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Aesthetics - Science topic

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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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Congrats, dear Gianluigi Segalerba
Poverty is not just a lack of money; it is not having the capability to realize one's full potential as a human being.
Economic growth without investment in human development is unsustainable - and unethical.
A society can be Pareto optimal and still perfectly disgusting.
Amartya Sen
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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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I think that an existing theory of aesthetic construction is the theory of art education based on cognitive domains (DBAE) because it includes the component of aesthetics.
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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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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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If you’ve ever watched or heard of Professor Balthazar, the lead character of the eponymous cult Yugoslav animation series, you likely think of him as a successful inventor whose discoveries easily solve any problem he is confronted with.
In what is perhaps an unlikely early example of the now popular fail-fast mantra, Balthazar made some big blunders, but he never gave up...
In terms of science education, focusing solely on Balthazar’s successes misses a trick, since the history of science and technology is packed with mishaps, missteps and failures, many of which have helped scientists and engineers find the way forward...
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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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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.
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Smile makeover is a complex esthetic dental+periodontal treatment wherein the persons smile is improved drastically.
It may involve just some composite veeners, or ceramic veeners or it can be as extensive as root canal of many teeth, with correction of gum line by surgery followed by crowns and bridges and implants if required.
There is no fix protocol of what procedures have to be done. Since the treatment plan changes from patient to patient, in simple terms for general understanding it is termed 'Smile Makeover'.
But I must warn, not everybody is good at it and one must review the cases already done by the clinician and then decide to go ahead else it can be a nightmare.
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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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There is something that might be called a "minimal abstract aesthetic" for architecture that we all share as individuals, namely endeavoring to construct shelters that are acceptable in the sense of being the least that we're willing to settle for. This will be vary according to circumstance and culture. The acceptable vs. unacceptable in architecture need not coincide with the beautiful vs.ugly. Acceptability may be heavily influenced by minimal standards of functionality. My roof better not leak too much and the smoke from my indoor cooking better have some way out.
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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?
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One of the art critic roles may be expanding the realm of possibility, through various even contradictory interpretations and comments which can persuade the artist to create new different works or start new career.
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What do you think about cultural heritage of Hagia Sophia? Can you share any photo, photograph of its interior? Do you think that these images can be destroyed soon by some radical Muslim faction?
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Of course it could, but not necessarily by radical muslims...
A toxic combination of greed and indifference could do the trick as well.
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Are there studies about aesthetic issues applicated to urban environment?
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yes. If you refer to my papers you will find a lot of papers in this matter
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I am looking for a framework to evaluate the aesthetic evolution of a scenic landscape through the Objectivist (physical) paradigm.
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Many thanks for your usefull answers !
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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
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I cannot speak to Dvorok’s influence on Edgar Wind, a topic that I am glad to leave to Wind’s biographers. When I completed my PhD in 1979 at Harvard, on the rare occasions in which we discussed iconography of paintings (the Fogg prided itself on connoisseurship) Panofsky was considered the leading iconographer in America and Gombrich led the revered Warburgian school, to which Wind was the rebel angel, on account of his astonishingly rude, even cruel, review of Gombrich's book on Warburg.
None of this mattered to us at Harvard, where we fixated on the getting the attributions right (somebody has to). But when I entered real life and had to write books about Fra Angelico, Botticelli (2017) and Michelangelo, it became obligatory to understand the meanings of their art. Although there are still art historians who regard Neoplatonism as something exotic, most historians of Italian Renaissance art would probably agree that Wind’s Pagan Mysteries of the Renaissance is one of the best books ever written on the classical philosophical themes found in the paintings made in the humanist courts, especially Florence.
Wind's interpretation of Botticelli’s Primavera has not been wholly superseded by the readings of Gombrich and others. Indeed, although he sometimes gets lost in the depths of reading, by now enough voices have been heard to show that Wind's research is never wholly wrong on anything.
In homage, I’ll try to attach 2 photos of my well-thumbed copy, replete with post-it notes… I’ve chosen a sample page in which he speaks as familiarly of Ficino, Plotinus, Pico and Lorenzo il Magnifico, as if they were people he knew on his block and saw everyday.
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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?
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There's a reasonable amount of research in health care, about aesthetics and design of workplaces / care settings.
Aesthetics can impact on how people (staff / patients / visitors) feel, and how they behave.
Not 100% sure this will be helpful to you, but thought I'd mention as might be some relevance to your research.
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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?
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In my opinion “beauty” in city goes together with how people use the design of a city. Some cities look beautiful to many people in pictures but people can’t use this “beauty” in everyday life. “Cities for People” from Jan Gehl presents great examplse how “beauty” and “use of cities” can go together.
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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.
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What an interesting question. Sadly I don’t think there are any easy answers. I doubt that there is one way of tackling this across the whole course. Traditionally architecture is taught by a major studio programme of projects that involve designing Together with more theoretical subject taught in courses of lectures. The latter are more easily covered by using distance learning. One could put a great deal of work into a medium such as PowerPoint to cover all this.
however the studio work is much more difficult to cover remotely. it is feasible to see this as being done more easily in the later years where there are traditionally longer projects with students being more self sufficient. The early years tend to have shorter more focussed projects and here students are more dependent on frequent interactive work with tutors looking at their project work.
one has to think that, if students worked on cad, then this is most easily tutored remotely but I can only say that the quality of messy, uncertain creative work one sees as a tutor is not easily represented in cad. I would suggest that this could form a really interesting research programme. Note I say programme not project. It is a large and varied collection of questions too complex and ephemeral to be covered by one research project.
actually such a programme of research could tell us more about designing as a process and be generically useful as well as possibly practical. It won’t be completed in a few months though and will certainly take longer then we hope this virus will last..
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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!
Thanks,
Ed
My obvious additions to this list:
  • Max Planck Inst. for Empirical Aesthetics in Frankfurt, Germany
  • New York University (Psych Dept.)
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Aalto University Helsinki
You might be interested in our music review:
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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?
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Yes, I think that dress codes reflect the underlying social structure of a society or group. Some societies are organized hierarchically - such as aristocratic societies or the military - and the dress code in those societies are intended to reflect the relative social status of the wearer with respect to others in the group. It serves to reinforce the hierarchy by ensuring that everyone not only knows their own place, but can also tell at a glance the status of the stranger approaching them and how they should behave.
Democratic societies based on the principle of equality reject hierarchical forms of organization in favour of a horizontal arrangement. If everyone is "equal," everyone should dress "equally." Hence jeans become the standard dress code of the modern liberal. This is beginning to filter into more traditional institutions like the workplace or the school, where a quick glance will not be sufficient to distinguish the supervisor from the employee, the professor from the student.
The same applies to male and female dress codes, which in traditional societies were distinct. Pants as an acceptable everyday clothing option for women didn't truly catch on until the mid-20th century.
The school uniform debate is an interesting case in point. Traditionally favoured by private and parochial institutions, the school uniform in the past was often associated with prestige. Today, the debate rages on. Proponents say that school uniforms create a "level playing field" that reduces socioeconomic disparities, while opponents argue that school uniforms infringe upon students' rights to express their individuality.
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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.
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D.E. Morant Sometimes artists' intentions are significant, sometimes not. But as you suggest, de-narrativized abstraction has it own narratives; however, they are not the Rorschach-type narratives you suggest but rather the theoretical narratives described by Tom Wolf in The Painted Word.
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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?
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Dear June,
I'm not sure the dichotomy between the European and non-European contexts is relevant as far as critiques of the "post-political" governance theory are concerned. I'm convinced that such critical examinations can converge from various field studies and that decypherings of the ideological contents at stake can challenge existing postures without using civilizational contrasts.
See, for example, this paper by Ronan Paddison about Glasgow:
Best regards
d.
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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.
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Try Carl Hughes book "Kierkegaard and the Staging of Desire: Rhetoric and Performance in a Theology of Eros"! A great look at aesthetic form's impact on theological discourse (specifically in Kierkegaard's case, if that interests you).
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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.[1]
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.)[2]
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?
*********
[1] About the reasons behind this hypothesis seePreprint , part 3.
[2] 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.
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Quite true. There is a danger that rationalization of beauty can lead to its destruction. Explaining a joke just makes it not funny. However, curiosity, desire for knowledge, seems to be stronger.
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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."
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Have you related the Discussion on art, with that of design. Art is connected to inspiration and design to motivation.
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I think the link between aesthetics, experience and learning could be relevant for (organization) design.
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Maybe the bibliography at the end of this Stanford Encyclopedia of Philosophy entry on Dewey’s Aesthetics would be helpful:
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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?
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Particularly folk literature
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RE: "If a translated poem loses its aesthetics and originality, it will not be considered as a translation but another, different, or new poem."
This should be a key consideration when we are confronted with translations of religious texts.
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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?
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You mentioned important quality to aesthetics which is pleasure. Moreover you mentioned very important issue that is breaking rules which may create unfamiliarity. In turn unfamiliar object may increase the required time for perception and then comprehension. Those are very important parameters.
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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?
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The creativity of the teacher and students in the modern world is a requirement in the classroom. Interact ideas to improve learning or see the world easily
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I would like to conduct a study assessing consumers' willingness to pay for aesthetic products. Can someone indicate me any literature where there is any validated questionnaire to carry out willingness to pay.
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très drôle!
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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.
Amen.
P.S. Kindly bear with my typos :)
PLEASE READ MY UPDATE BELOW IN RESPONSE TO NOTES FROM Gerrit Leendert Dusseldorp
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Fiann Paul
"A method of coal mining in which the working face extends entirely across the seam, the work proceeds either away from or toward the main shaft, and the roof is allowed to cave in behind the workers."
Did you mean this?
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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.
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No, vice versa
Best Regards Holly B. F. Warren
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Dear Colleagues
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?
Literature:
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
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Dear Colleagues.
I have just found another example of how the not-predetermined analysis provides results=categories that we know from earlier (Vargo & Lush) publications.
Look at this:
Kaartemo V, Helkkula A (2018): "The thematic analysis of the papers shows four themes that describe the content of the studies, namely, generic field advancement, supporting service providers, enabling resource integration between service providers and beneficiaries, and supporting beneficiaries’ well-being (...). These themes were not predetermined as they emerged from the reviewed articles inductively."
My comment: the themes obtained inductively are equal to the categories of the previously published (Vargo&Lush) theory. It looks like recognition (aided-recall) of ready categories in the texts. What do you think about it? Maybe you have different interpretations of what we see here?
Kaartemo V, Helkkula A (2018) A Systematic Review of Artificial Intelligence and Robots in Value Co-creation: Current Status and Future Research Avenues. Journal of Creating Value 4(2) 211–228
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Dear Colleagues,
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.
Thanks,
Gloria McMillan (PROJECT: The ART and SCIENCE CONNECTION)
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Thanks, Colleague Thomas Moore,
I forwarded them to my Facebook page. I always love instruments made from trash.
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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
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Discussion of EEB must always refer to which type of climate and although the link between aesthetic marketBility is a pertinent one there is a wide range of definition. While the target of eeb are fairly straightforward and defined in numbers... Of what constitutes good Aesthetic..both hi tech glass box and a timber vernacular expression constitute good aesthetic to different people...
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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.)
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Dear María,
I recommend you read the following article where it is explained why the country is a poor proxy for culture:
Taras, V., Steel, P., & Kirkman, B. L. (2016). Does country equate with culture? Beyond geography in the search for cultural boundaries. Management International Review, 56(4), 455-487.
Jose
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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?
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Dear Ram, please join our session "International Comparison of Landscape Appreciation" at JpGU2019 held in Makuhari International Conference Hall near Tokyo on 30. of May. The deadline of subscription was 19. of February.
The detail of the conference was below.
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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??
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Dear Fernando García Monforte ...I agree with you ...that is the point behind my question.......
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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.
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The theoretically motivated response to your question is "of course not!". Why? Because of the so-called "rebound effect". Unless "efficiency" is accompanied with "sobriety", then the augmentation due to increased "lifestyle demands" for artificial comfort, gadgets, conspicuous consumption, prestige etc., say +20%, can easily outrun, on a periodic or exponential basis, the gains of "greater efficiency" (say 10%).
This is a well known consideration, which highlights that meaningful responses to sustainability concerns/challenges cannot be rooted primarily in "efficiency" terms (even if, at thelevel of "means to an end", different facets of efficiency are meaningful performance considerations).
- Martin O'Connor
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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?
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Great thanks Dr Michael Uebel ....interesting articles...
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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).
Thanks!
Antonio
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This Meta-Database by Cliff Workman might help you find what you need:
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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)
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Herb Glenn Bennett Your question refers to an so-called New Age that began 50 years ago. The material you present in your own answer does not explain this age, in fact does not even mention it. Your diagram shows a contemporary age of 1222 years. Of course the references I mention are flaky. But they are the only references I could find to a specific "new age" period of a 50 year vintage. What is the point of asking about such a period if you are not willing to explain it? I am not a mindreader.
I also suggest you edit your question to remove the categories of boating and sailing.
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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?
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Hello Vassiliki. there are ex-ante studies that have been performed in the Netherlands, Denmark and UK that took into consideration possible perceptions of residents towards the construction of wind farms. It depends on the study what method has been used to assess residents' perceptions.
Kind regards,
Ben
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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.
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Unfortunately, the lack of legal regulations applies to most countries in the world. Difficulties in obtaining research material include not only legal regulations of aesthetic procedures, but on the other hand, undisclosed factual statements that could be found in court decisions. Thank you for the tips. Yours faithfully.
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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?
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No but Shakespeare had to face censorship (2 versions of Othello) and in a certain way the Merchant of Venise is related to the same fascinating character English kings didn't want to hear about: Antonio Manutius aka Hassan Pacha Veneziano, king of Algiers, master of the slave Miguel de Cervantes. Normally, Shakespeare does not concentrate on ordinary people (even if not in my favorite play, As you like it). Cervantes is a clear precursor and his work is so subtle.
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Specialized reading of works of art is important. But how do you understand the work without meaning
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My dear Birgitta Haga Gripsrud I respect your point of view .. and your expression .. Peace and appreciation.
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هل يمتلك العرب مشروعا حداثويا في المشروع الجمالي والثقافي
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Karl, I was thinking of that and will widen my knowledge. In terms of comparison I was considering Japanese and Chinese as much as Western. In terms of poetry, yes it remains brilliant-as it always has been. But I need to look into what you sent me as my knowledge of present Arab writing is clearly limited.
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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.
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Answer to Ager's question:
« Logics » has two main significations plus a very banal one:
1) A coherent way (method) of thinking.
2) A formal science, i.e. mathematical logics, which is the theoretical basis of algorithmics.
3) A vague manner of mentioning a flow of thoughts, discourses, etc. Let us forget this latter meaning.
In our cross-disciplinary study of art creation versus software, the art aspect deals both with the making of art works (diachronic view) and with the structure of some specific art works (synchronic views). We are guided in our approach by the work of the French philosopher Raymond Abellio, but not exclusively (please refer to www.rencontres-abellio.net). Such an objective makes sense if in both views we articulate what is relevant to “logical” description and what is not. For example: in one hand the continuous process by which the creator builds up his/her works might be described by sequences of steps, but in the other hand the very act of creation is essentially non-logical or “a-logical” or timeless. The “non-logical” part of art creation is made of inspiration, and beyond inspiration, is related to inter-subjectivity and spirituality (in various senses to be investigated). Our is a global approach which aims at an integrative view, rational and “trans-rational”. We use to call it “meta-logical”.
In this approach, referring to software has several benefits:
Firstly, a real software is not made of one algorithm, it is not made of a unique sequence of logical steps which can be denoted as “continuous”, but it is a network of different algorithms, connected (or not) by discontinuities which are non-logical leaps . That does not mean that they are “illogical” or even senseless, but that they do not belong to a continuous logical development. They are discontinuous. Some of these discontinuities may be triggered by external or internal acts, and in that way they are analogous to creative actions.
Therefore, the objective of our study is of course not to reduce the creativity to a mechanical or robotic model, but to use the software science/technology to represent the creation by new models implying continuous / discontinuous phases. So far we have investigated a very illustrative process which is the creation of the painting “Les demoiselles d’Avignon” by Picasso, both from an internal point of view by a contextual study. In the software side of the study, we have investigated the structure of software in the logical / non-logical point of wiew and the process of creating software, which (very often) has an artistic aspect. We are working towards a convergence of these 2 studies.
The continuity / discontinuity dialectics is timelike and spacelike, and more, and the work of Abellio helps to treat it through scientific and philosophical ways.
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