Creative Environment in the Context of Coworking Center Design

The article is devoted to identifying the features of the creative environment in the context of the specifics of the space of the coworking center and to determine the basic design principles and means of its creation. The concept of "creative space" in the context of the specifics of the design of the coworking center has been clarified and supplemented. In this study, the concept of creative environment is considered by us as a subject-spatial environment, in the process of development and creation of which the designer takes into account not only the specifics of the philosophy of self-realization, but also tools to meet this need in anthropocentric approach. The study found that modern coworking centers, thanks to unique design approaches, are positioned as a favorable creative environment for the work of the creative class in the context of the implementation of new creative ideas. It is proved that functionality, artistic image, providing the necessary conditions for efficiency, ease of use, safety and aesthetic pleasure from being in the space of the coworking center and interaction with objects is achieved only through a systematic approach to design, which takes into account functional and technological and social -cultural factors. It is determined that the creation of a creative environment of a coworking center by a designer is the result of complex design - joint technical, aesthetic and artistic activities, the main property of which is anthropocentrism, ie human orientation. Accordingly, in the design process, the designer proceeds solely from human needs (in this case during work) to avoid unwanted adaptation of visitors to the coworking center to the environment created by him.

How do I Communicate Sringara Rasa (the Emotion Love) Through Pulaneri Vazhakku (Mode of ‘Sensing’)? Experimental Research Study, Practice-Based

Bharathanatyam is practiced for the purpose of experiencing aesthetic pleasure by the actor, dancer and spectator (Rao, 1997). According to ancient treatises such as the Natya Sastra, dancing should be experiential, sensorial and pleasurable. When dance is transmitted, do these core values of the practice get lost? How can we heighten sensorial ranges through the facilitation of a shift in the transmission and dissemination of learning the component Rasa (emotion)? Some of the problems present in the current landscape of learning Bharathantayam is problematic due to the codification of the traditional form and the authoritarian style rooted in its pedagogy. This has left many students feeling incompetent and as a consequence, made the form unattainable. The purpose of my intervention is to make the learning of Sringara Rasa (the emotion of love) a component in the Bharathanatyam curriculum, accessible to all levels of dancers. I hope to achieve this through a sequential model that interrogates cognitive activities present in the engagement of a role or character performing the emotion. My intervention aims at reexamining the theory and practice of Padams (poetic texts) rooted in the Sringara Rasa (emotion of love) and bridging the gaps in learning this component. When dancers introspect, it allows them to access the sensorial dimension of Bharathanatyam.

Current Trends in the Use of Works of Fine Arts in the Interior of Premises

The purpose of the article is to identify current trends in the use of works of fine art in the interior of the premises, as well as to clarify the impact of works of art in the interi­or on the psychophysical state of a person. The research methodology contains general scientific theoretical methods of analysis, syn­thesis, abstraction and observation, as well as art analysis. The scientific novelty is to de­termine the features of the influence of works of modern art both on the appearance of the premises themselves and on the psychophys­ical state of a person. The paper attempts to identify the features of human interaction with works of contemporary art, in particular in the aspects of interactivity, relaxation and aesthetic pleasure. The article contains an explanation of the artistic techniques used to achieve such ef­fects. The analysis of works of modern painting by the artist O. Yasenev, placed in the interior of the premises, is used in the work. Conclusions. The study identified the benefits of applying contemporary art in the interior. The use of art, which is created on the border of figurative and abstract perception, is common today. In par­ticular, such art often has a surreal component, which encourages the viewer to interact with the imagination the most. This approach is rein­forced by the technique of work with a trace of deliberate imperfection, which also creates the ground for co-creation. Such work can divert the attention of the recipients, distract them from everyday worries and promote their relax­ation. The mentioned technique also contrib­utes to the visual expansion of the space of the room. In fact, such criteria should be followed by the designer when selecting works of art in the design of modern interiors.

The Beautiful

This chapter links the value we take in beauty with our practical drive for knowledge. The contemporary ‘processing fluency’ account of aesthetic pleasure is examined and rejected. Instead, it is claimed that beautiful objects appear to be perfectly fitting together, which stimulates a rewarding sense that knowledge of the object is highly accessible. The nature of ugliness is then considered. On the face of it, ugliness presents a significant problem for Aestheticism, for how can everything be aesthetically valuable if some of it is ugly? As an initial response, the notion of ‘difficult beauty’ is appealed to.

Fostering the Aesthetic Pleasure: The Effect of Verbal Description on Aesthetic Appreciation of Ambiguous and Unambiguous Artworks

Background: Aesthetic experience begins through an intentional shift from automatic visual perceptual processing to an aesthetic state of mind that is evidently directed towards sensory experience. In the present study, we investigated whether portrait descriptions affect the aesthetic pleasure of both ambiguous (i.e., Arcimboldo’s portraits) and unambiguous portraits (i.e., Renaissance portraits). Method: A total sample of 86 participants were recruited and completed both a baseline and a retest session. In the retest session, we implemented a sample audio description for each portrait. The portraits were described by three types of treatment, namely global, local, and historical descriptions. Results: During the retest session, aesthetic pleasure was higher than the baseline. Both the local and the historical treatments improved the aesthetic appreciation of ambiguous portraits; instead, the global and the historical treatment improved aesthetic appreciation of Renaissance portraits during the retest session. Additionally, we found that the response times were slower in the retest session. Conclusion: taken together, these findings suggest that aesthetic preference was affected by the description of an artwork, likely due to a better knowledge of the painting, which prompts a more accurate (and slower) reading of the artwork.

Joyful Colors in Krishna Prakash Shah's Abstract Artworks

Aesthetic pleasure and joy are the dominant features of Krishna Prakash Shah's colorful compositions. Shah, one of the renowned contemporary Nepali abstract artists, presents art forms without referential and recognizable contents. In other words, the form itself is its content. The works have the power to arouse rapture and relish through harmonious colors although the viewers may not able to find fixed significance. Coherent colors, rhythmic waves, playful shapes and organic composition in his paintings contribute to create beauty and provide aesthetic pleasure to the viewers. This research paper analyzes Shah's abstract paintings from the perspective of aestheticism and traces joyful colors and rhythmic waves in his works. The study uses qualitative methods of research since there can be multiple interpretations of the same artwork, and the subjectivity of the critic has a significant role to derive the thesis statement.

Aesthetics of Early French Romanticism and Its Literary Aspects. Germaine de Stael

The article reconstructs the early romantic philosophical aesthetics of Madame de Stael, which was embodied in her literary work. She made a significant contribution to the creation of the theory of romanticism, compared the romantic and classical types of creativity. De Stael was one of the first French romantics to use the term “romanticism”, define it and analyze from a philosophical and aesthetic point of view a number of key concepts for this new direction of artistic life: love, passion, enthusiasm, spirituality, sensitivity, reflection, self-reflection, melancholy, self-sacrifice, loneliness, alienation, imagination, inspiration, imagery, aesthetic pleasure, taste, talent, genius, ideal. She conceptualized the trend that would become prevalent in mature romanticism — a combination of the incongruous, sharp contrasts and tragic collisions of opposite principles — the sublime and the low, the beautiful and the ugly. De Stael attached particular importance to the national characteristics of artistic creativity, its rootedness in popular culture, and the influence of social institutions on art. She made a significant contribution to the development of aesthetic aspects of literary theory, put forward an innovative thesis about the “metaphysical” language that distinguishes the romantic style. The aesthetic vector of de Stael is directed to the future associated with the development of romantic art. All these ideas were reflected in her literary works.

A Virtual Space Built on a Canvas Painting for an “Augmented” Experience to Catch the Artist’s Message

“Entering” a canvas to examine and learn about the work from unexplored points of view is an experiential “journey” in an environment reconstructed through the use and integration of innovative technologies, such as descriptive geometry and digital photogrammetry, solid modeling and immersive photography. Generating a “sense of presence” in the viewer means connecting it with immediacy to the artist’s message and grasping even the most subtle elements of the painting that are difficult to understand, such as architectural inconsistencies or the play of perspectives that, very often, bring out the situations scripted, characterized by discoveries that prelude to the aesthetic pleasure as the multiplicity of meanings and the “stylistic overcoding” of the work is revealed. The research hypotheses were applied to a case study, or to the splendid “Last Supper” by the Flemish artist Gaspar Hovic, a canvas painted in oil (late 15th century AD) and kept in the Matrice SM Veterana Church di Triggiano (BA), where the representation of the suggestive moment of Jesus with the Apostles is carried out through numerous symbols, in an evocative architectural context rich in details. The pictorial subject provides a series of very interesting ideas suitable for research of the role of perspective. The inverse method of linear perspective was used to reveal the plants and sections corresponding to the perspective space of the painting, used as the basis for the reconstruction of the 3D model of the entire scenic composition. Although the painting represents the apparently rigorous application of the perspective technique, by “entering” the canvas it is possible to observe some exceptions to the geometric rules deliberately introduced by the artist, thus making the perspective restitution process an effective interpretative act of the work.

Archetypes in Batsa Gopal Vaidya's Paintings

Batsa Gopal Vaidya's paintings integrate primordial images, symbols, and figures from myths, cultures, and rituals. These images and symbols are the archetypes that appear recurrently in his artworks. The artist shares these primordial images from his collective unconscious, the common heritage of mankind, and the storehouse of archetypes that reappear in the creative process. They suggest the pattern of experiences of our ancestors. These recurring communicable images function as an aesthetic mode of communication in society. Swastika, shaligram, tilaka, the Himalaya, rivers, various deities, and their attributes are such images and symbols that do not only provide aesthetic pleasure but also take the viewers back to their cultural roots, rituals, and myths. This article attempts to trace the archetypes in Vaidya's works and explain their significances.