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The riddim method: aesthetics, practice, and ownership in Jamaican dancehall

The use of artificially simple material overcomes this drawback but may be open to the criticism that it is a long way from anything that could be regarded as art and may thus prevent us from identifying essential components of real-life aesthetic behavior” (Berlyne, 1971, p. 12). We believe that the introduction of adequate control procedures reduces many of the disadvantages of using artistic and decorative materials, and that the use of simple visual patterns might engage different cognitive operations to those that enable aesthetic appreciation in natural conditions. Furthermore, given that symmetry is a very salient feature of the materials used by Jacobsen et al. (2006), their results...

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Reactionary Philosophy and Ambiguous Aesthetics in the Revolutionary Politics of Herbert Marcuse—A Review Essay

Regarding the results of the three studies, we shall consider only the contrasts performed between the conditions of positively and negatively valued stimuli. Kawabata and Zeki (2004) and Vartanian and Goel (2004) obtained interesting results when comparing brain activity before different categories of stimuli, such as abstract vs representational, but such issues will not be commented on here, given that this review is primarily concerned with the neural basis of general aesthetic preference.

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Culture and Aesthetic Preference: Comparing the Attention to Context of East Asians and Americans

We believe that two fundamental developments afforded researchers a third chance to consolidate the field of neuroaesthet- ics around the turn of the millennium. First, the notion of a single special mechanism underlying aesthetic experiences has been dropped in favor of the view that aesthetic appreciation and re- lated phenomena rely on several general mechanisms, including processes of perception, memory, attention, decision-making, and reward and emotion (Chatterjee, 2004a; Leder, Belke, Oeberst, & Augustin, 2004). Given what we know of the neural correlates of such processes, it follows that aesthetic experiences must emerge from the dynamic interaction of activity in multiple brain regions at different time frames....

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Intersections of Mathematical, Cognitive, and Aesthetic Theories of Mind

The second shift is methodological in nature. Until recently only two strategies were available for studying the biological mecha- nisms underlying artistic appreciation and creation: first, making theoretical conjectures based on general understanding of brain structure and function; and second, single case-studies of brain injuries affecting art-related activities. The former produced theo- ries that often went untested (and were sometimes untestable), while the latter generated accounts that were often anecdotal, incomplete and difficult to interpret. However, the advent and refinement of non-invasive neuroimaging techniques has permit- ted the empirical study of healthy participants’ aesthetic experi- ences in controlled situations, affording the opportunity to draw general conclusions about the neural processes underlying the...

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THE SUBLIME AESTHETIC AND NINETEENTH-CENTURY REPRESENTATIONS OF THE VICTORIA FALLS

One of the main issues raised at the Conference was the defini- tion and scope of the field. Neuroaesthetics is often conceived as the study of the neural basis of the production and appreciation of artworks (Changeux, 1994; Nalbantian, 2008; Zeki, 1998, 2001; Zeki & Lamb, 1994). However, Brown and Dissanayake (2009) argued that because art goes beyond aesthetic concerns, this definition is too broad in that it attempts to account for the biological underpinnings of artistic behavior, which includes a number of cognitive and affective mechanisms that have no aes- thetic relevance. Hence, they contend that in addition to neuroaes- thetics, a field of neuroartsology is required. In contrast...

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Symmetry and asymmetry in aesthetics and the arts

Several of the conference’s participants presented the results of fMRI studies of participants performing aesthetic appreciation tasks. As in other areas of neuroscience, however, blobs of signifi- cant BOLD response tell us little unless one really understands their relation to the cognitive and affective processes involved in the specific task. Helmut Leder’s contribution to the conference, Why do we like art? Psychological explanations, described a five- stage psychological model of aesthetic appreciation, and argued that it can function as an interpretative framework for neuroimag- ing and brain-damage studies....

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MDA: A Formal Approach to Game Design and Game Research

The first of these stages is perceptual analysis, which is con- cerned with organization, grouping, symmetry analysis, complex- ity and other perceptual features that are known to influence aesthetic appreciation. In the second stage, the analysis of familiar- ity, prototypicality and meaning is performed, together with the implicit and automatic integration of information with pre-exist- ing memory structures. Processes involved in explicit classification are performed in the third phase, including those related with the style and the content of the stimulus. Thereafter, in the cognitive mastering stage, the stimulus is interpreted on art-specific and self-related grounds. Finally, the model provides two different out- puts: a cognitive state, product of the earlier...

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CAN AESTHETIC THEORIES OF ART BE RESCUED FROM THE PROBLEM OF AVANT-GARDE AND OTHER NON-PERCEPTUAL ARTWORKS? – AN EXPLORATION OF NON-PERCEPTUAL AESTHETIC PROPERTIES

In addition to visual art, the conference also covered a topic of special interest in visual neuroaesthetics: facial beauty. Other peo- ple’s faces constitute highly relevant stimuli for humans, and face perception is mediated by distributed neural regions (Ishai, 2007), including the extrastriate cortex, which is specially dedicated to processing individual identity, and the superior temporal sulcus, which processes facial movements involved in speech and direct- ing gaze. Regions of the limbic system, such as the amygdala and insula, are involved in recognizing facial expressions of emotion. Research during the last decade has revealed that facial beauty is processed by regions of the reward circuit, especially the nucleus accumbens and orbitofrontal...

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THE ROLE OF AESTHETIC EXPERIENCE

Research presented by Alumit Ishai at the conference aimed to throw light on the role of gender and sexual orientation on ratings of attractiveness for male and female faces. Participants included heterosexual and homosexual men and women. The results showed that for heterosexual women and homosexualmen, activa- tion in orbitofrontal cortex was higher for attractive male faces than attractive female faces, whereas the converse was true for heterosexual men and homosexual women. According to Ishai, the orbitofrontal cortex represents the reward value of faces of po- tential sexual partners, rather than reproductive fitness. It should be noted, however, that the relationship between facial beauty and reward is not necessarily straightforward. Aharon...

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A Sense of Wonder, aris rising from Aesthetic Experiences, should be the hould be the Starting Point for Inquiry in Primary Science

Dewey holds that the capacity for aesthetic experiences of art arises out of basic mechanisms, present even in animals, that are employed throughout everyday life. We are in a continual process, Dewey notes, of falling out of sync with our environments—whenever we are hungry, cold, tired, afraid, or in pain—and regaining our sense of union and harmony. We continually detect signs of dissatisfaction or discomfort within ourselves and attempt to alleviate that discomfort. When we achieve ‘an adjustment of our whole being to the conditions of existence,’ we experience ‘a fulfillment that reaches to the depths of...

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From Use to Presence: On the Expressions and Aesthetics of Everyday Computational Things

What, then, makes for the distinction between mere experience and an experience? First, there are the related issues of unity and closure. Mere experience, Dewey notes, is continuous, often ‘inchoate’, and characterized by ‘distraction and dispersion’ (p. 35). In mere experience, ‘we are not concerned with the connection of one incident with what went before and what comes after. … Things happen, but they are neither definitely included nor decisively excluded; we drift’ (p. 40). ...

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Leveraging User Comments for Aesthetic Aware Image Search Reranking

Regarding most of my examples, it seems implausible to suggest that a special unifying quality is present, that there is some kind of culmination or that energies have run their proper course. If there is anything that gives these examples a sense of closure, it is that my attention turns away from the moment of experience and moves on to something else. But sometimes the attention is only partially present in such cases; and very often it simply drifts away, rather than being consciously redirected in recognition that a circumscribed moment of experience has come to a close....

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Aesthetic phenomena as supernormal stimuli: The case of eye, lip, and lower-face size and roundness in artistic portraits

Another aspect of the distinction between mere experience and an experience involves the relationship between doing and undergoing. ‘A man does something; he lifts, let us say, a stone. In consequence he undergoes, suffers, something: the weight, strain, texture of the surface of the thing lifted. The properties thus undergone determine further doing’ (p. 44). Dewey goes on to say, ‘An experience has pattern and structure, because it is not just doing and undergoing in alternation, but consists of them in relationship. … ...

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Aesthetic issues in spatial composition: effects of position and direction on framing single objects

My examples satisfy some aspects of this requirement, but not others. In each of the examples, there clearly are relations, however simple, between doing and undergoing. I undergo an experience, such as feeling that my hands are cold, and take action in response, warming my hands by caressing the sides of my mug. I adjust what I am doing in response to sensations that indicate the mug is too hot to grasp for any extended period; and I put the mug down once my sensations suggest that my hands have been sufficiently warmed. This...

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AESTHETIC REVOLUTION: AN EVOLUTION

However, it is far from clear that this satisfies Dewey’s further requirement that doing and undergoing be joined in perception: very often, the action of scratching my scalp or toying with my ring is one of which I am hardly conscious. In addition, as we have already noted, it seems that a certain quality of attention is required in order to give experience a sense of consummation or closure, and that this may be absent in some or most of my examples even when I am aware of what is happening: I do not have an expectation about the...

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'This Is Not a Game': Immersive Aesthetics and Collective Play

Dewey seems prepared to dismiss this sort of thing as non-aesthetic (or, as he would say, ‘anesthetic’) (p. 40). Indeed, it seems plausible to deny that experience can have an aesthetic character (or, perhaps, that it can be experience at all) if it is completely unconscious. If there were really nothing that it’s like for me to swing my foot up and down while engrossed in a novel, how could the foot swinging make any aesthetic contribution to my experience? Given that we are minimally conscious, if at all, of so many aspects of what we experience...

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ENVIRONMENTAL AESTHETICS

There are three things to be said in response to this concern. First, even if it is sometimes true that sensing and adjusting is done automatically or unconsciously, it is not always the case. When, after a long bout of reading, I straighten my frame and enjoy a delicious sensation of stretching, this may be very consciously appreciated and adjusted so as to work out subtle areas of tension that have built up. The reciprocal relation of doing and undergoing is quite conscious: ‘the action and its consequence’ are ‘joined in perception’ . ...

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Motion, emotion and empathy in esthetic experience

The first response focuses on the possibility of developing conscious awareness of one’s sensory experience. A second response suggests that the development of such awareness may not be necessary for one’s sensory experience to be aesthetically relevant. In psychological studies of unconscious cognition, such as the cocktail party effect, subjects listen to two streams of spoken language, one through each side of a pair of headphones, but are instructed to attend to only one.

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Thinking between disciplines: an aesthetics of knowledge

Similar effects may be quite common in everyday life: information which we are not aware of processing contributes to the tenor of our experience, and even to the nature of our activity, in the reciprocal relationship of doing and undergoing. I see no reason to deny that this may be an aesthetic phenomenon, since it seems that something similar may be true in an experience of art: even when we are attending quite carefully, the complexity of the experience may be such that some elements will fail to be consciously noticed, but will still contribute to the...

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RISE OF THE AESTHETIC EXPERIENCE AND THE PROCESS OF GLOBALIZATION

For the HR context there is a supplementary and vital research question: ‘How should an HR manager respond to the competing pressures of recruiting and retaining attractive employees while at the same time keeping legislative and professional competence intact?’ What stance, either personal or organisational, gives rise to potential ethical anxieties? Unanswered here but noted are gender differences for aesthetic labour and also for sprezzatura, treated historically as the male mind at work. The emotional aspect of responses to beauty and links to emotional intelligence are left for development. ...

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The Ethics of Aesthetics

The literature on aesthetic labour provides some definitions. Martin describes aesthetic labour as ‘the requirement to have the management-determined mix of appearance, age, weight, class, and accent characteristics.’(2001, 106). He cites the work from Strathclyde University with ‘a hotel seeking to project a total image concept, with the hotel building representing the hardware and the staff the software’ (2001, 106). He remarks further that staff are expected to mould themselves into the required characteristics. Martin builds on the work of Lamb (1999) whose views on the subject of discrimination states ‘Qualified staff whose “faces don’t fit” are being shown...

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On the process and aesthetics of sampling in electronic music production*

Mulford et al conclude that attractive people ‘have more opportunities for social exchange, but those opportunities are with others who are relatively inclined to cooperate.’ (1998, 1585). Significantly, the same researchers also identify subjects’ perceptions of their own attractiveness as important determinants of behaviour. It is important to recognise the emotional aspect of beauty. Kirwan considers ‘not the objective qualities of the beautiful, but rather the dynamics of the event of beauty, the perception of beauty that is the mental state which issues in the feeling that a thing is beautiful’. (Kirwan 1999, 4). In a...

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Poetry and the Romantic Musical Aesthetic

The problem of subjectivity is a profound one. Jackall’s very powerful book, out of print, gives at least some guidance. Looking at ‘the occupational ethics of corporate managers’ (1998, 4) he asserts that career minded managers do not have to work hard but well: that a bureaucracy, which he considers the main structure of organisations, ‘transforms all moral issues into immediately practical concerns.’ (ibid 1988, 111) He anticipates the work of the PRS-LTSN of Leeds University below, by suggesting the integration of ethical concerns to the point where they become hard to determine. ...

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International Congress of Aesthetics 2007 “Aesthetics Bridging Cultures”

The American Indians repeatedly warned John Wesley Powell against his first trip through the Grand Canyon. The canyon once contained a trail made by the god Tavwoats for a mourning chief to go to see his wife in a heaven to the West. Then the god filled up the trail with a river and forbade anyone to go there. Powell would draw Tavwoats' wrath. 2 But Powell saw the canyon geologically. He too experienced awe, but of the erosional forces of time and the river flowing. He went on to direct the US Geological Survey, and, interestingly, to head the US...

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Aesthetic Groundwater Quality Impacts from a Continuous Pilot-Scale Release of an Ethanol Blend

Or consider what our great grandfathers thought about the mountains, which we now consider so scenic. 4 They were 'monstrous excrescences of nature'. 5 God originally made the world a smooth sphere happily habitable for the original humans; but, alas, humans sinned, and the earth was warped in punishment. Thomas Burnet is repelled by these 'ruines of a broken World', 'wild, vast and indigested heaps of Stones and Earth' that resulted when 'con- fusion came into Nature'. 6 John Donne called them 'warts, and pock-holes in the face of th'earth'. 7 Now we know better. After geology, we are more likely to approach mountains, as...

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Darwinian aesthetics: sexual selection and the biology of beauty

But then another side of the issue comes to the fore. The landscapes that we ordinarily know are not pristine nature, but cultivated landscapes, rural or pastoral, with their towns and cities. Over the centuries, people have worked out their geography with multiple kinds of industry and perception, mixing nature and culture in diverse ways, no doubt some better, some worse. But who is to say that a science-based appreciation is the only right one? 9 Nature as seen by science is just the way we Westerners currently 'constitute' our world—so the phenomenologists may say. There is no reason to think...

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Does Music Induce Emotion? A Theoretical and Methodological Analysis

The Japanese love their landscapes tamed and manicured, more parks than wilderness. 12 They like artfully to prune their pines, cultivate simple flower and rock gardens, arrange a waterfall, attract some geese, walk a path with a geometrically rising curve, look back, and enjoy the moon rising over the temple, silhouetting it all. They are hardly interested in admiring a pristine ecosystem or geological formations. Should we say that the Japanese are enga- ging in some aesthetic deception? Yet who are we to argue they should give up their art and learn our science? The argument is rather that humans are always...

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Beyond the Golden Section and Normative Aesthetics: Why Do Individuals Differ so Much in Their Aesthetic Preferences for Rectangles?

Consider my parents. My mother did not know any geomorphology or landscape ecology. Yet she enjoyed her familiar, Southern US rural land- scapes. My father enjoyed the fertility of the soils in the Shenandoah Valley in Virginia; he admired a good field. On visits around, he would take a spade and turn the soil to see whether it might make a good garden. He always knew what watershed he was in, what crops were growing where. He loved a good rain. Both enjoyed the changing seasons, the dogwood and redbud in the hills in the spring, the brilliant and subtle colours...

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The American Society for Aesthetics

Yes, but the eye of the beholder is notoriously subjective, hopelessly narrow in its capacities for vision. One has only to consult smell or taste, for example, to realize that much more is going on than the eye can see. Science, by extending so greatly human capacities for perception, and by integrating these into theory, teaches us what is objectively there. We realize what is going on in the dark, underground, or over time. Without science, there is no sense of deep time, nor of geological or evolutionary history, and little appreciation of ecology. Science cultivates the habit of looking...

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Home & Real Estate

Daniel Boone, exploring the wild Kentucky landscape, was too uneducated to see much of what was there, supposes Aldo Leopold. 'Daniel Boone's reaction depended not only on the quality of what he saw, but on the quality of the mental eye with which he saw it. Ecological science has wrought a change in our mental eye. . . . We may safely say that, as compared with the competent ecologist of the present day, Boone saw only the surface of things. The incredible intricacies of the plant and animal community . . . were as invisible to Daniel Boone as...

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