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Aesthetics - Science topic

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"Many elements have been identified within the educational system, among which attention to their aesthetics can enhance learners' enjoyment of learning and place them in a satisfying educational situation. These factors include:
  1. Aesthetics in the teacher's teaching methods: This means that the teacher's instructional approaches should be accompanied by enthusiasm, curiosity, and engagement.
  2. Aesthetics in educational content: This refers to the educational content being characterized by inquiry, innovation, and novelty, as well as having physical beauty, color, and attractive design.
  3. Aesthetics of the learning environment: This means that learners should feel good about being in the classroom and educational space, receiving a sense of calm, respect, and value."
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Teaching is the art of inspiring, sharing knowledge, and fostering creativity. It relates to various disciplines, from psychology to linguistics and cultural studies. Aesthetics, as the expression of beauty and harmony, maintains its bright presence in different areas of life, including educational environments. In addition to the mentioned aspects, I would like to add a few more points to present the importance of aesthetics in classroom settings:
1.
The Aesthetics of Mentoring: A teacher should engage in indirect mentoring, enhancing students' self-awareness and helping them better understand their main purpose and direction in life.
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The Aesthetics of Independent Learning: As John Dewey suggested, students should be able to continue their studies independently outside of class, learning to find information on their own in addition to what teachers provide.
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The Aesthetics of Risk-Taking: A teacher should foster a safe, supportive, and collaborative classroom atmosphere to motivate students to take educational risks. This includes making mistakes, expressing views that differ from the majority, taking active roles in group discussions, and, in cases of failure, not feeling disheartened or diminished.
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The Aesthetics of a Value System: A teacher should help develop students' value systems, which consist of moral principles, psychological strength, determination, educational engagement, and intellectual curiosity.
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The Aesthetics of Perceiving Beauty: Students should be taught the ability to appreciate beauty—both spiritual and material, internal and external. As Oscar Wilde said, "Beauty is the wonder of wonders." They must be competent in the language of aesthetics to connect with the true essence of things, ideas, and the infinite mystery of the universe.
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Dear Colleagues,
Pierre Bourdieu published his text Distinction in 1979. What is your view of this way of assessing culture and culture's self-replication via class?
Please share your thoughts here. All comments are welcome.
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I have only just dipped into Bourdieu and was not impressed. He struck me as dogmatic, and given to hasty, superficial judgements.
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Billboards are huge signage along highways and expressways/roads.
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Billboards may have aesthetics qualities, and may be distracting because of these and/or other qualities. But their primary purposes are to provide information and/or advertise products. Arguably, achieving the primary purposes may require a degree of distraction, in which case the degree must be such that road safety is not compromised.
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I am introducing a workshop/symposium that will take place at the University of Milano-Bicocca, Italy, at the 23rd Scientific Conference of the Society for Gestalt Theory and its Applications, September 25-27 (link: https://www.gtaconference2024.com/). Confirmed speakers are: Liliana Albertazzi, Thiago Costa, Stefano Mastandrea, Alessandro Soranzo and Ian Verstegen. Below is the abstract of the conference.
What is needed for a proper ’science of art’?
In his book L’Osteria dei dadi truccati (Loaded Dice Tavern), Massironi (2000) claims that all psychologist interested in art tend to study it from the theoretical perspective that characterizes their work and beliefs. This, of course, is quite normal. The question, however, is whether such a pulverised approach is fruitful in addressing the complexity of Art as a phenomenon.
From another perspective, Zeki, the father of neuroaesthetics, attempted to address relevant questions, such as the very nature of art and why it is so significant to us. According to Zeki, the only way to properly address those important issues is through a neuroscientific approach. However, considering what we know and still don’t know about how the brain processes art, are we sure to be on the path to find the answers we are seeking?
There is of course a third path, experimental aesthetics, the goal of which is to study the aesthetic experience. The question one might want to ask is whether all aesthetic experiences are related to art, or even whether the enjoyment of an artwork is always reducible to an aesthetic experience (could there be more than mere preferences and the appraisal of beauty, harmony, etc.?). Finally, would it make sense to combine all possible approaches? Would this allow to achieve a proper science of art? Is this even feasible from an epistemological perspective?
The goal of this workshop is to shine a little light upon these topics and to prepare the basis for future meetings, the topics of which would revolve around the feasibility of a science of art and, eventually, its goals, perspectives and methods.
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I'm sorry this thread has ground to a halt. It's an interesting subject.
Let me try another line of thought about it. The standard view in the discipline of aesthetics (aka philosophy of art) for a long time has been that a key element of the psychology of our response to art is that it includes a special kind of pleasure – so-called “aesthetic” pleasure.
Do we agree with this proposition?– i.e. that we respond to all art we like with pleasure? I don’t agree and never have. There are lots of works I admire that don’t generate what I would call pleasure. Take Goya’s Disparates etchings or his “black paintings”. Many people think, as I do, that these are powerful works of art but in my view, it makes no sense simply to call our response “pleasure” as aesthetics requires us to do. I’m happy enough to use that word with (e.g.) Fragonard’s The Swing, but that work belongs in a different world from the Goyas in question. There are lots of other similar examples.
Aesthetics has dodged this issue for a long time. It may have made sense in the 18thC context in which aesthetics was born. But art has changed enormously since then, and now it just seems misleading and absurd.
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Kirk Aanes must have been kind for Mulan (his ex) to speak well of him. "Just learned of the passing of Kirk Aanes. My condolences to his famiy and loved ones. He was a good soul. RIP, dear one"( https://twitter.com/MingNa/status/431264318701584384?s=19 ).
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Some wanted to reproduce but, never were able.
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All good derives from bad. Disincentives are everything. Deduction is more rigorous than induction.
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L.D. Edmonds Indeed. I regard that as an implicit feature since the comparatives (more, less) can apply adverbially to the adjectives "good" and "bad".
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Physics vs philosophy.
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Every day we see similarities. For example, the rainbow caused by refraction of light, diffraction patterns off a compact disc, the patterns when viewed in a kaleidoscope, the blue hue of the sky and bodies of water, etc. This is only a small list.
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This is the title of a workshop/symposijm that will take place at the University of Milano-Bicocca, Italy, at the 23rd Scientific Conference of the Society for Gestalt Theory and its Applications, September 25-27 (link: https://www.gtaconference2024.com/). Confirmed speakers are: Liliana Albertazzi, Thiago Costa, Stefano Mastandrea, Alessandro Soranzo and Ian Verstegen. Below is the abstract of the conference.
What is needed for a proper ’science of art’?
In his book L’Osteria dei dadi truccati (Loaded Dice Tavern), Massironi (2000) claims that all psychologist interested in art tend to study it from the theoretical perspective that characterizes their work and beliefs. This, of course, is quite normal. The question, however, is whether such a pulverised approach is fruitful in addressing the complexity of Art as a phenomenon.
From another perspective, Zeki, the father of neuroaesthetics, attempted to address relevant questions, such as the very nature of art and why it is so significant to us. According to Zeki, the only way to properly address those important issues is through a neuroscientific approach. However, considering what we know and still don’t know about how the brain processes art, are we sure to be on the path to find the answers we are seeking?
There is of course a third path, experimental aesthetics, the goal of which is to study the aesthetic experience. The question one might want to ask is whether all aesthetic experiences are related to art, or even whether the enjoyment of an artwork is always reducible to an aesthetic experience (could there be more than mere preferences and the appraisal of beauty, harmony, etc.?). Finally, would it make sense to combine all possible approaches? Would this allow to achieve a proper science of art? Is this even feasible from an epistemological perspective?
The goal of this workshop is to shine a little light upon these topics and to prepare the basis for future meetings, the topics of which would revolve around the feasibility of a science of art and, eventually, its goals, perspectives and methods.
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Where di 'Fathers' come from?
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i need a journal that takes maximum 2 months to publish . Q1 or Q2
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These journals indicate two months between their submission deadline and publication target. They also have no publication or processing charges.
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"Could the ongoing advancements in endoscopic rhinoplasty techniques mark a transformative milestone in nasal reconstruction, offering unprecedented precision and minimal invasiveness? How might these innovations redefine traditional approaches, not only in achieving superior functional outcomes and aesthetic finesse but also in mitigating post-operative complications and expediting patient recovery?"
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Certainly
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Observe how even today linguistic empiricism via direct denotative reference and sense, via linguistic-analytic philosophies, reigns supreme in philosophy. It is superfluous here to cite how Frege, Russell, Wittgenstein, the Vienna Circle, etc. have used the merely directly denotative sense to define sense, reference, proposition, truth value, and so forth.
The natural but extreme consequence from the Frege-Wittgenstein tendency is linguistic idealism, whereby somehow language and – for them consequently – even logic and mathematics (!) are made not only to define but also to determine the world. Berkeley would have done it better!
Justifiably enough from the necessary nature of derivation of linguistic idealism from direct linguistic and logical denotation, Richard Gaskin, a philosopher of language, aesthetics, and literature, has come upon this conclusion – presumably determined also by the necessity to bring aesthetic and literary worlds under the aegis of linguistic use and produce a language philosophy of aesthetic and literary experience.
But this motive would not suffice to posit linguistic idealism as a philosophical solution.
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We used to have some project that discussed these interesting topics. I hope some of you will start this discussion going from your own perspective. How does art connect with science? My husband works in science and I am definitely one of those "mind wanderers" who get so easily distracted because in art we think associatively.
I almost daily have to think why I don't mind how my mind works. What are your thoughts in these two very different styles of cognitive activity?
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Dear Gloria,
It's ssso interesting! But nowadays a lot of emails are invalid or 404. It will be amazing if you can share the interesting discussion here on RG. Or maybe unusual thoughts on the theme.
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This statement is underdefined for me for a number of reasons: (i) what types and complexity of work is considered, (ii) what does rigor mean in this specific context, (iii) how to interpret the adverb 'eventually' here, and (iv) who is supposed to reach understanding, what level of it, and based on what body of knowledge.
KInd regards,
I.H.
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1)I am starting to instinctively disdain packaged food both because it's heuristically very processed and tacky.
2)Thus, my favorite food is either home cooked or from the grocery store.
3)With the processed food comes cancer. With the tacky comes horrible aesthetics.
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Nowadays even a lot of fresh food or produce is packaged. The problem there is not with the food but the packaging, which largely consists of plastics.
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How are ethics usually derived, regardless of their effectiveness on survival? Why? How? Metaphysics(because that reflects the afterlife and our eternalness of consciousness), then epistemology(because philosophy of knowledge informs the consequences of acts), then aesthetics(because emotions and perceptions of beauty dictate how one will execute acts), and finally ethics. As far as what DOES lead to survival, those are tradition(what has worked for ancestors to reproduce into the current practicers), risk analysis(because all acts are executed on incomplete knowledge, thus risks have to be analyzed for survival), then finally skin in the game(because paying a price for being wrong is most effective on the individual level of survival, even though individual acts almost inevitably affect others).
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Ethical systems are derived… from everywhere. And from anything really. And then there is selection pressures once derived and applied. Survival of the fittest applies to ethics as much as everything else. Typically however, ethical systems are derived from religious foundation. Even if they are now attached to them. “I stand on the shoulders of giants” as Referring to science, also applies to modern ethical behaviour/theory being derived from religious systems of the past.
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How does artificial intelligence answering aesthetic questions result in automated emotions? My answer: maybe artificial intelligence will plausibly obtain emotions through learning aesthetics.
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Dear Alexander Ohnemus , good question but very difficult to answer. One needs to understand the nature of consciousness, artificial or not. One area to start is to get acquainted with the philosophy of mind and the relationship with AI in regard to aesthetics and emotions. In short : your answer needs clarification on why, otherwise it is impossible to even considering in answering your question. KR Rob
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Dear Researchers,
I became the head of the Institute for Management Research at Collegium Civitas, a private University in Warsaw, Poland. I focus this Institute on Humanistic Management and Management Aesthetics - the fields that are not much explored in the scientific discourse yet.
Because I want to do this job properly and adequately to the potential of these fields, I am looking for Associate Researchers who want to work together with us (me and my full-time team of 12 researchers) on scientific projects and publications.
If you are interested, please write to me here via ResearchGate or email at michal.szostak@civitas.edu.pl
Kind Regards
Michał Szostak
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At this point, we started a research project on KITSCH IN MANAGEMENT (from the aesthetic point of view, the non-aesthetic, and the managerial). I have already 20 researchers involved. The project will finish with a monograph at Routledge.
If you are interested in joining, please write me your email address, I will send you project details and we can make a video call to discuss your input.
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The term ‘aesthetics’ derives from the ancient Greek word aisthesis, which is translated as ‘perception’ or ‘sensation’. But what does aesthetics mean today? And what is the difference between aesthetics and philosophy of art?
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In philosophy, art and cultural history, it is often postulated that the 'unity of the artwork' lies in its 'essence'. Sometimes traditional concepts of aesthetics still run the risk of basing their problematic working hypotheses regarding the ontological or ontologising concept of art or work on correspondence-theoretical, materialistic or mimetic premises.
A programmatic change of perspective in the art-related sciences, according to the basic assumption, is triggered by a constructivist-systemic observation and description standpoint, which, however, has not yet been strongly anticipated. Modelling art in this way makes it clear that high demands must be placed on the work of art because it is oriented towards both perception (consciousness) and communication (social system).
The provocation lies in the fact that there is no art that exists outside of society, outside of a viewer. Social conditions therefore not only influence the artwork in its form and semantics, but artworks simply do not exist without them. It is always a viewer who makes and characterises distinctions in a work of art. A look at art history teaches us that not only the concept of art itself is a subject to change and that every society speaks differently about art, but that the objects and genres of the art experience have also changed considerably over time.
Finally, modelling art as a social system enables us to conceptualise perception and communication as two central categories of art. Within the social system, we can view art on the one hand as a symbolically generalised medium of communication. As such, it stands in a field of tension between all its elements and is determined by them. On the other hand, art is a medium of perception that must be (perceptually) imagined by a psychological system.
Seen in this light, the digital, knowledge-based network society with its diverse transformations gives rise to numerous new, innovative, alternative perspectives on art and aesthetics.
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Is it possible to describe the foundations of aesthetic criticism of plastic works of art?
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This would be a lengthy formal discussion. I would like to leave you with a formal analysis of the work from the Brazilian painter Iberê Camargo, given in English by the leading German scholar and critic Robert Kudielka, who was also my professor of Art Theory when I was a student at the University of Art - Berlin, in the early 1980´s. I hope you like it.
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Does the use of colorization techniques in old movies increase or decrease their aesthetic value?
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الالوان بالذكاء الصناعي تفقد الصوره عفويتها والمشاهد بالأبيض َالاسود تحافظ على سياقها الحقيقي في تلك الفتره والمشاهد معبره أكثر
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Literature ideas on:
- Lyrical advocacy
- Aesthetics and performance
- Historical differences
- Legacy
All ideas/suggestions/contributions are welcome.
Thanks.
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Well, you didn't mention this in your question. But now that this is clarified, my next question relates to representative selections. Are there really that many who have made this relocation? And you do not limit the diaspora selection to Ghanian diaspora artists, which i think you should, as africa is a huge continent. How will you ensure that you have a representative selection? Is there some sort of popularity index that sorts artists by sales or revenue that you could use to limit your diaspora selection. It would also be nice if this index has a ghanian equivalent. Next you need a methodology to study the artistic expression itself. You can use live concerts, or you can simply look at musical elements. Some of these may have changed because of availbility (no dancers/mucians in the same african tradition, and others may have changed for finacial reasons.) And then there is the artistic choice/preference of the artist, which you can only acertain by asking or checking interviews. These are my two cents worth. good luck.
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How to measure the urban aesthetics value ?
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Thank you for sharing.
Best regards
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I am looking for researchers dealing with Management Aesthetics, Art Management, or Management Art. Fields of interest: publications and projects.
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Michał Szostak , you might find some of the work on my research pages of interest. I have a published theory of the art of management which informs my latest thinking/writing, particularly in the the context of an art of enterprising work. Happy to discuss opportunities in this field.
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How the aesthetic experience in digital painting through art criticism will influence the creative skills of visual art students?
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The aesthetic experience in digital painting can have a significant impact on the creative abilities of visual arts students through art criticism. By engaging with professional art critics who are both globally open and well-versed in new media, students can expand their own artistic expression and improve their skills.
The art critics can provide students with valuable feedback and suggestions that encourage them to push their boundaries and try new techniques in digital painting. Their tolerance and enthusiasm for experimental creation can encourage students to explore new avenues and develop innovative approaches.
Through the art critics' open and savvy approach, students are given the opportunity to develop their artistic skills and find their own creative voice. Art critics can help guide students to better understand their work and deepen their understanding of the aesthetic aspects of digital painting.
Overall, art criticism in digital painting can help influence the creative abilities of visual arts students by providing them with new perspectives and inspiration, and encouraging them to go beyond their own limitations.
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*Contemporary art
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Yes, dear Dr. Bouameur Assala Belsem Yes, contemporary art still has a special aesthetic... that whatever medium the artist uses, the artwork must carry its aesthetic value. Experimentation and connection with contemporary currents does not mean presenting art devoid of values. Every attempt to strip art of its aesthetic dimension is doomed to oblivion. And the force of the struggle that is taking place now in the heart of formation in attempts to replace and permanently replace it will inevitably lead, after passing through its due temporal maturity, to liquidate the false, so that the value remains preserved by the conscious memory of art. All the artist has to do is to intensify his relationship with the audience more and more, deriving the advantages of contemporary art in communicating aesthetic concepts in more than one form, and the audience must also benefit from the plastic artist in helping to understand art and its sublime values.
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Greetings of peace!
My study is about the effect of servicescape on the quality perception and behavioral intentions
independent Variable-Under servicescape there are 4 indicators
Layout Accessibility - 10 items
Ambience condition- 3 items
Facility Aesthetics - 6 items
Facility cleanliness -4 items
Quality perception serve as mediator with 3 items
Dependent Variable-Behavioral intentions - 4 items
All were measured using Likert Scale (N = 400)
I tried Ordinal Regression Analysis but I don't know how to combine the items and the independent is ordinal. And the value of Pearson is <0.001 and the Deviance is 1.000.
I need to get the effect of individual indicators in servicescape on the quality perception and behavioral intentions.
Thank you in advance
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There are a few options with ordinal outcomes but also treating the predictors (IV) as ordinal is trickier. As David L Morgan noted you can do this with some SEM software. You could also use ordinal logistic regression treating the predictors as continuous, dummy coding them or treating them as monotonic (the latter only available in the R brms package as far as I'm aware https://cran.r-project.org/web/packages/brms/vignettes/brms_monotonic.html ).
Its worth noting that these are all parametric models - its just that they don't assume a normal distribution of residuals in the model.
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The aesthetic experience of digital painting can have a significant impact on visual art students' creative abilities when analyzed through art criticism.
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I think that art criticism directs creativity and refines it through a set of aesthetic criteria that it extracts from analyzing and criticizing various digital artworks.
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do you know any instrument or questionnaire?
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Author: K. F. Stein, Colleen Corte, K. B. Colling, A. Whall
Publish Year: 1998
A theoretical analysis of Carper's ways of knowing using a model o…
📷
Check this out.
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Dear colleague,
I’m pleased to announce the 1st Regenerative Plastic Surgery International Conference to be held in Rome on December 1-2, 2023, in cooperation with the 3rd AIRMESS Conference. The location will be the beautiful Piazza di Spagna at the Congress Center sited in Via Alibert 5 at the corner of Via Margutta, one of the most famous and artistic streets of Rome.
The congress is dedicated to Plastic, Aesthetic, and Reconstructive Surgeons, Regenerative Plastic Surgeons, Experts in Regenerative Medicine, Dermatologists, and Aesthetic Physicians.
This international conference aims to compare the results obtained from regenerative plastic surgery with those obtained by reconstructive and aesthetic plastic surgery in several fields as breast augmentation and reconstruction, face rejuvenation, hair re-growth, nose contouring, and many others.
The scientific committee is composed of international and famous speakers in these fields.
I dedicated my life to improving the scientific and clinical outcomes of regenerative plastic surgery and, for this reason, I would like to see in this meeting which is the current state of the art of both plastic reconstructive aesthetic surgery and regenerative plastic surgery.
I invite you to enjoy this unique event in the historic center of Rome.
At the same time, I would like to ask you if it is possible to think of a future based only on autologous and/or allogeneic cells/tissue transplants for damaged organs and tissues. What is your opinion?
Best
Prof. Pietro Gentile
Conference President
The website where it is possible to perform the registration is: www.regenerativeplasticsurgery.com
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Thanks for your invitation, I
will try to be there .
As regard to your question I am interested in this feild and hoping to see advance .
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I would like to have some recent (since 2018) academic sources that illustrate the theory of Aesthetics and how different societies have different perceptions of it. I am looking for Eastern and Western thoughts on it.
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Askar Mambetaliev shows, that issue is more complicated:)
the answer should distinguish among what had been left of Western Roman Empire, Byzantium and the Far East /India, China/, as well as between the Middle Ages and the present. For example, individualism is a matter of the 19th and 20th centuries and seems to be wide spread.
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I am looking for the sociological reasons behind the new wine architecture. Like the aesthetics and grandiosity of the consuming spaces in wine.
Thank you.
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The sociological explanation behind the transformation of modern wine architecture is multifaceted. Firstly, modern wine architecture has become increasingly popular around the world due to a growing interest among consumers in the story and production process behind the products they consume. Wine enthusiasts want to better understand the wine production process in order to appreciate the quality of the wine they are drinking. Modern wine architecture has become a tool for allowing consumers to get more involved in the wine production process.
Secondly, modern wine architecture has emerged in response to the growth of wine tourism. Many wine regions offer the opportunity for visitors to tour wine production facilities. Visitors can observe the wine production process up close, taste the wine, and learn more about wine.
Finally, modern wine architecture enables wine producers to differentiate themselves from other producers and strengthen their brands. A sleek and modern wine production facility can create a positive impression on customers about the wine producer.
All of these factors contribute to the sociological explanation behind the transformation of modern wine architecture.
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Emotional logic and aesthetics have underlying values that force taste judgements and preferences. It is true that every culture has its own aesthetics. Nevertheless, there are also differences in the cultures that are based on underlying emotions.
Between the pillars of openness and control and adventure move the emotion systems: stimulus, dominance and balance.
Which artworks would fit best into which pillars and emotion systems and what values lie behind them?
One question that comes to mind is this: How do momentary moods (also emotions) change the allocation? Does this have a serious effect? Will the selection then be made via the value usually behind it or the temporary emotion?
Does anyone have any ideas about this?
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Emotionale Logik und Ästhetik hat dahinterliegende Werte die Geschmacksurteile und Vorlieben forcieren. Zwar hat auch jede Kultur ihre eigene Ästhetik. Dennoch auch in den Kulturen gibt es Unterschiede die auf dahinterliegenden Emotionen beruhen.
Zwischen den Pfeilern Offenheit und Kontrolle und Abenteuer bewegen sich die Emotionssysteme: Stimulanz, Dominanz und Balance.
Welche Kunstwerke würden am besten in welche Pfeiler und Emotionssysteme passen und welche Werte liegen dahinter?
Eine Frage die ich mir aufdrängt ist jene: Wie verändern momentane Stimmungen (auch Emotionen) die Zuordnung? Wirkt sich das gravierend aus? Wird dann die Auswahl über den üblicherweise dahinterstehenden Wert erfolgen oder der temporären Emotion?
Irgendjemand eine Idee dazu?
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Of course, I don't know the answer but I can give you an idea of how to get it. For the last 12 years, I'm studying a BIS/BAS affect from EEG signals. Our EEG study can give you an exact answer to how people from different cultures react to the same stimulus (a piece of art, film, music, etc.) in a two-dimensional indicator - BIS/BAS (valance) and arousal. In this way, you can receive very detailed statistics of differences by sex, age, nationality, education, or whatever differentiator you like to use to the same stimuli.
You can also try to make it more complicated by checking the mood people are in once you show them the stimuli and ask them to appraise it.
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Architecture design is a series of actions made to identify and formulate a solution to a particular problem using ideas, signs, symbols, images, blueprints, and other illustrative tools.
The goal of architectural design is to create things that are aesthetically pleasing, intellectually stimulating, and useful for people. As a result, the design must be as large as feasible to accommodate the limitations of the designer's human mind and to create order instead of chaos.
Architecture design: The issue has a number of dimensions. Rarely do we create something with a single, clear objective in mind. The designer considers the design's ability to carry out a necessary purpose, to have a beautiful shape, to have an acceptable cost, and to be produced with materials that are readily available while also considering its longevity and upkeep.
The aim of architectural design education is:
• Improve your capacity for organizing and relating details and forms in your environment.
• Increasing one's capacity for problem-solving practice and dealing with available options.
• Gaining decision-making skills, such as choosing the kinds of materials to use colors, textures, structural systems, etc.
• Gaining decision-making skills, such as choosing the kinds of materials to use colors, textures, structural systems, etc.
• Improving one's capacity for power observation.
Design steps:
Site analysis and site inventory
3. Creating the project schedule
4. Putting together the suggested development program
5. Creative conceptual work
6. Creation of designs
7. Completed style
We add three additional parts to these to put the design into practice, namely:
1. The period of gathering data regarding the materials utilized in the project 2. The phase of implementation (construction).
3. Post-occupancy assessment
Design phase
It must be remembered that every design has five components: a. function; b. structure; c. meaning. Meaning
Aesthetics
In regard to finances
and the Feeling
We frequently discover a significant connection between emotion and the message.
The latter components also elevate the structure to the level of architecture.
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When I see those definitions I think of the character, Howard Roarke, in Ayn Rand's Fountainhead, battling the forces of conventional architecture. Low cost solutions to housing shortages are possible, but vested interests and politics always get in the way.
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Is Nanoart collective or individual art?
Congratulations, Dear Friends. We are conducting research in which we reflect on the authorship of scientific art, namely, the Nanoart genre. Nanoart is the presentation of microscopic images as a cultural and artistic product. Microscope images are usually black and white. They are often coloured to give the image more aesthetic. In our research, we aim to answer the question: Is Nanoart collective or individual art? Who is the author of such a picture: a nanotechnologist (who created the nanostructure) or an artist (who painted it)? The opinions of experts, participants, and just viewers are important to us.
https://docs.google.com/forms/d/e/1FAIpQLSczmLjfYtcaswrn1jUzaG-LtuXC5nCUoISejdQzlB59jw-6dw/viewform?vc=0&c=0&w=1&flr=0 Devote some time on our research. The survey is anonymous and open. We will also appreciate if you will be able to share this survey with your colleagues and friends
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Dear Yana, your question is related to an important fundamental discussion in contemporary art philosophy, art theory and aesthetics.
In the structural upheaval towards a digital, knowledge-based network society, social cohesion and social participation are more than ever being developed through artistic identifications, everyday aesthetic performances and expressive stylizations (cyber identities, virtual life designs, digital alter egos, etc.). Algorithmic matchings and self-learning artificial intelligences and are exponentially gaining in importance and influence in high, high ridge, and elite cultures as well as in mass, pop, and lifestyle cultures. The use of algorithms, Deep Learning, Artificial Intelligence, and now Nano structures requires trust from people in collecting, sharing, gathering, and interpreting data. The widespread notion that the use of AI-powered tools and nano microscopic processes merely facilitates the analysis of large amounts of data, Big Data, without in turn entailing determinations, is simply proving to be false. It is feared that large tech companies, using smart programming techniques and their exorbitant computing capacities, will be able to create complex virtual worlds without humans being able to decide whether they are simulations or not.
In the preceding process of social transformation, formerly supposed and/ or actual demarcations are apparently becoming invalid. The spectacular applications of artificial intelligence in the field of music and art, literature and aesthetics, culture and media, as they can be observed in recent years, open up the space for a new aesthetics: an artificial intelligence aesthetics with far-reaching consequences for the arts, life worlds and everyday practices. In analogy to how advances in computed tomography led to the establishment of Neuroaesthetics two decades ago, we assume that, as a result of Deep Learning, there will be the formation of an AI aesthetics and Nanoaesthetics with its own research questions. The primary goal of the interdisciplinary research is to provide evidence, through an interdisciplinary investigation, that an independent AI-aesthetic and Nano-based phenomena sector with specific aesthetic problems is contouring itself. Insofar as artificial intelligence or developments in the area of nanoparticles will permanently define and modify both arts and life practices, AI-aesthetics and Neuaesthetics see itself as a scientific discipline that systematically researches these changes, but also the change potentials and options associated with the technology.
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Dear Coleagues. I'm in the process of writing a conceptual paper about how luxury brand-artist cooperations change aesthetic routines of stakeholders and what is the output of such changes. Here is one on the topics: limited explanation of the cooperation content promotes ignorancy.
The art-event makers: "the emblemating Kusama's polka dots". Consumers: "Awful", "designer went to kindergarten art class that day ..he came back happily with this bag". This is how the explanations of the art-project makers reduced to the signs provoke ignorant consumer valuations and turn Yayoi Kusama's art into decoration. And then scholars analyze the consumers' valuations as data in their studies. When you know "Narcissus Garden" you understand the diffenece between the sign (the dots) and the problem (anti-Narcisism) in Kusama's art. https://www.facebook.com/LouisVuitton/photos/a.341470190124/10167192333530125 Do you think that Social Practice Theory (E. Shove) is right to use in the conceptual paper about this? Any other methodological ideas? #luxury #brand #artist #art
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What would you say to such a title and abstract?
What is real artification in artification strategy? Luxury brand-artist projects from a purpose perspective.
Abstract
This study aims to provide new insights into luxury brand-artist projects from a purpose perspective. Based on the case of Louis Vuitton-Yaoyi Kusama project 2023, the paper demonstrates the application of a purpose perspective-related methodology for studying luxury brand-artist projects. To this end, the luxury brand-artist project provides assets for aesthetic transformation rather than value-free experiences or de-commoditization as the artification perspective suggests. The case findings show that the luxury brand-artist project intended transformation of aesthetic practices can result in decorating products. The conceptual and analytical frameworks suggested in the study provide new insights into luxury branding aesthetic-related initiatives.
Key words: purpose, practice, luxury brand, aesthetic values, aesthetic-related narratives, artification
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Trying to mitigate early-age fractures in concrete buildings is crucial for ensuring adequate durability, minimising potential strength loss, and lowering maintenance costs. Because these cracks challenge the residential comfort and the aesthetic appearances of buildings.
So, what are the alternative measures adapted to mitigate arly-age cracks in the construction industry?
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ACI report ACI 231 Report on Early-Age Cracking: Causes, Measurement, and Mitigation is available from ACI web site. Key causes include autogenous shrinkage, drying shrinkage, and subsidence cracking, in addition to any poor design and construction issues. Proper curing is critical to avoiding early age cracking. Mitigation strategies include internal curing (lightweight aggregates or superabsorbent polymers), shrinkage-reducing admixtures, and coarser cements (see the work/advocacy of Richard Burrows in the US).
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Is Nanoart collective or individual art?
Congratulations, Dear Friends. We are conducting research in which we reflect on the authorship of scientific art, namely, the Nanoart genre. Nanoart is the presentation of microscopic images as a cultural and artistic product. Microscope images are usually black and white. They are often coloured to give the image more aesthetic. In our research, we aim to answer the question: Is Nanoart collective or individual art? Who is the author of such a picture: a nanotechnologist (who created the nanostructure) or an artist (who painted it)? The opinions of experts, participants, and just viewers are important to us.
Devote some time on our research. The survey is anonymous and open. We will also appreciate if you will be able to share this survey with your colleagues and friends
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En mi opinión el nano arte es el arte de la naturaleza, es igual al arte de la fotografía, por lo tanto es individual. Pertenece a quien tome la fotografía.
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In the field of educational activities that deal with the intellectual beauty of the mind and inner values ​​and truths, they have been far from accepting the philosophy of aesthetics. By changing the current attitude towards art and aesthetics as a scientific way of thinking and cultivating imagination and moral development, it is possible to examine how this point of view can be used in educational activities. Because the knowledge and understanding of aesthetics beyond experience and sense and familiarity with the spiritual beauty of the mind, thought and moral behavior can have successful and sustainable effects on educational and moral activities.
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G.E. Moore's theory of ethics was that beauty and friendship, as well as pleasure, are intrinsic goods or things of value that one’s actions should aim to maximize. One need not agree with the maximization aspect, but clearly at least sometimes aesthetic values such as beauty can be objects of moral concern and moral education should be cognizant of that fact.
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1. Can anyone throw light on the legal norms to regulate urban street façade aesthetics especially in India, if at all exists?
2. What are the norms? Any instances?
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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.
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At the present stage of development of the problem of environmental protection, a new concept was born - environmental safety, which is understood as the state of protection of the natural environment and the vital environmental interests of a person, primarily his rights to a favorable environment. The scientific basis of all measures to ensure the environmental safety of the population and rational nature management is theoretical ecology, the most important principles of which are focused on maintaining the homeostasis of ecosystems and preserving the existential potential. N.F. Reimers in 1990 defined the global ecological crisis as a direction, a state in the relationship between human society and nature, characterized by a discrepancy between the production forces and production relations of human society, and the resource and biological capabilities of the biosphere.
The crisis of the appropriating economy is considered the first ecological crisis. The way out of the crisis was found in the transition to collective hunting and the division of labor between the participants. The second crisis is connected with overfishing of large animals. The way out was found in the transition from the appropriating economy to the producing one. The development of agriculture determined the progress of mankind for millennia. The third crisis is associated with the complete deforestation and the excessive burden of primitive agriculture. The fourth crisis is associated with the scientific and technological revolution. All components of the biosphere must be protected not separately, but as a whole as a single natural system. According to the federal law on “environmental protection” (2002), the main principles of environmental protection are: observance of human rights to a favorable environment, rational and non-wasteful use of natural resources, conservation of biological diversity, payment for nature use and compensation for damage to the environment, mandatory state environmental expertise, the priority of preserving natural ecosystems of natural landscapes and complexes, respecting the rights of everyone to reliable information about the state of the environment. The most important environmental principle is a scientifically based combination of economic, environmental and social interests (1992) UN International Conference in Rio de Janeiro.
There are complex interactions between the natural environment and society, as well as the exchange of energy and matter. Human impact on nature can be classified in various ways. For example, divided into destructive, stabilizing and constructive; into direct and indirect; into the intentional and the unintentional. On the other hand, nature constantly affects man. Man is connected with nature by his origin, existence, his future. The human natural environment has influenced and still influences the formation of the biological species Homo sapiens, races and ethnic groups. The territorial settlement of people, their material activity, the distribution of production forces depend on the quantity, quality and location of natural resources.
The expanding use of natural resources due to population growth and the development of scientific and technological progress leads to their depletion and increased environmental pollution with production waste and consumption waste. That is, the deterioration of the natural environment is due to the reduction of natural resources and pollution of the natural environment.
It should immediately be noted that the higher the level of use of extracted natural resources, the lower the level of environmental pollution. Consequently, by solving the problem of rational use of natural resources, society, firstly, saves natural resources from depletion, and secondly, reduces environmental pollution.
Unbalanced relationship between society and nature, i.e. irrational use of natural resources often leads to an ecological crisis and even an ecological catastrophe.
If modern economic and political practices are maintained, industrial growth and the consumption of resources and energy will continue to increase at an accelerating rate until a certain limit is reached. Then disaster will happen. The cause of the crisis is population growth and a social mania for growth, when at every level (individual, family, class, national) one goal is set - to become richer and more powerful, without taking into account the cost of exponential growth.
Attempts to predict the future of the whole world on the basis of mathematical models and computer technology have led to the emergence of a new interdisciplinary direction - global modeling. The World Conservation Strategy was adopted.
Environmental monitoring (environmental monitoring) is a system for monitoring, evaluating and predicting the state of the natural environment surrounding a person. The ultimate goal of environmental monitoring is to optimize the relationship of man with nature, as well as the ecological orientation of his economic activity. At the turn of the II and III millennium AD. e. there is a paradigm shift in human thinking and practical activity – economic priorities are replaced by ecological ones. The economic imperative that prevailed until the end of the 20th century is increasingly being replaced by an ecological one. It is on whether humanity will be able to achieve a reasonable combination of economic and environmental interests in the near future that its future depends on.
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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
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The problem with science comics: uncritical images and ideology of research
Academics are increasingly using comic books to teach and communicate science, even as strong, unbiased evidence of the effectiveness of doing so is missing.
A recent review found that empirical research on the effectiveness of comics in science communication remains scarce and recommends more studies.
A key problem for science comics may be that they are often written by scientists who are keen to promote their work, and therefore might lack objectivity...
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The Mandelbrot set is related to the Feigenbaum cascades, which are found in lots of mathematical models of real-life phenomena. But does the Mandelbrot set have have any real-world use, either on its own or in connection with Feigenbaum cascades? Or is it purely aesthetic?
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you can look below this source for your question:
My regards,
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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.
Reproducible example:
library(geiger)
library(phytools)
library(ggtree)
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`))
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Hi
Xavier Navarri
,
thanks for your reply. I thought about putting in "dummies" for the tip labels. But somehow I couldn't believe that this "make-do" approach is the only option to selectively label nodes.
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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?
Best,
Simon
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Hi Simon, you are pursuing a very exciting question. I'm not quite clear what exactly you mean by: measuring a subjective aesthetic of a workspace or the subjective performance of a person in a space? Are you concerned with an intraphsyciic evaluation or an intersubjective measurement?
Interesting could be perhaps the concept of interconnection and fusion of sensory perception in space. This can be explicated with the term (Media) Synaesthetics.
Media Synaesthetics is concerned with both theoretically reflected and fictionalized synaesthesia, with intermodal constellations, inclusions and disjunctions of the senses. Perceptual theories of aisthesis and (syn-)aesthetics have been stimulated to reformulate their concepts and terms precisely through their engagement with the arts and art forms. The artistic imagination, the creative imagination, has always used synaesthetic dispositions by using the media of technical images and sounds, but also the 'old' media of writing, painting and stage performance for a synaesthetic ars combinatoria.
The concept of media synaesthetics is designed to mark the medial couplings of the senses, that is: contours of a physiological media aesthetics. It is therefore no coincidence that the focus of the volume is on the orders of the visible, in particular the interrelations of image and sound - as a contribution to the "image anthropology" (Hans Belting), which is currently being elaborated on an interdisciplinary basis.
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I think this is about applying various art forms in a constructivist way.
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Hi Jastin! In a constructivist-systemic modeling of 'art' and 'aesthetics', what in traditional concepts is mainly fixed on the concept of work, is in the last consequence changed to communication. This involves a radical departure from traditional approaches to art and aesthetics as depiction, mimesis, correspondence, etc. The concept of 'art' and 'aesthetics' is not only a concept but also a concept of 'communication'. These perspectives are highly compatible with the idea of self-actualization.
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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) )
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I think we need to filter the data using following code
data1 <- dplyr::filter(data, B20040013>=20&B20040013<=30)
then we have to use this code
ggplot() + geom_point(data1=test, aes(x=B2004007, y=B20040013, col=count) )
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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.
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Shopping others is better. Your best friend can add to the fun of shopping and offer options about what's the perfect match for you. Your best friend makes you feel good about yourself, especially when you're feeling low and not so good. They will cut off all the negative comments you make about yourself.21 Jan 2019
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Dear Colleagues
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?
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15 February MMXXII
With my compliments--article attached to this message.
Cordially...
ASJ
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What is the role of aesthetic taste in aesthetics of marketing, what do you think about the transformation of human aesthetic needs?
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When it comes to 'aesthetic' education, I can think of elite art education. In the given competitive nature of elite education, students from relatively wealthy families could go experience quality art programs ever since they were little. They strive for cultivating aesthetic capital, design capital, and once they obtain college admissions from elite universities, they could have a chance to develop digital capital and prepare for their future career opportunities.
In practice, many non-Western nations recognize the significance of aesthetic or art education, and even physical and music education, and try to promote these courses in school curricular officially. Yet, many scholars, teachers, and parents may still raise some critical questions that not every class is excellent enough, keep pursuing private education beyond school education, namely put extra money on their children education.
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"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:
- Emotions:
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)
- Body:
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.
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As part of our academic work, we have provided articles on values ​​that you can read if needed.
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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.
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Здесь, прежде всего, большую роль играет приверженность ценностям.
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Post Bakhtin and Mary Russo, grotesque has developed in varied directions. Can you name some of the leading theorists in grotesque studies?
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Did the poetas malditos themselves reference Baumgartin, Kant, and Hegel? As far as I know Paul Verlaine doesn't refer to them in his book Les Poètes maudits (1884), although the poets in the Symbolist Movement were apparently influenced by Schopenhauer's aesthetics so maybe that is a connection....
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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:
  1. Prediction of beauty and liking ratings for abstract and representational paintings using subjective and objective measures (https://osf.io/2sy4f/)
  2. JenAesthetics (https://www.inf-cv.uni-jena.de/jenaesthetics.html)
  3. 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!
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For those who remain interested in acquiring normed databases of artworks / aesthetic objects, a colleague recently suggested the Grappa Project's list of "Useful databases" (https://grappaproject.eu/databases/). Two of these databases look especially useful:
1. "Datasets used in computational aesthetics" (https://grappaproject.eu/databases/image_datasets/)
I hope others might find this useful as well!
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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!
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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?
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I am not sure if there are apps that can specifically analyze the mini-esthetics but there are definitely apps that can perform the simulation and VTO.
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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?
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Para mi la foto y el espejo son los !as perfectos. El boceto por un artista queda bastante perfecto pero nunca va a ser igual que una foto o mirarse en un espejo
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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.
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you have GAN projects like GFP-GAN: Towards Real-World Blind Face Restoration
with Generative Facial Prior which is a blind face restoration algorithm towards real-world face images [Project Page] : https://xinntao.github.io/projects/gfpgan
There are alternatives:
DFDNet: Blind Face Restoration via Deep Multi-scale Component Dictionaries https://github.com/csxmli2016/DFDNet
HiFaceGAN: Face Renovation via Collaborative Suppression and Replenishment https://github.com/Lotayou/Face-Renovation
But, there are several others GAN models based or associated with StyleGAN https://github.com/NVlabs/stylegan
and it could be to detect semantic chunk in pictures to apply selective treatments: https://img.ly/blog/deep-learning-for-photo-editing-943bdf9765e1/
Several tools with AI to edit pictures: https://bashooka.com/freebie/image-editing-tools-fueled-by-ai/ and IMGAUG seems interesting https://github.com/aleju/imgaug
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Greetings,
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?
Thanks
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Not sure there is a PDF file available. Check out the aforementioned IPIP website (https://ipip.ori.org/newMultipleconstructs.htm) and you will have free access to the Openness items you are looking for.
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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:
Physical Features
comfort and convenience,
safety and security,
accessibility and communications etc.
Aesthetic Features
order and unity,
colour,
texture and materials,
spatial hierarchy and sequence,
human scale and enclosure etc.
Can we add more features? Please suggest.
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There can be scope for an 'Escape route' as an alternate and safe route to exit from the area in case of emergency situation.
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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?
Influences
Parameters of concluding factor on choosing a particular procedure
Influence of opinion of the practitioner (Provider) to the decision
Psychosocial factors
Other.
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I agree with Olivier Serrat
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If I don't have aesthetic concerns, I prefer glass ionomer (Equa forte). I use bulk-fill composite in deep cavities. So, you?
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several restorative material and approach available, case and protocol might have a major role and minor role for the operator preference.
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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.
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Gennaro Vessio Thank you, so far, these are the best sources I've seen.
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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.
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The possible distinctness of beauty, and its relation to pleasure is discussed at length in
M. Skov & M. Nadal (2020). The nature of beauty. Annals of the New York Academy of Sciences. https://doi.org/10.1111/nyas.14524
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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.
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Some of the trending research topics are:
Urban biodiversity mapping, urban eco-mosaic mapping, visual quality vs. calculated landscape quality, etc.
Thank you.
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Is aesthetics intrinsically linked with objects of art? Or maybe there is some hidden aesthetics in an object of art that people of a certain era do not perceive?
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Of course not. The main object of aesthetics is art. A person aesthetically analyzes what affects all his feelings. But the criteria for accepting works of art from each period will be different, because the taste of today's youth is very different from the taste of young people 50 years ago.
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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
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Hello Charlotte Anderson,
Are you getting the same error message, when using the ggplot function like this:
ggplot(mydata, aes(memory, time)) +
...
Best regards Paul
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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.
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Very interesting findings. They follow what I have experienced from my own education where aesthetics has been integrated.
One can hope those findings will be used generally in education.
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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.
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very interesting and wide question.
I suggest you to have a look at the following papers/note:
-High transmittance, low emissivity glass covers for flat plate collectors: Applications and performance
Federico Giovannetti, Sebastian Föste, Nicole Ehrmann, Gunter Rockendorf
Energy Procedia, 30, 106 – 115 (2012)
-Structured transparent low emissivity coatings with high microwave transmission
Olivia Bouvard, Matteo Lanini, Burnier Luc et al.
Applied Physics A 123(1) (2016)
-Achieving low-emissivity materials with high transmission for broadband radio-frequency signals
Liu, L., Chang, H., Xu, T. et al.
Sci. Rep., 7, 4840 (2017)
-How Low-e Glass Works by Vitro
My best regards, Pierluigi Traverso.
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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?
  1. Implants removal - waiting - then orthognathic surgery
  2. orthognathic surgery on implants
  3. nothing, the implants installation it's no compatible with OS
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CBCT images might be obscure due to streaking artifacts.
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If I want to edit the graphs (aesthetic aspect) what software/website is your suggestion?
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You can follow/use "Paint.net". It's very user friendly and lots of videos are available on YouTube for learning the basics.
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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.
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Nick von Behr I do remember Witold Rybczynski referring to Le Corbusier throughout his writings, but alas I no longer have any of WR's books in which to look that up. Here is a short piece he once wrote for Time magazine:
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What is a dialogue? What are its aesthetic and semantic approaches in the drawings of Pablo Picasso?
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Interesting question indeed. For the sake of discussion, did you have a particular period of Picasso's work in mind? His sparse charcoal work, at least in my opinion, does seem to spark more of a 'human' dialogue than the abstract nature of his later work does.
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G cem an aesthetic resin cement is a valuable source of cementing extracororonal restoration, due to its strength I have used it for core build up in many cases the results were awsum, am I on a rite track??
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If its strong enough, you can use it as core material. In the past we used GIC as core material and had no failures. I think resin cement is much stronger than GIC!!!
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Aesthetics as an adjective relates to the philosophy of aesthetics, concerned with notions such as the beautiful and the ugly.
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