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The Postcolonial Landscape Aesthetic of the Quiet Man
From an educational perspective, this kind of phenomenon represents a tantalizing opportunity for deep, transformative learning. To this point, however, relatively little attention has been given to the role of automatic, non-conscious processes in situations where significant learning is occur- ring. Typically, the non-conscious perceptions of interest are reflexive biases and prejudices. Scholars interested in automaticity could make important contributions to understanding the nature of compelling learning experiences if they turned their attention to the kinds of non- rational perceptions associated with the emergence...
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Darwinian Aesthetics Informs Traditional Aesthetics
Another domain located, in part, in the realm beyond rationality and control is the study of learners’ interest. The study of interest has exam- ined the degree to which learners’ are enjoying an activity or topic, pre- fer one thing rather than another, and want to continue with an activity in the near and distant future. Of particular relevance to this essay is the attention given to the inspired, emergent quality of engaging experi- ences (Renninger, Hidi, & Krapp, 1992). Their constructs of situational interest (a characteristic...
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Self-Affirmation through the Choice of Highly Aesthetic Products Author(s): Claudia Townsend and Sanjay Sood
Unfortunately, the construct of situational interest often carries a neg- ative connation and is regularly contrasted with the more desirable dispo- sitional interest—interest associated with intentional, learner-directed activity. Situational interest is temporary and superficial, rather than enduring and substantial. Garner, Gillingham and White’s (1989) work on how “seductive details” can distract readers from the main point of a text emphasizes this point. Similarly, Hidi, Baird and Hildyard (1982) report a negative correlation between the “interestingness” of text infor- mation and importance of this ...
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DESIGN creation of artifacts in society
The analysis of flow and state interest are examples of perspectives where the individual is not seen as the center and origin of deeply engaging experience. Despite this shift in focus away from the individual and toward the environment, scholars in these areas should not be seen as occupying the same territory in the realm beyond rationality and control as the behaviorist camp. Instead, this new interactionism finds new ground by ...
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Justice, governance and law for environmental sustainability
The area of work that is, perhaps, most readily associated with work in the realm beyond the rationality and control is research on emotions. A num- ber of broad domains of scholarship can be seen as working to describe the emotions or feelings experienced in learning situations. Research on the brain, spurred by advancements in imaging technology, offers tanta- lizing glimpses into the relationship between emotions, cognition, and behavior. Another general domain in the study of emotions focuses on students’ feelings about themselves or their performance. Work in this area includes investigations of ...
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Orthodontists and patient´s aesthetic perception to different types of profi les modifi ed by a computer program
To fully capture the salient qualities of deeply engaging experiences, a broader palette of emotions is necessary. One kind of emotion is the feel- ing of understanding in an experience of learning. The term “feeling of understanding” highlights the vital quality of learning that is implicit, non-logical, and non-verbal. Examples include the feeling that an indi- vidual may have for the meaning of a difficult text passage, the symbolic significance of something in a work of art, the connection between an abstract idea and a concrete part of one’s world,...
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SOCIAL REPRESENTATIONS OF FEMALE-MALE BEAUTY AND AESTHETIC SURGERY: A CROSS-CULTURAL ANALYSIS
Another salient emotion in moving experiences is the feeling of inspi- ration. The word “inspired” means, in its etymological sense, to be filled with breath, spirit, and life. Thus, the emotion of learning at its most powerful is the feeling of increased vitality as we realize our growing capacity to perceive and act. This particular quality of experience is addressed indirectly, at best, in mainstream psychological traditions. For example, the motivation construct of goals...
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Age-related changes of the dental aesthetic zone at rest and during spontaneous smiling and speech
Even though most psychological studies of motivated behavior have not paid much attention to the realm beyond control and rationality, our everyday lived experience reminds us of its importance. Consider how we describe, in both everyday and poetic language, our most deeply engag- ing experiences. We are “swept away” in a passionate relationship. We “fall” in love as if pulled by an inexorable force. Intense films or books grip us; great ideas seize us; laughter infects us. As new...
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CHAPTER TwENTY ONE A BIOLOGICAL APPROACH TO A MODEL OF AESTHETIC ExPERIENCE OSHIN VARTANIAN AND MARcos NADAL
The connection between receptivity and intensely motivated activity is further established when we appreciate that an arcane definition of “pas- sion,” from the Latin “pati,” is suffering. Both passion and suffering mean to experience intensely while being acted upon by the world. It is to let something happen to oneself and to bear the weight of its conse- quences. Far from being destructive, passion and suffering are associated with heightened vitality and renewed life. ...
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SCHOPENHAUER ON THE EPISTEMOLOGICAL VALUE OF ART
In his exchange, Shakespeare reminds us that “suffering” in this sense is vital to the intense experience of being in love. It is interesting to note that a recurring theme across Shakespeare’s plays is the idea that power- ful forces beyond our control shape our lives. Whether the mischievous fairies in “A Midsummer’s Night Dream” or the tension between the Capulets and Montagues in “Romeo and Juliet,” forces shape the lives of Shakespeare’s characters and often seem impervious to reason and the best laid plans. In fact, one ...
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Conservative and Aesthetic Emergency Management in Adolescent with Complex Crown-Root Fracture and Simultaneous Oblique Root Fracture in Upper Maxillary Central Incisor: Clinical Outcome after 18 Months Follow-up Period
Usually, art production is dealt with by theories of creativity or portraits of the individual artist, while the viewer’s encounter with art is considered in analyses of aesthetic experience or explained by reference to empirical data about the mind/brain. This ap- proach makes it seem as if artist and viewer relate to art in radically different ways. It may appear reasonable, inasmuch as the viewer’s relationship to art in comparison to that of the artist is predominantly passive. Yet, seen from a cognitive point of view, artist and viewer have more in common than what distinguishes them....
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Aesthetics and learning by Bennyé D. Austring, Merete C. Sørensen
TSC and DST have only recently entered into the general discussion about the mind and brain, and cannot be regarded as common ground. Several of the features that make the combination of the two a viable alterna- tive to connectionism and traditional theories of cognition based in symbol manipulation so far have not been widely recognised. The initial discussion of TSC and DST will present some of the elements that together provide a comprehensive and radically different view of the mind from the received one, and that might illuminate contemporary aesthetics....
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The Science of Art A Neurological Theory of Aesthetic Experience
Research on creativity tends to stress the importance of context-free thought, the content of which is independent of what is present to the senses of the agent. Indeed, the capacity to disregard what is real and turn towards the imaginary is essential for creativity. Yet, this does not entail that creativity in general, as an activity, is independent of the context in which it occurs (Brinck 1999). Except for explaining what it means to say that cognition is situated and dynamic, Sections 2 and 3 also will elucidate what context-independence entails in the case of artistic creativity. ...
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The Time That Remains, Part II: How to Repeat the Avant-Garde
By being lumped together with theories that superficially resemble it, TSC has mistakenly been criticised for reductionism. For instance, theories that focus on the role of perception for creating and experiencing art tend to do so at the expense of isolating artist, artwork, and viewer from their social, ideological, and historical settings (Dengerink Chaplin 2005). Thereby facts about how the historical context shapes perceptual experience are ignored that are vital for understanding art in symbolic terms, as a social and cultural phenomenon. However, in taking a broad perspective on cognition, TSC repudiates any attempts to account for cognition in isolation...
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THE AESTHETIC SURGERY CENTER
Another kind of reductionism occurs with attempts to reduce percep- tion to brain processes or neural events (Ramachandran & Hirstein 1999). Evidently, the brain is necessary for perceptual processing. Yet, according to TSC, perceptual processes are constructed in real time in the interaction between agent and environment. As Harth (2004) remarks in discussing the relation between neurophysiology and art, a theory of artistic expression must take into account not only the human brain, but also the world at large. A description of the brain events that occur during artistic creativity (or aesthetic experience) cannot account for the nature of...
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Assessing Aesthetic Relevance: Children’s Book Selection in a Digital Library
Furthermore, the explanatory scope of TSC sometimes is misunder- stood as stopping short at the boundaries of the physical body, leaving embeddedness out of the account. However, the main unit of the analysis of cognition arguably is the on-going interaction between the embodied agent and the context of action. An adequate description of bodily-based experience should begin in the agent’s relationship to the surroundings, because experience arises from the interaction between agent and context. As Crowther (1993: 2) observes, the reciprocity of embodied subjectivity and the world is not only ontological, but also causal and phenomenological. ...
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Artful terms: A study on aesthetic word usage for visual art versus film and music
Finally, a few words of caution. Vision is given a prominent position in aesthetics, often dominating the other senses. The present approach is similar in this, but it should be stressed that hearing, touch, smell, and even taste all are implicated in perceptual processing. The vision system in the brain is linked to the other sensory systems, which permits interaction at an early processing stage. At a later stage, visual information is integrated with other kinds of sensory information to produce multimodal perceptual experiences and mental imagery....
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Success Strategies for the Aesthetic Dental Practice
TSC stands for a bottom-up approach to cognition that has its basis in the claim that the evolution and development of cognition from simple to more complex processes are continuous (cf. Johnson & Rohrer 2006). The theory looks for support in the theory of biological evolution, data from developmental psychology, and analyses of the significance of the body for abstract thought by philosophers such as Dewey and Merleau-Ponty.
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Monitoring Bathing Waters - A Practical Guide to the Design and Implementation of Assessments and Monitoring Programmes
In line with this, TSC disagrees with theories that model cognition on conscious reasoning, as reflecting the ways thought processes are conceptu- alised in language. Instead, TSC states that cognition is ‘active’ in the sense that cognitive processes emerge in concrete situations of physical action and socio-cultural practices. In integrating conation and affect, cognition is driven by, on the one hand, the agent’s current needs and motivation and, on the other, the contingent, contextual elements that support immediate action. Judgments made on-line that do not properly distinguish emotionally laden evaluations from factual belief provide the motives for action. ...
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Beautiful Places: The Role of Perceived Aesthetic Beauty in Community Satisfaction
That cognition is situated implies that it is context-dependent. The claim that cognition is context-dependent is not controversial per se. Context can influence thought processes in a number of ways, accidentally or systemati- cally, without in any way being essential to or constitutive of these processes. However, TSC champions a strong notion of context-dependence, to the effect that individual cognitive processes and states of the mind involve entities in the agent’s surroundings essentially and actively (Clancey 1991). External entities that are recruited by the agent during on-going action will have a direct casual impact on the agent’s behaviour, and play...
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Constraining Hypotheses on the Evolution of Art and Aesthetic Appreciation*
The single coherent form is particularly difficult to describe and assess because of the fluid transitions between the form elements which sculptor Erik Thommesen [8] have chosen to divide his sculptures in. First and foremost Thommesen uses theoretical dividing of a form into form elements when balancing the form into a harmonious whole by scaling and shifting each form element. Other effects such as rhythm, contrast, and activation of space can be processed in the same way [9]. The theoretical division of the form sometimes trigger a physical division. The following jointing of the form elements often involves implementation of...
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THE IMPACT OF AESTHETIC IMAGINATION ON OUR ETHICAL APPROACH TOWARDS NATURE
The initiating problem is unstructured design processes and vague descriptions of the form problems in the students’ critique of each other's product proposals, and very vague presentations of the product's aesthetic qualities in their reports. The problem must be seen in relation to the fact that the majority of the students can express themselves clearly in engineering fields and that design methodology is based on technical parameters. Our idea is to obtain a structured design process and better articulation of the form and accentuation of its aesthetic qualities by encouraging the students to use systematic clarification of the leading feature...
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(Forthcoming, The Johns Hopkins Encyclopedia of Digital Textuality)
The leading feature may be considered as a description model and as a method in formgiving with demands on documentation and clarification of the methodical approach. Some of the students have previously completed a project 'Experienced architectural quality' where they were introduces to the leading feature as a method for selecting a sustaining idea, a structural principle (such as a building consisting of serial plans of increasing - decreasing patterns) and a content (atelier + primitive housing expressed by its space program). As a minimum the architectural qualities in that project should be shown in the solutions and preferably be...
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Aesthetic Considerations for Automated Platformer Design
The leading features content is very vaguely considered in the reports. Material selection and second extent configurations (e.g. texture, colour and light) can best identify the answer to question A. For example, the content is described as follows: “door handle should be made in aluminium and polished to a glossy smooth surface without texture, to convey the cold, cynical, military-industrial terms”. The structural principle for the door handle is its function as a tool for twisting and pulling, and for a computer mouse a resting hand shape. Thus, the door handle form elements are organized along two axes, which cross...
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The Hippie Aesthetic: Cultural Positioning and Musical Ambition in Early Progressive Rock
The earlier in the process a student reaches the main idea, the better the structural principle is challenged. Lessons from the experiment suggest that getting a main idea and utility properties reconciled is a challenge that encourages students so that they will have a better drive in the process than students who work from a context adjustment solely. Reflection on the formgiving process was supported by a theoretical division into form elements. This was also used in discussion of a form’s weakness and strength with respect to the design specification. Both the leading features and the form elements were also...
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Crisis versus Aesthetic in the Copernican Revolution
Tham khảo tài liệu 'crisis versus aesthetic in the copernican revolution', văn hoá - nghệ thuật phục vụ nhu cầu học tập, nghiên cứu và làm việc hiệu quả
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The impact of aesthetic evaluation and physical ability on dance perception
Question D is answered positively, because there is a clear correlation between the ability to manage the procedure and achieve a clear articulation of forms. By comparison, there were students who tried formgiving by selected design parameter only and some students who were able to determine the main impact only. The answer to which of Baumgarten’s aesthetic considerations were applied involves only the 6 considerations which the students have worked with in connection with the earlier mentioned evaluations. Consideration number one was given preference in 2009 by exercises in the use of form elements which involve creation of a model...
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Graph drawing aesthetics and the comprehension of UML class diagrams: an empirical study
Whether we get forms with extensive clarity by use of Baumgarten’s aesthetic considerations can not be answered conclusively on these cases, because much indicate that it has given some vague ideas when students encounter these considerations during evaluations, but without putting them into real use in their leading feature or as a guidelines in the design process. However, to the question: How can designers formulate aesthetic considerations which communicate a clear message to other professionals? an obvious answer is to make use of Baumgarten’s aesthetic considerations. ...
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Studying Aesthetics in Photographic Images Using a Computational Approach
There too, the accounts of feminist film culture produced in the mid-to-late 70s tended to emphasize a dichotomy between two concerns of the women's movement and two types of film work that seemed to be at odds with each other: one called for immediate documentation for purposes of political activism, consciousness- raising, self-expression or the search for positive images of woman; the other insisted on rigorous, formal work on the medium - or bet-...
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THE ANTI-AESTHETIC ESSAYS ON POSTMODERN CULTURE
It is exactly this shift from denotation to connotation and obtuse meaning, or – to put it differently – from information to sensorial and affective qualities that is the topic of this discussion. In the luxury domain in recent years, a certain type of advertisement has emerged that relies almost exclusively on the evocation of pure sensations. Only in part do the depicted scenes, characters or objects lead to these sensations. Rather, the aesthetic features of style – such as depth of field, diffusion, colour or light – enhance the spectator’s sensorial response. Most often, these types of...
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