scholarly journals Los sueños del castillo: Peuma mestizo y sonoridades rebeldes para una infancia recluida

2021 ◽  
Vol 1 (2) ◽  
pp. 84-99
Author(s):  
Catalina Donoso Pinto ◽  
Lorena Herrera Phillips
Keyword(s):  
Daily Life ◽  
State Institution ◽  
Detention Center ◽  
Horror Genre ◽  
The Aesthetic ◽  
Institutional Confinement

This work analyzes the documentary Los sueños del castillo (2018) by Chilean filmmaker René Ballesteros, which depicts the daily life of a group of children confined in a state institution for having committed crimes. The documentary focuses on the stories about their dreams that the youths tell each other and the filming crew. It is important that this detention center is located in a Mapuche territory, given the relevance this culture gives to dreams (peuma). Taking Kathryn Bond Stockton’s notion of queer childhood as any defiance to normativity, we articulate a crucial relationship between institutional confinement as punishment for transgression, the interest in dream activity, the horror genre as the aesthetic chosen by the director, and the relevance given to sound throughout the film.  --- El presente trabajo analiza el documental Los sueños del castillo (2018) del realizador chileno René Ballesteros, que retrata la vida de un grupo de niños en reclusión en una institución estatal por haber cometido delitos. El documental se centra en los relatos de los sueños que los jóvenes reclusos se narran unos a otros y al equipo realizador. Es importante para la película que el centro de detención esté situado en territorio mapuche, dada la relevancia que esa cultura da a los sueños (peuma). A partir de la noción de infancia queer como desafío de la normatividad, propuesta por Kathryn Bond Stockton, articulamos una relación entre la detención institucional como disciplinamiento de esa transgresión y la perspectiva del documental que trastoca esa coerción a partir del interés por la vida onírica, la elección del género del terror como opción estética en el documental y la relevancia dada en la película a la dimensión sonora.

The Power of Everyday Aesthetics in World-Making

2017 ◽  
Author(s):  
Yuriko Saito
Keyword(s):  
Quality Of Life ◽  
Social Responsibility ◽  
Interpersonal Relationships ◽  
Daily Life ◽  
Personal Life ◽  
Moral Virtues ◽  
Everyday Aesthetics ◽  
The World ◽  
The Aesthetic

This chapter argues for the importance of cultivating aesthetic literacy and vigilance, as well as practicing aesthetic expressions of moral virtues. In light of the considerable power of the aesthetic to affect, sometimes determine, people’s choices, decisions, and actions in daily life, everyday aesthetics discourse has a social responsibility to guide its power toward enriching personal life, facilitating respectful and satisfying interpersonal relationships, creating a civil and humane society, and ensuring the sustainable future. As an aesthetics discourse, its distinct domain unencumbered by these life concerns needs to be protected. At the same time, denying or ignoring the connection with them decontextualizes and marginalizes aesthetics. Aesthetics is an indispensable instrument for assessing and improving the quality of life and the state of the world, and it behooves everyday aesthetics discourse to reclaim its rightful place and to actively engage with the world-making project.

Ottomentality as Technology of Self

2021 ◽  
pp. 417-438
Author(s):  
Hasan Turgut ◽  
Neslihan Yayla
Keyword(s):  
Digital Media ◽  
Daily Life ◽  
Historical Narratives ◽  
Structural Elements ◽  
Extreme Right ◽  
Power Structures ◽  
Mobile Games ◽  
Reproduction Process ◽  
The Aesthetic ◽  
Day By Day

Extreme-right populist tendencies are getting stronger day by day. Although there are various factors that make the extreme-right populist tendencies stronger, the fact that cannot be ignored is that these tendencies must be reproduced discursively (history, culture, etc.) by the ruling power structures. Today, digital media and especially games are the primary areas where this reproduction process is most visible. Mobile games, in particular, turn into dominant cultural phenomena related to daily life beyond leisure, entertainment, and mind refreshing functions. Within this view, it is claimed that the mobile games based on the historical narratives in Turkey work as technology of self to contribute to the discourse of neo-Ottomanism. In order to test this claim, the three most downloaded mobile games (Game of Sultans, Magnificent Ottoman, and Age of Ottomans) in the Appstore and Android markets are selected as examples, and the aesthetic production realized through the structural elements of the game will be analyzed.

Continuing a Conversation with Maxine Greene in Comics

2015 ◽  
Vol 117 (10) ◽  
pp. 1-6
Author(s):  
Nick Sousanis ◽  
Daiyu Suzuki
Keyword(s):  
Social Change ◽  
Research Design ◽  
Aesthetic Experience ◽  
Daily Life ◽  
Comic Book ◽  
Living Room ◽  
Personal Lives ◽  
Aesthetic Inquiry ◽  
The Aesthetic ◽  
Maxine Greene

Purpose To illuminate the concepts of aesthetic experience and wide-awakeness in the philosophy of Maxine Greene by using the aesthetic approaches she discussed - in this case, using the comic book form as a means of visually embodying and extending her ideas. Setting In Maxine Greene's living room, the view through the window, and on the sidewalk across the street from her apartment—under the tree that she looked upon each day. Research Design Philosophical-aesthetic inquiry. Conclusions/Recommendations This philosophical-aesthetic inquiry has left us with more questions than answers as we engaged in an imaginative dialogue with Maxine Greene. Maxine lived her philosophy not just in her work, but in her daily life. Her lived example leaves us with some of the following questions: How do we—as educators, researchers, and philosophers—reconcile the separation between our intellectual lives and personal lives? What does it mean to cultivate our imaginative capacities for social change? How do we see the unseen? How do we see movements in what seems static, and changes in what seems permanent? How do we refuse to accept given “truth” as true and so-called “reality” as real? How do we attend our world anew each day? Maxine's method of asking, rather than answering, opened her to seeing greater possibilities in her world. And it is this attitude for seeing and for asking rather than any “ism” that we take into our own work and seek to convey with this piece.

Application and Value of Chinese Calligraphy in Visual Design of Anti-Smoking Advertisements from the Perspective of Life Aesthetics

2021 ◽  
Vol 7 (6) ◽  
pp. 5388-5394
Author(s):  
Chen Zheng ◽  
He Yu
Keyword(s):  
Cultural Context ◽  
Daily Life ◽  
Visual Design ◽  
Linguistic Features ◽  
Value System ◽  
Chinese Calligraphy ◽  
Health Values ◽  
The Aesthetic ◽  
The Relationship ◽  
Different Levels

Anti-smoking advertisements have great importance of value orientation and enlightening function, the visual design of anti-smoking advertisements can not only guide the formation of public health values through visual communication, but also promote the integration of economic and social benefits between media and tobacco enterprises. As an important category of visual language, Chinese calligraphy can form the natural fusion together with the linguistic features of visual design to be widely used in design practice. Being affected by the aestheticization of daily life at different levels, the functional fit between calligraphy "writing" and design "transmission", and the aesthetic contemplation on calligraphy "style" and design "meaning transmission", both become the new form for the aestheticization of daily life. From the perspective of life aesthetics, with the relationship between calligraphy art and contemporary visual design to be re-examined, in terms of the design of anti-smoking advertisements, calligraphy has realized the creation and transcendence of seeing "the ideal" from "the existence" in the application of visual design, thus forming the intention of reconstructing people's life value system in the current cultural context with "beauty", which is just the "human-oriented" design.

Post-Horror

2021 ◽  
Author(s):  
David Church
Keyword(s):  
Political Identity ◽  
First Century ◽  
New Wave ◽  
Popular Film ◽  
Ghost Story ◽  
Horror Genre ◽  
Twenty First Century ◽  
The Witch ◽  
The Aesthetic ◽  
Entertainment Value

Horror’s longstanding reputation as a popular but culturally denigrated genre has been challenged by a new wave of films mixing arthouse minimalism with established genre conventions. Variously dubbed “elevated horror” and “post-horror” in popular film criticism, texts such as The Babadook, It Follows, The Witch, It Comes at Night, Get Out, The Invitation, Hereditary, Midsommar, A Ghost Story, and mother! represent an emerging nexus of taste, politics, and style that has often earned outsized acclaim from high-minded critics and populist rejection by wider audiences. Post-Horror is the first full-length study of one of the most important and divisive movements in twenty-first-century horror cinema. It argues that the affect produced by these films’ minimalist aesthetic has fueled taste-based disagreements between professional film critics, genre fans, and more casual viewers about whether the horror genre can or should be upheld as more than a populist entertainment form, especially as the genre turned away from the post-9/11 debates about graphic violence that consumed the first decade of the twenty-first century. The book thus explores the aesthetic qualities, historical precursors, affective resonances, and thematic concerns of this emerging cycle by situating these texts within revived debates between over the genre’s larger artistic, cultural, and entertainment value. Chapters include thematic analyses of trauma, gaslighting, landscape, existential dread, and political identity across a range of films straddling the line between art-horror and multiplex fare since approximately 2013.

Women and the Werkbund: Gender Politics and German Design Reform, 1907-14

2003 ◽  
Vol 62 (4) ◽  
pp. 490-511 ◽  
Author(s):  
Despina Stratigakos
Keyword(s):  
Gender Roles ◽  
Daily Life ◽  
Modern Society ◽  
Attitudes Toward Women ◽  
Good Design ◽  
Business People ◽  
Design Values ◽  
The Aesthetic ◽  
Everyday Design

In this article, I explore the gender of everyday design in the Werkbund discourse. The German Werkbund, an alliance of artists, critics, and business-people, sought to restore harmony to German culture through the aesthetic transformation of daily life. Analyzing new sources that introduce the voices of women and expand the category of texts hitherto used for Werkbund scholarship, I examine the role of gender in the organization's efforts to impose a new aesthetic discipline. In the first section, I address attitudes toward women as consumers, sellers, and producers of everyday commodities. Whether seeking to portray women as agents of reform or to dismiss them as lovers of kitsch, women and men in the Werkbund employed gender norms in formulating their notions of good design and in devising strategies for its implementation. In the second section, I focus on how contemporary theories of gender, and particularly the idea of a female aesthetic lack, contributed to shaping the Werkbund's central design values of quality and Sachlichkeit. In the concluding section, I track the convergence of these issues at the Haus der Frau, the women's pavilion at the 1914 Werkbund exhibition in Cologne. I discuss how the organizers of the Haus der Frau attempted to feminize Werkbund design values in their conception and presentation of female-designed spaces and objects. The pavilion's critical reception reflects deeply divided beliefs on gender and modern design. By bringing together these elements, I seek to demonstrate that the Werkbund's discipline, which promised a new spiritual and aesthetic unity in Germany, was grounded in conflicting assumptions about gender roles in modern society.

scholarly journals COMPARATIVE ANALYSIS OF EFFECTIVENESS AND SAFETY OF USING DIFFERENT SYSTEMS FOR HOME TEETH WHITENING

2020 ◽  
Vol 76 (4) ◽  
pp. 124-126
Author(s):  
M.V. Kabytova ◽  
◽  
E.M. Chaplieva ◽  
I.V. Starikova ◽  
N.V. Piterskaya ◽  
...  
Keyword(s):  
Comparative Analysis ◽  
New Technologies ◽  
Dental Treatment ◽  
Daily Life ◽  
Modern Science ◽  
Modern World ◽  
Dental Practice ◽  
Mouth Guards ◽  
The Aesthetic

In recent years, the aesthetic requirements of patients for dental treatment have significantly increased. More and more often, patients go to the dentist to change the color of their teeth. The achievements of modern science and the development of new technologies have made it possible to expand the arsenal of conservative methods of aesthetic dental treatment. Teeth whitening technologies figure prominently in this row. The method of home teeth whitening using mouth guards is not only one of the most effective, but certainly also the most convenient, used in dental practice today. In his normal daily life, a patient can easily use a mouthguard made by a doctor with a whitening gel, or buy ready-made mouth guards containing a whitening gel, which is an undoubted advantage, because in the modern world one of the problems is lack of time, and the desire to have a beautiful smile does not disappear anywhere.

scholarly journals Towards an expansive object and a restrictive experience in Everyday Aesthetics: A Chestertonian metaxological approach

Kepes ◽  
2021 ◽  
Vol 18 (24) ◽  
pp. 197-231
Author(s):  
Miguel A. Romero-Ramírez ◽  
Duncan Reyburn
Keyword(s):  
Aesthetic Experience ◽  
Daily Life ◽  
The Self ◽  
Third Way ◽  
Original Intention ◽  
Everyday Aesthetics ◽  
The Everyday ◽  
The Subject ◽  
The Aesthetic ◽  
The One

This article proposes to resolve an internal ambiguity in the subdiscipline called Everyday Aesthetics (EA), systematized by the researcher Horacio Pérez-Henao, according to whom the extension of aesthetics to the everyday has been done, on the one hand, by means of a consideration of an expansive object and subject according to aesthesis itself, as mainly proposed by Katya Mandoki, and, on the other hand, by means of a restrictive object and subject according to the parameters of an authentic aesthetic experience, a theory headed by John Dewey. Methodology: To resolve this tension, a hermeneutic methodology known as the fourfold sense of being, related to Hegelian dialectic, albeit with important modifications supplied by William Desmond was used. This methodology allows a suitable way to explore and discuss different approaches in everyday aesthetics epitomized by Mandoki and Dewey, and makes possible the proposal of a third way, epitomized by G. K. Chesterton. Results: Bearing in mind the original intention of EA—according to which the everyday must be revitalized from an aesthetic perspective, as explained by Joseph Kupfer, it is argued that the two alternate positions of Mandoki and Dewey are unsatisfactory; an attempt is therefore made to respond to this through the analysis of the aesthetic approach of G. K. Chesterton. From his aesthetic reflections, it can be ascertained that to revitalize daily life, the object must be expansive and the subject, restrictive, from a certain méthodos and according to patterns that qualify an everyday aesthetic experience. All of this seeks to pave the way for subsequent investigations of EA being both expansive and restrictive. Finally, it is argued that this Chestertonian EA converges with and extends the aesthetics of design of Jane Forsey, and thus shows that design itself can be revitalized in keeping with a restrictiveexpansive approach to everyday aesthetics. Conclusion: aesthetics should be expansive every day, in that it should concern itself with any aspect of daily life, and restrictive, in that it should set certain limits on the self and its intentions with regard to the possibilities of aesthetic experience.

‘Don’t Look … Or It Takes You’: The Games of Horror Vacui

2015 ◽  
Vol 14 (3) ◽  
pp. 311-316 ◽  
Author(s):  
Braxton Soderman
Keyword(s):  
Visual Space ◽  
Empty Space ◽  
Visual Texts ◽  
Horror Genre ◽  
The Aesthetic ◽  
Screen Space ◽  
Aesthetic Meaning

While some scholars claim that games are not primarily visual texts, the horror genre is obsessed with vision and practices of looking. The aesthetic concept of horror vacui describes aspects of this obsession. Horror vacui is the fear of empty space that results in the over-marking of visual space, excessive decoration that threatens to overwhelm what is being decorated, the stuffing of gaps and caesura with further representation. Shed of its standard aesthetic meaning, horror vacui could also be used to describe the fear operable in off-screen space, the monstrous unseen that lies outside the frame and constantly threatens to appear within it. Forced to move through this blind space, horror games create the conditions for excessive representation and practices of looking that erupt around the threat of the unrepresentable and invisible. In recent horror games this threat is mobilized by anxieties concerning online and networked culture.

scholarly journals ação de desenhar na infância como iniciação aos segredos do mundo

2020 ◽  
Vol 16 (36) ◽  
pp. 01-27
Author(s):  
Sandra Regina simonis Richter ◽  
Márcia Vilma Murillo
Keyword(s):  
Daily Life ◽  
Intimate Relationship ◽  
The Body ◽  
Western Thought ◽  
Vital Function ◽  
Gaston Bachelard ◽  
Educational Thought ◽  
The World ◽  
Poetic Imagination ◽  
The Aesthetic

In order to highlight the intimate relationship between imagining, drawing and making worlds, this essay questions the educational meaning of children to initiate in the action of drawing in face of the growing cultural tendency of the body being less and less required to produce senses. The incarnated action of drawing, as an aesthetic action of touching and being touched by the world when transposing the visible limits and entering into the intimacy of worldly invisibility, constitutes an experience that is as recurrent and trivialized in school daily life as it is existentially complex due to its poetic power to enter the invisible and inaugurate worldviews. The historical disqualification of the image and imagination in Western thought, supported by the separation between subjectivity of the body and objectivity of the world, does not allow educational thought to consider the phenomenon of poetic imagination as an existential experience of language insertion in the world from the gesture of drawing. Gesture that finds its specificity in the instant the hand traces and inscribes lines on the surface of the supports as infinitely creative writing. The aesthetic gesture of drawing, temporalized by the rhythm of the body in the emergence of the fabulation that accompanies the repetition of the marks, implies a poetic experience of language that involves the fusion of two senses: that of the gesture in materiality and that of the mark configured in it, marked and cicatrized in the surface of the support by the body’s action that performed it. The approximation between education, arts and childhood allows us to highlight the philosophical and pedagogical tensions that involve the question of poetic imagination and to take another look at the action of drawing in the context of children's education. What emerges, from the dialogue between Gaston Bachelard, Maurice Merleau-Ponty and Jean-Luc Nancy, is the relevance of the educational intention of caring for the vital function of language as an aesthetic and poetic experience that is constituted in the processuality of the body to make something appear that produces and contains presence, that which promotes and expands the existential density of the real.

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