scholarly journals Estetika Simbolik pada Desain Bangunan Komersil di Kawasan Perdagangan Cihampelas

Humaniora ◽  
2012 ◽  
Vol 3 (2) ◽  
pp. 475 ◽  
Author(s):  
Doni Morika
Keyword(s):  
Human Body ◽  
Aesthetic Experience ◽  
Broad Sense ◽  
Aesthetic Sense ◽  
Aesthetic Pleasure ◽  
Behavior Settings ◽  
Points Of View ◽  
The Aesthetic

The notion of aesthetics so far did not produce a conclusion crystallized from various points of view offered by observer. It came from the standpoint of behavioral and psychological environment to obtain the aesthetic sense which was based on the notion of meaning, perception, and aesthetic experience. In the philosophy of beauty "aesthetic experience" was in the view of phenomenology of the aesthetic experience of the "thing". Sensory aesthetic experience was based on observations at the same time with the whole soul of the human body and produced a feeling of participating bound, carried away, and enticed her feelings toward an aesthetic pleasure and experience. The question raised then is how these symptoms that could affect the behavior settings in the broad sense. Good answers to these questions will be able to make designers better understand the behavior of the users as well as empower designers to contribute to the environment.  

Embodied Aesthetics

2018 ◽  
pp. 890-910
Author(s):  
Barbara Gail Montero
Keyword(s):  
Aesthetic Experience ◽  
The Body ◽  
Traditional View ◽  
Bodily Experience ◽  
Aesthetic Pleasure ◽  
Embodied Aesthetics ◽  
The Aesthetic ◽  
Bodily Movements

Although great art frequently revers the body, bodily experience itself is traditionally excluded from the aesthetic realm. This tradition, however, is in tension with the experience of expert dancers who find intense aesthetic pleasure in the experience of their own bodily movements. How to resolve this tension is the goal of this chapter. More specifically, in contrast to the traditional view that denigrates the bodily even while elevating the body, I aim to make sense of dancers’ embodied aesthetic experience of their own movements, as well as observers’ embodied aesthetic experience of seeing bodies move.

A Farewell to Art: Aesthetics as a Topic in Psychology and Neuroscience

2020 ◽  
Vol 15 (3) ◽  
pp. 630-642 ◽  
Author(s):  
Martin Skov ◽  
Marcos Nadal
Keyword(s):  
Aesthetic Experience ◽  
Behavioral Control ◽  
Sensory Stimuli ◽  
Hedonic Value ◽  
Hedonic Valuation ◽  
Emotional Processes ◽  
Aesthetic Pleasure ◽  
Substantial Progress ◽  
The Aesthetic ◽  
Definition Of

Empirical aesthetics and neuroaesthetics study two main issues: the valuation of sensory objects and art experience. These two issues are often treated as if they were intrinsically interrelated: Research on art experience focuses on how art elicits aesthetic pleasure, and research on valuation focuses on special categories of objects or emotional processes that determine the aesthetic experience. This entanglement hampers progress in empirical aesthetics and neuroaesthetics and limits their relevance to other domains of psychology and neuroscience. Substantial progress in these fields is possible only if research on aesthetics is disentangled from research on art. We define aesthetics as the study of how and why sensory stimuli acquire hedonic value. Under this definition, aesthetics becomes a fundamental topic for psychology and neuroscience because it links hedonics (the study of what hedonic valuation is in itself) and neuroeconomics (the study of how hedonic values are integrated into decision making and behavioral control). We also propose that this definition of aesthetics leads to concrete empirical questions, such as how perceptual information comes to engage value signals in the reward circuit or why different psychological and neurobiological factors elicit different appreciation events for identical sensory objects.

scholarly journals Sensing the Poetic Habitat – A Study of Middle School Chinese Teaching from the Perspectives of Life Aesthetics

2021 ◽  
Vol 5 (12) ◽  
pp. 205-209
Author(s):  
Liyao Ma
Keyword(s):  
Middle School ◽  
Aesthetic Experience ◽  
Classroom Instruction ◽  
Chinese Education ◽  
Individual Life ◽  
Aesthetic Sense ◽  
Teachers And Students ◽  
The Aesthetic ◽  
Chinese Teaching ◽  
Natural Characteristics

The concept of life aesthetics reflects an individual’s cry for life and pursuit of beauty, inspiring individuals to discover their spiritual home, sense their poetic habitat, and enjoy the beauty of life flowing from their fingertips. Chinese education, viewed through the lens of life aesthetics, is founded on the natural characteristics of life, stimulating the aesthetic sense of individual life through the allure of language, and teaching students to view life through the aesthetic lens as well as from an understanding of life’s essence. Teachers and students are required to take an aesthetic view of life as theoretical guidance, based on core Chinese literacy, with textbook contents serving as carriers and classroom instruction as the position, closely connected to students’ actual lives, in order to help stimulate aesthetic experience among students, improve their aesthetic ability through aesthetic activities, and thus establish a correct view of life.

scholarly journals Fostering the Aesthetic Pleasure: The Effect of Verbal Description on Aesthetic Appreciation of Ambiguous and Unambiguous Artworks

2021 ◽  
Vol 11 (11) ◽  
pp. 144
Author(s):  
Emanuela Mari ◽  
Alessandro Quaglieri ◽  
Giulia Lausi ◽  
Maddalena Boccia ◽  
Alessandra Pizzo ◽  
...  
Keyword(s):  
Aesthetic Experience ◽  
Response Times ◽  
Total Sample ◽  
Verbal Description ◽  
Aesthetic Appreciation ◽  
Audio Description ◽  
Aesthetic Pleasure ◽  
State Of Mind ◽  
The Aesthetic ◽  
Retest Session

Background: Aesthetic experience begins through an intentional shift from automatic visual perceptual processing to an aesthetic state of mind that is evidently directed towards sensory experience. In the present study, we investigated whether portrait descriptions affect the aesthetic pleasure of both ambiguous (i.e., Arcimboldo’s portraits) and unambiguous portraits (i.e., Renaissance portraits). Method: A total sample of 86 participants were recruited and completed both a baseline and a retest session. In the retest session, we implemented a sample audio description for each portrait. The portraits were described by three types of treatment, namely global, local, and historical descriptions. Results: During the retest session, aesthetic pleasure was higher than the baseline. Both the local and the historical treatments improved the aesthetic appreciation of ambiguous portraits; instead, the global and the historical treatment improved aesthetic appreciation of Renaissance portraits during the retest session. Additionally, we found that the response times were slower in the retest session. Conclusion: taken together, these findings suggest that aesthetic preference was affected by the description of an artwork, likely due to a better knowledge of the painting, which prompts a more accurate (and slower) reading of the artwork.

Modern Parody

2019 ◽  
pp. 63-89
Author(s):  
Leonard Diepeveen
Keyword(s):  
Common Sense ◽  
Aesthetic Experience ◽  
Avant Garde ◽  
Aesthetic Pleasure ◽  
The Aesthetic

Beginning with an account of a parody of Spectra (itself a hoax movement intended to expose the fraudulence of imagism), this chapter examines how actual frauds, hoaxes, and parodies—as attempts to unmask modernism’s fraudulent ambitions—performed something essential to a successful fraud: a mimicry of sincerity. Along with this mimicry, parodies and hoaxes interpreted what modernism’s features were, arguing as well that modernism was easy to replicate, and therefore insincere. As part of this analysis, the chapter questions whether truly new or avant-garde works are capable of being parodied when their features are not understood. The goal of these frauds, hoaxes, and parodies was not to articulate an affect of aesthetic pleasure, but to make the aesthetic experience of modernism one of recognition, credulity, common sense—a silent appeal to ideology, and a moment of unmasking.

scholarly journals A Virtual Space Built on a Canvas Painting for an “Augmented” Experience to Catch the Artist’s Message

2021 ◽  
Vol 10 (10) ◽  
pp. 641
Author(s):  
Salvatore Capotorto ◽  
Maria Lepore ◽  
Antonietta Varasano
Keyword(s):  
Virtual Space ◽  
Linear Perspective ◽  
Last Supper ◽  
15Th Century ◽  
Sense Of Presence ◽  
Aesthetic Pleasure ◽  
Points Of View ◽  
The Aesthetic

“Entering” a canvas to examine and learn about the work from unexplored points of view is an experiential “journey” in an environment reconstructed through the use and integration of innovative technologies, such as descriptive geometry and digital photogrammetry, solid modeling and immersive photography. Generating a “sense of presence” in the viewer means connecting it with immediacy to the artist’s message and grasping even the most subtle elements of the painting that are difficult to understand, such as architectural inconsistencies or the play of perspectives that, very often, bring out the situations scripted, characterized by discoveries that prelude to the aesthetic pleasure as the multiplicity of meanings and the “stylistic overcoding” of the work is revealed. The research hypotheses were applied to a case study, or to the splendid “Last Supper” by the Flemish artist Gaspar Hovic, a canvas painted in oil (late 15th century AD) and kept in the Matrice SM Veterana Church di Triggiano (BA), where the representation of the suggestive moment of Jesus with the Apostles is carried out through numerous symbols, in an evocative architectural context rich in details. The pictorial subject provides a series of very interesting ideas suitable for research of the role of perspective. The inverse method of linear perspective was used to reveal the plants and sections corresponding to the perspective space of the painting, used as the basis for the reconstruction of the 3D model of the entire scenic composition. Although the painting represents the apparently rigorous application of the perspective technique, by “entering” the canvas it is possible to observe some exceptions to the geometric rules deliberately introduced by the artist, thus making the perspective restitution process an effective interpretative act of the work.

scholarly journals The Factor of Visual Symmetry Perception in Aesthetic Experience

2018 ◽  
Vol 11 (1) ◽  
pp. 166-177 ◽  
Author(s):  
S.L. Artemenkov ◽  
G.V. Shookova ◽  
K.V. Mironova
Keyword(s):  
Visual Perception ◽  
Cognitive Processes ◽  
Aesthetic Experience ◽  
Ecological Context ◽  
Aesthetic Perception ◽  
Multiscale Representation ◽  
Aesthetic Sense ◽  
Physical Symmetry ◽  
The Aesthetic ◽  
Symmetry Perception

The article deals with the formation of aesthetic experience in connection with the perception of physical symmetry of objects and their images. An overview of modern works on the psychology of aesthetic perception in the context of the problem of the perception of symmetry is presented. The phenomenon of symmetry preference in visual perception is illustrated by arguments in its favor and data on its situationality. The ecological context of symmetry in animals and plants is touched in connection with the phenomenon of fluctuating asymmetry as an undirected deviation in the symmetry of a two-sided structure normally distributed in the population. Mathematical models of symmetry of forms and their multiscale representation are discussed. The analysis of the study of the Zen stone garden perceptual peculiarities from the position of the medial axes’ model is carried out.On the basis of the provisions of the transcendental psychology of perception, a hypothesis is advanced about the meta-sensory origin of the aesthetic sense, based on the process of interrelation of the internal symmetrical mechanisms of visual perception and the cognitive processes of creating figurative representations. The relation to the principle of symmetry in the context of the transcendental psychology of perception is shown.

Predictive Error Reduction and the Twofold Nature of Aesthetic Pleasure

2016 ◽  
Vol 4 (4) ◽  
pp. 327-338 ◽  
Author(s):  
Gianluca Consoli
Keyword(s):  
Common Core ◽  
Subjective Experience ◽  
Aesthetic Experience ◽  
Complex Dynamics ◽  
Predictive Coding ◽  
Aesthetic Perception ◽  
Perceptual Inference ◽  
Functional Relationships ◽  
Aesthetic Pleasure ◽  
Points Of View

Recently, the predictive coding account of perceptual inference has been extended to visual aesthetic experience, in particular to the experience enabled by artworks that challenge habitual predictions and ordinary perceptual routines. By virtue of its dynamical approaches, the predictive coding account of visual art catches aesthetic perception and evaluation as a complex dynamics of intertwined perpetual, affective and cognitive processes. On the basis of some of the most relevant findings of these dynamical approaches, I argue that aesthetic pleasure has a complex and original nature, something akin to a twofold nature. Specifically, I argue that aesthetic pleasure is twofold from different points of view: (a) it represents the connection of two very different functions, namely anticipation and reaction; (b) its different forms share a specific common core; however, this common core can be instantiated by very different functional relationships of causes and effects; (c) aesthetic pleasure represents a positive affective appraisal accompanying first-order elaboration, but it can also co-activate negative subjective experience, mixing together positive and negative affect.

scholarly journals ALUA JO PATUIK PROSES KREATIF SIMARANTANG KARANG MANIH EFYUHARDI

2019 ◽  
Vol 16 (2) ◽  
pp. 197
Author(s):  
Fani Dilasari
Keyword(s):  
Traditional Knowledge ◽  
Creative Process ◽  
Aesthetic Experience ◽  
Aesthetic Sense ◽  
The Creation ◽  
The Aesthetic

<p><strong>ABSTRAK</strong></p><p><strong> </strong></p><p>Keindahan intelektual adalah pemikiran yang indah berdasarkan ilmu pengetahuan. Keindahan dalam arti estetik murni menyangkut pengalaman estetis dari seseorang dalam hubungannya dengan segala sesuatu yang dicerapnya. Pengetahuan tradisi yang dimiliki Efyuhardi sebagai putra daerah Pariaman, serta ilmu teater yang didapatkannya melalui pendidikan Seni Teater menjadikan karya Simarantang Karang Manih menarik untuk ditinjau dari proses kreatif. Tindakan kreatif Efyuhardi mengimplementasi budaya Pariaman ke dalam bentuk Simarantang diidentifikasi sebagai <em>Tuo Randai.</em>1 Tindakan kreatif Efyuhardi pada penciptaan Simarantang Karang Manih bernaung pada estetika Minangkabau yaitu <em>Alua jo Patuik</em>.</p><p><strong>Kata kunci: </strong><em>Simarantang Karang Manih, Efyuhardi, Proses Kreatif dan Alua jo Patuik.</em></p><p><em> </em></p><p><strong>ABSTRAK</strong></p><p><strong> </strong></p><p><em>Intellectual beauty is the beautiful thinking based on science. Beauty in a pure aesthetic sense concerns with the aesthetic experience of a person in relation to everything he perceives. Traditional knowledge belongs to Efyuhardi as a son of the Pariaman region as well as the theater knowledge he got made the work of Simarantang Karang Manih interesting to be reviewed in case of its creative process. Efyuhardi’s Creative action in implementing the Pariaman culture in the form of Simarantang is identified as Tuo Randai. Efyuhardi’s creative action in the creation of Simarantang Karang Manih is based on the Minangkabau aesthetic, namely Alua jo Patuik.</em></p><p><em> </em></p><strong><em>Keywords: </em></strong><em>Simarantang Karang Manih, Efyuhardi, Creative Process and Alua jo Patuik.</em>

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