ◽  
Aesthetic Distance

Chapter 1, ‘Only with Beauty Man Shall Play. Goethe’s Production of Ion in Weimar (1802)’, proceeds from Goethe’s and Schiller’s responses to the French Revolution. While Goethe hailed the Bildung of the individual—that is, the development of his potential to the full—as the substitute for a revolution, Schiller believed that it was the aesthetic education of the individual that would finally result in a free state. The production of a Greek tragedy as an autonomous work of art that precluded the formation of empathy in the spectator (contrary to the domestic tragedy) was supposed to offer the spectator the possibility of aesthetic distance and thus enable him to acquire Bildung. To this end, Goethe developed a completely new aesthetics that the majority of spectators rejected—Ion turned out to be a flop.

Chibcha Aesthetics

1951 ◽  
Vol 17 (2) ◽  
pp. 145-147 ◽  
Author(s):  
C. A. Burland
Keyword(s):  
National Culture ◽  
Work Of Art ◽  
Aesthetic Taste ◽  
Works Of Art ◽  
The Aesthetic ◽  
The Individual

When we look at modern works of art we too often talk of the aesthetic taste of the individual artist without taking into consideration his place in a national culture, or an economic group. Towards “primitive” art we take a completely opposite viewpoint. Even when considering such a highly sophisticated art as that of pre-Columbian America, we are prone to give it an archaeological label and call a work of art an “interesting specimen.”

Erfahrung ohne Erfahrenden

2009 ◽  
Vol 2009 (1) ◽  
pp. 61-78
Author(s):  
Petr Kouba
Keyword(s):  
Phenomenological Approach ◽  
Work Of Art ◽  
New Beginning ◽  
Individual Structure ◽  
The World ◽  
Il Y A ◽  
Individual Existence ◽  
The Moment ◽  
The Individual ◽  
Intentional Structure

This article examines the limits of Heidegger’s ontological description of emotionality from the period of Sein und Zeit and Die Grundbegriffe der Metaphysik along the lines outlined by Lévinas in his early work De l’existence à l’existant. On the basis of the Lévinassian concept of “il y a”, we attempt to map the sphere of the impersonal existence situated out of the structured context of the world. However the worldless facticity without individuality marks the limits of the phenomenological approach to human existence and its emotionality, it also opens a new view on the beginning and ending of the individual existence. The whole structure of the individual existence in its contingency and finitude appears here in a new light, which applies also to the temporal conditions of existence. Yet, this is not to say that Heidegger should be simply replaced by Lévinas. As shows an examination of the work of art, to which brings us our reading of Moravia’s literary exposition of boredom (the phenomenon closely examined in Die Grundbegriffe der Metaphysik), the view on the work of art that is entirely based on the anonymous and worldless facticity of il y a must be extended and complemented by the moment in which a new world and a new individual structure of experience are being born. To comprehend the dynamism of the work of art in its fullness, it is necessary to see it not only as an ending of the world and the correlative intentional structure of the individual existence, but also as their new beginning.

On Measuring the Social Opportunity Cost of Labour in the Presence of Tariffs and an Informal Sector (The Distinguishedl Lecture)

1992 ◽  
Vol 31 (4I) ◽  
pp. 535-564 ◽  
Author(s):  
M. Ali Khan
Keyword(s):  
Informal Sector ◽  
Opportunity Cost ◽  
Costs And Benefits ◽  
Open Letter ◽  
Review Of The Literature ◽  
The Social ◽  
Action Project ◽  
Relevant Group ◽  
Net Benefits ◽  
The Individual

Harberger introduced his influential 1971 essay with the following words. This paper is intended not as a scientific study, nor as a review of the literature, but rather as a tract - an open letter to the profession, as it were - pleading that three basic postulates be accepted as providing a conventional framework for applied welfare economics. The postulates are: (a) The competitive demand price for a given unit measures the value of that unit to the demander; (b) The competitive supply price for a given unit measures the value of that unit to the supplier; and (c) When evaluating the net benefits or costs of a given action (project, programme, or policy), the costs and benefits accruing to each member of the relevant group (e.g., a nation) should normally be added without regard to the individual(s) to whom they accrue.

scholarly journals The Impacts in Real Estate of Landscape Values: Evidence from Tuscany (Italy)

2021 ◽  
Vol 13 (4) ◽  
pp. 2236
Author(s):  
Francesco Riccioli ◽  
Roberto Fratini ◽  
Fabio Boncinelli
Keyword(s):  
Real Estate ◽  
House Prices ◽  
Spatial Econometric ◽  
The Real ◽  
The Real Estate ◽  
Landscape Values ◽  
Individual Perception ◽  
Real Estate Prices ◽  
The Aesthetic ◽  
The Individual

Using spatial econometric techniques and local spatial statistics, this study explores the relationships between the real estate values in Tuscany with the individual perception of satisfaction by landscape types. The analysis includes the usual territorial variables such as proximity to urban centres and roads. The landscape values are measured through a sample of respondents who expressed their aesthetic-visual perceptions of different types of land use. Results from a multivariate local Geary highlight that house prices are not spatial independent and that between the variables included in the analysis there is mainly a positive correlation. Specifically, the findings demonstrate a significant spatial dependence in real estate prices. The aesthetic values influence the real estate price throughout more a spatial indirect effect rather than the direct effect. Practically, house prices in specific areas are more influenced by aspects such as proximity to essential services. The results seem to show to live close to highly aesthetic environments not in these environments. The results relating to the distance from the main roads, however, seem counterintuitive. This result probably depends on the evidence that these areas suffer from greater traffic jam or pollution or they are preferred for alternative uses such as for locating industrial plants or big shopping centres rather than residential use. Therefore, these effects decrease house prices.

Bringing the Automation-Related Complacency Scale into the 21st Century

2020 ◽  
Vol 64 (1) ◽  
pp. 1228-1232
Keyword(s):  
Internal Consistency ◽  
21St Century ◽  
Rating Scale ◽  
System Failure ◽  
Individual Values ◽  
Cronbach's Alpha ◽  
Important Measure ◽  
Frequency Of Use ◽  
Performance Error ◽  
The Individual

Complacency potential is an important measure to avoid performance error, such as neglecting to detect a system failure. This study updates and expands upon Singh, Molloy, and Parasuraman’s 1993 Complacency-Potential Rating Scale (CPRS). We updated and expanded the CPRS questions to include technology commonly used today and how frequently the technology is used. The goal of our study was to update the scale, analyze for factor shifts and internal consistency, and to explore correlations between the individual values for each factor and the frequency of use questions. We hypothesized that the factors would not shift from the original and the revised CPRS’s four subscales. Our research found that the revised CPRS consisted of only three subscales with the following Cronbach’s Alpha values: Confidence: 0.599, Safety/Reliability: 0.534, and Trust: 0.201. Correlations between the subscales and the revised complacency-potential and the frequency of use questions are also discussed.

Sign in / Sign up

Export Citation Format

Share Document