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Aesthetic Inquiry: Essays on Art Criticism and the Philosophy of Art
... To create a new activities model, combining 3 concepts: brain based learning [4], experiential learning theory and learning style [6], and aesthetic experience [1]. The brain based learning is a scientific study of brain development in relation to education. ...
The dramatic increase in the numbers of disadvantaged children (or under privileged children) in the past few years has become a considerable concern for Thailand. Educators are worried about the quality of these children’s education. The demand for quality educators has increased for these children. This paper describes a newly developed model for teacher’s education. It targets the teachers who teach disadvantaged children in the foundations. The objective of the research step is to expose the children to aesthetic experience by using experiential learning and brain based learning. The target group is pre-school children who are under the care of foundations in Bangkok metropolitan areas.
... Meanwhile, aesthetic morphology describes the nature, varities of forms ingredient in art and used to stimulate the aesthetic experience. The task of aesthetic morphology is to distinguish this variety of forms, in term of elements, details, parts, materials, ideas or other ingredient involved and also the way they are interrelated to each other (Beardsley and Schueller, 1967). Indeed, form is a mode of arrangement includes the physical and chemical structure of artefact. ...
Historically, the Malay craftsmen have created an attractive design and valuable traditional art form known as coconut graters (kukuran). The development of kukuran is closely related to its historical and Malay cultural background. The aim of this paper is to illustrate the form composition of traditional Malay kukuran, which are physical dimensions, material, shape, patterns, styles, and motifs. This study presents an analysis of twenty-five kukuran, which were gathered from the state of Terengganu and Kelantan. The discussion is focused on the formalistic aspects of the kukuran. The finding briefly shows the cultural fusion of the traditional Malay culture and religion (Islam) manifested in the kukuran design.
This paper intends to show that the presence of aesthetic consciousness in the architecture of selected examples implies the existence of aesthetic consciousness of the author and consequently the existence of creative processes of the author-creator. Furthermore, this paper presents and analyses an identified causal link: after an overview of observational aesthetic elements, it focuses on experiential aesthetic elements, which implicate the presence of the author's aesthetic consciousness, as well as the existence of the author-creator's creative processes in the object from the analysed architectural sample. More specifically, this paper explores the use of experiential aesthetic elements: 1) aesthetic intent, 2) intuition, 3) imagination, and 4) speculative thinking through a display, systematisation and evaluation of all 31 public buildings on Bulevar Oslobodjenja (Liberation Boulevard), an arterial road in Novi Sad, Serbia. An analysis of the given architectural and urban sample, along with an evaluation of the employed (experiential) aesthetic aspects, demonstrates not only the presence of aesthetic consciousness, but also its presence in the author himself and thus the presence of quality of the architecture and urban planning from the second half of the twentieth century through to the first decade of the twenty-first century in Serbia.
This research is an excavation of Wayang Topeng performance art as one of the ethnical wealth of Malang, East Java. The main target is the aesthetic domain, which is intensively studied for its potential as a tourism art by various groups, including the efforts of the Malang local government. This research aims to understand the local wisdom that can be performed as tourism arts offered at various events, one of which is at the presentation of the 2018 MCC (Malang Culture Carnival), which carries unique themes, one of which is wayang topeng (mask dance). The research method uses qualitative descriptive with a single case study approach, namely the appearance of MCC 2018. Data collected in the form of words and actions and document review, which emphasizes on key informants, Ida Ayu Made Wahyuni, SH, MS (Head of Malang City Tourism Office), Tri Handaya, S.Kom (Chairman of the Asmarabangun Wayang Topeng Association). The analysis used is a holistic single-case study. The results of this study are as follows: (1) The presentation of the theme of the work is local and historical, (2) the performance is sourced from the form and technique of the Wayang Topeng tradition, (3) the costumes and supporting devices for processing the characteristics locality and ethnicity. The ethnic spirit element raised is the aspect of locality and is offered as a display that is modern, exotic, and spectacular. Keywords: Mask, ethnical spirit, tourism art, locality
The art of dance is now studied in the sciences and philosophy. From the time of the ancient Greek thinkers to the modern era, dance has never ceased to be considered a way of expressing multiple potentialities of culture. The way that man danced in history is also a reflection on every era of man's relationship with nature, the universe and social structures.By selecting the most significant of all references to dance that the modern reader may encounter today, we locate the wealth and variety of information and approaches as well as the interdisciplinary nature of the studies provided. However, both the historical as well as the literary sources and the more recent ethnological and anthropological approaches do not cease to remain in an informational and encyclopedic field, without completing the theoretical explanation and understanding of the phenomenon unless and until specific philosophical questions are answered. These latter ones have to do with the identity of dance experience – based on data about the nature of learning, the relation of dance to language, science or sciences (history, philology, natural sciences), metaphysics and cosmology, the functionality and applicability of dance uses in society, religion and politics. Even the meaning of dance itself or the aesthetic principles as well as the moral and educational values of the ancient dance activity fall within traditional areas of philosophical contemplation or at least are not sufficiently systematized in the direction of methodical research unless they are subject to philosophical inquiry. We will focus on those facts which can show that orchesis/dance is treated by philosophy as an anthropological and at the same time cosmological concept referring to the relation of the human being to its inner psyche and to the environment. The "intelligence" of ancient Greek dance culture that has unfolded over many centuries, in various shapes and types of music poetry, but also with a rich social, educational and therapeutic functionality, is yet another discovery of the Greeks from their earliest history.
Thesis (M.A.)--McGill University, 1999. Includes bibliographical references.
The purpose of this study is to investigate a series of issues around the primary theme of value constructions and the ways that these influence the construction of interior spaces and impact on its occupants. The ways in which knowledge is disseminated currently in our society and the noticeable absence of the female voice in that knowledge construction is perpetuated in social relations. Spatial designs create an envelope that formalizes these relations and create symbols of' status, hierarchy and power at the expense of voices of collaboration and experience. Secondary issues about the absence of female voice in the underlying values that shape space are also studied, as they have evolved historically and as these exist in today's social and economic climate. Theoretical themes are woven around examples of situations in pedagogy and the practice of interior design and architecture.
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