scholarly journals TRUCKS AS INSPIRATION FOR BABY BED CREATION

2020 ◽  
Vol 1 (2) ◽  
pp. 56-71
Author(s):  
Agus Triana ◽  
Sri Marwati
Keyword(s):  
Design Stage ◽  
Aesthetic Theory ◽  
Works Of Art ◽  
Symbolic Value ◽  
Problem Formulations ◽  
Aesthetic Values ◽  
Artistic Research ◽  
Family Groups

Baby bed is one type of furniture which the existence is very necessary to meet the needs of the community, especially in family groups who have children / babies. The idea of creating the work is divided into two problem formulations, namely, how to design a baby bed in the form of a truck with decorative elements of Punakawan and how to visualize the design into works of art. The approach used is Dewitt H. Parker's aesthetic theory. The method of creation includes 3 stages, namely: the exploration stage, the design stage, and the embodiment stage. The baby bed produced in this artistic research is a work that has functional and aesthetic values with reference to the character of Punakawan. The symbolic value contains the exemplary teachings of Punakawan become a substance in this baby bed artwork. These baby beds are created creatively and innovatively for the renewal of baby bed shapes.

scholarly journals Orí (Head) as an Expression of Yorùbá Aesthetic Philosophy

2018 ◽  
Vol 9 (4) ◽  
pp. 59-70
Author(s):  
Olusegun Ajíbóyè ◽  
Stephen Fọlárànmí ◽  
Nanashaitu Umoru-Ọkẹ
Keyword(s):  
Field Work ◽  
Aesthetic Judgment ◽  
The Other ◽  
Southwestern Nigeria ◽  
Black Africa ◽  
Biological Importance ◽  
Works Of Art ◽  
Art And Language ◽  
Aesthetic Values ◽  
Visual Illustrations

Abstract Aesthetics was never a subject or a separate philosophy in the traditional philosophies of black Africa. This is however not a justification to conclude that it is nonexistent. Indeed, aesthetics is a day to day affair among Africans. There are criteria for aesthetic judgment among African societies which vary from one society to the other. The Yorùbá of Southwestern Nigeria are not different. This study sets out to examine how the Yorùbá make their aesthetic judgments and demonstrate their aesthetic philosophy in decorating their orí, which means head among the Yorùbá. The head receives special aesthetic attention because of its spiritual and biological importance. It is an expression of the practicalities of Yorùbá aesthetic values. Literature and field work has been of paramount aid to this study. The study uses photographs, works of art and visual illustrations to show the various ways the head is adorned and cared for among the Yoruba. It relied on Yoruba art and language as a tool of investigating the concept of ori and aesthetics. Yorùbá aesthetic values are practically demonstrable and deeply located in the Yorùbá societal, moral and ethical idealisms. It concludes that the spiritual importance of orí or its aesthetics has a connection which has been demonstratively established by the Yorùbá as epressed in the images and illustrations used in this paper.

The Creation of Art

2021 ◽  
pp. 163-186
Author(s):  
Tom Cochrane
Keyword(s):  
Human Activities ◽  
Cognitive Theory ◽  
Social Role ◽  
Living Well ◽  
Works Of Art ◽  
The World ◽  
Functionalist Account ◽  
Vital Component ◽  
The Creation ◽  
Aesthetic Values

This chapter presents Aestheticism as a general approach to life. It is argued that a dedicated aestheticist will be inspired to create works of art. In alignment with this view an aesthetic functionalist account of art is defended, incorporating aspects of the expression theory of art and the cognitive theory of art. It is then suggested that the way an artist creatively responds to the value of the world is an ideal of living well. Moreover, although there are other such ideals, the artistic paradigm can apply to a variety of human activities, including the pursuit and expression of one’s understanding (as in philosophy). In the latter part of the chapter it is then argued that, in distilling aesthetic values, the artist has an important social role to play. Artworks help us to discern value ideals, and our capacity to discern values is a vital component of virtue.

The Transitive Multiverse of Charles Ives's “Concord” Sonata

2011 ◽  
Vol 28 (2) ◽  
pp. 166-194
Author(s):  
Christopher Bruhn
Keyword(s):  
Twentieth Century ◽  
Human Brain ◽  
William James ◽  
Human Mind ◽  
Turn Of The Century ◽  
Aesthetic Theory ◽  
Piano Sonata ◽  
American Philosophy ◽  
Works Of Art ◽  
Multiple Levels

The philosophy of William James can be useful in the interpretation of works of art, although James himself never specifically set forth an aesthetic theory. As an example, a Jamesian view of consciousness is enacted on multiple levels in Charles Ives's Piano Sonata No. 2, “Concord, Mass., 1840–60,” and the accompanying Essays before a Sonata. James's metaphor for the working of the human mind—a view widely circulated in Ives's day—as a “stream of thought,” the largely transitory movement of which James likened to a bird's flights and perchings; the value James finds in vagueness; and his treatment of the nature of truth as fundamentally mutable and provisional all find musical expression in the “Concord” Sonata. Additionally, the complex genealogy of the sonata and its connection to related works, notably the Fourth and Universe Symphonies, can be interpreted as reflecting James's cosmological vision of a pluralistic universe or “multiverse.” Reading the sonata through a Jamesian lens provides new insights into the behavior of Ives's music by relating it to turn-of-the-century thinking about the functioning of the human brain as well as early-twentieth-century American philosophy and cosmology.

Maybe, We Will Benefit from Our Neighbour’s Good Fortune : An Exhibition on Collectivity, Community, and Dialogue in Turkey

2019 ◽  
Author(s):  
Işıl Eğrikavuk
Keyword(s):  
Research Process ◽  
Artistic Practice ◽  
Art Exhibition ◽  
Community Art ◽  
Good Fortune ◽  
Art Practices ◽  
Artistic Work ◽  
The Aesthetic ◽  
Aesthetic Values ◽  
Artistic Research

Deriving from the Gezi Park protests, this chapter focuses on an art exhibition that took place in Istanbul in 2017, which was realized under the ‘Aesthetics of Protest’ project. Looking at past examples of community art practices, this exhibition proposes to think of collectivity as a form of resistance and frames how aesthetics of protest can be traced to artistic work in order to provide solidarity and empowerment. Working with different art and environmental collectives, the exhibition questions the idea of ‘neighbourhood’ and ‘neighbourliness’ and searches for ways of sustaining hope and solidarity through the aesthetic values of the Gezi Park protests and in an artistic practice. This chapter conceptualizes the process of the exhibition and its artistic research process.

Kames's Naturalist Aesthetics and the Case of Tragedy

2009 ◽  
Vol 7 (2) ◽  
pp. 147-162 ◽  
Author(s):  
Rachel Zuckert
Keyword(s):  
Human Nature ◽  
Affective Responses ◽  
Aesthetic Theory ◽  
Standard Formulation ◽  
Aesthetic Values

In this essay, I discuss Kames' aesthetic theory, as presented in his essay, ‘Our Attachment to Objects of Distress’ (concerning the problem of tragedy), and in Elements of Criticism. I argue that Kames' (non-)response to the problem of tragedy – that we find tragedies painful (not pleasing), yet are ‘attracted to them through the workings of the “blind instinct” of sympathy’ – is intended to call the standard formulation of the problem of tragedy (‘why do we find such painful things pleasing?’) into question. This standard formulation, on Kames' view, mistakenly assumes that we cannot be attracted to anything but pleasure, whereas tragedy (among other phenomena) shows that human nature is considerably more complex than this. I argue, further, that Kames' treatment of tragedy exemplifies the character of his aesthetics more broadly: aesthetic values are explained by reference to general laws governing human nature (we are attracted to this sort of thing, averse to that, etc.) – or explanatory naturalism. But Kames also argues that we can, upon reflection, judge that this instinct and this exercise of it is good (as in the case of tragedy, which is, Kames argues, morally educative because it strengthens our sympathy), by contrast to other cases where instincts may not achieve their ends. Thus Kames also proposes a normative aesthetic naturalism, according to which we should educate our instinctual affective responses so that they will be appropriate to their objects and beneficial for the human goods that they are meant to promote.

scholarly journals Nilai-Nilai Estetika Melayu dalam Lirik Lagu Karya Rhoma Irama Kajian terhadap Lirik Lagu “Seni” dan “Buta Tuli”

2020 ◽  
Vol 15 (3) ◽  
pp. 297-311
Author(s):  
Moh. Muzakka
Keyword(s):  
Aesthetic Theory ◽  
Pragmatic Function ◽  
Song Lyrics ◽  
The Aesthetic ◽  
Aesthetic Values

The purpose of this research is to reveal the aesthetic values in the lyrics of the song by Rhoma Irama, especially in the lyrics of the song "Seni" and "Buta Tuli". Aesthetic theory used to study both the lyrics are Malay aesthetic theory formulated by Braginsky. It summed up the three spheres functions in Malay literature consists are a function of beauty (indah), pragmatic function (faidah), and spiritual function (kamal). The results of the analysis show that the two lyrics of the Rhoma Irama song are very loaded with these three elements of functions. Both Rhoma Irama song lyrics are arranged in beautiful words and reveal pragmatic values. Both values are raised to achieve the highest value, which is service to the Creator (God).

scholarly journals KOMPOSISI KARAWITAN ISMUNING CAHYA: INTERPRETASI KEESAAN TUHAN MELALUI TOKOH SEMAR

2021 ◽  
Vol 20 (2) ◽  
pp. 157-167
Author(s):  
Danis Sugiyanto ◽  
Sigit Setiawan
Keyword(s):  
Music Composition ◽  
Contemporary Music ◽  
Research Work ◽  
Art Music ◽  
Works Of Art ◽  
The Creation ◽  
Artistic Research

This work is entitled "Ismuning Cahya", is a work of contemporary Javanese gamelan music composition with the theme "the form of the Oneness of God” represented by the wayang character, Semar. The purpose of the creation of this works is to prove the existence of contemporary music (gamelan), as a reference for gamelan students who are interested in creating works of art (music). The output of this artistic research work is in the form of works (both live and/ or audio documentation) and scientific works which contain the process of developing the works "Ismuning Cahya". From there, it is hoped that this work will be able to become a model for the creation of works of art, especially the creation of contemporary gamelan.  

scholarly journals Leo Tolstoy's moralizing in context of ethical and aesthetic synthesis

2021 ◽  
Vol 10 (43) ◽  
pp. 257-263
Author(s):  
Svetlana A. Simonova ◽  
Tatiana V. Shvetsova ◽  
Marina A. Shtanko ◽  
Denis G. Bronnikov ◽  
Alexei A. Mikhailov
Keyword(s):  
The Other ◽  
Leo Tolstoy ◽  
Childhood And Adolescence ◽  
Aesthetic Theory ◽  
Russian Culture ◽  
Works Of Art ◽  
Aesthetic Pleasure ◽  
The Aesthetic ◽  
The One

The article examines the moralizing of Leo Tolstoy on the example of his theoretical ideas. The authors, examining their genesis, come to the conclusion that the writer formed his ideas under the influence of French enlighteners and sentimentalists, on the one hand, and absorbed the ethical dominant of Russian culture, on the other hand. The article analyzes the idea of absolutizing good, which runs through Tolstoy's entire aesthetic theory as a leitmotif. As a result of the study of the aesthetic views of the writer, it is concluded that Tolstoy understood the role of art solely as a translation of feelings and a means of communication. The writer deprives art of its aura of mystery and does not recognize the latter as a source of aesthetic pleasure and spiritual enrichment. The article analyzes the worldview of the writer, reveals the influence on him of the experience acquired by Tolstoy in childhood and adolescence. Tolstoy's works of art and theoretical views are another example of the fact that the artist's worldview does not always coincide with his work.

scholarly journals The concept of light and color as a key element of experiencing ‘feeling architecture’

2019 ◽  
Vol 18 (1) ◽  
pp. 011-021
Author(s):  
Agnieszka Chęć-Małyszek
Keyword(s):  
Essential Element ◽  
Design Stage ◽  
The Moment ◽  
Contemporary Architecture ◽  
Aesthetic Values ◽  
Role Of Light

This article investigates the role of light in the perception of contemporary architecture. Light is an essential element that creates and reveals the beauty of architecture, emphasizes its aesthetic values, and allows us to feel the unlimited space "with one’s whole self". Since time immemorial, light in combination with colour has played an important role at the design stage and later in its reception. Nowadays, technological and civilization progress has contributed to the increase in the role of light and color, enabling their application already at the moment of design. Increasing expectations towards architects have led to an intensification of the phenomenon, which is increasingly expressed in projects filled with light and colour.

scholarly journals I GEDE GERUH PRNGUKUH DAN PENGOKOH DRAMATARI GAMBUH DESA PEDUNGAN, KOTA DENPASAR

WIDYANATYA ◽  
2019 ◽  
Vol 1 (1) ◽  
pp. 82-90
Author(s):  
I Nyoman Wahyu Adi Gotama ◽  
Ida Ayu Gede Prayitna Dewi
Keyword(s):  
Social Sciences ◽  
Cultural Development ◽  
Large Contribution ◽  
Aesthetic Theory ◽  
Qualitative And Quantitative ◽  
Social Sciences And Humanities ◽  
Change Leader ◽  
The Subject ◽  
Ritual Activity ◽  
Aesthetic Values

ABSTRAK Penelitian ini mengangkat topik tentang biografi I Gede Geruh serta kontribusinya terhadap kesenian gambuh di Desa Pedungan, Kecamatan Denpasar Selatan, Kota Denpasar. Keterlibatan I Gede Geruh dalam dramatari gambuh di Pedungan tidak hanya sebagai seorang penari, melainkan sebagai seorang guru atau pelatih dramatari gambuh dan juga sebagai pengurus dalam sekaa gambuh di Pedungan. Semua ini menunjukkan kebesaran peran dan totalnya keterlibatan I Gede Geruh dalam dramatari gambuh di Pedungan sebagai pengukuh dan pengokoh. Kata pengukuh digunakan untuk memposisikan I Gede Geruh sebagai seorang tokoh yang mempunyai peran penting agar nilai-nilai estetik Gambuh Pedungan tidak sampai berubah. Pengokoh digunakan untuk memposisikan Geruh sebagai seorang figur yang ibarat pilar yang mampu membuat kesenian Gambuh Pedungan tetap eksis ditengah-tengah perubahan nilai sosial dan budaya Bali. Kata pengokoh dimaknai sebagai seorang tokoh yang ibarat tiyang penyangga untuk menjaga “bangunan” sekaa gambuh ini jangan sampai roboh. Kehadiran seniman ini memiliki dampak yang cukup luas terhadap kehidupan kesenian, aktivitas upacara agama dan pembangunan sosial dan budaya di Desa Pedungan  ABSTRACT This study raised the subject of the biography I Gede Geruh and its contribution to the gambuh arts in the Pedungan village. In Bali, only a few villages having gambuh art . One village is famous for its gambuh art is Pedungan Village, District of South Denpasar , Denpasar . Historically, Gambuh Pedungan a palace of art which is closely related to Puri and Puri Satria acceleration. It gets protection of the authorities in both the castle. The amount of attention to the gambuh art king at that time led to Gambuh Pedungan grows and flourishes and bears gambuh dancers reliable. One of the gambuh dancers is very famous I Gede Geruh (deceased), a very large contribution to the preservation, development and sustainability Gambuh Pedungan . In his youth he was able to portray all the characters in the pegambuhan art. This research uses qualitative and quantitative data that is widely used in research methods, social sciences and humanities. Source of data used mostly acquired through observation, interviews, literature data and documentation. As analysis, research using biographical theory as the main theory and motivation theory, semiotic theory and aesthetic theory as the supporting theory. This study was also accompanied by the application of some concepts, approaches and frameworks references.Through the application of the theory of biography can be concluded that involvement in Gede Geruh in Pedungan dance drama not only as a dancer, but as a teacher or coach of dance drama gambuh and also as a board member in sekaa gambuh in Pedungan . This shows the greatness of all roles and their total involvement in dance drama of Gede Geruh in Pedungan as people who staunchly and leader. The word is used to position peple who staunchly I Gede Geruh as a character who has an important role that aesthetic values ​​Gambuh Pedungan not to change. Leader used to position Geruh as a figure like a pillar that is able to make art Gambuh Pedungan still exist in the midst of changes in social values ​​and culture. Said leader interpreted as a figures like pillar buffer to keep “building " is not to sekaa gambuh collapsed. The presences of these artists have a wide impact on the lives of art, ritual activity and social and cultural development in the Pedungan Village

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