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>

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.

An Archaeology of the Aesthetic: Slavery and Politics at the Jesuit Vineyards of Nasca

2020 ◽  
pp. 1-18
Author(s):  
Brendan J.M. Weaver
Keyword(s):  
Built Environment ◽  
Aesthetic Experience ◽  
Archaeological Record ◽  
Philosophical Work ◽  
Aesthetics And Politics ◽  
Colonial Peru ◽  
Administrative Policy ◽  
Specific Meaning ◽  
The Creation ◽  
The Aesthetic

This article makes the case for the utility of an aesthetic approach to the archaeological record, drawing on the philosophical work of Jacques Rancière on aesthetics and politics. The case of an archaeology of African slavery on Jesuit vineyards in colonial Peru is offered to explore nuances in power and the production of enslaved subjectivities that become visible through a consideration of aesthetic fields. Of particular interest are the aesthetics of administrative policy as materialized in space and the built environment and enslaved responses through aesthetic interventions. Rather than focusing on the specific meaning or hybridity involved in the creation of the material, a Rancièrean aesthetic approach considers how materials were potentially charged with multiple, sometimes contentious meanings through activation and engagement in the aesthetic experience.

scholarly journals Art, experience and alterity: reflections in the horizon of ethical and aesthetic education

2021 ◽  
Vol 14 (33) ◽  
pp. e15315
Author(s):  
Maria Regina Johann
Keyword(s):  
Creative Process ◽  
Aesthetic Experience ◽  
Theoretical Perspective ◽  
Aesthetic Education ◽  
Moral Action ◽  
Self Awareness ◽  
Philosophical Hermeneutics ◽  
Artistic Experience ◽  
The Arts ◽  
The Aesthetic

Oriented by the theoretical perspective of philosophical hermeneutics, this text addresses the ethical and aesthetic dimension of education, and it has the arts teaching as a reflexive field, emphasizing the artistic experience as a possibility for knowledge and self-awareness beyond the instrumental rationality frameworks. I emphasize, therefore, the artistic experience as an opportunity of (re) approximation among the student, the work and the artist as a way of self-investigation in the field of authorship, with reference to the experimentation of the artistic game and the tensions of the creative process. This creative process triggers a dialogue, which would be in the basis of ethics, since the moral action would be based in the process of co-creation of the aesthetic experience in relation to the work of art.

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 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.  

scholarly journals Aesthetic Experience and Creativity in Interactive Art

2021 ◽  
pp. 1-32
Author(s):  
Esma Betül Savaş ◽  
Thijs Verwijmeren ◽  
Rob van Lier
Keyword(s):  
Cognitive Flexibility ◽  
Creative Process ◽  
Emotional Response ◽  
Aesthetic Experience ◽  
Emotional Experience ◽  
Interactive Art ◽  
Network Analyses ◽  
The Spectator ◽  
The Aesthetic ◽  
The Way

Abstract Interactive art, which is art that relies on the participation of a spectator and in which the spectators enter the creative process, has changed the way people relate with artworks. An experiment was conducted in a laboratory with an interactive artwork (Temporal Perspectives by Doruk Kumkuoğlu and Sadettin Bilal Savaş, 2016) to investigate whether interactivity is a factor that plays a role in the aesthetic emotions and creativity of the spectator. The results indicated a significant increase in beauty, in response to interactive art. Partial correlational network analyses were conducted to further investigate the emotional experience of the artworks in both conditions. These analyses showed differences between the conditions in the emotional response to interactive art. However, cognitive flexibility of participants did not differ between conditions. The results indicate that interactivity should be taken into account as an element that affects the perception of art.

Schopenhauer and the Paradox of the Sublime

2020 ◽  
pp. 237-255
Author(s):  
Bart Vandenabeele
Keyword(s):  
Aesthetic Experience ◽  
Human Being ◽  
Aesthetic Object ◽  
Human Reason ◽  
The Sublime ◽  
The World ◽  
The Aesthetic

Schopenhauer explores the paradoxical nature of the aesthetic experience of the sublime in a richer way than his predecessors did by rightfully emphasizing the prominent role of the aesthetic object and the ultimately affirmative character of the pleasurable experience it offers. Unlike Kant, Schopenhauer’s doctrine of the sublime does not appeal to the superiority of human reason over nature but affirms the ultimately “superhuman” unity of the world, of which the human being is merely a puny fragment. The author focuses on Schopenhauer’s treatment of the experience of the sublime in nature and argues that Schopenhauer makes two distinct attempts to resolve the paradox of the sublime and that Schopenhauer’s second attempt, which has been neglected in the literature, establishes the sublime as a viable aesthetic concept with profound significance.

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