Hasil untuk "Aesthetics"

P. Gobster, J. Nassauer, T. Daniel et al.

Jacques Rancière, Gabriel Rockhill, S. Žižek

In his forward, Ranci re (aesthetics and politics emeritus, U. de Paris VIII) states his concern is for aesthetic acts that create new approaches to sense perception and political subjectivity. Working from questions asked by the editors of the journal Alice, Ranci re shows how art and politics are closely linked by their mutual delimitation of the

H. Leder, Marcos Nadal

Xin Lu, Zhe L. Lin, Hailin Jin et al.

Weiying KONG, Yizhuo LIU, Sichun DONG et al.

ObjectiveIn the contemporary global context, urban areas are increasingly confronted with the dual pressures of global climate change and rapid urbanization. These pressures have led to a significant rise in urban temperature, thereby amplifying the importance of blue-green spaces in mitigating the urban heat island (UHI) effect. Blue-green spaces, which include natural water bodies, parks, green corridors, and other vegetated areas, play a crucial role in regulating urban microclimates. As cities enter an era of stock development, where the focus shifts from expansion to optimization of existing resources, the strategic configuration of these spaces has become a cornerstone for enhancing urban thermal environments. Understanding the cooling mechanisms of blue-green spaces at various spatial scales is essential for improving urban thermal comfort and guiding the planning and construction of urban blue-green infrastructure.MethodsThis research focuses on the central urban area of Xi’an, a city that has experienced substantial urban growth over the past decade. By employing a combination of spatial autocorrelation analysis and a multi-scale geographically weighted regression (MGWR) model, the research examines the change characteristics of blue-green spaces and their impact on land surface temperature from 2013 to 2023. The findings reveal the spatial heterogeneity of cooling effects and offer tailored optimization strategies for blue-green spaces across diverse urban contexts. The research methodology involves selecting six representative landscape indices to evaluate the changes in blue-green space patterns in the central urban area of Xi’an. These indices are carefully chosen to capture the nuances of spatial configuration, fragmentation, and connectivity of blue-green spaces. Spatial autocorrelation analysis is utilized to identify spatial clustering and patterns extracted from the data collected, while the MGWR model is adopted for a more granular examination of the relationship between landscape indices and land surface temperature levels. This integrated approach not only reveals the factors influencing the cooling effects of blue-green spaces but also highlights their spatial variability across the urban landscape.ResultsThe results of the research are both revealing and instructive. 1) The blue-green space patterns in the central urban area of Xi’an underwent significant changes over the research period, reflecting the dynamic interplay between urban development and environmental management. 2) The spatial distribution of land surface temperature exhibits a distinct pattern of being “high in the north and low in the south”. The central area, characterized by dense urban fabric, shows minimal fluctuations in land surface temperature, whereas low-temperature zones are predominantly concentrated in the southern part of Baqiao District. This uneven thermal distribution underscores the complexity of urban heat dynamics and the need for targeted interventions. 3) The relationship between landscape indices and land surface temperature changes displays notable spatial heterogeneity. In high-density urban areas, small and complex blue-green patches demonstrate stronger cooling effects, emphasizing the importance of intricate designs in densely built environments where space is limited but the need for effective cooling is significant. In contrast, suburban areas benefit from avoiding the aggregation of large blue-green patches, which may otherwise hinder effective cooling due to reduced air circulation and increased shading. Near large water bodies, regularly shaped and highly connected blue-green patches are found to be particularly effective in reducing land surface temperature, highlighting the synergistic effects of water and vegetation in enhancing cooling performance and suggesting that integrated blue-green networks can maximize thermal benefits.ConclusionThe research concludes that the relationship between temperature changes and blue-green space changes in the central urban area of Xi’an is significant and characterized by strong spatial heterogeneity during the period from 2013 to 2023, with the cooling effects of blue-green spaces found varying by their spatial attributes and the characteristics of the surrounding urban environment. These findings highlight the necessity for region-specific optimization strategies to maximize the cooling potential of blue-green spaces. By integrating spatial analysis and regression modeling, the research provides a detailed understanding of the cooling mechanisms of blue-green spaces across diverse urban contexts. The results emphasize the importance of tailoring blue-green space designs to local conditions, considering factors such as urban density, proximity to water bodies, and regional climatic characteristics. This approach enhances the effectiveness of blue-green spaces in mitigating the urban heat island effect and contributes to the creation of more sustainable and thermally comfortable urban environments. The research advocates a holistic and adaptive urban planning strategy, where blue-green spaces are strategically designed and managed to address the unique thermal challenges of different urban areas. This research offers valuable guidance for policymakers and urban planners aiming to optimize blue-green infrastructure and improve urban resilience in the face of climate change and urbanization.

Dmitry Mikhaylyuk / Дмитрий Павлович Михайлюк, Amir Kader / Амир Святославович Кадер

The aim of the research is to identify the evolutionary scenario and the specifics of the transformation of the child's image in Russian art, primarily using Soviet cinema as an example, taking into account the experience of world art development and the connection between the "Sixtiers" and the aesthetics of neorealism. The article analyzes the causes and nature of significant changes in the image of the child in 20th-century art, considering large-scale social, cultural, and ideological transformations. One of the prominent movements that shaped original perceptions of childhood was Italian neorealism, in which the image of the "orphan child" became a symbol of the tragic consequences of historical cataclysms and socio-economic crises. Soviet art, from its very inception, actively used images of young characters. For instance, the films "Kino-glaz" (1924), "The Desperate Battalion" (1933), and "Golden Honey" (1928) presented children as active participants in social life. Children were often depicted as miniature adults, actively involved in labor and patriotic processes. The article shows how, in the 1960s, Russian art, influenced by the aesthetics of neorealism, began to re-evaluate the image of the child. The "Sixtiers" paid more attention to child psychology, themes of socialization, friendship, and growing up. The relevance of studying the image of the child in contemporary art is linked to the need to support and assist children in the process of socialization. Modern cinema about children and for children not only showcases young heroes but also transmits important moral and ethical lessons to them and to society as a whole. The research results have demonstrated that realistic art, which rejects fantastical elements, offers children an experience based on real-life situations, helping them develop critical thinking and emotional perception of the world. / Цель исследования состоит в выявлении сценария эволюции и специфики трансформации образа ребенка в отечественном искусстве, преимущественно на примере советского кинематографа с учетом опыта развития мирового искусства и взаимосвязи «шестидесятников» с эстетикой неореализма. Статья анализирует причины и характер значительных изменений образа ребенка в искусстве XX века с учетом масштабных общественных, культурных и идеологических трансформаций. Одним из ярких направлений, сформировавших оригинальные представления о детстве, выступил итальянский неореализм, в котором образ «ребенка-сироты» стал символом трагических последствий исторических катаклизмов и социально-экономических кризисов. Советское искусство, начиная с первых своих шагов, активно использовало образы юных персонажей. Так фильмы «Кино-глаз» (1924), «Отчаянный батальон» (1933), «Золотой мед» (1928) представляли детей как активных участников социальной жизни. Часто дети изображались как миниатюрные взрослые, активно вовлеченные в трудовые и патриотические процессы. В статье показано, как в 1960-е годы отечественное искусство под влиянием эстетики неореализма начинает переосмысливать образ ребенка. Шестидесятники в большей мере уделяли внимание психологии ребенка, темам социализации, дружбы, взросления. Актуальность изучения образа ребенка в современном искусстве связана с необходимостью поддержки и помощи детям в процессе социализации. Современное кино о детях и для детей не только показывает юных героев, но и транслирует им и всему обществу важные уроки нравственности и морали. Результаты исследования продемонстрировали, что реалистическое искусство, отказывающееся от фантастических элементов, предлагает ребенку опыт, основанный на реальных жизненных ситуациях, помогающий развивать критическое мышление и эмоциональное восприятие мира.

Sen GAO, Jazmin Binti Mohamad JAAFAR, S. Siti SUHAILY et al.

Purpose: This study aims to explore the continuity of Han Dynasty aesthetics in modern Chinese art and its influence on contemporary urban landscapes. Han Dynasty, being the foundation of China history, was founded by Emperor Gaozu, whom also stabiized and unified the land of China, similar to modern territory. By investigating the historical achievements and artistic legacy of the Han Dynasty, the study seeks to identify key aesthetic principles, motifs, and techniques that continue to shape modern Chinese art and urban design. Moreover, the research aims to understand the role of Confucianism and Daoism in shaping Han Dynasty aesthetics and their enduring impact on cultural practices and urban development in China. Method: This qualitative study conducted 17 semi-structured interviews with stakeholders, including urban planners, artists, policymakers, and cultural practitioners in China. The interviews were analyzed using thematic analysis, focusing on identifying patterns, themes, and relationships related to Han Dynasty aesthetics, contemporary public art characteristics, cultural continuity, urban development factors, and urban aesthetics. Findings: The findings of this study highlight the enduring influence of Han Dynasty aesthetics on contemporary Chinese art and urban landscapes. Key themes include the integration of traditional motifs and techniques into modern artistic expressions, the role of cultural continuity in shaping urban aesthetics, and the moderating influence of urban development factors on the preservation and integration of Han Dynasty aesthetics within contemporary urban environments. Implications/Originality: This research contributes to theoretical frameworks in art history, cultural studies, and urban studies by providing new insights into the continuity of Han Dynasty aesthetics and its implications for modern Chinese culture and society. Moreover, the findings have practical implications for policymakers, urban planners, artists, and cultural practitioners involved in the development and management of urban environments in China. Overall, this study shows the farreaching impacts of Han Dynasty, spanning across time to affect the current society in the form of urban asthetics, cultures, and even to the policymakers ; while adds to the understanding of the dynamic relationship between tradition and innovation in Chinese art and culture and its significance for contemporary urban landscapes.

Xin Lu, Zhe L. Lin, Xiaohui Shen et al.

Kiun Hwang

This article explores the significance of memorial plaques in Russian cities as sites of history, memory and aesthetics that create a new sensorium of the urban sphere. The plaques, affixed to historic buildings, serve as tangible markers that commemorate significant events and figures from the past. Taking the case of the historic center of St. Petersburg, the article examines how these plaques create a sense of historicity and contribute to the formation of a shared cultural background within the urban sphere. The plaques evolve from simple inscriptions to more elaborate and visually appealing designs. It also highlights the controversies surrounding the selection of individuals to be materialized and remembered and the aesthetic concerns raised by some residents. Meanwhile, the two contemporary projects challenge traditional commemorative practices and their aesthetics: Last Address, which commemorates victims of political repression through individualized plaques, and the Gandhi artist group’s street art interventions. These projects offer alternative approaches to memorialization and engage in dialogue with existing monuments and plaques. These micro-interventions show grassroot resistance within memorializing practices and aesthetics. The article emphasizes the contested nature of public space and the role of memorial plaques in shaping collective memory and historical narratives in Russian cities.

Valentina S. Lapshina

The existential and socio-psychological threats to human bodily and emotional existence are observed in the urbanized environment, and the origins of the modern urban crisis are discovered. The author attempts to assess the danger and consequences of urbanization for modern human society. The paper formulates a typology of urban activism in the context of socio-philosophical discourse. The aim of the research is philosophical comprehension of human existence in an urbanized environment. In accordance with the purpose, the tasks are outlined: to characterize the “city man”; to identify the contradictory consequences of urbanization for a modern Human; to determine the influence of urbanization atpeople’s lifestyle; to analyze the typology of the activities of city residents which(the activities) transform the urban environment in the context of modern urbanism. Object: urbanism as a socio-philosophical phenomenon, subject: the existential dimension of Human in an urban environment. Methodology. To achieve this goal, general scientific methods were used: analysis and synthesis, analogies, classifications, as well as philosophical methods of cognition (dialectical and hermeneutic). The method of generalization of philosophical and sociological issueswas applied and in particular by using interdisciplinary approach. The means of visual anthropology (cinematography, photography) are engaged in the study to analyze the documentary series “Homo Urbanus” whichis of special scientific value as a source of important social knowledge. The originality of the study: the existential crisis was studied in the focus of urban anthropology, a classification of types of urban activism was proposed. Practical application. The results of the study can be applied in the future interdisciplinary research, as well as in the urban anthropology studies, in the research of the mutual influence of the city and man, as well as of separate topics of educational courses (“Urban Studies”, “Philosophy”, “Sociology”, “Anthropology”, “Aesthetics of Architecture and Design”, etc.).

Ó. Elíasson, Billy Henson, D. Sturmer et al.

Clément Barbier

Built on a cross-national sociological research that retraces the genesis of two large-scale urban renewal projects in the urban areas of Lille and Hamburg, this article shows to what extent they might be considered as gentrification policies and as a way to question this analytical category. Even if both—Union and IBA Hamburg—projects imply the social and symbolic triage of firms and populations that are legitimate to occupy the targeted neighbourhoods, the coalitions of actors who try to turn these “problem areas” into symbols of “metropolitan attractiveness” are far from acting in a coherent, omnipotent and unequivocal way. The processes of eviction and of real estate value-creation or -destruction throughout the design and implementation of these large-scale urban projects are the result of the action of these public-private coalitions as well as the consequence of their inaction and their (relative) incapacity to actually govern people and capital flows. Therefore, the (in)capacities of local governments to remove populations and businesses from these districts or to enhance the market and symbolic value of these spaces depends on the social and economic embeddedness of these policies.

Mi-Sun Hur, Seunggyu Lee, Han-Sung Jung et al.

The aim of this study was to determine how the depressor supercilii (DS) connects to the levator labii superioris alaeque nasi (LLSAN) and inferior fibers of the orbicularis oculi (OOc INF) in the human midface. While grimacing, contraction of the DS with fibers connecting to the LLSAN and OOc INF can assist in pulling the medial eyebrow downward more than when these connecting fibers are not present. Contraction of these distinct connecting fibers between the DS and the LLSAN can also slightly elevate the nasal ala and upper lip. The DS was examined in 44 specimens of embalmed adult Korean cadavers. We found that the DS connected to the LLSAN or the OOc INF by muscle fibers or thin aponeuroses in 33 (75.0%) of the 44 specimens. The DS was connected to both the LLSAN and OOc INF by muscle fibers or aponeuroses and had no connection to either in 5 (11.4%) and 11 (25.0%) specimens, respectively. The DS was connected to the LLSAN by the muscle fibers and thin aponeuroses in 6 (13.6%) and 4 (9.1%) specimens, respectively. The DS was connected to the OOc INF by the muscle fibers and thin aponeuroses in 5 (11.4%) and 23 (52.3%) specimens, respectively. Our findings regarding the anatomical connections of the glabellar region DS to the midface LLSAN and OOc INF provide insights on the dynamic balance between the brow depressors such as the DS and brow-elevating muscle and contribute to understanding the anatomical origins of individual variation in facial expressions. These results can also improve the safety, predictability, and aesthetics of treatments for the glabellar region with botulinum toxin type A and can be helpful when performing electromyography.

Marta Lopera-Mármol, Manel Jiménez-Morales, Mònika Jiménez-Morales

TV series’ depictions of mental disorders have received considerable scholarly attention. However, few studies have considered the role of aesthetic elements in representing mental disorders. Therefore, in this study, we analysed how aesthetic features influence the representation of “psychopathy” in British coming-of-age TV series through the case study of <i>The End of the F***ing World</i>. We chose to analyse psychopathy due to its over-representation in the media and its often-mistaken conflation with the actual mental disorder of antisocial personality disorder (ASPD). We applied an aesthetic methodology in our analysis. We analysed the series in terms of language, appearance, behaviour, music and sound, technical devices, and intertextuality, closely observing three sequences of various episodes that correspond to the character’s symptoms, diagnosis, medication, and treatment. Our findings show that the aesthetic characteristics, characters, and events of the plot can act as expressive means through which the experience of living with a mental disorder can be accurately represented and simultaneously entertain viewers with drama and suspense. The series challenges the reductionist perspective and previous stereotypes of audio–visual pieces related to ASPD, suggesting that future TV series can better represent mental disorders with the correct use of television aesthetics and cinematic devices.

Tereza Hadravova, Sabrina Muchová

In this paper, we draw attention to temporal aspects of works of art displayed, performed, or held in public spaces, generally designated as public art. We argue that the debate on public art has been biased towards discussing the spatial. We focus on the “temporariness” of public art, the primary temporal feature that has been under scrutiny in recent philosophical literature on public art. We explore arguments it has been woven into. In particular, we discuss and reject using temporariness as the mark dissecting the realm of public art into two different artforms and argue that it is just one of many temporal properties public artworks have and can use to bear meanings. We outline other ways works of public art bear temporal features and interact with temporal properties of spaces they occupy, and argue that those too are, potentially, aesthetically significant. We illustrate some of these with an example of a particular public artistic site, the open-air art gallery «ArtWall» located in Prague, the Czech Republic. 

Arndt Büssing, Arndt Büssing

Background: Spirituality is a multidimensional construct which includes religious, existentialistic, and relational issues and has different layers such as faith as the core, related attitudes and conviction, and subsequent behaviors and practices. The perceptive aspects of spirituality such as wondering awe are of relevance for both, religious and non-religious persons. These perceptions were related to perceiving the Sacred in life, mindful awareness of nature, others and self, to compassion, meaning in life, and emotional wellbeing. As awe perceptions are foremost a matter of state, it was the aim (1) to empirically analyze the frequency of wondering awe perceptions (i.e., with respect to gender, age cohorts, religious or non-religious persons) and (2) to qualitatively analyze a range of triggers of awe perceptions.Methods: Data from 7,928 participants were analyzed with respect to the frequency of Awe/Gratitude perceptions (GrAw-7 scale), while for the second part of the study responses of a heterogeneous group of 82 persons what caused them to perceive moments of wondering awe were analyzed with qualitative content analysis techniques.Results: Persons who experience Awe/Gratitude to a low extend were the youngest and had lowest wellbeing and lowest meditation/praying engagement, while those with high GrAw-7 scores were the oldest, had the highest wellbeing, and were more often meditating or praying (p&lt;0.001). Gender had a significant effect on these perceptions, too (Cohen’s d=0.32). In the qualitative part, the triggers can be attributed to four main categories, Nature, Persons, Unique Moments, and Aesthetics, Beauty, and Devotion. Some of these triggers and related perceptions might be more a matter of admiration than wondering awe, while other perceptions could have more profound effects and may thus result in changes of a person’s attitudes and behaviors.Conclusion: Emotionally touching experiences of wondering awe may result in feelings of interconnectedness, prosocial behavior, mindful awareness, and contribute to a person’s meaning in life and wellbeing and can also be a health-relevant resource. These perceptions can be seen as a perceptive aspect of spirituality, which is not exclusively experienced by religious people but also by non-religious persons.

Ezio Gamba

Cohen deals with the question of the possibility for art to represent God or the divine in some of his works, throughout all his philosophical production, but obviously above all in his main aesthetic work, sthetik des reinen Gefhls (1912). We can state that in Cohen's works this problem is posed with reference to three different religious fields: Greek polytheism, Jewish monotheism and Christianity. The topic of this essay will be Cohen's thought about the artistic representation of the divine in Christianity or in Christian art through the representation of Jesus. This topic will be examined with reference both to Kants Begrndung der sthetik (1889) and to sthetik des reinen Gefhls ; whereas in Kants Begrndung der sthetik Cohen devotes to the representation of Jesus just a short consideration in the historical introduction of the book, in sthetik des reinen Gefhls the representation of Jesus is object of far more attention. Here, Cohen's answer to the question of the possibility to represent the divine through the representation of Jesus is that Jesus' divinity, in the artistic representation of his figure, can only have a metaphorical value, the real meaning of which is that Jesus' story is the ideal story of the human being; in Kants Begrndung der sthetik and in other writings of the 80s, on the contrary, the idea of incarnation and of the divinity of Jesus is object of a different appreciation by Cohen. The comparison between these different stances can be a contribution to the comprehension of the changes in Cohen's view of Christianity through the years.

Ivana Slivková

Gender theory concerns most areas of woman‘s existence in a society and an artistic text is one of many subject manifestations, which may and is likely to influence public opinions. After the period of literature dominated by heroines fighting for the rights, the woman­‑provocateurs came to set free not only their bodies, but also their souls. Apart from the male–female relations (gender theory), Olga Tokarczuk’s short story Najbrzydsza kobieta świata (tr. The Ugliest Woman of World) reveals various aspects of women’s writing, in particular – the aesthetics of ugliness. Within this milieu, the ugliness is locked in two stands: 1. the direct characteristics of the ugliest woman in the world and 2. the shocking element of the suffering aesthetics, namely, the exposure of woman by the others.

Jochen Schuff

Stanley Cavell is one of very few philosophers who systematically reflect on the impact and influence of autobiographical detail, experience, and preferences on their philosophical work. The aim of this essay is to show how Cavell’s use of autobiographical exploration is rooted in his early aesthetic theory, in particular his view of the similarities between philosophy and aesthetic criticism. Cavell argues that criticism starts by exploiting and incorporating a subjective vantage point, eventually bringing the reader to test the significance of a work on herself. In his ‘Aesthetic Problems of Modern Philosophy’, Cavell states exactly this form of appeal to the ‘We’ of author and reader as the basic move of his own version of ‘ordinary language philosophy’. It is because of the connections Cavell sees between criticism and philosophy that his aesthetic diagnosis harks back on his overall critical style of thinking.

Sophie Papst