Hasil untuk "Aesthetics"

Rija Anees, Muhammad Aamir Ghafoor Chaudhary, Syeda Kainat Fatima

Abstract Facial aesthetics depends on the harmony between facial features and dental morphology, specifically the link between face shape and maxillary central incisor form. Classical theories propose that tooth form corresponds to face outline; however, evidence across populations is inconsistent. With the development of digital tools, it is now feasible to analyse associations more precisely. Our study aims to evaluate the tooth form of various maxillary central incisors and their association with facial shape in males and females using AutoCAD software in a sample of the Pakistani population. The cross-sectional study was conducted in the department of Prosthodontics, Islamic International Dental College and Hospital, Islamabad, Pakistan. Two standard images of all subjects were captured: one portrait photograph with lips closed and the other of the maxillary anterior teeth with retracted lips, following standardised guidelines. All the images were analysed using AutoCAD 2020 software to create technical illustrations. Dental and facial ratios were obtained and categorised. Data analysis was performed using SPSS Version 27. The chi-square test was used to establish an association between the facial shape, tooth form and gender. Tapering tooth form was most prevalent among the subjects- females: 46(30%), males: 30(20%), followed by ovoid teeth- females: 38(25%), males: 26(17%).The least prevalent form was square-females: 7(4%); males: 6 (4%). In males, tapering faces were the most common- 38(25%), while in females, ovoid faces were the most common 45(29%) and square faces were the least common in both genders. No significant association was observed between face shape and maxillary central incisor form, indicating that the prosthodontic tooth selection should not rely solely on face form criteria.

Jianing Wu, Jiatong Zhang, Xinlin Yu et al.

Introduction and aims: Clear aligner therapy (CAT) serves as an innovative alternative to traditional fixed appliances, gaining rapid clinical adoption in recent years due to its superior aesthetics, treatment efficiency, patient comfort, and ease of use, which has driven explosive growth in related research. This bibliometric analysis aims to reveal research focuses and development trends in the CAT field. Methods: Articles related to CAT from 2015 to 2024 were retrieved from the Web of Science Core Collection database using a specific topic query, yielding 999 records, with 973 high-quality articles and reviews included after screening. Bibliometric analysis was performed using VOSviewer and Bibliometrix software, including collaboration networks, keyword co-occurrence analysis, and extraction of data on publication years, authors, institutions, countries, journals, keywords, and citations. Results: From 2015 to 2024, a total of 973 publications in the CAT field were identified, showing exponential growth overall. The American Journal of Orthodontics and Dentofacial Orthopaedics ranked first with 90 articles. The study by Rossini G (2015, Angle Orthod) emerged as the most influential with the highest total citations (421) and annual citations (38.27). The 3 articles with high societal impact were those by Weir, Ke, and Azaripour. The keyword ''Invisalign'' (n = 232) appeared most frequently. China led in publication volume (n = 221, 22.7%), with the closest collaborations among China, the United States, and Italy. Sichuan University had the highest publication count (n = 109), Weir Tony was the most productive author (n = 26), and Castroflorio Tommaso had the highest total citations (TC = 1045) and local citations (LC = 677). Conclusion: This analysis offers a comprehensive overview and in-depth examination of future development trends and potential research directions in CAT, which can inspire both clinical and scientific researchers. Clinical relevance: CAT demonstrates advantages in treatment efficacy, patient comfort, and oral health-related quality of life. The integration of digital workflows, including AI-assisted planning and 3D printing, enhances treatment precision and monitoring. Addressing challenges such as patient compliance and public perception is essential for optimising individualised treatment plans and expanding clinical adoption.

Congrong Xiao, Dongkwon Seong

Biomimetic design, derived from the study of biological systems, has emerged as a pivotal methodology in contemporary art and design. By systematically integrating the morphological traits, structural principles, and functional mechanisms of living organisms into design thinking, it provides both a novel theoretical perspective and methodological support for modern design practice. This design philosophy draws abundant inspiration from nature’s aesthetics and achieves a profound fusion of organic form and artistic expression. This study systematically traces the theoretical evolution of biomimetic design—from its early phase of direct form-mimicry to today’s holistic, systems-based approach—and clarifies its interdisciplinary logic and developmental trajectory. We examine its applications in public installations, product development, architecture, and fashion. Through a structured analysis of plant-inspired, animal-inspired, and ecosystem-inspired strategies—linked with the aesthetic demands and cultural contexts of design—this study uncovers the underlying mechanisms by which biological models drive innovation. The findings demonstrate that, by organically combining form simulation, function optimization, and ecological awareness, biomimetic design not only elevates the aesthetic value, visual impact, and emotional resonance of design works but also amplifies their social role and cultural significance. Moreover, its interdisciplinary potential in materials innovation, technological integration, and environmental sustainability highlights unique pathways for addressing complex contemporary challenges. This study adopts a methodology that blends case-study analysis and theoretical interpretation. Through an in-depth examination of exemplar projects, it validates that biomimetic design not only achieves a seamless unity of function and form but also offers a robust theoretical framework and practical strategies for sustainable design implementation. These insights advance both the theoretical depth and practical innovation of the design discipline.

Алла Медведєва, Анастасія Бабич

The purpose of the article is to explore the interaction of screen and stage activities, to study the influence of theatre performances on cinema, to identify the emergence of new genres in cinema through the combination of different art forms, and to outline the significance of screen adaptations of literary works. Research methodology. The analysis of theoretical materials and scientific works was used to determine the influence of different types of art on each other, the role of the transformation of a literary work into a screen one and the emergence of new artistic genres, which includes the study of the relationship between different artistic disciplines, as well as the impact of their evolution on the formation of new creative trends and styles in contemporary art. The specifics of adapting literary works to the screen format are revealed, including the study of methods of transferring plot, characters and ideas from a book text to the screen, as well as the analysis of the impact of this process on the audience’s perception of the work and its interpretation. The method of comparing different art forms was used to characterise the interaction between literature, cinema, theatre and other art forms, identifying similarities and differences in their modes of expression and impact on the audience. The synthesis method allowed us to discover the peculiarities of the interaction between different art forms and to identify how the interaction between literature, cinema, theatre, and other art forms contributes to creating new possibilities for interpretation. Scientific novelty. A scientific novelty. For the first time, the author analyses screenworks and stage productions as separate types of cultural activity, studying the mixing of genres and the emergence of film opera as a new contemporary art form by adapting literary works. Conclusions. The study analysed the interaction between cinema and the performing arts and revealed the mutual influence of theatre productions on-screen activities. The study examines how the aesthetics and techniques of theatre influence the shooting and editing of films. In addition, the author outlines the vital role of film adaptations of literary works in developing cinema and its importance as a way of transforming a verbal text into a visual and audiovisual product and enriching the audience’s artistic experience.

Hosain Salimi

Poems composed by Hafez can be considered the most complex and enigmatic ones in the Persian language in terms of the use of artistic, rhetorical, and semantic capacities and functions of language. In this regard, Hafez goes to the point that it would be impossible to comprehend the intellectual world of his speech without reflection and hesitation. Hence, he has intelligently, fluently, and consciously used all the subtleties and capacities of the language to present his thoughts and draw his worldview taking advantage of them all with remarkable dexterity. It is because of the use of these clever linguistic tricks that his poetry has always been the subject of literary studies by scholars from different perspectives. On the other hand, since one of the most important stylistic and artistic features of his poems is the amazing use of amphibology and its different types, especially proportional amphibology, many researchers and poets have tried to examine the different layers of meanings and linguistic mystery of his art by extracting evidence of amphibologies and its various categories in his poetry in order to reveal the wonders of prismatic relations of words in his poetry. The present study has used the methods of description and analysis to examine the idea of ​​new proportional amphibologies in the poetry of Hafez. These proportional amphibologies have not been considered in previous research and studies of the poetry of Hafez. Keywords: Hafez, Amphibology, Proportional Amphibology, Rhetoric Multi-layered. IntroductionThe most frequent and eloquent feature of the poetic style of Hafez is considered to be proportional amphibology. Basically, multi-facetedness and multi-meaning are the constituent elements of literary discourse. By using this feature, Hafez not only displays his literary eloquence but also conveys his intelligent thoughts beautifully and in the most artistic way. Amphibology means complexity of images, or in other words, multi-dimensional images that are created by combining words with multiple meanings at the level of a verse.One of the strengths of the poetry of Hafez compared to the poetry of many formalist poets or even poets who have created amphibology is that aside from making maximum use of multiple paralinguistic capacities of language, Hafez has also grown the semantic and intra-linguistic aspects of the language in various ways. This issue has made the audience draw different meanings and interpretations from the linguistic and semantic layers of words and their artistic relation with the content proportionate to the amount of their feelings, emotions, awareness, and knowledge in the face of his poetry to be satisfied and enjoy from this artistic pleasure.Undoubtedly, through his awareness and competence over linguistic delicacies, Hafez himself has played a role in the choice and combination of the lexicon based on their artistic and semantic relations. However, based on the theory of “death of the author”, the role of the reader of poetry in discovering and extracting the semantic and linguistic layers of words and their deliberate and stable musical connections is undeniable. Following the same line of research, the present study investigates some aspects of the artistic capabilities of Hafez and his awareness of the prismatic relations of the lexical items in light of the linguistic and rhetorical subtleties of his poetry. Materials and MethodsThe present study is conducted using a descriptive-analytical method through the use of library resources and extracting files from related sources. Many researchers and poetic scholars have tried to show the different layers of meaning and linguistic mysteries of his art by extracting the amphibologies and their different categories from his poetry in order to reveal the wonders of the prismatic relationships of the words in his poetry. However, by studying the language of Hafez, novel artistic and rhetorical relationships can be found among the words that other researchers have not noticed or discovered yet. In the present study, novel proportional amphibologies in the poetry of Hafez have been examined. These proportional amphibologies have not been considered in other studies and annotations written on the poetry of Hafez. Research FindingsOne of the obvious and at the same time effective components of Hafez's poetry is the multidimensionality of the verses and the layers of meaning embedded in them “in such a way that the audience, after reading it several times, still makes discoveries in the field of form and meaning, and this issue makes the text finished does not know and always has the motivation to return to it as a dynamic and generative text” (Azizi Habil, 2019, p. 8). The use of amphibology and more specifically proportional amphibologies in Hafez's poetry is usually made with awareness and a special style, and while Hafez tries to bring his words closer to the pure essence of poetry, he also tries to make his art reflect the social issues of his time. A time when hypocrisy and sanctimony of the people could not be described except via a multi-faceted and multi-layered language. Although from the perspective of "the death of the author", the issue is acceptable as the poem is a musical note that is performed by the singer and the author no longer has control over it. When words are written, they turn into an instrument that anyone can use based on their taste and the tools they have at their disposal; it is not guaranteed that the author can use them better than others. “Hafez's artistry in his special way of using language has caused his poetry to be a mirror so that everyone can see themselves in it and imagine that this is the true image of Hafez; Minds that are familiar with the words and meaning of Hafez's words, whenever they look at his words and reflect on them, they learn new things about form and meaning and discover new subtleties and points” (Agha Hosseini, 2004 p. 124).The present study investigates the use of proportional amphibologies in lexical items that have not been noticed by commentators and researchers and have been neglected in the annotations of the poetry of Hafez, as well as in previous linguistic and rhetorical studies regarding their lower layers of meaning and their harmony and compatibility with other words in which these lexical items are used. In examining the aesthetics of the poetry of Hafez, in many cases, neglecting the rhetorical and aesthetic dimensions of a letter or a word can collapse the artistic structure and stunning beauty of the verse and sometimes destroy the value and the content and semantic position of the verse and even the whole sonnet. This attention and awareness to the multiple semantic layers of a word, as well as his unique awareness and knowledge of the coexistence and replacement of words, has turned the poetry of Hafez into the purest poem in the history of Persian literature and the most artistic poetic language. Discussion of Results and ConclusionsThe precision and obsession in choosing words is one of the distinctive and artistic features of the poetry of Hafez. The poetry of Hafez is like a mirror every time you look into its clarity and transparency, you can see more wonderful and different aesthetic aspects that lead to the artistic pleasure of the readers. That is why his collection of poems, which is a masterpiece of the artistic subtleties of Persian literature, refreshes as time passes and the mysteries hidden beyond its literary level reveal themselves upon each reading. The secret of the immortality of Hafez and his poetry should also be sought from this perspective. The present study was an attempt to shed light on some of the hidden proportional amphibologies in the verses and poems of Hafez which had so far escaped the keen eyes of scholars. To discover these amphibologies, one should pay attention to the sometimes obsolete and forgotten meanings of some lexical items as used by Hafez; synonyms that can sometimes only be searched and found in Persian dictionaries.The following are some of the lexical items whose forgotten meanings and synonyms have been examined in this study and it has been shown that paying attention to these meanings helps us discover the proportional amphibologies that have been neglected so far: ISHRAT (a type of tree), HASRAT (the name of a flower), AN (Wolf's nest), Bud (well), QAROON (a type of flower and herbal plant), JAN (wind), SHAHID (Friday), BI (butterfly), SHARAB (a type of flower), GOL (A musical note), HOOR (A tree), KHEJEL (A valley full of flowers and plants), TOBE (rainbow), FARAGH (Arrow and hot summer wind), PARVANE (leader and frontrunner), SU (An arrow), AREZ (leader of the corps), NAM (sleep), HOBAB (one of the names of the devil), BAD (pride), TALIB TA LAB HAD (looking at the corner of the eye). It is as if these words are like actors present on the stage, each wearing a different costume underneath their outer clothes, having them sit together with other actors (words) in the lower layer of the play (poetry). Undoubtedly, we should not suffice to what has been said so far about the art of Hafez by researchers and scholars, and by meditating and delving into this ocean of art and rhetoric, we can catch new and valuable oysters and reveal other mysteries of the magic of his speech.

Preeti Paryani, Sunil S. Agrawal, Achint Chachada et al.

Introduction: One of the primary objectives of orthodontic treatment has been the enhancement of facial aesthetics. To obtain the perfect facial profile with aesthetic balance, knowledge of facial anatomy is essential. The diagnosis and treatment planning of orthodontic patients depend greatly on the examination of the soft tissue profile. Since the nasolabial angle is significantly affected by the inclination of the upper incisors, it is a frequently employed soft tissue parameter in orthodontic diagnosis. Aim: The study aimed to find out the correlation between the nasolabial angles with maxillary incisor inclination. Materials and Methods: In this retrospective study, 120 lateral cephalograms of orthodontic patients including males and females were traced. Their nasolabial angle and maxillary incisor inclination were calculated before and after orthodontic treatment. Result: The mean of pre- and post-treatment nasolabial angle was found to be 91.43° ± 14.008 and 97.93° ± 14.194, respectively. The mean of pre- and post-treatment incisor inclination was found to be 32.59° ± 7.290 and 23.98° ± 6.851, respectively. The gender-wise Pearson’s correlation (r) of nasolabial angle with incisor inclination for male and female was found to be -0.464 with a P value of 0.164 and -0.305 with a P value of 0.118, respectively. Overall Pearson’s correlation of nasolabial angle with incisor inclination was found to be -0.040 with a P value of 0.384. Conclusion: There is an insignificant negative correlation between nasolabial angle and incisor inclination in the Chhattisgarh population as well as among the two genders.

Lucia Rodler

In the 1960s Goffredo Parise made use of a series of interesting similes in order to describe men and women of his time. The similarity between human being and animal makes room for comparisons with objects, that would mean the end of the traditional physiognomy. Can this rhetorical choice be considered a lucid and visionary anticipation of post-humanism?

Emilia Román López

Reflexiones a la luz del I Seminario Internacional de Paisajes Culturales de la Sal Artesanal en España e Iberoamérica

Andrea Mecacci

Bauspiel: ein Schiff by Alma Siedhoff-Buscher is one of the most important toys of the twentieth century, designed and built in 1923 when the designer was part of the Bauhaus Woodcarving Workshop. Having become an icon of an entire era, a symbol of a design utopia, Siedhoff-Buscher’s Bauspiel remains an object that makes us wonder not only for the fascination it emanates, its perennial aesthetic relevance that still legitimates its production and marketing up until nowadays, but for the strength of its evidencing and its ability to force us questioning ourselves about who a child is (how he sees the world, how he relates to reality, how he transforms this same reality), and therefore, obviously about who the man is. Mimesis, game, toy thus become the dimensions that Bauspiel manifests to the highest degree, in which anthropological questioning and aesthetic analysis are intertwined in the same research.

Nicola Bozzi

As opposed to traditional nomads, backpackers, or tourists, digital nomads are defined as Internet-enabled remote workers, who maintain a focus on connectivity and productivity even in leisure. This essay discusses the relationship between Instagram and the digital nomad from a theoretical perspective, proposing a critique of the aesthetics and urban politics that underlie this figure. Inspired by recent theories that combine geopolitical and technological insight with a speculative approach, the article positions the digital nomad as a cultural avatar of contemporary neoliberalism, which celebrates a depoliticized aesthetics of work and helps establish a material geography of globalization through social media. In particular, the essay leverages the concept of tagging (not only intended as the use of hashtags like #digitalnomad, #solotraveller, or #remotework, but also geotagging) as a tool for cultural critique, discussing Instagram as a key site of intersection between the imaginary appeal of the traveling entrepreneur and the material effects of globalized gentrification. The conclusion provocatively suggests that, with the increasing economic and geopolitical influence of digital nomadism, Instagram might become a site of negotiation of the figure’s culture and aesthetics, potentially steering them toward a more radical re-imagination of borders and life beyond work. By offering a cultural critique of the digital nomad, the essay contributes to critical discourse on Instagram as a cultural platform.

Luz María Gilabert González

<p>Los museos públicos están íntimamente relacionados con las decisiones políticas porque los gobiernos intervienen directamente en la gestión de estas instituciones. Pero la retirada parcial de financiación, que se sumó a la multiplicación de funciones y ejercicios a finales del siglo XX, ha significado una toma de conciencia de la importancia del valor económico de la entidad.</p> <p>Este artículo tiene como objetivos, por un lado, analizar las causas que han llevado a valorar más el factor económico de los museos en la actualidad y, por otro, reflexionar sobre la creación de nuevas fórmulas de gestión en los museos públicos, a través de redes y sistemas de museos.</p>

Dario Cecchi

Pete Chambers

Edinburgh Gardens is the crown jewel of Fitzroy North, one of inner northern Melbourne’s most gentrified suburbs. In 2009, Christian Lander, author of Stuff White People Like, dubbed Fitzroy North Melbourne’s whitest suburb. In January 2015, the median house price hit $1,050,000, a far cry from Chopper Reid’s stomping ground and the setting of precarious 70s student lives in Monkey Grip.

Anton Sukhov

This article devoted to the search of relevant sources (primary and secondary) and characteristics of computer games that allow to include them in the field of art (such as the creation of artistic games, computer graphics, active interaction with other forms of art, signs of spiritual aesthetic act, own temporality of computer games, “aesthetic illusion”, interactivity). In general, modern computer games can be attributed to commercial art and popular culture (blockbuster games) and to elite forms of contemporary media art (author’s games, visionary games).

Bruno Bueno Pinto Leites, Alexandre Rocha da Silva

Since the early nineties Roberto De Gaetano works on the relationship between cinema, aesthetics and philosophy. In this interview, he talks about the impulse-images, a concept among Gilles Deleuze`s taxonomy that has remained someway “marginal” although being powerful for understanding a large set of problems, as the body of images, the inscription of a death drive in cinema and the conception of worlds in the act of their own destruction. We also had the opportunity to talk about De Gaetano`s latest works and the difference that he establishes between cinema of form and the cinema of force.

Karen Simecek

Poetry as a mode of philosophizing can reasonably be considered a failure when making the following moves: from the experientially particular to general content (by means of abstract thought); from ordinary pre-reflective thinking (a contingent thought someone happened to have) to philosophically rigorous thought (which is rationally grounded); from domestic conceptions (connections of thought made by individual readers) to public conceptions (why these connections are relevant to our general, collective understanding). These problems arise when trying to meet the three main requirements of philosophical inquiry: generality, rationality, and justification. In order to show that the thinking involved in reading a poem is akin to the thinking involved in philosophical inquiry, poetry must make the right kind of moves in thought and meet these fundamental philosophical demands. In this article, the author offers a defence of the view that poetry can make a significant and valuable contribution to philosophical inquiry when faced with these three problems.

Davide Grasso

Institutions are committed to a constant work aimed at classifying cultural heritages, in order to preserve selected objects from decay or disappearing. In this domain of policy, a significant role is played by architecture and by the preservation of the architectural heritage of cities. How is it possible, however, to determine the value in the field of architectural heritages? What are the criteria for evaluation and the degree of objectivity these classifications are based upon? Is architectural worth immanent to objects or does it reside outside them? These are fundamental questions for the science of preservation and the legislation on cultural heritages. By closely examining a controversial case occurred in the European Union, e.g. England, the paper tackles analytically some of these issues, and it exploits also concepts borrowed from social ontology and ontology of art.

Cuadernos de Arte

<span>Relación de tesis doctorales y trabajos de investigación de tercer ciclo y de máster (TIT), defendidos en el departamento de Historia del Arte y Música de la Universidad de Granada, durante el curso académico 2009/2010</span>

Ove Sernhede

The article deals with white, male-dominated youth subcultures and their fascination with black expressive cultures. From the early days of jazz to the contemporary hip-hop scene white youth styles in music, dance, clothing and verbal communication have been inspired by black culture. Research in this field has been carried out within the traditions of cultural studies. The basic assumption is that Afro-American and Afro-Caribbean music cultures — in the identity work of white youth — represents a tempting "otherness". The identification with black music and black lifestyles is regarded as a metaphor for resistance and as a search for counter values within the realm of politics, aesthetics and sexuality. The article also discuss how this multi-ethnicity is related to the "new racism" and the youth culture as a whole.

Milin Melita B.

The aim of writing this article is to analyze how the articles published by Zenith magazine (1921-1926) reflected the role of modern music within the framework of Zenithism - a movement relating to Dadaism and Futurism. The founder of the movement Ljubomir Micić and the Croatian composer Josip Slavenski both settled in Serbia and shared similar views concerning the Zenithist role of art. They sought to create a novel artistic expression free from Western influence, rooted in primitive and intrinsic creative forces of Eastern, and more specifically, Balkan peoples. Nevertheless, the intellectual sophistication and radicalism of their ideas differed somewhat whereas Micić was inclined towards experiment and provocation (i.e. his announcement of a Balkan "Barbarogenius"), Slavenski's aim was to revise and transform the archaisms preserved in old layers of folk music (primarily that of the Balkans), thus yielding an original modernist language. When in 1924 Micić moved from Zagreb to Belgrade, Slavenski was already there, only to leave for Paris in winter of the same year and remain there until the following summer. This may explain Slavenski's single contribution to Zenith, a piece composed before he met Micić. Zenith's articles on music included a positive account of Prokofiev, whose works were seen as representative of the movement's intentions. The article was an abridged translation of Igor Glebov's (pseudonym of Boris Asafiev) text printed in V'ešč (in German). Micić himself was the author of another contribution - a concert review, which served as an opportunity to express his views on contemporary music, one being an appraisal of Stravinsky whose music was felt to correspond to Zenithist aesthetics. He was labeled a musical 'Cubist', who composed music of 'paradox and simultaneity'. In the same article Antun Dobronić (a nationalist Croatian composer) was criticised on the basis that his music was not 'Balkanized' enough. Micić, who obviously had little or no musical education, was unable to find any musical critics who would adhere to his views. Several other articles in Zenith, such as concert reviews and literary texts with reference to both old and new composers, shed more light on the spirit of the movement and contribute to our understanding of it.