Questions related to Aesthetics
This is the PDF-Powerpoint I used for my online presentation at the Conference 'Current issues of social sciences and humanities', organised by the Department of Ethics and Aesthetics of the Faculty of Social Sciences of the National University of Uzbekistan, Tashkent, on Friday, 29 April 2022. My principal aim in this analysis is to describe Sen’s meditation as a teaching against fatalism, indifference, resignation and inaction: Sen’s criticism of these attitudes aims to uncover the deep roots of these attitudes themselves, since these attitudes conceal precise responsibilities.
Sen fights both in economics and in ethics against every form of concealing, under the idea of the unavoidability of nature, failures due to human mistakes. Unavoidable destiny proves to be, actually, as not so unavoidable as someone would like to present it. For instance, Sen’s opinion that famines are not a natural, but a social phenomenon aims to uncover all the attempts to present famines as something unavoidable, in relation to which the only solution is resignation. Sen’s intention is clearly to say that famines have precise responsibilities, and that those who present famines as natural phenomenon want to conceal their own responsibilities for the insurgence of famines. Governments try to blame on nature the cause of catastrophes, whereas the causes of social catastrophes are to be connected to the inefficiency of governments.
In particular, Iwould like to concentrate my exposition on the following themes: •Sen’s criticism of the thesis of food shortages as the (only) cause of famines.
• Famines happening when there is no political will that want to fight against the factors bringing to the famines. Persons, and not nature, are responsible for the occurring of famines.
• Sen’s defense of democracy as a system which is compatible with economic growth against all those who considers democracy as an obstacle to economic growth.
I am currently trying to include results of my ancestral state estimation on my phylogenetic tree with ggtree's geom_nodelab. However, when I execute my command I always get the error:
Error in `check_aesthetics()`: ! Aesthetics must be either length 1 or the same as the data (33): label
I see that it wants values for the tips as well (17 labels + 16 nodes). However, I just want the ancestral states on the internal nodes and do nothing to the labels. Has anyone an idea? I have been spending a lot of time on this seemingly easy problem and am at the end of my wits.
tree <- sim.bdtree(b = 0.1, d = 0, stop = "time", t = 20, seed = 12345)
cont.trait.mode <- data.frame(trait= runif(length(tree$tip.label)))
rownames(cont.trait.mode) <- tree$tip.label
anc_trait <- fastAnc(tree, cont.trait.mode$trait, CI= T)
anc_trait_df <- as.data.frame(anc_trait$ace)
ggtree(tree) + geom_nodelab(aes(subset=!isTip,label = anc_trait_df$`anc_trait$ace`))
Students should evaluate the aesthetics (e.g. "this room is beautiful") of a working space / room and what they think would be their performance (e.g. "I'm very productive in this room") in this room, based on a picture (which they see in a survey).
How to measure the subjective aesthetics and the subjective performance (of a Person) in it?
Which are the relevant and up to date publications and thoughts on the topic?
I think this is about applying various art forms in a constructivist way.
i want to reduce variable range to 20-30, is there a way to do so.
ggplot() + geom_point(data=test, aes(x=B2004007, y=B20040013, col=count) )
Can anyone indicate similar manipulation in any marketing journal.
Looking to do an experiment between two groups (Shopping alone Vs Shopping with others), to explore the difference between consumer evaluation of aesthetically high products.
After publishing the co-authored paper about the purpose branding last year (attached), I'm working on the purpose luxury branding paper about luxury-art cooperation in radical changes in aesthetic practices now. My initial insight is that the incumbent luxury brand makes a radical change in the aesthetic practice when cooperating with an artist in a project that provides a new artifact = the asset for a new practice. Have you any suggestions on what could help?
What is the role of aesthetic taste in aesthetics of marketing, what do you think about the transformation of human aesthetic needs?
"Value education refers first of all to the individual process of forming, developing and acquiring values or value attitudes (...). In contrast to 'value mediation' and 'value education', value education emphasizes the active confrontation of the individual with the environment and its diverse, sometimes contradictory value offers, which usually takes place through the experience of values and their reflection." (cf. Mandl, Kopp, Hense und Niedermeier (2014, p.8, translated by the author)
The idea of the active value formation process suggests that self-activity of students is a central feature of both processes: the formation of values and the subsequent action.
The goals of value formation are value-oriented personality development, the confrontation with and recognition of basic values of democratic coexistence, and the successful handling of value diversity.
I see both aspects in Service Learning and in art education.
The focus of value formation is the examination of aesthetic objects and forms and relies on the self-activity and self-determination of the subject in a lifelong, never-ending process of reflection.
I see the difference in the orientation of the service learning project for the community and municipality and in the concrete implementation situation according to the need, whereby the main focus of aesthetic-artistic education aims at the experience of the individual person and implements and reflects his own perception of the world in his own practical implementation. Of course, there are intersections and commonalities, which art education through participatory and social project work shapes and reflects the common perception of the world and social processes.....
For this, I rely on the following variables in context/citations:
Hans Joas' concept of "self-transcendence" reference, in which value formation is theoretically conceptualized as a deeply emotional and extraordinary experience (cf. Joas 1999).
The success of value formation depends on cognitive and affective-emotional aspects. (cf. Schubarth and Tegeler, 2016, 264).
Value development is only possible via emotional irritation, touching, shaking, and stabilization, experiencing and coping with dissonance in an emotional sense, i.e., doubts, contradictions, or confusion, in real-life challenges. Thus, they can only be interiorized, i.e., internalized, in a self-organized way via conscious and unconscious emotions. (Sauter, 2019)
Argued from emotion and thus to bodily reaction, this aspect seems important to me.
Tension between, on the one hand, justified "questioning" and, on the other hand, the danger of uprooting traditions, culture and, above all, bodily experienceability, which Fuchs (2000) and Schmitz (2007) emphasize. (Rockenschaub, 51)
I would like to ask for opinions on the topic of value education, gladly also from a historical perspective, as well as on my remarks in the argumentation to consider value education as an aesthetic process.
Lange (2001) asks African designers to “embark on a quest to reflect... diversity,
to challenge modernist conventions and produce a graphic design that is essentially local in its components while also being internationally competitive” to change the esthetic standards defined based on Western culture and previously considered “aesthetic standard.
Ricoeur (2007: p. 52) invites to go back to our own origins to face the expansion of the universal culture. He declares to this effect that to confront a foreign culture, one must first have one’s own culture and identity.
Modern graphic designers must develop more designs that portray to their nation’s style and create stylish designs with new meaning. We have the responsibility and obligation to complete our country’s culture in the contemporary graphic design scene, and to promote it. This will bring a breakthrough in modern graphic design in the future. Today, national culture (and the elements it provides) is undoubtedly an important aspect of a nation’s development. In the context of design or art, its use allows development of national esthetic specificities; a cultural identity.
how to use the Diversity of comics methods to enhances the effectiveness of achieving information transmission or the content of the office service with more attractive and more interesting forms and indications, as well as achieving functional and aesthetic goals in providing the service
Post Bakhtin and Mary Russo, grotesque has developed in varied directions. Can you name some of the leading theorists in grotesque studies?
I am specifically interested in works of art for which ratings on multiple dimensions are readily available--for instance, ratings of beauty or of liking that were acquired from a sample of volunteers. Features of interest also include the actual features of the artworks themselves, like brightness, complexity, etc. I have been pointed towards several options:
- Prediction of beauty and liking ratings for abstract and representational paintings using subjective and objective measures (https://osf.io/2sy4f/)
- JenAesthetics (https://www.inf-cv.uni-jena.de/jenaesthetics.html)
- The Strohminger Grotesque Art Database (https://ninastrohminger.com/grotesque)
I wondered whether there might be others I am missing? Thanks, in advance, for any help anyone is able to provide!
Author expresses polite request to recommend a journal in Comparative Literature which accepts:
i. submissions discussing semi-forgotten poets of Russian fin-de-siecle i.i.submissions discussing a single cycle in enitre ouvre of such figure,
ii. submissions from seemingly unremarkable graduate students
iii. submissions analyzing literature from aesthetical standpoint, with minimal relevance to burning social issues and their solutions, however defined.
[Prehistory: I'm a promising, and so far not much more, graduate student, who managed to not publish anything so far. I have no regrets though, both because world needs more reading and less writing, and simply for looking at my old drafts.]
I'm finishing an article about Nikolay Gumilyov (Николай Гумилёв, Gumilyev, Gumil'ev) - who, surprisingly for several Scopus-listed journals, is not the same person as his son, Lev Gumilyov, and whom I find shockingly understudied and underappreciated. Never particularly popular in the West, today, with interests shifting... well, away from Russian aristocratic aesthetes, he seems to be almost forgotten. Similarly in Central Europe, or at least in Poland, where I come from: before perestroika Gumilyov was "unpublishable" in Soviet Union, so it was difficult to get acquainted with his poetry when knowledge of Russian was fairly widespread, and today hardly anyone knows the language or has much interest in such topics (understandably, yet sadly). In Russia, on the other hand, he has his place in the canon secured, but it comes with a price of being incorporated into the lore of state ideology.
Fortunately, here I am with my article on his Italian Poems. While I think the article is very decent, it's not the most en vogue topic. On top of that, nolens volens, I end up arguing with almost every critic I refer to. And still, I need to publish it to face my supervisor with my head high, and also because turning this great poet into a misspelled footnote to Akhmatova and Mandelsham, or a banner woven from misinterpretations, is un-for-giv-a-ble.
Which leads to my point, as I can no longer ignore the burning question where I'm planning to submit my untimely meditations, composed in English. To make things worse, while I do offer some original input, there is no grand synthesis, the thing is quite specific. Too specific for a generalist journal, I guess, but I could try something on Modernism, or Decadence, or correspondence of arts, or Italy/Italianism. I will be grateful for any suggestions, or at least warnings!
Lip to teeth relationship / Lower third of the face constitutes major part of facial thirds and second most attractive part of face after the eyes in the middle third. Do we have any google play store apps to apply this concept of diagnosing mini-aesthetic problems and providing patients with better aesthetic outcomes?
A photo of a person or thing clicked through a camera is absolutely perfect. Sketches or pictures drawn by an artist is artistically or aesthetically perfect. A mirror image is also perfect, but cannot be touched and also in different direction.
The question is, according to you, which one is more perfect?
And if you are to praise the creator (of the photograph, sketch, picture or mirror image), to whom will you give more credit?
Do we have standard Deep Neural Net architectures for changing aesthetics of images and videos ? Like making the color feel of the images and videos a little warm or a little cold.
I plan to use the NEO-PI3 to measure Opennes to experience, but I'm not sure if I can only use the scales of this trait while discarding the others, in order to shorten my full questionnaire...
Is it a psychometrically valid use of the tool?
It's important to me to get a round and detailed look of the concept of Openness to experience, including it's aspects, such as aesthetics and ideas. If I can't use the NEO for that, can I use another questionnaire?
What are the main influencing factors for active frontages in high-density cities?
We know that urban design qualities of designing active frontages can be the following:
comfort and convenience,
safety and security,
accessibility and communications etc.
order and unity,
texture and materials,
spatial hierarchy and sequence,
human scale and enclosure etc.
Can we add more features? Please suggest.
Would love to know your views on how do you think patients come to a conclusion of going ahead with an Aesthetic procedure or Cosmetic Surgery.
What drives them?
Parameters of concluding factor on choosing a particular procedure
Influence of opinion of the practitioner (Provider) to the decision
Some models like NIMA evaluate photos aesthetically, but I believe these evaluations are more based on the basics of photography, like photos being focused and so on. I need to analyze more sophisticated photos.
I am not from the field of experimental aesthetics. But my project is partially based on some theories from this field. While I reading the classic literature, I noticed that many well-known researchers in this field (e.g., Reber et al., 2004; Valentine, 2015) all mentioned that the concept of "beauty" is not directly measured, but instead approached by measures of liking, pleasure and preference.
Here comes the question: why the aestheticians and psychologists do not directly ask participants to judge/rate "beautifulness" of a target stimulus?
Your opinions and answers would be highly welcomed and appreciated.
Reber, R., Schwarz, N., & Winkielman, P. (2004). Processing fluency and aesthetic pleasure: Is beauty in the perceiver's processing experience?. Personality and social psychology review, 8(4), 364-382.
Valentine, C. W. (2015). The experimental psychology of beauty.
Measuring and Mapping Urban Beauty
Academic research in ‘Landscape Aesthetics’ (Beauty) appears to dominated by Philosophy of Aesthetics (predominately non-spatial), Landscape Architecture (Site/design specific, or Recreational/Park landscape focussed), Landscape Management/Economics (Rural/Recreational/Infrastructural focussed) and Environmental Psycology.
I’m researching Urban Based, city wide Methodologies in the measuring and mapping of urban beauty.
I’m trying to make a scatter graph with a line of best fit with the y axis as time taken and x as the memory score
Aesthetic teaching, which manifests itself in art and other subjects, increases the curiosity about beauty in nature and in humans. This sense of beauty is reflected in relevant activities and discussions centered on the subject of beauty, especially in art and creative work (Senemogl & Gency, 2001). Art is one of the variables that has been shown to have the greatest effect on beauty in awakening (Schirmacher, 1986). In the present study, the relationship between aesthetic teaching and attitude towards school was investigated. The results showed that the effect of aesthetic education and teaching on school attitude was significant. This finding is consistent with the results of many studies, some of which are mentioned below. The results of the study showed that teaching aesthetics in English language classes using paintings, pictures, stories, elements of popular culture (proverbs, sayings of elders) and its parallel application along with teaching helps to develop vocabulary and learn them better . They acknowledged that the results of this study could be used in English language teaching and learning classes; because teaching based on aesthetics improves the performance of learners. Dyganova & Karkina (2015) in a study aimed at teaching the aesthetics of music, found that the integration of words with music, as a means of teaching based on an individualistic approach, ensures the success of operations and learning. Innovative art courses by combining words in music as a means of teaching student-centered aesthetics will increase the efficiency of the learning process and will also allow higher education institutions to pursue beauty education as an integrated system.
Dear all members,
I am focusing on some developments in Aesthetic large area coatings for applications in fields of solar control, architectural, automotive, and window applications.
In general, the low emissivity coatings will consist of a metal layer (which is used to reduce the near and far IR radiation from Sun). So to do such high precise design coatings people, engineers, researchers use high and sophisticated coating equipment from PVD and CVD.
Apart from the Low emission of IR light, the other requirement is to develop high transmission. It can be possible by incorporating semiconductor Dielectric layers sandwiched between the silver or any metal layers.
To produce such high-end products from industries it has to pass several rigorous tests like wet abrasion, humidity, conductivity, optical and thermal performance, etc.
In these regards can anyone suggest which materials and how the design and devlopments of such products can overcome the problems of silver layer damaging during muffle condition, no proper adhesion of layers, etc.
Kindly guide and help in these issues in developing the large area aesthetic glass coatings.
A male patient came to our observation with the request of a improvement in his jaw-line projection. 6 years ago, he had the installation of 2 mandibular angle hydroxyapatite implants (quadrangular shape, no screw, just scheletrization of the region and implants dropping). During the visit he showed us a CBCT with the perfect ossification of both implants in the lower jaw.
Now the question: which could be the best approach in a possible prevision of a BSSO?
- Implants removal - waiting - then orthognathic surgery
- orthognathic surgery on implants
- nothing, the implants installation it's no compatible with OS
What is Smile Makeover?
Smile makeover, also known as smile design is designed to simultaneously address multiple cosmetic or structural dental imperfections such as gaps, uneven teeth alignment, fractures etc. Also is the process of improving the appearance and health of your of the teeth and gums through a series of dentistry procedures.
An individual can become more optimistic and gain self-confidence with facial aesthetics, based on factors such as an adaptation of lip structure to facial aesthetics, the arrangement of teeth and gums, and whitening.
In this context, the level of lips and gums, the length of teeth, alignment, color of the teeth, and the harmony of the lips and teeth enables a beautiful smile to emerge.
If I want to edit the graphs (aesthetic aspect) what software/website is your suggestion?
My research is looking at the influence of creative design and technical standards on the development of architecture during a period of history. This has relevance to the modern day in terms of a range of frameworks that currently govern us from health and safety to professional ethos.
What is a dialogue? What are its aesthetic and semantic approaches in the drawings of Pablo Picasso?
Aesthetics as an adjective relates to the philosophy of aesthetics, concerned with notions such as the beautiful and the ugly.
I am very interested to hear what you think about the role of an art critic? I am thinking mainly of philosophically based criticism rather than gallery based criticism written to sell artworks. What should art critical writing attempt to achieve? Who do you know of who has achieved this?
I am looking for a framework to evaluate the aesthetic evolution of a scenic landscape through the Objectivist (physical) paradigm.
Edgar Wind( Berlin 1900-London 1971) was a Philosopher and Art Historian part of the Aby Warburg circle, he wrote Pagan Mysteries of the Renaissance ( Norton Books, New York 1958). He was educated at the University of Vienna ( Schloesser, Dvorak) and University of Hamburg, (Cassirer and Panowsky). I recently published the first full biography on him, ' Edgar Wind Filosofo delle Immagini, la biografia intellettuale di un discepolo di Aby Warburg ' pp.374, Mimesis Edizioni, Milano 2019. I am currently still researching and publishing on Edgar Wind trough a a PhD at the University of Kent, UK
My research project draws on scholarship in environmental anthropology and STS that is influenced by developments in speculative realism. Specifically, my PhD investigates aesthetics of agriculture science in everyday lives of agriculture scientists, extension professionals, farmers, and peasant labor involved with apple trees in Western Himalayas. I was motivated by Timothy Morton’s articulation of aesthetics In Hyperobjects. Within Science and Technology Studies (STS) identifying aesthetics can linger somewhere between attention to care within existing and emergent ecological, techno-scientific assemblages and attention to design/discourse. To me, aesthetics capture affective sense of both situated within everyday labor. Aesthetics can represent both - different worlds and scattered, dispersed acts of worlding in them. I feel drawn towards the concept, but I need more clarity.
How would you suggest that I clearly conceptualise methodological attention to workplace aesthetics (which to me would be orchards, nurseries, laboratories, agriculture universities, corporate and department boardrooms, trainings and demonstrations)? What resources should I draw on?
Although the idea of beauty (of and in cities) has always been debated and discussed in the literature, today it seems to remain an incredible vast concept (hardly categorized) on which is difficult to agree upon. When a city or part of it becomes beautiful? What makes it so? I know this topic can sound a bit out of date or inappropriate in this time of global emergency, yet I believe beauty is still one of the greatest hopes for our civil societies.
Do you have any good recommendation of texts dealing directly with this issue?
Architecture is one of the most complexly negotiated and globally recognized cultural practices, both as an academic subject and a professional career. Its production involves all of the technical, aesthetic, political, and economic issues at play within a given society. Because of cut off the educational process in most of the countries affected by the Corona virus, we search to find more educational programs that contribute to the process of maintaining academic architectural communication.
Hi everybody -
I'm interested in getting a current picture of what academic institutions have interest in aesthetics and neuroaesthetics. Where are researchers in this field concentrated? Do you know of a psych or neuro department where student or faculty interest in this research area is increasing? Are there any new programs, courses, or centers out there? Do tell!
My obvious additions to this list:
- Max Planck Inst. for Empirical Aesthetics in Frankfurt, Germany
- New York University (Psych Dept.)
Military and other uniforms carry a significant amount of information about the wearer. Most of this is portrayed in iconic/symbolic form with occasional archaic origin.
This form of non-verbal communication is as old as the mesolithic and clearly involves complex human psychology behind the simple visual aesthetic.
What does this form of communication tell us about society and the individual?
What distinguishes fine art from narrative art? Is this distinction (Bourdieu) important to maintain? For whom? Why? All of these issues in Art History are heating up due to recent shows of van Gogh's painting that cite letters to his mother and sister (primarily) in which he explains why he painted Bedroom in the Yellow House at Arles as one prominent example. van Gogh states the painting was inspired by his reading of George Eliot's Felix Holt the Radical and was vG's attempt to recreate these spartan surroundings of the novel's protagonist Felix Holt, yet to do so in bright colors.
Why have traveling shows often omitted van Gogh's Le Borinage paintings, esp. shows coming to the US? And another mystery, why is the work of Vincent van Gogh with the miners sometimes referred to as an unhappy early period that van Gogh more happily grew out of when he learned to paint better. What subjectivity holds these views and why are they the foregrounded view, at least in English-language studies of van Gogh at this time.
Will rhetorical analysis added to the standard formal approaches to painting aid in gaining a more parallax view of this painter and of art history in general?
Your comments are most welcome.
Jacques Ranciere's theory of Politics of Aesthetics has been used on post-political governance in many countries, is there any critiques on applying this theory to the non-European context where social democratic consensus-building as in post-War Europe has been absent?
That is, not a theology of aesthetics, but on creating beautiful, aesthetic theology. I wish to explore ideas and methods for writing theology as art for a large project.
The musical melody is a structure consisting of a series of two types of entities: tones and pauses. Each tone has two properties: pitch and duration; each pause has one property - duration. According to these properties, they can compare to each other. The result of a comparison can be identity or difference.
Hypothesis: some combination of tones and pauses give us a sense of beauty, others don’t. Let us assume that beauty is proportional to the quantity and variety of the identity relations that the melody structure contains.
Question: how can we determine the quantity and variety of identity relations in a given melody structure if we know that there are:
1. identity relations between individual tones and pauses;
2. identity relations between relations. (example: A and B are different in the same (identical) way as B and C; duration of A is half of the duration of B just like (identically) the duration of C is half of the duration of D; etc.)
3. between groups of tones (and pauses)
And a second question: by which method can we create structures that contain maximum quantity and variety of identity relations?
 About the reasons behind this hypothesis seePreprint
 The structure must be observed throw time. If we play the tones and pauses of a beautiful melody in random time order the beauty will be lost. These types of relations allow us that.
The common view is that it does, but recently this view has been challenged. For example Prum (2013):
"Current concepts of art cannot exclusively circumscribe the human arts from many forms of non-human biotic art. Without assuming an arbitrarily anthropocentric perspective, any concept of art will
need to engage with biodiversity, and either recognize many instances of biotic advertisements as art, or exclude some instances of human art."
I'm working on the aesthetic value associated with smell and the representation of it in literature. So any recommendations for the books or articles to be looked upon?
The aesthetic dimension represents one of the main criteria of architectural design. As an architect, I like to know the rules you usually use and which part of your design you are focusing on. Is it the form, 2D, parts, details, or all?
The modern teacher faces the need to constantly update teaching style and to use more and more IC-tools in teaching process.
Did you face the problem of developing digital learning materials? How difficult is it for you to design an e-resource yourself?
The following is a note that I included in a Sunday column for a news paper:
If you can't draw a picture, then you can't use a spear. That's how things were set in the days of our ancestral hunters, and the logic behind it is deceptively simple. Neanderthals used thrusting spears to bring down tamer prey in Eurasia (says one source), while Homo sapiens, or modern humans, spent hundreds of thousands of years spear-hunting dangerous game on the open grasslands of Africa. Consider this difference in conjunction with comparative drawing skills. "Neanderthals were able to mentally visualise previously seen animals from working memory, but they were unable to translate those mental images effectively into the coordinated hand-movement patterns required for drawing," writes Richard Coss. He has studied the strokes of charcoal drawings and engravings of animals made by human artists 28,000 to 32,000 years ago in the Chauvet-Pont-d'Arc Cave in southern France. The visual imagery used in these cave paintings was certain to modulate arm movements in a manner similar to how hunters visualised the arc their spears must follow in order to hit their targets. Coss added: "There are enormous social implications in this ability to share mental images with group members.
After writing this (with all of the great stuff that Robert Audrey wrote in the back drop), I happened to read a piece written by Lonny Meinecke
and It suddenly dawned upon me that all we know about cave paintings, by way of primitive aesthetics, is wrong. Cave paintings were narcissistic logbooks: "This is the animal that I killed today", or "my friend killed today". It is also educational records for future generations: "This is the animal that you should kill."
I have gone through scores of images of cave paintings. The evidence is there. All the animals painted were big game, and there were paintings on hunters in action. You won't see animals that were not hunted for a living, or a mere scenary. And I couldn't see a single painting that is of any anatomical significance, which is surprising. And that speaks a volume.
P.S. Kindly bear with my typos :)
PLEASE READ MY UPDATE BELOW IN RESPONSE TO NOTES FROM Gerrit Leendert Dusseldorp
Does colouring in and the use of templates kill creativity?
In my opinion creativity needs to be experimented and let loose not confined within lines.
I have just read in Homburg (2015) that independent coders have identified product design dimensions: functional, aesthetic and self-expressive.
Keller (1993) suggests in his article similar dimensions (functional, experiential, self-expressive) of consumer knowledge about the brand.
Do not you think that in this case (1) the advancement of conceptualization of value for consumers is very small (if it exists at all)? (2) the coding results include also the coders' hidden assumptions (the Keller's conceptualization) about the value dimensions? the coders in 2015 code the data generated in 2015 along to categories from 1999?
How to overcome this? What other conceptualizations would be useful to develop the knowledge ? Any sources?
Homburg, C., Schwemmle, M., & Kuehnl, C. (2015). New product design: Concept, measurement, and consequences. Journal of Marketing, 79, 41–56.
Keller K.L. (1993) Conceptualizing, Measuring, and Managing Customer-Based Brand Equity. Journal of Marketing, Vol. 57, No. 1 (Jan., 1993), pp. 1-22
This morning I invented the egg slicer finger harp. See image. It must be round or, if square, all the notes will be the same pitch. My cat was alarmed since he never heard these sounds before. This instrument did not require any reconstruction or retrofitting. You might get a good ensemble together with people playing glass harmonicas and and oatmeal box drums.
SCIENCE: Length of metal string and pitch demonstrate physics properties of wave lengths of sound.
I am curious what other common materials work well as musical instruments. Any experiments that you have tried? Please share them here. We will be happy to know more.
Gloria McMillan (PROJECT: The ART and SCIENCE CONNECTION)
Despite significant progresses in development of energy-efficient buildings (EEBs), energy demand in building sector is still drastically increasing. This paradox is conceptualized in this study as Inefficiency of Increased Building Energy Efficiency. Marketability failure of EEBs and inefficiency in integrated design approach are the main causes of this paradox. Compared to merely focusing on the energy-efficiency enhancement, increasing the number of EEBs with a better marketability via enhancement of their aesthetic features is proposed as a novel approach for energy demand reduction in the building sector. This article aims to first investigate the current stage of EEBs’ adoption and the associated market barriers, and then to propose a multidisciplinary design approach to scrutinize the role of aesthetic features on buildings’ marketability for development of effective policies. Conducted comprehensive survey among real-estate agencies across 26 UK cities reveals a negative correlation between the energy-efficiency and housing marketability. Moreover, house price and aesthetic features are understood as the most dominant parameters that impact individuals' buying decision. Any extra initial cost of EEBs over 3% is likely to face market resistance. Furthermore, strong empirical evidences have been found to confirm that the proposed approach has a substantial potential to increase the EEBs’ number. Full text can be accessed until 20 March 2019 via: https://authors.elsevier.com/c/1YU0v14YGgXiGz
How do you believe national culture affects internet use?
If we remove access to technology as limitation, can you identify some patterns in user preferences based on values, aesthetics and beliefs?
What are the expectations for acceptable/likeable website content in your own national culture? (i.e. layout, structure, colors, photos, text, etc.)
Most of the aesthetic values are either measured in protected area system or some waht to similiar setting. Most researchers have used revelaed price especially concerning with tourism. Some places do not possess tourist attraction and if such place has to estimate esthetic value, is there practical way to measure on it?
Many persons are born with nice face or body image...but they are unsatisfied about themselves, so they trying to be look like movie stars, singers, sport famous players or other celebrities....by doing Botox, dermal filling, golden threads, rhinoplasty....in order to reach that image....as we know these procedures cost too much money, so does it deserve to be done??
Merely focusing on the energy-efficiency enhancement of buildings is not enough to reduce building sector's increasing energy demand. This paradox is conceptualised as The paradox of Inefficiency of Increased Building Energy Efficiency. Compared to merely focusing on the energy-efficiency enhancement, increasing the number of energy-efficient buildings (EEBs) with a better marketability via enhancement of their aesthetic features is proposed as a novel approach (aesthetics, energy efficiency, and marketing oriented) to reduce building sector's energy demand and contribute the efforts to minimise the hazards of global warming in the article;
"Aydin, Yusuf Cihat, Parham A. Mirzaei, and Sanam Akhavannasab. "On the relationship between building energy efficiency, aesthetic features and marketability: Toward a novel policy for energy demand reduction." Energy Policy 128 (2019): 593-606" , Full text can be accessed until 20 March 2019 via: https://authors.elsevier.com/c/1YU0v14YGgXiGz.
This article contains valuable information about; (1) the current stage of EEBs’ adoption, (2) market barriers of EEBs, (3) the role of aesthetic features on buildings’ marketability for development of effective policies, (4) housing buyers' decision making process when they are buying a house, (5) the potential role of visual aesthetic on buildings’ marketability, (6) the applicability of aesthetic enhancement of EEBs in practice, (7) building components that simultaneously affecting the buildings aesthetic, energy efficiency and marketability, (8) the most important building parameters in consumer decision-making process when they are buying a house, (9) the monetary added value of different building parameters, and (10) impact of window's parameters on market demand of residential buildings.
In this study, several pre-studies and a comprehensive email survey was conducted on residential sales employees from real-estate agencies (n = 289) across 26 UK cities.
I would pleased to discuss with my colleagues about this proposed novel paradox and approach, and hear their thoughts about the necessity of new approaches for reducing building sector's energy demand and contribute reaching the goals of Paris agreement.
As we know the best time of Botox effect with its different types that used for aesthetic purposes not exceeded more than one year....so the question is ....How can we increase that period to be for example 5 or 10 years or even permanent effect?
Hi, I´m looking for a face database for my research on the link between aesthetic and moral evaluations. Therefore, it would be very usefull to find a face database that includes aesthetics ratings (e.g., pretty/neutral/ugly faces).
Ages have changed in 2,000 year Ecliptic cycles, since the dawn of MAN. We are impacted by external pressures, forcing us to CHANGE our world view and our thinking without the proper grounding that allows us to balance our own internal or SPIRITUAL dynamic. The external world and all we need to transform, including our mindset, can align with the new aesthetic that comes with change. How is this phenomenon affecting your disciplines? Is it disruptive and exciting with new possibilities or business as usual? Happy New Year (and joyful sailing to the brave souls whose boat rises with this New Paradigm Tide)
In Greece, many islands and mountains are being developed as industrial mega-wind farms. This creates conflicts, especially when the projects are sited in protected areas and areas of outstanding aesthetic value or tourism interests. So I am interested in how to track this in Greece. Please can anyone help?
In many countries, there are no legal regulations regarding aesthetic procedures. An issue regarding the status of the person who is undergoing surgery, whether it is a patient or a client, needs to be established. In addition, it is important to examine the legality of interference in the human body for the reasons of improving the subjective aesthetic appearance.
Don Quixote has alethic and aesthetic poles but does it not have more than that?
Do great novels, plays, paintings, sculptures need other qualities to impress?
I think that the approach of your project is groundbreaking. I am working on the crossroads between Aesthetics and Epistemology. I have started my PhD on Picasso and knowledge generation within his creative process, and I would like to know a bit more about how logics function in the framework of your project and about how you integrate logical procedures with the research on artworks.
Thank you in advance.