Hasil untuk "Aesthetics"

T. Lavie, N. Tractinsky

Johno Breeze, Sat Parmer, Niall McLeod

This chapter contains eight clinical vivas on the subject of aesthetic facial surgery. This will provide candidates sitting the vivas component of the Oral and Maxillofacial Surgery FRCS examination with practical knowledge in the assessment of aesthetic conditions such as a dorsal nasal hump of prominent ears. It will also focus on types of treatment such as fillers, lasers, or a brow lift. It will also provide insight for clinicians in allied specialties, such as otolaryngology and plastic surgery, in how to engage in a debate with a senior clinician in the contemporary management of such complex cases.

Mohammed Ali Fareed Mohammed Ali, Kurdo Akram Qaradaghy

Background and Objective: The lateral brow is crucial for facial aesthetics, often descending with age due to skin laxity, gravity, and the absence of brow retractors. The aim of this study is to elevate the lateral brow using a minimal, inconspicuous incision within the temporal hairline. Methods: This retrospective observational study, conducted in Duhok, Iraq, from October 1, 2022, to the end of March 2023, examines the outcomes of a minimal incision temporal brow lift technique over a 6-month period, involving 25 patients. Inclusion criteria required patients to be over 18 years of age, with no prior brow lift procedures or facial trauma, and a minimum follow-up of 6 months. Patients with unrealistic expectations, such as those who anticipated results beyond the reasonable capabilities of a minimal incision brow lift, were excluded to ensure that patient satisfaction aligned with achievable outcomes. Additionally, specific hair characteristics—such as sparse hair, a wide, non-hairy temporal area, or thin or shaved sideburns in male patients—were taken into account. Preoperative assessments were performed with patients awake and standing to evaluate brow position and any asymmetries. Neurotoxin injections to the orbicularis oculi muscle were administered 14 days postoperatively to prevent brow descent. Results: Gender differences in satisfaction were observed, with a higher satisfaction rate among females (14, 56%) compared to males (1, 4%). Satisfaction was also higher under local anesthesia (9.36%) versus general anesthesia (6.24%). Complications reported included internal stitch exposure 1 (4%), unilateral neuropraxia 1 (4%), skin necrosis 1 (4%), scar alopecia 1 (4%), asymmetry 1 (4%), and chronic postoperative pain 4 (16%). Conclusions: This minimal incision brow lift is a practical, safe method for brow elevation, though further research is needed to confirm long-term benefits.

Vsevolod Plohotnuk, Artyom Panshin, Nikola Banić et al.

Traditional Image Quality Assessment~(IQA) focuses on quantifying technical degradations such as noise, blur, or compression artifacts, using both full-reference and no-reference objective metrics. However, evaluation of rendering aesthetics, a growing domain relevant to photographic editing, content creation, and AI-generated imagery, remains underexplored due to the lack of datasets that reflect the inherently subjective nature of style preference. In this work, a novel benchmark dataset designed to model human aesthetic judgments of image rendering styles is introduced: the Dataset for Evaluating the Aesthetics of Rendering (DEAR). Built upon the MIT-Adobe FiveK dataset, DEAR incorporates pairwise human preference scores collected via large-scale crowdsourcing, with each image pair evaluated by 25 distinct human evaluators with a total of 13,648 of them participating overall. These annotations capture nuanced, context-sensitive aesthetic preferences, enabling the development and evaluation of models that go beyond traditional distortion-based IQA, focusing on a new task: Evaluation of Aesthetics of Rendering (EAR). The data collection pipeline is described, human voting patterns are analyzed, and multiple use cases are outlined, including style preference prediction, aesthetic benchmarking, and personalized aesthetic modeling. To the best of the authors' knowledge, DEAR is the first dataset to systematically address image aesthetics of rendering assessment grounded in subjective human preferences. A subset of 100 images with markup for them is published on HuggingFace (huggingface.co/datasets/vsevolodpl/DEAR).

Jixun Yao, Guobin Ma, Huixin Xue et al.

Aesthetics serve as an implicit and important criterion in song generation tasks that reflect human perception beyond objective metrics. However, evaluating the aesthetics of generated songs remains a fundamental challenge, as the appreciation of music is highly subjective. Existing evaluation metrics, such as embedding-based distances, are limited in reflecting the subjective and perceptual aspects that define musical appeal. To address this issue, we introduce SongEval, the first open-source, large-scale benchmark dataset for evaluating the aesthetics of full-length songs. SongEval includes over 2,399 songs in full length, summing up to more than 140 hours, with aesthetic ratings from 16 professional annotators with musical backgrounds. Each song is evaluated across five key dimensions: overall coherence, memorability, naturalness of vocal breathing and phrasing, clarity of song structure, and overall musicality. The dataset covers both English and Chinese songs, spanning nine mainstream genres. Moreover, to assess the effectiveness of song aesthetic evaluation, we conduct experiments using SongEval to predict aesthetic scores and demonstrate better performance than existing objective evaluation metrics in predicting human-perceived musical quality.

Cecilia Parera

El libro aborda una selección de casos a escala arquitectónica y urbanística que fueron proyectados y/o ejecutados en la ciudad de Córdoba entre las décadas de 1920 y 1970. Explorando el carácter problemático y polisémico de las nociones de “moderno”, “modernidad” y “modernización”, los ocho capítulos que conforman la compilación, a cargo de Juan Sebastián Malecki, analizan obras de arquitectura e infraestructura construidas en la capital provincial, así como profesionales y experiencias pedagógicas que fueron clave en el proceso de modernización del campo disciplinar. La publicación constituye un aporte sustancial a la historia de la arquitectura y de la ciudad de mediados del siglo XX, abriendo interrogantes para futuras investigaciones en relación a otros episodios, programas o recortes geográficos.

Taichi Uchida, Yoshihiro Kanamori, Yuki Endo

Achieving aesthetically pleasing photography necessitates attention to multiple factors, including composition and capture conditions, which pose challenges to novices. Prior research has explored the enhancement of photo aesthetics post-capture through 2D manipulation techniques; however, these approaches offer limited search space for aesthetics. We introduce a pioneering method that employs 3D operations to simulate the conditions at the moment of capture retrospectively. Our approach extrapolates the input image and then reconstructs the 3D scene from the extrapolated image, followed by an optimization to identify camera parameters and image aspect ratios that yield the best 3D view with enhanced aesthetics. Comparative qualitative and quantitative assessments reveal that our method surpasses traditional 2D editing techniques with superior aesthetics.

Yipo Huang, Xiangfei Sheng, Zhichao Yang et al.

The highly abstract nature of image aesthetics perception (IAP) poses significant challenge for current multimodal large language models (MLLMs). The lack of human-annotated multi-modality aesthetic data further exacerbates this dilemma, resulting in MLLMs falling short of aesthetics perception capabilities. To address the above challenge, we first introduce a comprehensively annotated Aesthetic Multi-Modality Instruction Tuning (AesMMIT) dataset, which serves as the footstone for building multi-modality aesthetics foundation models. Specifically, to align MLLMs with human aesthetics perception, we construct a corpus-rich aesthetic critique database with 21,904 diverse-sourced images and 88K human natural language feedbacks, which are collected via progressive questions, ranging from coarse-grained aesthetic grades to fine-grained aesthetic descriptions. To ensure that MLLMs can handle diverse queries, we further prompt GPT to refine the aesthetic critiques and assemble the large-scale aesthetic instruction tuning dataset, i.e. AesMMIT, which consists of 409K multi-typed instructions to activate stronger aesthetic capabilities. Based on the AesMMIT database, we fine-tune the open-sourced general foundation models, achieving multi-modality Aesthetic Expert models, dubbed AesExpert. Extensive experiments demonstrate that the proposed AesExpert models deliver significantly better aesthetic perception performances than the state-of-the-art MLLMs, including the most advanced GPT-4V and Gemini-Pro-Vision. Project homepage: https://yipoh.github.io/aes-expert/.

Nektaria-Ioanna Karma, Fotini Mellou, Panagoula Pavlou et al.

It is well established that marine organisms consist of a great variety of active compounds that appear exclusively in the marine environment while having the ability to be vastly reproduced, irrespective of the existing conditions. As a result, marine organisms can be used in many scientific fields, including the ones of pharmaceutics, nutrition, and cosmetic science. As for the latter, marine ingredients have been successfully included in cosmetic formulations for many decades, providing numerous benefits for the skin. In the present review, the contribution of marine compounds in wound healing is thoroughly discussed, focusing on their role both as active ingredients in suitable formulations, designed to contribute to different stages of skin regeneration and restoration and also, indirectly, as a tool for facilitating wound closure as part of a wound dressing. Additionally, the advantages of these marine ingredients are presented, as well as ways of incorporating them effectively in formulations, so as to enhance their performance. Numerous studies have been referenced, showcasing their efficacy in wound healing. Finally, important data in regard to their stability, limitations, and challenges to their use, safety issues, and the existing legislative framework are extensively reviewed.

J. Han, Hannah Forbes, D. Schaefer

Creativity is considered to have a significant impact on the design process and its outcomes, while aesthetics and functionality are considered key characteristics of products. A relationship between creativity, aesthetics and functionality is, therefore, often assumed, however, researchers view the relations between creativity, functionality and aesthetics differently. In this paper, the authors present first evidence that novelty, usefulness and surprise are the core elements of design creativity. The aim of this research is the exploration of the relations between functionality, aesthetics, novelty, usefulness, surprise, and overall creativity, by means of an experimental case study involving design experts evaluating forty-five design samples. Statistical analysis has been conducted to investigate and understand these relations. The results obtained indicate that aesthetics has a significant positive relationship with creativity but that functionality does not have a statistically significant relationship with creativity in general. Further analysis confirms that design creativity is strongly and positively related to novelty and surprise, but not significantly related to usefulness. In addition, high correlation coefficient values have revealed that creativity, novelty and surprise are perceived as the same dimension as are functionality and usefulness. This paper may be of interest to researchers, practitioners, and educators in the broader realm of design, including industrial design, creativity in design, engineering design, design innovation, product design and new product development. It provides new insights into how creativity is perceived within the field and offers a new point of view on creativity and its dimensions for the community to meditate and to debate.

C. Pinney, N. Thomas

The anthropology of art is currently at a crossroads. Although well versed in the meaning of art in small-scale tribal societies, anthropologists are still wrestling with the question of how to interpret art in a complex, post-colonial environment. Alfred Gell recently confronted this problem in his posthumous book Art and Agency. The central thesis of his study was that art objects could be seen, not as bearers of meaning or aesthetic value, but as forms mediating social action. At a stroke, Gell provocatively dismissed many longstanding but tired questions of definition and issues of aesthetic value. His book proposed a novel perspective on the roles of art in political practice and made fresh links between analyses of style, tradition and society. Offering a new overview of the anthropology of art, this book begins where Gell left off. Presenting wide-ranging critiques of the limits of aesthetic interpretation, the workings of objects in practice, the relations between meaning and efficacy and the politics of postcolonial art, its distinguished contributors both elaborate on and dissent from the controversies of Gells important text. Subjects covered include music and the internet as well as ethnographic traditions and contemporary indigenous art. Geographically its case studies range from India to Oceania to North America and Europe.

Eugen Wassiliwizky, Winfried Menninghaus

Empirical aesthetics has found its way into mainstream cognitive science. Until now, most research has focused either on identifying the internal processes that underlie a perceiver's aesthetic experience or on identifying the stimulus features that lead to a specific type of aesthetic experience. To progress, empirical aesthetics must integrate these approaches into a unified paradigm that encourages researchers to think in terms of temporal dynamics and interactions between: (i) the stimulus and the perceiver; (ii) different systems within the perceiver; and (iii) different layers of the stimulus. At this critical moment, empirical aesthetics must also clearly identify and define its key concepts, sketch out its agenda, and specify its approach to grow into a coherent and distinct discipline.

Ralf Bartho, Katja Thoemmes, Christoph Redies

In the fields of Experimental and Computational Aesthetics, numerous image datasets have been created over the last two decades. In the present work, we provide a comparative overview of twelve image datasets that include aesthetic ratings (beauty, liking or aesthetic quality) and investigate the reproducibility of results across different datasets. Specifically, we examine how consistently the ratings can be predicted by using either (A) a set of 20 previously studied statistical image properties, or (B) the layers of a convolutional neural network developed for object recognition. Our findings reveal substantial variation in the predictability of aesthetic ratings across the different datasets. However, consistent similarities were found for datasets containing either photographs or paintings, suggesting different relevant features in the aesthetic evaluation of these two image genres. To our surprise, statistical image properties and the convolutional neural network predict aesthetic ratings with similar accuracy, highlighting a significant overlap in the image information captured by the two methods. Nevertheless, the discrepancies between the datasets call into question the generalizability of previous research findings on single datasets. Our study underscores the importance of considering multiple datasets to improve the validity and generalizability of research results in the fields of experimental and computational aesthetics.

Mark Quinlan, Aaron Cross, Andrew Simpson

While specific aesthetic philosophies may differ across cultures, all human societies have used aesthetics to support communication and learning. Within the fields of usability and usable security, aesthetics have been deployed for such diverse purposes as enhancing students' e-learning experiences and optimising user interface design. In this paper, we seek to understand how individual users perceive the visual assets that accompany cyber security information, and how these visual assets and user perceptions underwrite a distinct \emph{cyber security aesthetic}. We ask, (1) What constitutes cyber security aesthetics, from the perspective of an individual user? and (2) How might these aesthetics affect users' perceived self-efficacy as they informally learn cyber security precepts? To begin answering these questions, we compile an image-set from cyber security web articles and analyse the distinct visual properties and sentiments of these images.

Yvonne Huetter-Almerigi

The article analyses the various levels on which justice figures as a motif in Fatih Akin’s film In the fade (2017). According to my reading, ‘justice’ informs on the level of aesthetics of reception as well as at the level of production: first, the film is the first attempt to render justice to the families of the victims of the Nsu-terror in Germany by acknowledging their sufferance and integrating them into the circle of people for whom we feel empathy and solidarity. Second, the film thematizes the conflicts between justice and individual agency in a post-metaphysical setting. More generally, by drawing on the theoretical instruments of Law and Literature studies, the film also can be understood as an attempt to influence the normative web with which to evaluate the real-world court case against members of the Nsu, which was still ongoing when Akin’s film came out.

A. Shi, Faren Huo, Guanhua Hou

Design aesthetics play a crucial role in product design. Stakeholders expect to develop highly valuable premium products by improving the design aesthetics of products. Nevertheless, the question of how to evaluate the value of design aesthetics has not been fully addressed. In this study, the effects of design aesthetics on the evaluation of the value of a product were investigated through a strictly controlled experiment in which the neural responses of the participants were measured. Forty participants completed the design aesthetics experiment in a laboratory setting. Images of products were divided into two categories: those representing high– and low–design-aesthetic stimuli. Both types of images were labeled with the same price. Overall, the images representing high design aesthetics elicited smaller N100 and lower P200 amplitudes than did the images representing low design aesthetics. This finding indicates that low design aesthetics attracted more attention than high design aesthetics did and that high design aesthetics triggered positive emotions. Low–design-aesthetic products elicited a larger N400 amplitude. This finding reveals the inconsistency between labeled and expected prices. The present study indicates that the N400 component can be used as an indicator for measuring the perceived value of a product in a future product design study. Our study provides event-related potential indicators that can be easily applied in decision making for measuring the perceived value of a product’s design.

Upasna Bhandari, K. Chang, Tillmann Neben

Abstract Studies aimed at predicting user judgments have been dominated by the usability and efficiency perspective. An important assumption of this perspective is that higher order judgments such as quality perception and download intention are mainly cognitive processes. Increasingly, research has shown that this perspective is incapable of fully explaining user judgments. Emerging research posits that emotions and emotional subcomponents that arise from aesthetic-based design factors are at least equally important for understanding how users form higher order judgments such as quality perception and attractiveness. In this article, light is shed on the role of emotions in affecting these judgments. This is performed for the particular case of mobile apps. Specifically, the relationship between various aesthetic subdimensions (classical and expressive) and emotional subcomponents (valence and arousal) is explored. First, an explanatory model from theories of aesthetics, emotions, and visual perception is derived. Second, a laboratory experiment is conducted, and it provides empirical evidence for the relationships between visual aesthetics, emotions, and higher order evaluations such as users' quality perceptions and the intentions to download. Specifically, significant relationships were found between aesthetic subdimensions and valence, whereas arousal was partially significant. Selective emotional subdimensions also significantly impacted quality perceptions, attractiveness, and intention to download. Finally, implications for theory and practice are discussed.

Qiuyu Chen, Wei Zhang, Ning Zhou et al.

To leverage deep learning for image aesthetics assessment, one critical but unsolved issue is how to seamlessly incorporate the information of image aspect ratios to learn more robust models. In this paper, an adaptive fractional dilated convolution (AFDC), which is aspect-ratio-embedded, composition-preserving and parameter-free, is developed to tackle this issue natively in convolutional kernel level. Specifically, the fractional dilated kernel is adaptively constructed according to the image aspect ratios, where the interpolation of nearest two integer dilated kernels are used to cope with the misalignment of fractional sampling. Moreover, we provide a concise formulation for mini-batch training and utilize a grouping strategy to reduce computational overhead. As a result, it can be easily implemented by common deep learning libraries and plugged into popular CNN architectures in a computation-efficient manner. Our experimental results demonstrate that our proposed method achieves state-of-the-art performance on image aesthetics assessment over the AVA dataset.

Andrew Bowie

Introduction: aesthetics and modernity aesthetics and post-modernity. Part 1 Modern philosophy and the emergence of aesthetic theory - Kant: self-consciousness, knowledge and freedom the unity of the subject the unification of nature the purpose of beauty the limits of beauty. Part 2 German idealism and early German Romanticism: the "new mythology" the romantic "new mythology". Part 3 Reflections on the subject - Fichte, Holderlin and Novalis. Part 4 Schelling - art as the "organ of philosophy": the development of consciousness the structure of the "system of transcendental idealism" the aesthetic absolute mythology, art and language mythology, language and being. Part 5 Hegel - the beginning of aesthetic theory and the end of art: the reflexive absolute music and the idea language, consciousness and being the idea as sensuous appearance the prose of the modern world aesthetics and non-identity. Part 6 Schleiermacher - aesthetics and hermeneutics: individuality immediate self-consciousness art as free production interpretation as art literature and the "musical". Part 7 Music, language and literature: language and music Hegel and music - the sayable and the unsayable the presence of music infinite reflection and music. Part 8 Nietzsche - the divorce of art and reason: Schopenhauer - the world as embodied music Marx, myth and art art, myth and music in "The Birth of Tragedy" myth, music and language the illusion of truth music and metaphysics aesthetics, interpretation and subjectivity. Appendix: the so-called "oldest system-programme of German idealism" (1796).