scholarly journals Design requirements for advertising on fashion fabrics printed for the Italian company Moschino Milano

2020 ◽  
Vol 2 (3) ◽  
pp. 28-43
Author(s):  
Oday Ismael Ibrahim
Keyword(s):  
Technical Development ◽  
Functional Value ◽  
Design Requirements ◽  
To Come ◽  
The Aesthetic ◽  
Aesthetic Values

The design of fabrics and fashion is an innovative art characterized by functional and aesthetic features, in which the designer strives to make the biggest impact on the forum and its aesthetic and aesthetic conviction. The aesthetic values, together with the functional value that the design is based on, play a role in meeting the requirements of the age and filling the needs of the consumer. The acquisition of fabrics and fashion which has reached its final stages through the technical development, and the technologies that were keeping pace with the movement of development, which is still evolving and varies according to the modern need, that the declaration differs in many differences in terms of application and means . , Advertising in newspapers, walls, magazines, newspapers, transport and also spread to fashion fabrics, which in each of these cases is trying to come close to achieving its objectives, namely to achieve contact with the delivery of the message to the recipients, as well as the promotion and objective in conveying the aesthetic and functional meaning of fabrics and fashion , A set of conclusions and conclusions were reached

Analysis of the Aesthetic and Ethical Content of Folk Speech Texts at a Lesson-investigation

2019 ◽  
Vol 80 (1) ◽  
pp. 39-45
Author(s):  
Marina A. Ostrenkova
Keyword(s):  
Research Study ◽  
Traditional Culture ◽  
School Education ◽  
Folk Culture ◽  
Russian People ◽  
Cultural Information ◽  
Ethical Content ◽  
To Come ◽  
The Aesthetic ◽  
Aesthetic Values

This article is devoted to the methods of acquainting students with the language of traditional culture (folklore) in school education. Such knowledge is expected to promote students’ awareness of the ethical and aesthetic values inherent in folk culture texts. A search for cultural information can be performed through a linguocultural study. This article presents such a research study entitled “Zachem ranshe zazyvali vesnu” (Why did they use to invite spring) aimed at revealing the specific features of folk texts that were used by Russian people to make spring to come. The semantics of textual artefacts is analysed in terms of their ethical and aesthetic significance.

From Altered States to Altered Titles: A Close Analysis of the Title Sequence to Ken Russell's Altered States (1981)

2015 ◽  
Vol 12 (4) ◽  
pp. 556-571
Author(s):  
Jack Post
Keyword(s):  
Altered States ◽  
Thematic Structure ◽  
Personal Projects ◽  
Mise En Abyme ◽  
Narrative Representations ◽  
Close Analysis ◽  
Film Images ◽  
The Spectator ◽  
To Come ◽  
The Aesthetic

Although most title sequences of Ken Russell's films consist of superimpositions of a static text on film images, the elaborate title sequence to Altered States (1981) was specially designed by Richard Greenberg, who had already acquired a reputation for his innovative typography thanks to his work on Superman (1978) and Alien (1979). Greenberg continued these typographic experiments in Altered States. Although both the film and its title sequence were not personal projects for Russell, a close analysis of the title sequence reveals that it functions as a small narrative unit in its own right, facilitating the transition of the spectator from the outside world of the cinema to the inside world of filmic fiction and functioning as a prospective mise-en-abyme and matrix of all the subsequent narrative representations and sequences of the film to come. By focusing on this aspect of the film, the article indicates how the title sequence to Altered States is tightly interwoven with the aesthetic and thematic structure of the film, even though Russell himself may have had less control over its design than other parts of the film.

scholarly journals Can we measure beauty? Computational evaluation of coral reef aesthetics

PeerJ ◽  
2015 ◽  
Vol 3 ◽  
pp. e1390 ◽  
Author(s):  
Andreas F. Haas ◽  
Marine Guibert ◽  
Anja Foerschner ◽  
Tim Co ◽  
Sandi Calhoun ◽  
...  
Keyword(s):  
Coral Reef ◽  
Coral Reefs ◽  
Local Population ◽  
Machine Learning Algorithms ◽  
Monitoring Tool ◽  
Photographic Images ◽  
Aesthetic Appearance ◽  
The Aesthetic ◽  
Monitoring Protocols ◽  
Aesthetic Values

The natural beauty of coral reefs attracts millions of tourists worldwide resulting in substantial revenues for the adjoining economies. Although their visual appearance is a pivotal factor attracting humans to coral reefs current monitoring protocols exclusively target biogeochemical parameters, neglecting changes in their aesthetic appearance. Here we introduce a standardized computational approach to assess coral reef environments based on 109 visual features designed to evaluate the aesthetic appearance of art. The main feature groups include color intensity and diversity of the image, relative size, color, and distribution of discernable objects within the image, and texture. Specific coral reef aesthetic values combining all 109 features were calibrated against an established biogeochemical assessment (NCEAS) using machine learning algorithms. These values were generated for ∼2,100 random photographic images collected from 9 coral reef locations exposed to varying levels of anthropogenic influence across 2 ocean systems. Aesthetic values proved accurate predictors of the NCEAS scores (root mean square error < 5 forN≥ 3) and significantly correlated to microbial abundance at each site. This shows that mathematical approaches designed to assess the aesthetic appearance of photographic images can be used as an inexpensive monitoring tool for coral reef ecosystems. It further suggests that human perception of aesthetics is not purely subjective but influenced by inherent reactions towards measurable visual cues. By quantifying aesthetic features of coral reef systems this method provides a cost efficient monitoring tool that targets one of the most important socioeconomic values of coral reefs directly tied to revenue for its local population.

scholarly journals On the centenary of Zygmunt Janiszewski (1888-1920): ideals of mathematical practice and the constitution of continuum theory

2020 ◽  
Vol 8 (18) ◽  
pp. 431-453
Author(s):  
Luis Carlos Arboleda ◽  
Andrés Chaves
Keyword(s):  
Mathematical Practice ◽  
Continuum Theory ◽  
Axiomatic System ◽  
Intellectual Character ◽  
The Social ◽  
Polish School ◽  
The Aesthetic ◽  
Aesthetic Values ◽  
Philosophy Of Mathematical Practice ◽  
Scientific Life

This paper shows the importance of applying a certain approach to the history and philosophy of mathematical practice to the study of Zygmunt Janiszewski's contribution to the topological foundations of Continuum theory. In the first part, a biography of Janiszewski is presented. It emphasizes his role as one of the founders of the Polish School of Mathematics, and the social, political and military facets in which his intellectual character was revealed, as well as the values that guided his academic and scientific life. Kitcher's view of mathematical practice is then adopted to examine the philosophical conceptions and epistemological style of Janiszewski in relation to the construction of the formal axiomatic system of knowledge about the continua. Finally, it is shown the convenience of differentiating in Kitcher's approach, the methods, procedures, techniques and strategies of practice, and the aesthetic values of mathematics. Keywords: Zygmunt Janiszewski; Continuum theory; Philosophy of mathematical practice; Polish school of mathematics.

Perception Based Method for Measuring the Aesthetic Quality of the Urban Environment

2017 ◽  
Vol 42 (2) ◽  
pp. 11-19
Author(s):  
Hourakhsh Ahmad Nia ◽  
Resmiye Alpar Atun ◽  
Rokhsaneh Rahbarianyazd
Keyword(s):  
Urban Environment ◽  
Spatial Configuration ◽  
Human Perception ◽  
Urban Morphology ◽  
Urban Environments ◽  
Human Cognition ◽  
Aesthetic Perception ◽  
Aesthetic Quality ◽  
The Aesthetic ◽  
Aesthetic Values

This study assesses changing aesthetic values and their characteristics in urban environments based on human perception. With this in mind, a model for assessing the aesthetic values of the urban environment based on the three steps of human cognition has been developed to elaborate the user's perception in different urban environments. The results of the survey confirm that by changing urban morphology the aesthetic perception of the environment also changes. The finding of this research opens up a new window for urban planners to assess the aesthetic effects of the elements of urban spatial configuration for future urban development.

“What Is to Come After This?”

2021 ◽  
pp. 188-222
Author(s):  
Mark A. Allison
Keyword(s):  
Fin De Siecle ◽  
William Morris ◽  
Political Tradition ◽  
Art And Literature ◽  
Fin De Siècle ◽  
To Come ◽  
Socialist Art ◽  
The Aesthetic ◽  
Aesthetic Ideal

This chapter engages with Britain’s fin-de-siècle socialist revival by investigating its presiding spirit, William Morris. Morris is revered for inspiring a socialist culture characterized by its fusion of artistic and emancipatory commitments. From the longer perspective that Imagining Socialism affords, however, this synthesis of aesthetics and socialism looks less like an unprecedented development than a change in modalities. Imagining Socialism demonstrates that the aesthetic was constitutive of an important strand of the British socialist tradition; sublimated aesthetic energies underpinned and invigorated a succession of anti-political schemes of communal regeneration. Morris corrected this excessively instrumentalizing tendency by promulgating a highly self-conscious aesthetic of sensuous surfaces. By desublimating socialism’s aesthetic impulse, he fostered an environment in which successful socialist art and literature was finally possible. But despite Morris’s own intentions, this chapter contends, his intercession also conspired to drain socialism of its anti-political vitality. This argument is staged through a thickly contextualized reading of News from Nowhere. In his utopia, Morris employs an erotically saturated style and plot to entice readers to embrace his own vision of Britain’s socialist future. However, this approach sanctions the emergence of a privatized aesthetic ideal that is fundamentally at odds with the nongovernmental utopia of the craft arts that News from Nowhere officially espouses. By desublimating the aesthetic impulse, Morris inadvertently contributed to the dispersal of the vitality and resources that the aesthetic had hitherto lent Britain’s socialist anti-political tradition.

Painting, aesthetics of

2018 ◽  
Author(s):  
Robert Hopkins
Keyword(s):  
Picture Plane ◽  
Essential Elements ◽  
Two Dimensional ◽  
Art Forms ◽  
The Aesthetic ◽  
Aesthetic Values ◽  
Dimensional Picture ◽  
Do So ◽  
The Way

Why care about painting as an art? Does it offer to engage our aesthetic interest in ways that other art forms do not, or does it merely reproduce the aesthetic satisfactions they provide? Most paintings involve both marks on a surface, and something represented by those marks. Some attempts to say what is distinctive about painting concentrate on the former feature, understanding the art as an exploration of the two-dimensional picture plane. Others concentrate on the representational aspect, seeking to find something special about the things painting can represent, or the way in which it achieves this. The most promising approaches acknowledge both aspects, and do so as essential elements in the experiencewe have of painting. One such approach turns on the idea that the configurational aspect ‘inflects’ the representational, so that what we see in the picture itself somehow involves the marks from which the painting is composed. Another sees painting as offering aesthetic values found elsewhere, but in a distinctive form. Taking seriously the idea of our experience of painting also helps us to say something about a set of paintings we are otherwise in danger of ignoring - abstract works.

Painting, aesthetics of

2018 ◽  
Author(s):  
Robert Hopkins
Keyword(s):  
Picture Plane ◽  
Essential Elements ◽  
Two Dimensional ◽  
Art Forms ◽  
The Aesthetic ◽  
Aesthetic Values ◽  
Dimensional Picture ◽  
The Way

Why care about painting as an art? Does it offer to engage our aesthetic interest in ways that other art forms do not, or does it merely reproduce the aesthetic satisfactions they provide? Most paintings involve both marks on a surface, and something represented by those marks. Some attempts to say what is distinctive about painting concentrate on the former feature, understanding the art as an exploration of the two-dimensional picture plane. Others concentrate on the representational aspect, seeking to find something special about the things painting can represent, or the way in which it achieves this. The most promising approach acknowledges both aspects, and does so as essential elements in the experience we have of painting. If successful, this allows us to see painting as offering aesthetic values found elsewhere, but in a distinctive form. It also helps us to say something about a set of paintings we are otherwise in danger of ignoring – abstract works.

Imagination in the Experience of Art

1972 ◽  
Vol 6 ◽  
pp. 88-105 ◽  
Author(s):  
R. K. Elliott
Keyword(s):  
Philosophical Investigations ◽  
Visual Impression ◽  
Starting Point ◽  
To Come ◽  
The Aesthetic ◽  
As If ◽  
Art Critics

In this paper I shall not be concerned with the imagination as insight, but only with certain aspects of ‘magical’ imagination, that division of the concept which centres upon the notion of an image. In the Philosophical Investigations (II xi) Wittgenstein makes the extremely interesting remark that when a printed triangle is seen, for instance, as a mountain, it is as if an image came into contact, and for a time remained in contact, with the visual impression (i.e. with the object as seen by me). He goes on to say that in a picture a triangular figure may have some such aspect permanently — in the pictorial context we would read the figure at once as a mountain — but that we can make a distinction between ‘regarding’ and ‘seeing’ the figure as the thing meant. I take him to be contrasting those common experiences in which we see a figure in a picture as depicting a person, or as a ‘picture-person’, with those rarer experiences, referred to by art-critics when they talk of ‘presence’, in which it seems as if the person depicted in the picture is there before us ‘in the flesh’, and I assume that, like Sartre, Wittgenstein would suppose that imagination plays a part in experiences of this latter kind. In this paper I shall be concerned not with this sense of the presence of the object depicted, but chiefly with types of imaginal experience in which the image which seems to come into contact with what is perceived is an image of something which is not depicted or described in the work, but which nevertheless achieves a certain strength of presence. I shall consider, also, some types of imaginal experience which we would not naturally describe as an image's coming into contact with what is perceived. Though I shall relate some of the examples I discuss to my starting-point in Wittgenstein, I do not claim to be elaborating Wittgenstein's remark in a manner which would have been acceptable to him. My aims are to give some indication of the nature and scope of the imaginal experience of art, to defend the aesthetic relevance of this type of experience, and to suggest why the imaginal experience of art has been, and still is, valued.

Sign in / Sign up

Export Citation Format

Share Document