scholarly journals ARCHITECTURAL COMPONENTS OF THE PARK ENVIRONMENT AS INDICATORS OF THE SOCIO-CULTURAL FACTORS’ IMPACT ON AESTHETIC PREFERENCES

2021 ◽  
pp. 191-204
Author(s):  
Nadiia Gatalska ◽  
Matyna Kolenkina
Keyword(s):  
Aesthetic Experience ◽  
Negative Impact ◽  
Age Groups ◽  
Positive Influence ◽  
Cultural Factors ◽  
Aesthetic Perception ◽  
The Aesthetic ◽  
Neutral Effect ◽  
Aesthetic Preferences ◽  
Ideological Context

The article presents outlines the importance of architectural components of the park environment as indicators of the influence of socio-cultural factors on aesthetic preferences. The study involved 60 people, ranging in age from 22 to 74 years, which were divided into two age groups of 30 people: young people - 22-34 years (mean age 23.9 years); Mature people are 46-74 years old (average age 58.9 years). The study used a free associative experiment in which respondents distributed 45 photos of park landscapes from 18 world parks into three, equal in number, groups according to their own preferences and independently determined the factors that influenced the decision to refer them to the group of attractive, neutral or unattractive landscapes. Positive influence on aesthetic preferences was found on the part of historical buildings and structures on mature respondents, together with its neutral effect on young ones. At the same time, there was a neutral attitude of a group of mature respondents to the monuments of the Soviet era and a negative one on the part of the youth. Similar is the influence of abstract sculptures on the aesthetic perception of both young and mature respondents, which is negative. However, the negative impact of these elements on the aesthetic preferences of mature respondents is more significant. Summarizing the results of studies of aesthetic preferences and factors that influence their formation, it is advisable to note the importance of architectural components, as well as the importance of their ideological context. Along with the similarity of influence on aesthetic preferences of features of park environment, differences related to sociocultural influence on the formation of aesthetic experience were revealed due to the results of the analysis of the perception of architectural components.

The effect of installed photovoltaic panels on the aesthetic perception and evaluation of the mosque architectural form in Jordan

2020 ◽  
Vol 45 (4) ◽  
pp. 449-463
Author(s):  
Anwar Ibrahim ◽  
Hikmat H. Ali ◽  
Wala'a Alqarra
Keyword(s):  
Construction Industry ◽  
Negative Impact ◽  
Energy Resource ◽  
Aesthetic Perception ◽  
Architectural Form ◽  
Content Type ◽  
Pv Systems ◽  
Building Type ◽  
The Aesthetic ◽  
Method Approach

Purpose This study aims to evaluate the effect of the installed photovoltaic (PV) systems on the aesthetic perception of the mosque’s architectural form. It also aims to develop a framework for integrating PV cells with the various elements of the building type. Design/methodology/approach The study adopted a mixed-method approach comprising both qualitative and quantitative techniques for data collection procedures. This includes surveys, literature review, focus groups and an experiment. Findings The results revealed a negative impact of the building-applied PV panels on people’s perception of the mosque’s architectural form. However, integrating the PV cells with the mosque form was perceived as more aesthetically pleasing. Certain integrating PV strategies integrated more harmoniously with certain mosque styles. Research limitations/implications This study is focused on limited styles of one building type. Extra research is needed to explore the differences between the different participated groups. Originality/value There is a lack of research that explores the ways the installed PV systems impact the users’ architectural aesthetic perception of the mosque. This study informs the design process and practice and construction industry by highlighting the opportunities PV systems, as a legitimate sustainable energy resource, offers to architects and manufacturers.

scholarly journals La fenomenología de la razón y la experiencia estética. Edmund Husserl y Vasily SesemanNN

2021 ◽  
pp. 129
Author(s):  
Dalius Yonkus
Keyword(s):  
Aesthetic Experience ◽  
Edmund Husserl ◽  
Necessary Conditions ◽  
Intentional Object ◽  
Phenomenological Reduction ◽  
Phenomenological Method ◽  
Aesthetic Perception ◽  
Aesthetic Object ◽  
The Aesthetic ◽  
Do So

La estética fenomenológica debería ser capaz de revelar cómo la estructura de cualquier objeto estético dado está conectada con la experiencia de ese objeto, así como demostrar las condiciones necesarias para la propia experiencia estética. Para hacerlo, hay que argumentar en contra de los supuestos unilaterales, como por ejemplo la suposición del objetivismo estético que postula la belleza como rasgo exclusivo de la realidad independiente del sujeto; o la creencia opuesta, que la belleza es esencial y únicamente la proyección del gusto subjetivo sobre las cosas en el mundo. Sesemann analiza el objeto estético y el acto estético, enfatizando su conexión. Esta conexión se refiere a lo que se describe en la fenomenología de Husserl como la correlación entre el objeto intencional y el acto intencional. Esta conexión puede ser descubierta sólo mediante el método fenomenológico: realizando la reducción fenomenológica. En este documento se explicará en primer lugar la percepción estética en la estética de Sesemann. Más adelante, se examina la concepción de la estructura del objeto estético en el contexto de la estética de Sesemann: la composición de los elementos, las sensaciones en relación con el significado, etc. Por último, el artículo sugiere que la estética de Sesemann se basa fundamentalmente en el método de la reducción fenomenológica.Phenomenological aesthetics should also be able to show how the structure of any given aesthetic object is connected with the experience of that object, as well as to demonstrate the necessary conditions for the aesthetic experience itself. In order to do so, one must argue against one-sided assumptions, such as the aesthetic objectivism’s supposition that beauty is exclusively the trait of reality not at all dependent on the subject’s experience of it; or its opposite belief that beauty is essentially and solely the projection of the subjective taste onto the things in the world. Sesemann analizes the aesthetic object and aesthetic act by emphasizing their connection. This connection relates to what is described in Husserls phenomenology as the correlation between the intentional object and the intentional act. This connection can be discovered only by using the phenomenological method: by doing phenomenological reduction. This paper will first explain the aesthetic perception in Sesemann‘s aesthetics. Later, it examine the conception of the aesthetic object‘s structure in Sesemann‘s aesthetic: composition of elements, sensations in connection with meaning; etc. Finally, the paper will argue that Sesemann‘s aesthetics is essentially based on the method of phenomenological reduction.

scholarly journals SOME ASPECTS OF DEPENDENCE PSYCHO-EMOTIONAL CONDITION PATIENTS AGAINST MANY TYPES OF MALOCCLUSION AND CONDITIONS INDIVIDUAL TEETH

2017 ◽  
Vol 21 (6) ◽  
pp. 329-332
Author(s):  
N. E Mitin ◽  
V. E Tikhonov ◽  
Maksim Igorevich Grishin
Keyword(s):  
Negative Impact ◽  
Human Life ◽  
Age Groups ◽  
Well Being ◽  
Individual Characteristics ◽  
Orthodontic Appliances ◽  
Aesthetic Appearance ◽  
Set Up ◽  
The Aesthetic ◽  
The Individual

The aesthetic problems associated with defects in appearance and wearing orthodontic appliances in the malocclusion, the negative impact on the psyche of the patient in all age groups. Malocclusion disturb the aesthetic appearance of the patient, causing functional disorders and pathological changes. The problem ofprevention and treatment ofdentoalveolar anomalies has not only medical, but also a social value. Many patients understand the needfor timely treatment to the dentist. Beautiful and straight teeth have become part of modern life, his well-being, health and social status. Any abnormalities always affect the psyche. Patients with dental system pathology suffer from changes in appearance, violations of phonetics, chewing function and this formed the difficulties in communication. Mental and emotional state plays an important role in human life, which affects the predictions of success and the development of treatments. Do not unimportant role in the treatment plays a dentist, his mood affects the man, and he has concluded on the basis of suggestion or self-hypnosis. The mood doctor can specifically change the whole picture of the disease, and set up a patient in a positive way. Therefore, the physician should become familiar with the individual characteristics of the patient and adjust it to the correct understanding of the disease that would yield results.

Aesthetic perception of a small office with different daylighting systems

2017 ◽  
Vol 27 (9) ◽  
pp. 1187-1202 ◽  
Author(s):  
Claudia Moscoso ◽  
Barbara Matusiak
Keyword(s):  
Aesthetic Experience ◽  
Semantic Differential ◽  
Aesthetic Perception ◽  
Significant Interaction Effect ◽  
Clear Sky ◽  
Single Side ◽  
The Aesthetic ◽  
Sky Conditions ◽  
Overcast Sky

The quality of a lit environment cannot be deduced solely from the quantity of light. Therefore, daylighting studies should not only be focused on the usage of lighting metrics but should also consider the aesthetic experience. This paper examines the influence of daylighting systems on the aesthetic perception of a small office. One single side lit office was equipped with four different daylighting systems (white blinds, high-reflecting blinds, hybrid light shelf and mirror light shelf) under two sky conditions (clear sky and overcast sky). In total, eight stimuli were captured and presented via stereoscopic images. Fifty participants evaluated the images using the semantic differential scale to rate nine architectural quality attributes. The results from MANOVA indicated that both the daylighting systems and the type of sky had an effect on the aesthetic attributes, and that the significant interaction effect suggested that the aesthetic perception of a daylighting system depends on the type of sky. Subsequent statistical findings showed that the high-reflecting blinds comprised the daylighting system that scored highest in nearly all attributes under both clear and overcast sky conditions.

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.

scholarly journals Integrating the aesthetic value of landscapes and biological diversity

2018 ◽  
Vol 285 (1886) ◽  
pp. 20180971 ◽  
Author(s):  
Anne-Sophie Tribot ◽  
Julie Deter ◽  
Nicolas Mouquet
Keyword(s):  
Aesthetic Experience ◽  
Biological Diversity ◽  
Well Being ◽  
Landscape Aesthetics ◽  
Aesthetic Perception ◽  
Ecological Value ◽  
Aesthetic Value ◽  
Conservation Policies ◽  
Conceptual Background ◽  
The Aesthetic

As a cultural ecosystem service, the aesthetic value of landscapes contributes to human well-being, but studies linking biodiversity and ecosystem services generally do not account for this particular service. Therefore, congruence between the aesthetic perception of landscapes, ecological value and biodiversity remains poorly understood. Here, we describe the conceptual background, current methodologies and future challenges of assessing landscape aesthetics and its relationship with biodiversity. We highlight the methodological gaps between the assessment of landscape aesthetics, ecological diversity and functioning. We discuss the challenges associated with connecting landscape aesthetics with ecological value, and the scaling issues in the assessment of human aesthetics perception. To better integrate aesthetic value and ecological components of biodiversity, we propose to combine the study of aesthetics and the understanding of ecological function at both the species and landscape levels. Given the urgent need to engage society in conservation efforts, this approach, based on the combination of the aesthetic experience and the recognition of ecological functioning by the general public, will help change our culture of nature and promote ecologically oriented conservation policies.

Modern criteria for evaluation of aesthetic results of dental treatment (literature review)

2015 ◽  
Vol 9 (2) ◽  
pp. 0-0
Author(s):  
Васильева ◽  
T. Vasileva ◽  
Тихонов ◽  
V. Tikhonov ◽  
Митин ◽  
...  
Keyword(s):  
Literature Review ◽  
Dental Treatment ◽  
Negative Impact ◽  
Aesthetic Perception ◽  
Social Functions ◽  
Actual Problem ◽  
Aesthetic Appearance ◽  
Aesthetic Results ◽  
The Aesthetic ◽  
Criteria For Evaluation

In this literature review, the authors examine the actual problem in dentistry - the modern criteria for evaluation of aesthetic results of orthopedic treatment, they analyze the main objectives of treatment to improve the aesthetic parameters, such as: restore the functions of mastication and speech formation, normalization aesthetic appearance and eliminating the negative impact of a partial or complete absence of teeth, and defects and deformities of the jaws that affect the mental state of the patient. Often, the desire to eliminate blemishes, enhance facial contours encourages patients to visit a dental clinic. Thus, the functional defects bother them less. Evaluation of aesthetic results is a very important problem in dental treatment, as because of violations of the communicative and social functions associated with the aesthetic perception of their own persons, patients in many cases, feel the psychological tension and discomfort, especially teenagers, children, women suffer from this. Often these patients turn in on themselve, their social circle is shrinking and interest in life decreases. Aesthetic dental defects of the mouth constrain open smile, people tend to speak slightly opening the lips, many people think that others are carefully looking out for their defects. Based on this problem the authors describe the basic criteria for evaluation of aesthetic results of dental treatment.

Highway Landscape Aesthetic Experience: Perception Principle and Psychological Process

2013 ◽  
Vol 368-370 ◽  
pp. 21-26
Author(s):  
Xiao Chun Qin ◽  
Yi Shen ◽  
She Gang Shao ◽  
Dan Wang
Keyword(s):  
Sustainable Development ◽  
Aesthetic Experience ◽  
Landscape Planning ◽  
Psychological Process ◽  
Aesthetic Perception ◽  
Planning And Design ◽  
Visual Pleasure ◽  
Aesthetic Field ◽  
The Aesthetic ◽  
Aesthetic Characteristics

As the essential public assets for sustainable development, Highway should provide for people not only the enjoyment of convenient and safe transportation, but also the fulfillment of visual pleasure and aesthetic appeal. Taking the highway as the aesthetic object and making the research in aesthetic perception and the process of psychological experience of the aesthetic subject are of great importance to highway landscape planning and design. The aesthetic subject and object of highway landscape are defined and their relationship between the two is explored based on the analysis of characteristics and principles of highway aesthetics in the paper. And the conception of the highway landscape aesthetic field is also introduced. In view of the aesthetic characteristics of highway landscape, the aesthetic process is studied in detail from three phrases of aesthetic expectation and aesthetic attention, aesthetic expansion and aesthetic perception, and aesthetic dispersion. Taking Guangdong Fokai highway for example, the aesthetic psychological expanding process of highway landscape is finally analyzed.

scholarly journals Complex ekphrasis of the Hermitage moving in the latest russian poetry

2021 ◽  
Vol 6 (2) ◽  
pp. 34-45
Author(s):  
Alexander Viktorovich Markov
Keyword(s):  
Aesthetic Experience ◽  
Formal Analysis ◽  
Close Reading ◽  
Self Awareness ◽  
Aesthetic Perception ◽  
Three Solutions ◽  
Mental Work ◽  
Sensory Experiences ◽  
Works Of Art ◽  
The Aesthetic

Poetic ekphrasis may be not only simple, like a description of a work of art as a system of images that naturally come to life in an artistic description, but also complex, meaning the stay of exhibits in a museum or gallery. Complex ekphrasis is used also be different, in contrast to the type of contextualization of exhibits in the space intended for them, and a special ekphrasis of movement can be distinguished, where it is not the delay in front of the exhibits that is important, but the experience of the museum space itself as strange, existentially significant and associated with key existential moments in the life of a lyric character. In such a subspecies of ekphrasis, it is not the action of the imagination that is essential, but the skills of orientation in a value-marked space, with signs of up and down, openness and closeness, due to which the return of aesthetic experience in a complex existential situation is thought. The article offers a close reading of several examples of such an ekphrasis of gallery movement. In the poetry of Mikhail Eremin, the Saint Petersburg Hermitage turns out to be, first of all, a place of various forms of reflection, and the overlap between the metaphorical (reflection and attention to the phonetics of speech) and literal (mirror) understanding of reflection forms a mechanism for the quickest transition from spatial confusion to the aesthetic experience of the Hermitage collection. In the poetry of Sergei Stratanovsky, on the contrary, the Hermitage is shown through the eyes of a conventional character, immune to culture, where the mechanisms of such a transition are absent, and any attempt to simplify spatial self-awareness turns into a total immunity to art. In the poetry of Asya Veksler, the Hermitage turns out to be a hero with its own subjectivity, modeled on Petersburg in Anna Akhmatova's Poem Without a Hero, and this allows the episodes of a love drama to be developed as confirmed by various formal decisions and to erase the border between the aesthetics of space premises and the aesthetics of works. All three solutions imply the general properties of a complex ekphrasis of displacement: 1) a presence of an existential basis of a poetic utterance, detached from the usual modes of relations with time, partially blocking the usual modes of aesthetic perception of works of art, 2) a constant search for means of overcoming this blocking, which can be successful, if associated with the acceleration of sensory experiences, and unsuccessful if associated with frustration and/or routine admiration, 3) a situation in which architectural and design decisions are perceived as deeply symbolic and valuable, while works of art remain mysteries among other mysteries, and only the correctly found speed of mental work with the past and the present allows them to be perceived, 4) uses of the names of artists and plots of works not as symbols, but as part of the route, with the ambiguity of this route, the lack of sufficient motivation for it in the plot, but partial support from the book explications or educational habits, 5) an attention to the formal components of both the interior and individual works, as the only key to integrating these solutions into large value oppositions. A close reading of these poems allows for a better understanding of the importance of formal analysis for a comprehensive understanding of fine art and plastics and their reflection in literature as an art that deals with different modes of sensing time.

Zygmunt Krasiński wobec sztuk pięknych / Zygmunt Krasiński and the Fine Arts

2013 ◽  
Vol 54 (2) ◽  
pp. 145-160 ◽  
Author(s):  
Olga Płaszczewska
Keyword(s):  
Fine Arts ◽  
Literary Tradition ◽  
Individual Sensitivity ◽  
What Works ◽  
The Arts ◽  
The Aesthetic ◽  
A Current ◽  
Aesthetic Preferences

Summary This is an attempt at examining Zygmunt Krasiński’s opinions and preferences with regard to the fine arts, a theme many critics believed to be missing from his writings. While putting things right, this article looks at the issues involved in his artistic choices, for example, what works or artists attracted his attention, in general, and to the point of him actually drawing on them in his own work or provoking him to some response (critical, approving, emotional, etc.). Furthermore, the article tries to explore the reasons and circumstances which may account for Krasiński’s interest in a given painting, print, or sculpture. It may have been the work’s theme as in the case of his ekphrasis of Ary Scheffer’s Dante and Virgil Encountering the Shades of Francesca and Paolo Di Rimini, where literary tradition provided the impulse, or the mode of its execution, or the personal ties with its author, or, finally, some other factors, like a current vogue or simply Krasiński’s individual sensitivity. The ultimate aim of all these inquiries is to outline Krasiński’s relationship with the arts (beaux arts) in the context of the aesthetic preferences of the epoch.

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