Visual Rhythm in Krishna Prakash Shah's Abstract Paintings

2021 ◽  
Vol 3 (1) ◽  
pp. 10-17
Author(s):  
Yam Prasad Sharma
Keyword(s):  
Aesthetic Experience ◽  
Visual Rhythm ◽  
The Subject ◽  
The Aesthetic ◽  
The One ◽  
Aesthetic Values

Krishna Prakash Shah's abstract paintings present visual rhythm in the canvas that provides a sensation of music, melody and motion. Lines, colors and shapes are running and flowing in a spontaneous manner as fluid without any obstacle on their way. Due to harmony and cohesion among colors and shapes, the visual compositions create a friendly atmosphere and comfort to our eyes. The artworks have such a power that invites the viewers to enter the canvas and explore the unknown world, having an adventurous imaginary journey. The viewers become the characters who travel back and forth along with the swinging shapes and lines. Due to the aesthetic experience of visual rhythm, the viewers become the one with the viewed artwork. The distance between the subject and the object is lost since the viewers assimilate with the artwork. The dynamic lines, colors and shapes are flowing spontaneously. This motion and flow suggest the visual melody and music. The scope of the study includes Krishna Shah's abstract paintings which have been explored from the perspective of visual rhythm and music as a tool for interpreting artworks. The study is qualitative since the artworks have the possibility of multiple interpretations. This paper, thus, attempts to trace the visual rhythm in his abstract compositions and their aesthetic values.

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.

Dieva mīlestības koncepts saistībā ar bāreņu tēmu latviešu tautasdziesmās

2021 ◽  
pp. 22-33
Author(s):  
Eva Mārtuža
Keyword(s):  
Folk Songs ◽  
Process Theology ◽  
Concept Of God ◽  
God's Love ◽  
Self Worth ◽  
The Subject ◽  
Symbolic Images ◽  
The One ◽  
Creative Self ◽  
Aesthetic Values

The Latvian folk songs include the version of God’s love and the concept of God as a creative creature, which I will see in relation to the subject of mourning, pregnant women, orphans (for the sake of clarity, orphans) as a particularly sensitive reflection of society. The poetic layer of these songs reveals Latvian mentality, basic ethical and aesthetic values, and the nation’s understanding of God’s love for the most vulnerable members of society, using vivid symbolism and metaphors. Orphans do not question the existence of God, they see it as a comprehensive, unifying, self-respecting, compassionate, and understanding creature. We do not find proof that there is no God at all. In symbolic images, there is a proven belief in one God you understand. In this sense, there is a similarity with the assumption of process theology about God’s existence as an open concept in a situation where it is impossible to offer any other proof of God’s existence. In their lives, orphans encounter God as a responsive, creative, optimistic love; God encourages an orphan to learn, be smart, be morally complete, live with pleasure, not indulge in pessimism, and be creative. The abstract nature of God is depicted in two ways. On the one hand, God has all the power that a creature may have; on the other hand, God does not have all the power that exists because the creatures he creates also have the power that allows them to choose good or evil opportunities in their own lives. Evil is the choice of people to be cruel to the weaker. The folklore researchers also believe that this set of folk songs belongs to the most realistic, even natural songs because they are based on the direct observation of life, express frustration with this life, and the desire to make what they want into reality seeking support from God. In this situation, God is both responsive and compassionate to a human and a person who does not interfere in events. The orphan must learn to see the positive power of the love offered by God and, together with God’s involvement, to discover human self-worth, create the beautiful, seek creative self-fulfilment and creativity as the most desirable expression of spiritual existence. God exists as the originator of this process.

scholarly journals The Role of Painting Activity as an Emotional Regulation in Children with Asperger Syndrome

2019 ◽  
Vol 8 (2S9) ◽  
pp. 666-672
Keyword(s):  
Asperger Syndrome ◽  
Character Education ◽  
Emotional Regulation ◽  
Aesthetic Experience ◽  
Self Confidence ◽  
Learning Programs ◽  
Research Findings ◽  
The Subject ◽  
The Aesthetic

Children with Asperger syndrome still need to be adjusted, in regulating their emotion, to their enjoyment in an activity that will be their emotional allocation. Art is able to improve their self-ability, to strengthen their self-confidence, and also to re-shape lack of knowledge about their own identity. This is because activity of art becomes a collection of inspiration, the aspect of imagination that is closely related to the aesthetic experience. This was a qualitative research as a study intended to understand the phenomenon of something that is experienced by the subject of research. For example: behaviour, perception, motivation, and action in holistic way and described in form of words and language, in a specific-natural context and by utilizing various methods. The research findings show that ability of emotional regulation is the ability of the subject in receiving and understanding a command, and then in minimizing tantrum, so that the subject is able to achieve a treatment therapy; including the subject's ability to identify and draw an object or other objects around them, to recognize some painting tools and to answer questions orally or in writing through the image media. The therapy can be packaged through art education based on painting activity which is the advantage of an area itself. Schools present learning programs that also support character education and the creative potential of the children, so that they can live independently later.

Neuroaesthetics

2017 ◽  
pp. 87-102
Author(s):  
Ana Teresa Contier ◽  
Laila Torres
Keyword(s):  
Perceptual Experience ◽  
Aesthetic Experience ◽  
Functional Neuroimaging ◽  
Imaging Techniques ◽  
Neural Architecture ◽  
History Of ◽  
System Memory ◽  
The Subject ◽  
The Aesthetic

The aesthetic experience has been discussed throughout the history of mankind by philosophers and art historians, becoming a universal part of human experience, which leads us to some great interdisciplinary questions. It has been the subject of study by neuroscientists and neuro-psychologists since the 2000s. This recent evolution of neurology studies in the field of art, is due to in vivo brain imaging techniques, especially functional neuroimaging. Furthermore, recent research has provided evidence of cognitive interaction during the perception of an artwork indicating that the perceptual experience of art is not merely a passive one. This article reviews important studies in neuroaesthectics of visual art that point out that the aesthetic experience is related to the distribution in the neural architecture, suggesting the involvement of sensory-motor areas, emotional centers, reward system, memory and language.

scholarly journals Where the Twin Oceans of Beauty and Horror Meet: An Aesthetic Analysis of Annie Dillard's Pilgrim at Tinker Creek // Donde los océanos gemelos de belleza y horror se encuentran: Un análisis estético de Pilgrim at Tinker Creek de Annie Dillard

2016 ◽  
Vol 7 (2) ◽  
pp. 85-97
Author(s):  
Anastasia Cardone
Keyword(s):  
Aesthetic Experience ◽  
Nature Writing ◽  
Annie Dillard ◽  
Natural Signs ◽  
Letting Go ◽  
The Subject ◽  
Modern Vision ◽  
The Aesthetic ◽  
Concept Of Beauty ◽  
Aesthetic Concepts

      Although Annie Dillard's masterpiece Pilgrim at Tinker Creek (1974) has conventionally been analyzed as a piece of Nature writing embedded in the Thoreauvian tradition, little has been said about the aesthetic concepts that underlie the text and Dillard's entire take on Nature. This research applies the concepts of Baumgarten's “science of sensible knowledge” to the narrator's perceptions in order to demonstrate that Dillard's ultimate message is the acceptance of Nature, even in its seemingly inhuman places. The study begins with the analysis of the structure of the book, which outlines two types of experience of Nature. Thevia positivais related to the aesthetic concept of beauty and to an active participation of the subject in the aesthetic experience of seeing as a verbalization, whereas the via negativais linked to the concept of the sublime and the experience of seeing as a letting go. Furthermore, the analysis employsand develops Linda Smith's valid conclusions (1991) to show how these two paths join in a third mystical and aesthetic path, the via creativa. By leaving the interpretation of natural signs open-ended, Dillard's modern vision enables the author's total acceptance of Nature's freedom, which fosters its beautiful intricacy as well as its horrible fecundity. Thus, Nature's creativity becomes the basis for an aesthetics of Nature's wholeness, which leadshuman beings to embrace the true essence of Nature, freed from anyprejudices.Resumen       A pesar de que Pilgrim at Tinker River (1974), obra maestra de Annie Dillard, ha sido analizada convencionalmente como una pieza de literatura y medio ambiente incrustada en la corriente Thoreauviana y ha sido estudiada extensivamente, poco atención se le ha prestado a los conceptos estéticos que subyacen la obra y que pueden servir para comprender mejor la opinión de Dillard sobre la naturaleza. Por lo tanto, esta investigación aplica los conceptos de “ciencia del conocimiento sensible” de Baumgarten a la percepción del narrador con el fin de demostrar que el mensaje final de Dillard es la aceptación de la naturaleza, incluso en sus lugares aparentemente inhumanos. El estudio comienza con el análisis de la estructura del libro, que describe dos tipos de experiencia de la naturaleza relacionados con caminos místicos que llevan a Dios, dentro de la teología Neoplatónica. La vía positiva está asociada al concepto estético de la belleza y a la participación activa del sujeto en la experiencia estética de ver, la cual es definida como una verbalización. Por otra parte, la vía negativa está vinculada con el concepto de lo sublime y la experiencia de ver como un dejar ir. Además, el análisis emplea y desarrolla las válidas conclusiones de Linda Smith (1991) para mostrar cómo estos dos caminos se unen en un tercer camino místico y estético, la vía creativa. Al dejar la interpretación de signos naturales abierta, la visión moderna de Dillard permite al autor la total aceptación de la libertad de la naturaleza, lo que fomenta su hermosa intrincación, así como su horrible fecundidad. Así, la creatividad de la naturaleza se convierte en la base para la estética de la naturaleza en su totalidad, lo que lleva a los seres humanos a aceptar y respetar la verdadera esencia de la naturaleza, libre de cualquier prejuicio.

scholarly journals Die Grenzen des ästhetisch en Empirismus

2012 ◽  
Vol 57 (2) ◽  
pp. 98-110
Author(s):  
Fabian Dorsch
Keyword(s):  
Aesthetic Experience ◽  
Empirical Studies ◽  
Empirical Methods ◽  
Aesthetic Judgement ◽  
Cognitive Sciences ◽  
Aesthetic Evaluation ◽  
Or Groups ◽  
The Aesthetic ◽  
The One

In den letzten Jahren ist es recht populär geworden, traditionelle Fragen der philosophischen Ästhetik – wie zum Beispiel die nach der Natur und Rechtfertigung ästhetischer Beurteilungen – mithilfe empirischer Forschungsergebnisse zu beantworten zu versuchen. Diesem empiristisch geprägten Ansatz möchte ich gerne eine rationalistisch orientierte Auffassung der ästhetischen Erfahrung und Bewertung von Kunstwerken entgegensetzen. Insbesondere möchte ich die ästhetische Relevanz dreier verschiedener Arten empirischer Studien kritisch diskutieren: solcher, die einzelne Kunstwerke unter Einsatz der Natur- oder Geschichtswissenschaften erforschen; solcher, die sich der empirischen Methoden der Psychologie und der Soziologie bedienen, um unsere ästhetischen Beurteilungen einzelner Werke oder Werkgruppen zu untersuchen; und schließlich solcher, die unser allgemeines ästhetisches Urteilsvermögen einer kognitionswissenschaftlichen Überprüfung unterziehen.<br><br>In recent years, it has become rather popular to rely on the results of empirical studies in trying to answer some of the traditional questions in philosophical aesthetics, such as the one concerning the nature and justification of aesthetic evaluation. In opposition to this very empiricist approach, I would like to put forward a more rationalist picture of the aesthetic experience and evaluation of artworks. More specifically, I aim to critically discuss the aesthetic relevance of three kinds of empirical studies: of those that examine particular artworks by means of scientific or historical investigations; of those that use the empirical methods of psychology and sociology in order to examine our aesthetic evaluations of single works or groups of work; and finally of those that scrutinize our general faculty for aesthetic judgement by means of the cognitive sciences.

L'esthétique de Hegel au carrefour de la parole et de l'action

Dialogue ◽  
2000 ◽  
Vol 39 (4) ◽  
pp. 745-770
Author(s):  
Claude Thérien
Keyword(s):  
Aesthetic Experience ◽  
Philosophical Perspective ◽  
Modern Subject ◽  
The Subject ◽  
The Aesthetic

AbstractThe following paper is not a literal exegesis of Hegel's æsthetics, but rather the attempt to encounter his æsthetics from a philosophical perspective which considers the æsthetic experience as intuition of finitude. From this perspective our purpose is to indicate the contemporary philosophical relevance of Hegel's æsthetics by underscoring some elements of it which can help us to rethink the relation between æsthetic experience and the subject in his interaction with his world. The question of this essay is: how can æsthetic experience be a substantial experience for the modern subject?

Imagining the King’s Death: Figurative Treason, Fantasies of Regicide, 1793–1796, John Barrell, Oxford: Oxford University Press, 2000

2013 ◽  
Vol 21 (1) ◽  
pp. 196-208
Author(s):  
Danny Hayward
Keyword(s):  
Social Relations ◽  
Review Essay ◽  
Samuel Taylor Coleridge ◽  
The Other ◽  
Close Reading ◽  
Second Line ◽  
Oxford University ◽  
The Subject ◽  
The Aesthetic ◽  
The One

Abstract This review essay has two divisions. In its first division it sets out a brief overview of recent Marxist research in the field of ‘Romanticism’, identifying two major lines of inquiry. On the one hand, the attempt to expand our sense of what might constitute a ruthless critique of social relations; on the other, an attempt to develop a materialist account of aesthetic disengagement. This first division concludes with an extended summary of John Barrell’s account of the treason trials of the middle 1790s, as set out in his book Imagining the King’s Death. It argues that Barrell’s book is the most significant recent work belonging to the second line of inquiry. In its second division the review responds to Barrell’s concluding discussion, in which the aesthetic consequences of the treason trials are established by means of a close reading of some of the poetry of Samuel Taylor Coleridge. The division finishes with some more general remarks on the subject of a materialist aesthetics of disengagement.

Wainting for...

2018 ◽  
Vol 8 (2) ◽  
pp. 361-367
Author(s):  
Alexandra Bandac
Keyword(s):  
Samuel Beckett ◽  
First Year ◽  
First Year Of College ◽  
The Subject ◽  
The Creation ◽  
The Spectator ◽  
The Aesthetic ◽  
The One ◽  
To Receive

Abstract I have known Professor Huțanu since the first year of college and, although he wasn’t my professor, I have always admired the glimpse in the eyes of his students when they talked about rehearsing with him for exams or shows. Recently, when I found out that he was staging a show after a text by Samuel Beckett, I dared to approach him in order to “question” him about my favourite author, who is also the subject of my PhD research, as to say, a serious matter. This is how I came to discover a passionate man, director, teacher and actor, who mingles these three hypostases naturally, with diffidence. A generous man, who has permitted me to lift up (with shyness from me, of course) the frail curtain of the creation laboratory behind a difficult show, as to the nature of the animation theatre, implying technical rigors, and also to the aesthetic of the approach. I was permitted to attend rehearsals, to ask questions, to discuss, debate, to have doubts and, more importantly, to receive answers from the man behind the curtain, the one who thought and felt the Godot. Below there is a fragment of an interview – part of my PhD study – and, maybe a subjective mirror of the rustle reflected between the spectator and the creator.

O impulso metafísico na experiência estética. Itinerário da fenomenologia “afectiva” de Mikel Dufrenne

2020 ◽  
Author(s):  
Carlos Bizarro Morais
Keyword(s):  
Aesthetic Experience ◽  
Philosophical Debate ◽  
Philosophical Foundations ◽  
The Core ◽  
The Absolute ◽  
The Aesthetic ◽  
The One ◽  
The Waves

This research will focus on the works of Mikel Dufrenne devoted to aesthetic reflection, especially on those where the author elucidates more systematically his notion of aesthetic experience. It is our intention to find out whether, inside the limits of this conception, he admits the possibility of a metaphysical dimension within the processivity of an aesthetic experience, and on what philosophical foundations he establishes that possibility. Being a controversial hypothesis, we hope to modestly contribute to the critical enhancement of the philosophical legacy that Mikel Dufrenne left us through his thought-provoking work as we are celebrating the first centenary of his birth and fifteen years of his death (1910-1995). More broadly, it is our purpose - through the clues given by the author - to bring back to the core of aesthetic debate the instances of ontological and metaphysical reflection that have been underestimated, since the waves of postmodern relativism invaded the cultural and philosophical debate. We will follow the author in setting up a phenomenological version of the Aesthetics in order to stress that, already in that conceptual project, it is possible to find methodological and systematic original choices, which point to the presence of a "surge" that breaks off the categorical boundaries of the experienced. The thematic alignment that we propose on chapters two and three aims at consolidating the image of an aesthetic experience that evolves gradually to more intense and profound levels of experience, and which scope of phenomenological, anthropological and ontological implications strengthens the conviction that we are in the presence of a metaphysical sap that nurtures it. However, we are aware that Dufrenne hesitated long enough when it came to translate philosophically this horizon of metaphysical meaning of the aesthetic experience. This fact also has probably led other researchers to formulate interpretations that are significantly discrepant from the one that we propose. Nevertheless, as we intend to show in the last chapter, it is not this lack of explicitness that prevents us from finding the aesthetic and emotional, spiritual and intellectual fruits coming from the aesthetic experience, fluidized by a metaphysical openness to the absolute. As we present those conclusions, we are convinced that the path taken by Mikel Dufrenne, while phenomenologist, became even more comprehensive and credible.

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