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RE-DISCOVERING AESTHETICS
Before analysing the aesthetic principles of contemporary lifestyle advertise- ments, it is worth examining a historical period during which similar patterns emerged in audiovisual forms that relied heavily or exclusively on the use of connotations.
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A Different Story of the History of Western Music and the Aesthetic Project
While – as Hake (2004: 193) has stated – there is still a tendency to estab- lish a discursive dichotomy between consumer culture and the elitist thoughts of avant-garde movements, it should be stressed that both share a common rhetoric of innovation and progress. Furthermore, it was precisely this intel- lectual reflection about the status of art vis-à-vis everyday life that called for a tight bond between the two and led to the goal of an Aesthetisierung des Alltags (aestheticisation of everyday life) in the context of the Weimar Republic....
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AESTHETIC EXPERIENCE AND HUMAN EVOLUTION
Mechanical Reproduction’, in which he argued that mechanical reproduction destroys the aura of the formerly unique work of art and thus, for the first time in history, ‘emancipates the work of art from its parasitical dependence on rit- ual’ (Benjamin, 1979: 224) It is precisely in the dissemination of mechanical- ly reproduced artworks that quantity leads to the quality of a modern society, thereby gaining a new politically relevant status. In contrast to the ‘pure’ art of former centuries, it affords modern artworks a social function for the masses....
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Emotion and Aesthetic Value
Given these ideological premises it is no surprise that the avant-garde film- makers mentioned above were deeply involved in establishing a modernist tradition of advertisement that relied on purely or at least heavily abstracted patterns. From the early 1910s the German film producer Julius Pinschewer sought to establish new forms of expression in advertisement and succeeded in collaborating with some of the most innovative film technicians and film- makers.
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DICKIE’S INSTITUTIONAL THEORY AND THE “OPENNESS” OF THE CONCEPT OF ART
Probably the first commercial to make use of the newly invented principle of abstract composition was Walther Ruttmann’s ‘Der Sieger’, produced by Julius Pinschewer in 1922 for Excelsior tyres, where he adopted many ideas and motifs already present in his 1921 abstract work Opus 1. ‘Der Sieger’ was shot in black and white, coloured by combining toning with hand-colouring (cf Brinckmann, 1997: 263). Oskar Fischinger’s ‘Kreise’, produced in 1933 for TOLIRAG (Ton- und Lichtspiel-Reklame AG) in colour on Gasparcolor, showed a series of mov- ing circles perfectly synchronised with music composed by Richard Wagner and Edvard Grieg, the circles...
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The Electric Sheep Screen-Saver: A Case Study in Aesthetic Evolution
More than eighty years later, it is not so much a utopian use of technical innova- tions that marks the current trend in lifestyle advertisement, but – on a deeper level – an aestheticisation of everyday experience that connects the commer- cials discussed here to the avant-garde movement of the 1920s.
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On Birkhoff’s Aesthetic Measure of Vases by Tomáš Staudek
As for formal features, in recent advertisements abstraction is found not as a flat composition of graphical or animated elements, but as a reduction of pho- tographic images to a painterly arrangement of light and colour. However, the arrangement of the visuals based on music harks back to the concept of rhythm so central in the modernist avant-garde. An additional aspect common to both periods of advertisement production is the use of notable art-film directors (Fischinger, Ruttmann, Richter in the 1920s) or art-house directors (Luhrmann, Lynch, Wong Kar-wai in recent years), thus invoking specific cultural knowledge on the...
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RESEMBLANCE AS REPLETENESS: A SOLUTION TO GOODMAN’S PROBLEM
Accompanied by guitar music composed by the Argentine Gustavo Santaolalla – who is known for his film scores for Alejandro González Iñárritu – it sets a quiet pace with a dreamlike quality. This quality is further enhanced by the lack of any sounds from the environments shown in the images. As I have noted elsewhere (Flückiger, 2001: 397) this absence of environmental sounds marks a detachment of the character from the world he or she inhabits, be it euphoric (as is often the case in American montage sequences) or dysphoric (as in nightmares or borderline experiences)....
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GIVING NEW FUNCTIONS TO OLD FORMS: THE AESTHETICS OF REASSIGNED ARCHITECTURE
The commercial consists of approximately 50 shots; the product is depicted in only four of them, with shallow depth-of-field showing no more than a frac- tion of the typical LV logo and pattern. As will be shown, this aesthetic forms part of the overall strategy. In contrast to the brand’s luxurious image, the commercial accounts for a simple life in nature or secluded from the stressful urban ambience behind win- dows and layers of haze or mist or rain. It breaks with the strategies formulated by marketing trainers such as Albert Heiser (2001), namely: attracting attention, telling a story,...
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POE: OPTICS, HYSTERIA, AND AESTHETIC THEORY
This landmark principle, All beauty is a making one of opposites, and the making one of opposites is what we are going after in ourselves, was stated by Eli Siegel, the American poet, critic, and educator, who founded Aesthetic Realism. It is the basis of the museum art and anthropology classes we teach together. And this principle, we've seen, is the means for people to have large emotions from the art of every continent—including styles unfamiliar to them— and to see people of other cultures with authentic depth and kindness....
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A Decommodified Experience? Exploring Aesthetic, Economic and Ethical Values for Volunteer Ecotourism in Costa Rica
Our students were deeply moved, as we were, for example, by a bronze flutist from Benin, Nigeria; a Haida mask of western Canada; a Mayan god of Central America—as we saw how in the very purpose and structure of art, such opposites as sameness and difference, surface and depth, the intimate and the wide, hard and soft are made one. And these are the very same opposites we are trying to put together in ourselves. Through the opposites, we see our true kinship to peoples far away in place and time....
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A Guide to Graduate Aesthetics in North America
We are Marcia Rackow, an artist, and Arnold Perey, an anthropologist, and are consultants on the faculty of the Aesthetic Realism Foundation. Both of us are honored to have studied with Mr. Siegel whose centenary is being celebrated this year, including in Baltimore, MD where he grew up. His birthday, August 16th , was designated Eli Siegel Day by the mayor and by the governor. We're proud to study now in classes taught by Ellen Reiss, the Class Chairman of Aesthetic Realism. We have seen in the fields of the visual arts and anthropology that the understanding Aesthetic Realism provides enables a person to see freshly, vividly,...
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AN AESTHETIC OF ASTONISHMENT: EARLY FILM AND THE (IN) CREDULOUS SPECTATOR
The Inuit people live in the arctic region of North America. They are people confined for months in shelters during the long Arctic winter, when it is dark both day and night. With vast stretches of snow and ice reaching to the horizon in every direction, the men would go hunting on long treks alone, not returning home for days or weeks. In their art, the Inuit are impelled to make sense of this being confined and going out, this feeling of being far away, and coming back in to the center. The masks of the Inuit—going as far back as there is any record...
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An Audio-Haptic Aesthetic Framework Influenced by Visual Theory
There is a conflict, a struggle in everyone between these two directions. One solution is to try to put aside reality: have contempt for it. Two very common ways people have contempt are: We can either fight with the world aggressively or run away from it into a world of our own that is more comforting. “Everybody,” wrote Mr. Siegel, “is to a degree icebound, and crippled, and stuck, and jammed, and shut in….What is it for a person to be free?” People of the arctic, like people outside the arctic, have not known entirely what it is to be free. For example, there is what...
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Aesthetic leadership
The mask is a surprising and wonderful relation of center and circumference, of containment and freely going forth, giving it a vibrant sense of life. Its intense, terrified and also sad expression seems to withdraw inward into the purity and whiteness of self while feathers, hands, fins, seal flippers, spindles, circles radiate, almost explode from its enclosed central form Jutting out from around the top of the head are white feathers and extending behind them is an arched reed that forms a wider oval. Then thrusting forth from the center of that worried forehead are circles and fish-like pendants. Partly hidden but protruding from the center...
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FREEDOM AND RECEPTIVITY IN AESTHETIC EXPERIENCE
Aesthetic Realism class Mr. Siegel explained what I and many people have gone for: “You get a value out of thinking you are secret and immune. The question is: How much do you want to be in relation to things not yourself and to the world?” This is a question for every person, whether on a frozen tundra, a Brooklyn street, or a university classroom. One of the most moving aspects of the mask are the two curved hands which reach out from the sides, as though from the depths within. The gracefully curved fingers give the hands a yearning quality, a desire to embrace what...
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HOW TO FORM AESTHETIC BELIEF: INTERPRETING THE ACQUAINTANCE PRINCIPLE
The mask joins many things—earth, sky and sea, and it shows a person's relation to other beings—in fact, it is a composition of seal, human, fish, and bird. “Finding relations among discordant things,” Mr. Siegel said in a lecture on Hieronymus Bosch, “has been an instinct; it has also been a method in art...The tendency to these combinations does exist, and present day art is in the midst of that tendency: to make the world even more coherent by being more audacious and finding that in discord there isn’t as much discord as one thought at first....a desire of man is to put some harmony into...
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Aesthetic Guideline Driven Photography by Robots
When a person in any culture has contempt, the opposites of difference and sameness are seen in a terrible, false way: one looks down on others and does not see how they are LIKE oneself. And this makes oneself feel bad. Native Americans of the Northwest Coast are described as swinging from arrogance to self-abasement: from triumph to shame (Ruth Benedict, Patterns of Culture, p. 220). This is how I felt. It is a notable fact that people of the Northwest coast came to an art form that criticizes what they were doing as a society, and as people. They created a design which, Franz Boas...
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Aesthetic Visual Quality Assessment of Paintings
The forms are abstract, yet we see a living being present. He looks up expectantly and somewhat fearfully as his eyes are surrounded in a blue mask-like form, with wide black bands above forming the eyebrows. The eyes are beautifully, sensitively carved and seem to emerge from the soft flesh of the lids which have a very sharp, exact edge. Why does he have this disagreeable expression? He does not like the world—has too much contempt. Looking at the mask upside down, what do we see?—another very different living thing—which is smiling! On this upside-down mask we actually see three faces, one above the other, totem-pole fashion....
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CAD tools for aesthetic engineering
Laser hair removal focuses on the endogenous chromophore melanin, which is mainly found in the hair shaft, with a small amount present in the upper third of the follicular epithelium (Figure 1). When an appropriate energy source (such as a laser) is directed at the skin, light is primarily absorbed in the hair shaft melanin. Heat is generated and diffuses to the surrounding follicular epithelium. A similar principle applies to laser treatment of vascular lesions, where the heat generated after absorption by hemoglobin is transferred from the blood to the vascular endothelial cells. ...
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DIRECTIONS FOR A NEW AESTHETICISM
One hundred patients were treated in a clinical study with the high-power, pulsed diode laser. The study evaluated different combinations of fluence and pulse width in eight test sites. The patients were followed-up at one, three, six, nine, and 12 months following the last treatment. Ninety-two patients completed the study. Hair loss was assessed from hair counts using digital photographs before treatment and at each follow-up visit. Tattoos identified the location of each test site.
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AESTHETIC CONTEXTUALISM
There is a difference between permanent hair reduction and complete hair loss. Complete hair loss implies that there are no regrowing hairs. This can be a temporary or permanent phenom- enon. The LightSheer Diode Laser usually produces complete but temporary hair loss, followed by a partial but permanent hair reduction. This is an important distinction to make when setting patient expectations. With this laser, 100% of the patients experienced temporary hair loss, while 89% of the patients had permanent hair reduction at one year follow-up. Of the 11% of patients who did not have long-term hair loss, most had blond hair....
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IS LOOKISM UNJUST?: THE ETHICS OF AESTHETICS AND PUBLIC POLICY IMPLICATIONS
Numbers cited for hair loss only take into account the absolute number of hairs. They do not reflect the fact that the regrowing hairs are lighter and thinner than before, which also adds to apparent clinical hair loss. Hair color was measured by calculating the absorption coefficient from the hairs’ transmission of 700 nm light. Hair diameter was measured from digital photographs. The study showed that the regrowing hairs appeared lighter (with a transmission coefficient 1.41 times higher than the value before treatment) and were thinner (with a decrease in the mean hair diameter by 19.9%) than the original hairs....
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WHY DOES FEMINISM MATTER TO AESTHETICS?
Histologic observations support two mechanisms for permanent hair reduction: miniaturization of coarse hair follicles to vellus-like hair follicles, and destruction of the hair follicle with gran- ulomatous degeneration, leaving a fibrotic remnant. Clinically, both of these mechanisms produced reduction in hair. The study design used a fixed set of fluence-pulse-width combinations in each patient, regard- less of skin type. If skin type and color had been matched to appropriate fluences, the inci- dence of side effects could have been reduced. Epidermal damage was seen in 6% of cases. Textural change occurred in 3% of cases, where triple pulsing was used at the highest fluence. These...
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EVALUATIVE STANDARDS IN ART CRITICISM: A DEFENCE
The laser has a range of pulse widths from 5 to 100 milliseconds, which is longer than the thermal relaxation time of the epidermis and comparable to that of the follicle. This pulse width range can effectively damage the follicle. However, the epidermis also contains some melanin and must be protected. A sapphire window (ChillTip) with high thermal conductivity is put in direct contact with the skin. It cools the epidermis before, during, and after each laser pulse. Because of index matching, it also reduces internal reflection of back-scattered light. These combined thermal and optical cooling effects protect the epidermis from damage....
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The Transcendental Aesthetic (1): A Priori Intuitions
Because the hair shaft is the chromophore, it is essential that the hair shaft is present in the hair follicle at the time of treatment. Patients are therefore not allowed to pluck, wax, or have elec- trolysis for at least six weeks before the laser treatment. Shaving and depilatory creams are al- lowed because they leave the hair shaft in the follicle. It is important to take a history, including an endocrine history. Female patients with hirsutism can be treated regardless of the cause. Patients with a history of herpes simplex 1 or 2 should be put on oral antiviral drugs (Zovirax® or...
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APPROACHING AWE, A MORAL, SPIRITUAL, AND AESTHETIC EMOTION
It is important to shave before beginning the treatment. If the external hair shaft is present the laser will burn it, in turn burning the skin. Depilatory creams can be used with patients who object to shaving. Anesthesia is usually not required; however, this depends on the patient and body area. When treating the upper lip some kind of anesthesia is recommended. There is a high risk for eye damage with the laser because the retina has a very high concentra- tion of melanin. For this reason treatment must not be carried out inside the bony area of the eye. It is important...
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The Uncanny Body: From Medical to Aesthetic Abnormality
During treatments it is important to regularly clean the handpiece. When the hair shaft carbonizes, it leaves debris on the sapphire window. This build up can make it hot and can make it difficult for the laser light to penetrate. Cleaning the ChillTip handpiece with alcohol prevents this barrier from forming. There is a small but real risk of infection because the hand- piece is in direct contact with the skin. Therefore, between patients the handpiece should be disinfected with a liquid disinfectant such as Virex....
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NOTES FOR A CULTURAL AESTHETIC
Treatment should be performed with the highest fluence the skin can tolerate. Studies have shown that the percentage hair loss is fluence-dependent, with higher percentages of hair loss at higher fluences. Each skin type has its own threshold fluence at which pigmentation changes occur. To mini- mize hypo- or hyperpigmentation, lower fluences than those suggested above should be used while gaining clinical experience. With multiple pulsing the incidence of pigment changes increases without an increase in efficacy. For this reason, double and triple pulsing are not recommended. If hypo- or hyperpigmentation occurs, it is transient. The duration of these pigment...
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LEV MANOVICH, “Introduction to Info-Aesthetics” (2008)
He anticipated that the tasks of stating preferences and making decisions about objects would most likely be associated with activity in the dorsolateral frontal and medial frontal cortices. Pinpointing the neural correlates of the emotional facet of aesthetic experience is more difficult, given that its very nature is less clear. In spite of this, Chatterjee (2003) suggested that given that anterior medial temporal lobe, medial and orbital cortices in the frontal lobe, as well as subcortical structures, mediate emotions, they might also be involved in the affective component of the aesthetic experience....
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