Hasil untuk "Aesthetics"

Mihaela Dinu, Cosmin Mihai Cotrut, Alina Vladescu (Dragomir) et al.

<b>Background/Objectives:</b> The increasing demand for aesthetics in dentistry has driven significant advancements in both materials and techniques. The primary cause of ceramic detachment in dental restorations is extensive mechanical stress, which often results in detachment and clinical complications. This study aims to improve the bond strength between NiCr-based metal frameworks and ceramic coatings by introducing biocompatible inorganic <i>Me</i>SiON thin films (<i>Me</i> = Cr or Zr) as interlayers. <b>Methods:</b> <i>Me</i>SiON coatings with a thickness of ~2 μm were deposited on NiCr alloy using cathodic arc evaporation. To tailor the stoichiometry, morphology, and mechanical properties of the coatings, the substrate bias voltage was varied: −50 V, −100 V, −150 V, −200 V. Structural and surface characterization was performed using SEM/EDS, XRD, profilometry, and contact angle analysis. The coating adhesion was evaluated by using standardized scratch testing, while the bond strength was evaluated using a three-point bending test. <b>Results:</b> The NiCr alloy exhibited a dendritic microstructure, and the ceramic layer consisted mainly of quartz, feldspar, kaolin, and ZrO₂. ZrSiON coatings showed superior roughness, elemental incorporation, and adhesion compared to Cr-based coatings, these properties being further improved by increasing the substrate bias. The highest bond strength was achieved with a ZrSiON coating deposited at −200 V, a result we attributed to increased surface roughness and mechanical interlocking at the ceramic-metal interface. <b>Conclusions:</b> CrSiON and ZrSiON interlayers enhanced ceramic-to-metal adhesion in NiCr-based dental restorations. The enhancement in bond strength is primarily ascribed to substrate bias-induced modifications in the coating’s stoichiometry, roughness, and adhesion.

Ambre Fourrier

Cet article explore le potentiel subversif de l’esthétique kitsch, en faveur d’une sobriété qui s’inscrirait dans la perspective d’une écologie politique (Gorz, 2020) ou d’une décroissance soutenable (Abraham, 2019). Partant d’une critique de la sobriété telle qu’elle est promue, représentée et mise en pratique aujourd’hui – une sobriété que nous qualifions de gestionnaire – nous soutenons la possibilité de revendiquer une sobriété kitsch. De prime abord, cette notion semble constituer un parfait oxymore. Pourtant, il existe bien une sobriété kitsch qui s’incarne, dans des pratiques, des lieux, des environnements singuliers, invisibilisés dans les discours écologiques de l’heure. Cette sobriété propose une résistance au matérialisme primaire ambiant qui impose une certaine définition du superflu et revendique son élimination, par le moyen de la marchandisation (Ferrarese, 2023) et d’une électronisation du monde. Après avoir exploré les différentes significations du terme kitsch, nous nous servirons des écrits sur les ventes de garage et les braderies, en nous appuyant aussi sur notre expérience personnelle pour inviter le lecteur à déambuler avec nous dans ces lieux de la sobriété kitsch et prêter attention à certaines pratiques de récupération. Au terme de cette excursion, nous ferons valoir la nécessité non seulement de s’interroger sur l’esthétique liée à la sobriété (Rancière, 2000), mais aussi de politiser « le superflu » (Illich 1973).

Vicente Díaz García, María López de Asiain Alberich

Tradicionalmente, historia, teoría y crítica son los tres campos en los que se ha movido el área de composición arquitectónica. En este artículo se propone la inclusión de la traducción (relacionada con la participación ciudadana) como un cuarto elemento que caracterice la intervención compositiva. Entendiendola de una manera amplia, rica y extensa culturalmente, vinculada al campo de las artes tales como la pintura, escultura o la música y en la que el arquitecto como compositor, vincula y establece relaciones entre partes de una manera compleja, que garantiza una propuesta de mayor riqueza teórico conceptual así como espacial y perceptiva, que el conjunto de las partes. La complejidad del momento actual, los requerimientos sociales o las mayores exigencias a las que se enfrentan la arquitectura y el urbanismo, hacen necesario complementar la disciplina con nuevas propuestas que tienen sus implicaciones tanto en términos de dimensión pedagógica, como antropotécnica y espacial. En este sentido, se plantea la creación de nuevos perfiles profesionales que, complementando los existentes, sean capaces de abordar requerimientos como la multidisciplinariedad, o la mediación. Se muestran tres ejemplos prácticos: desde la dimensión pedagógica un proyecto de innovación educativa (Presuparty); desde la dimensión antropotécnica los programas de participación ciudadana; y desde la dimensión espacial las intervenciones en el barrio de La Isleta, en Las Palmas de Gran Canaria. En todos ellos se requiere la figura del arquitecto como compositor o traductor, jugando un papel de mediación, complementario al del arquitecto dedicado a la historia, la teoría o la crítica.

Dominique Vinck, Mylène Tanferri, Elodie Fischer

During the Fête des Vignerons, a centuries-old cultural event repeated every 20 to 25 years, many materials and technologies are tested and worked on to be integrated as components of a large-scale stage performance. These technologies and materials are part of the dramaturgy and constitute so many resources mobilised to create aesthetics and emotions. To do this, creative teams and technical departments push them beyond the limits established by their designers so that they also work outside of their intended uses. The proposed analysis focuses on the engagement, on the stage, of an LED carpet of unequalled dimensions. It is based on an ethnographic work of several years relating to the design and production of the scenic device and the show and in the sound, light, video, and television control rooms. It documents the forms of apprehension of the materials and the failures and surprises that they produce, considering what this floor must undergo and what it subjected to other actants than in the work of the controls which supervise it and repair it. It accounts for different forms of shared concern and the relational nature of material fragilities which emerge from the action.

Sheng Wang, Guilherme Sanches de Oliveira, Zakaria Djebbara et al.

People spend a large portion of their time inside built environments. Research in neuro-architecture—the neural basis of human perception of and interaction with the surrounding architecture—promises to advance our understanding of the cognitive processes underlying this common human experience and also to inspire evidence-based architectural design principles. This article examines the current state of the field and offers a path for moving closer to fulfilling this promise. The paper is structured in three sections, beginning with an introduction to neuro-architecture, outlining its main objectives and giving an overview of experimental research in the field. Afterward, two methodological limitations attending current brain-imaging architectural research are discussed: the first concerns the limited focus of the research, which is often restricted to the aesthetic dimension of architectural experience; the second concerns practical limitations imposed by the typical experimental tools and methods, which often require participants to remain stationary and prevent naturalistic interaction with architectural surroundings. Next, we propose that the theoretical basis of ecological psychology provides a framework for addressing these limitations and motivates emphasizing the role of embodied exploration in architectural experience, which encompasses but is not limited to aesthetic contemplation. In this section, some basic concepts within ecological psychology and their convergences with architecture are described. Lastly, we introduce Mobile Brain/Body Imaging (MoBI) as one emerging brain imaging approach with the potential to improve the ecological validity of neuro-architecture research. Accordingly, we suggest that combining theoretical and conceptual resources from ecological psychology with state-of-the-art neuroscience methods (Mobile Brain/Body Imaging) is a promising way to bring neuro-architecture closer to accomplishing its scientific and practical goals.

Luigi Bartolomei, Monica Della Volpe

Interview with Monica Della Volpe (Fondazione Monasteri) by Luigi Bartolomei.

Henrietta Palmer, Merritt Polk, David Simon et al.

Abstract As widely attested in the literature, the evaluation of co-production is complex and unsuited to the use of conventional quality, monitoring and evaluation indicators. This reflects the uncertainties, co-contributory factors and time lags involved, particularly when seeking to assess institutional and wider societal effects of multi-stakeholder participatory processes and deliberative fora. The most widely assessed effects include the immediate outputs and outcomes of a project or activity (so-called first order effects) while wider societal or third order effects continue to be the most difficult to capture and, consequently, are the least well studied. Because of this difficulty, the intermediate, second order effects of organisational transformation and policy implementation constitute a growing challenge for evaluation. This is our focus here. After 10 years of transdisciplinary co-productive research practice, Mistra Urban Futures, as an interstitial research space bridging academia and practice working through city-based institutional partnerships called platforms, has reached a phase where some of these effects are becoming distinguishable. Accordingly, we discuss the prerequisites for co-production practitioners, including policy makers, to engage their respective organisations in transitional and incremental experimentation in order to achieve relevant institutional changes. This requires enabling infrastructures that support training, facilitation and the creation of ‘safe’ spaces to promote trust and legitimacy. These are needed to underpin the long-lasting personal and organisational commitments which are crucial to achieve transformative organisational effects.

Ashlee Davis, Rebecca Ellis

Background An assessment of how users rate physical activity apps of varying behavior change technique content is necessary to understand if users recognize differences in an app’s ability to promote physical activity. Objective The purpose of this study was to compare user ratings of an app with a lower behavior change technique count to an app with a higher behavior change technique count. Method Participants were randomly assigned to interact with either the high behavior change technique app or the low behavior change technique app using an iPad. Participants then completed a Mobile App Rating questionnaire. Results The final sample included 83 participants with an average age of 22.66 years (SD = 2.13; range = 20–29). Independent t -tests revealed significant group differences for perceived impact, t (81) = 5.27, p  < .001, g  = 1.15, 95% confidence interval (0.69, 1.62); engagement, t (81) = 6.71, p  < .001, g = 1.15, 95% confidence interval (1.02, 1.87); aesthetics, t (81) = 4.29, p  < .001, g  = 1.15, 95% confidence interval (0.50, 1.38); and subjective quality, t (81) = 6.46, p  < .001, g  = 1.15, 95% confidence interval (0.75, 1.42), with participants from the high behavior change technique group scoring these qualities more positively than participants from the low behavior change technique group. Conclusion App users rated a physical activity app with higher behavior change technique content more favorably on aesthetics, engagement, subjective quality, and perceived impact than those with reduced behavior change technique content. Additional research is needed to understand how these perceptions influence users during the app selection process, as well as the efficacy of apps for promoting physical activity behavior change.

Morselli Elisa

The following essay proposes to investigate the perceptual and emotional aspects related to the visualization of architectural images. The field of research is limited to a well-defined category: figurative representations as the photographic and digital images of contemporary architecture. In particular, two types will be analysed: the un-built architecture produced by Studio MIR and Bloomimages compared with the photographed built architecture. Using figurative images as a tool of reading, the aim of this work is to identify and classify three types of affective spaces capable of generating a specific kind of perception, producing a sensorial classification of atmosphere for architecture. The study of the Psychology of Art, as well as Aesthetics and Neuroaesthetics can be a valuable tool in understanding the phenomena of the present, considering the marked pictoriality of these images. The application of the analytic methodology, developed in these disciplines, can suggest a new way of "looking" at the project, paying attention to the representation of the atmospheres, which characterizes the experience of felt space. Keywords: Affective Space, Perception, Representation, Aesthetics, Atmospheres, Design Research, Generators.

Gennadii Aliaiev, Svetlana Kutsepal

The paper focuses on cosmological ideas of a twentieth-century Russian philosopher Nikolay Lossky (1870-1965). It specifies the place of these ideas within the entire framework of his philosophical views, as well as in the context of his topology of philosophical systems, in particular ― the discrimination between organic and non-organic worldview. A historico-philosophical analysis of Lossky’s cosmology allows revealing the interaction of gnoseological and ontological principles of his system, e.g. explicating the difference of Lossky’s intuitionism from the one of Bergson. The key section of the organic worldview is the doctrine of the hierarchy of substantival agents: the hierarchical personalism, as well as the notions of transcreation, dynamic understanding of matter, and the doctrine of free will closely related to it. The paper specifies the peculiarities of Lossky’s interpretations of panvitalism and panpsychism, as well as the doctrine of reincarnation, which has a particular place in his system. The final stage of Lossky’s cosmological ideas development is his ontological aesthetics: on this stage he understands the world as an embodiment of beauty. The conclusion is drawn that Lossky’s cosmological doctrine is Christian and metaphysical in its nature.

Andar Indra Sastra

This article aims to discover the concept of Lareh Kotopiliang: Power Systems and Bronze Music in a Study of the Concept of Musical Aesthetics in Luhak Nan Tigo Minangkabau. Lareh Kotopiliang is oriented towards a royal or autocratic system of power, in which the primary figure holds the title of Dt. Katumangguangan. A legendary figure, Dt. Katumangguangan is believed to be the one who first implemented this autocratic system of power or leadership. There are two types of bronze music, namely oguang and talempong. From the aspect of performance, there are two different concepts: (1) oguang (a gong ensemble); and (2) talempong bararak (processional music). As an ensemble, oguang is played on top of a frame (rea), with gandang palalu and paningkah, six talempong, and two gongs. Talempong bararak is performed in procession – in declaration of the title of a headman, and musically is made up of three pairs of talempong – talempong jantan, talempong paningkah, and talempong pangawinan. Each of the talempong pairs plays a different rhythmic pattern, and the combination of the three patterns forms the characteristic melody of talempong bararak. The problems addressed in this article are: first, the traditional historiography of Lareh Koto Piliang as part of the trilogy of power in Luhak Nan Tigo Minangkabau; second, Lareh Koto Piliang and the concept of bronze music; and third, the musical concept of talempong bararak.

Juan Jesús López-Guadalupe Muñoz

<p>Desde hace décadas el concepto de Barroco ibérico hermana los estudios de esta época entre Portugal y España demostrando realidades parangonables que se explican mutuamente. El mundo de las artes, con sus peculiaridades intrínsecas a cada territorio, es una de ellas como lo es también la esfera de las relaciones sociales y religiosas a través de congregaciones o hermandades…</p>

Philippa Lovatt

Post 9/11 the ‘invisibility’ of political prisoners as part of the ‘war on terror’ has had a direct correlation with the concealment of abusive treatment of detainees in the detention camps at Guantánamo Bay and Abu Ghraib. Details of these abuse scandals have indicated that there has been a notable shift away from the optical towards the sonic as a form of punishment and torture, with accounts of detainees being subjected to rock music played for prolonged periods at excruciating volumes (Smith, 2008). Addressing a number of key concerns – sound and phe- nomenology, sound and the ethics of spectatorship, sound and the experience/intensification of confinement, sound as a (potential) mode of resistance/control – this paper will investigate the use of sound in cinematic depictions of imprisonment including A Man Escaped (Bresson, 1956), Hunger (McQueen, 2008) and Zero Dark Thirty (Bigelow, 2012). The aim is to explore how an auditory perspective might complicate previously held ocularcentric conceptions of power in penal institutions (Foucault, 1977) and to examine how this experience of sound is represented on screen. The essay also considers how sound design can bridge the distance between self and other, and align the spectator emotionally, ethically and politically with a film’s characters. The essay thus proposes that an ethical spectatorship may require cinematic auditors to listen more critically, and it claims that a better understanding of the fundamental role that sound and listening play in the articulation and recognition – or indeed, disavowal – of the subjectivity of prisoners within these narratives may lead to an increased awareness of the politics of aesthetics of individual films. The essay concludes by suggesting that the field of sound studies creates further opportunities for research that explores these important questions about representation, spectatorship and ethics from a range of disciplinary perspectives.

Margarita Alvarado Pérez

.

Pietro Conte, Filippo Fimiani, Michel Weemans

Martina Fröschl, Stephan Handschuh, Rudolf Erlach et al.

The depiction of microscopic soil animals in film is complicated. In principle it is possible to capture real film footage of such organisms using microscopes and special camera equipment, but this entails severe limitations in terms of resolution and depth of field. This makes nano-scale close-up details with color and motion impossible. In addition, microscopic soil animals hardly Show their natural behavior under the conditions required for filming. Here we describe an alternative approach – based on computergenerated imagery – to portraying the microscopic world in documentary film. In the workflow presented here, we first created high-detail models of various microscopic soil animals by using complementary imaging methods at multiple levels of resolution. These models were then animated based on live observations of motion and behavior. This approach enables photo-realistic digital motion pictures of various soil animals. A broad range of potential applications, the aesthetics, as well as creative Advantages justify the efforts to generate such scientific visualizations.

Vincenzo Bagnato

In the face of increasing and differentiating the low-cost housing demand and the trend of establishing new paradigms in the contemporary housing design, the architectural investigation has replaced into its disciplinary statement the topic of housing as central question in research and design experimentation. The city of Barcelona has codified in the last years innovative modalities of public management in social housing, offering interesting points of reflection on the idea of housing and of Mediterranean quality in urban, architectural and constructive terms. The paper proposes a key to the reading on the recent experiences of social housing in Barcelona illustrating the different forms through which architecture interprets the relationship between housing and public space, between innovation and constructive tradition.

Rosalind E. Krauss

Steven C. Bourassa