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aesthetic</title> <meta name="description" content="Search results for: aesthetic"> <meta name="keywords" content="aesthetic"> <meta name="viewport" content="width=device-width, initial-scale=1, minimum-scale=1, maximum-scale=1, user-scalable=no"> <meta charset="utf-8"> <link href="https://cdn.waset.org/favicon.ico" type="image/x-icon" rel="shortcut icon"> <link href="https://cdn.waset.org/static/plugins/bootstrap-4.2.1/css/bootstrap.min.css" rel="stylesheet"> <link href="https://cdn.waset.org/static/plugins/fontawesome/css/all.min.css" rel="stylesheet"> <link href="https://cdn.waset.org/static/css/site.css?v=150220211555" rel="stylesheet"> </head> <body> <header> <div class="container"> <nav class="navbar navbar-expand-lg navbar-light"> <a class="navbar-brand" href="https://waset.org"> <img src="https://cdn.waset.org/static/images/wasetc.png" alt="Open Science Research Excellence" title="Open Science Research Excellence" /> </a> <button class="d-block d-lg-none navbar-toggler ml-auto" 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id="custom-search-input"> <div class="input-group"> <i class="fas fa-search"></i> <input type="text" class="search-query" name="q" placeholder="Author, Title, Abstract, Keywords" value="aesthetic"> <input type="submit" class="btn_search" value="Search"> </div> </div> </form> </div> </div> <div class="row mt-3"> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Commenced</strong> in January 2007</div> </div> </div> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Frequency:</strong> Monthly</div> </div> </div> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Edition:</strong> International</div> </div> </div> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Paper Count:</strong> 394</div> </div> </div> </div> <h1 class="mt-3 mb-3 text-center" style="font-size:1.6rem;">Search results for: aesthetic</h1> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">394</span> The Criteria of the Aesthetic Quality of Art: Contemporary Photography</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Artem%20Surkov">Artem Surkov</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This work is devoted to a problem of aesthetic quality determinism in the context of contemporary art. The object of study is photography regarding as a kind of art which demands specific system of quality marking. Objective: To define aesthetic criteria in photography art. For current searching different kind of texts by such powerful authors like Clement Greenberg and Rosalind Krauss, Theodor Adorno and Herbert Marcuse, Charlott Cotton and Boris Groys, Viktor Miziano and Ekaterina Degot' were analyzed. Before all, there are two different kinds of photography: the classic art photography (by Ansel Adams) and the photography as kind of art (by Andreas Gursky). In this text we are talking about the photography as kind of art. The main principle of current searching is synthesis of two different approaches: modernism and postmodernism. This method helps us to define uniform criteria of aesthetic quality in photography as kind of art. The criteria mentioned in conclusion paragraph are: aesthetic rationality, aesthetic economy, awareness (using photographic technics or references), and intention to go beyond form, practice and method. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=aesthetic" title="aesthetic">aesthetic</a>, <a href="https://publications.waset.org/abstracts/search?q=art" title=" art"> art</a>, <a href="https://publications.waset.org/abstracts/search?q=criteria%20of%20quality" title=" criteria of quality"> criteria of quality</a>, <a href="https://publications.waset.org/abstracts/search?q=photography" title=" photography"> photography</a>, <a href="https://publications.waset.org/abstracts/search?q=visually" title=" visually"> visually</a> </p> <a href="https://publications.waset.org/abstracts/40285/the-criteria-of-the-aesthetic-quality-of-art-contemporary-photography" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/40285.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">418</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">393</span> Visual Overloaded on User-Generated Content by the Net Generation: Participatory Cultural Viewpoint</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Hasanah%20Md.%20Amin">Hasanah Md. Amin</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The existence of cyberspace and its growing contents is real and overwhelming. Visual as one of the properties of cyber contents is increasingly becoming more significant and popular among creator and user. The visual and aesthetic of the content is consistent with many similarities. Aesthetic, although universal, has slight differences across the world. Aesthetic power could impress, influence, and cause bias among the users. The content creator who knows how to manipulate this visuals and aesthetic expression can dominate the scenario and the user who is ‘expressive literate’ will gain much from the scenes. User who understands aesthetic will be rewarded with competence, confidence, and certainly, a personality enhanced experience in carrying out a task when participating in this chaotic but promising cyberworld. The aim of this article is to gain knowledge from related literature and research regarding User-Generated Content (UGC), which focuses on aesthetic expression by the Net generation. The objective of this preliminary study is to analyze the aesthetic expression linked to visual from the participatory cultural viewpoint looking for meaning, value, patterns, and characteristics. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=visual%20overloaded" title="visual overloaded">visual overloaded</a>, <a href="https://publications.waset.org/abstracts/search?q=user-generated%20content" title=" user-generated content"> user-generated content</a>, <a href="https://publications.waset.org/abstracts/search?q=net%20generation" title=" net generation"> net generation</a>, <a href="https://publications.waset.org/abstracts/search?q=visual%20arts" title=" visual arts"> visual arts</a> </p> <a href="https://publications.waset.org/abstracts/7661/visual-overloaded-on-user-generated-content-by-the-net-generation-participatory-cultural-viewpoint" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/7661.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">438</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">392</span> Cultural Works Interacting with the Generational Aesthetic Gap between Gen X and Gen Z in China: A Qualitative Study</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Qianyu%20Zhang">Qianyu Zhang</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The spread of digital technology in China has worsened the generation gap and intergenerational competition for cultural and aesthetic discourse. Meanwhile, the increased accessibility of cultural works has encouraged the sharing and inheritance of collective cultural memories between generations. However, not each cultural work can engage positively with efforts to bridge intergenerational aesthetic differences. This study argues that in contemporary China, where new media and the Internet are widely available, featured cultural works have more potential to help enhance the cultural aesthetic consensus among different generations, thus becoming an effective countermeasure to narrow the intergenerational aesthetic rift and cultural discontinuity. Specifically, the generational aesthetic gap is expected to be bridged or improved through the shared appreciation or consumption of cultural works that meet certain conditions by several generations. In-depth interviews of Gen X and Gen Z (N=15, respectively) in China uncovered their preferences and commonalities for cultural works and shared experiences in appreciating them. Results demonstrate that both generations’ shared appreciation of cultural work is a necessary but insufficient condition for its effective response to the generational aesthetic gap. Coding analysis rendered six dimensions that cultural works with the potential to bridge the intergenerational aesthetic divide should satisfy simultaneously: genre, theme, content, elements, quality, and accessibility. Cultural works that engage multiple senses/ compound realistic, domestic and contemporary cultural memories/ contain the narrative of family life and nationalism/ include more elements familiar to the previous generation/ are superb-produced and unaffected/ are more accessible better promote intergenerational aesthetic exchange and value recognition. Moreover, compared to the dilemma of the previous generation facing the aesthetic gap, the later generation plays a crucial role in bridging the generational aesthetic divide. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=cultural%20works" title="cultural works">cultural works</a>, <a href="https://publications.waset.org/abstracts/search?q=generation%20gap" title=" generation gap"> generation gap</a>, <a href="https://publications.waset.org/abstracts/search?q=generation%20X" title=" generation X"> generation X</a>, <a href="https://publications.waset.org/abstracts/search?q=generation%20Z" title=" generation Z"> generation Z</a>, <a href="https://publications.waset.org/abstracts/search?q=cultural%20memory" title=" cultural memory"> cultural memory</a> </p> <a href="https://publications.waset.org/abstracts/160756/cultural-works-interacting-with-the-generational-aesthetic-gap-between-gen-x-and-gen-z-in-china-a-qualitative-study" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/160756.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">153</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">391</span> Themes in Aesthetic Perceptions of Restorative Urban Landscapes</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Rachel%20Bechtold">Rachel Bechtold</a>, <a href="https://publications.waset.org/abstracts/search?q=Catherine%20Shoulders"> Catherine Shoulders</a>, <a href="https://publications.waset.org/abstracts/search?q=Donald%20Johnson"> Donald Johnson</a>, <a href="https://publications.waset.org/abstracts/search?q=Jennie%20Popp"> Jennie Popp</a>, <a href="https://publications.waset.org/abstracts/search?q=Elena%20Garcia"> Elena Garcia</a>, <a href="https://publications.waset.org/abstracts/search?q=Lisa%20Wood"> Lisa Wood</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Creating successfully restored urban landscapes involves both the sound design of natural resources and the incorporation of human perceptions of landscape. Moving forward with an invested interest from society is a challenge for the efficacy of reclaimed landscape design. In particular, urban areas present a dynamic environment wherein society and nature compete for resources and space. This review is meant to examine how perceptions of urban community members, the stakeholders for the plant species that share their environment, are reflected in aesthetic considerations. Findings from this literature review include themes of (1) aesthetic perceptions of stakeholders in rehabilitated landscapes and (2) the importance of organizing indicators of aesthetic perception for future design decisions. Recommendations include addressing the gap in research on aesthetic perceptions of reclaimed urban landscapes and addressing the lack of a consistent and widely accepted framework for these interdisciplinary studies. With knowledge of stakeholder perceptions, improved aesthetic and ecologic designs can more seamlessly merge into reclaimed urban landscapes. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=phytoremediation" title="phytoremediation">phytoremediation</a>, <a href="https://publications.waset.org/abstracts/search?q=urban%20landscape%20design" title=" urban landscape design"> urban landscape design</a>, <a href="https://publications.waset.org/abstracts/search?q=aesthetic%20perception" title=" aesthetic perception"> aesthetic perception</a>, <a href="https://publications.waset.org/abstracts/search?q=landscape%20ecology" title=" landscape ecology"> landscape ecology</a>, <a href="https://publications.waset.org/abstracts/search?q=phytorestoration" title=" phytorestoration"> phytorestoration</a>, <a href="https://publications.waset.org/abstracts/search?q=landscape%20reclamation" title=" landscape reclamation"> landscape reclamation</a>, <a href="https://publications.waset.org/abstracts/search?q=rehabilitation" title=" rehabilitation"> rehabilitation</a> </p> <a href="https://publications.waset.org/abstracts/119298/themes-in-aesthetic-perceptions-of-restorative-urban-landscapes" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/119298.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">193</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">390</span> An Aesthetic Spatial Turn - AI and Aesthetics in the Physical, Psychological, and Symbolic Spaces of Brand Advertising</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Yu%20Chen">Yu Chen</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In line with existing philosophical approaches, this research proposes a conceptual model with an innovative spatial vision and aesthetic principles for Artificial Intelligence (AI) application in brand advertising. The model first identifies the major constituencies in contemporary advertising on three spatial levels—physical, psychological, and symbolic. The model further incorporates the relationships among AI, aesthetics, branding, and advertising and their interactions with the major actors in all spaces. It illustrates that AI may follow the aesthetic principles-- beauty, elegance, and simplicity-- to reinforce brand identity and consistency in advertising, to collaborate with stakeholders, and to satisfy different advertising objectives on each level. It proposes that, with aesthetic guidelines, AI may assist consumers to emerge into the physical, psychological, and symbolic advertising spaces and helps transcend the tangible advertising messages to meaningful brand symbols. Conceptually, the research illustrates that even though consumers’ engagement with brand mostly begins with physical advertising and later moves to psychological-symbolic, AI-assisted advertising should start with the understanding of brand symbolic-psychological and consumer aesthetic preferences before the physical design to better resonate. Limits of AI and future AI functions in advertising are discussed. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=AI" title="AI">AI</a>, <a href="https://publications.waset.org/abstracts/search?q=spatial" title=" spatial"> spatial</a>, <a href="https://publications.waset.org/abstracts/search?q=aesthetic" title=" aesthetic"> aesthetic</a>, <a href="https://publications.waset.org/abstracts/search?q=brand%20advertising" title=" brand advertising"> brand advertising</a> </p> <a href="https://publications.waset.org/abstracts/164356/an-aesthetic-spatial-turn-ai-and-aesthetics-in-the-physical-psychological-and-symbolic-spaces-of-brand-advertising" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/164356.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">78</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">389</span> Aesthetic Modification with Combined Orthognathic Surgery and Closed Rhinoplasty</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Alessandro%20Marano">Alessandro Marano</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Aim: The author describes the aesthetic modification using orthognathic surgery and closed rhinoplasty. Methods: Series of case study. After orthognathic surgery we can observe a dramatical change of aesthetic especially in the mid-face and nose projection. The advancement of maxillary bone through Le Fort I osteotomy will change the nasal tip projection and lips roundness; combining orthognathic surgery with closed approach rhinoplasty will manage both function and aesthetic of all mid face district. Results: Combining Le Fort I osteotomy with closed approach rhinoplasty resulted in good objective results with high patient satisfaction. Le Fort I osteotomy will increase projection of mid face and the closed approach rhinoplasty will modify the nasal shape to be more harmonic with the new maxillary district. The scars are not visible because hidden inside the mouth and nose. Conclusions: The orthognathic surgery combined with closed approach rhinoplasty are very effective for changing the aesthetic of the mid face. The results illustrate the difference between the use of orthognathic surgery only and to use it in association of closed approach rhinoplasty. Using both will allow to obtain a long lasting and pleasing results. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=orthognathic" title="orthognathic">orthognathic</a>, <a href="https://publications.waset.org/abstracts/search?q=rhinoplasty" title=" rhinoplasty"> rhinoplasty</a>, <a href="https://publications.waset.org/abstracts/search?q=aesthetic" title=" aesthetic"> aesthetic</a>, <a href="https://publications.waset.org/abstracts/search?q=face" title=" face"> face</a> </p> <a href="https://publications.waset.org/abstracts/149677/aesthetic-modification-with-combined-orthognathic-surgery-and-closed-rhinoplasty" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/149677.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">100</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">388</span> The Transformation of Beauty and Ugliness in Art Aesthetics</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Wenjin%20Li">Wenjin Li</a>, <a href="https://publications.waset.org/abstracts/search?q=Jing%20Sun"> Jing Sun</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Since the mid-eighteenth century, when philosophers began to talk about aesthetic consciousness, beauty gradually became an independent system, and ugliness was often considered the opposite of beauty and neglected. Yet, ugliness itself has its self-regulation and aesthetic value. This paper explores the relationship between beauty and ugliness and the three forms of transformation between beauty and ugliness in artworks, looking at the history of ugliness in the East and the West, and giving an insight into the role of the artist in the transformation between beauty and ugliness. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=artistic%20aesthetics" title="artistic aesthetics">artistic aesthetics</a>, <a href="https://publications.waset.org/abstracts/search?q=arts%20theory" title=" arts theory"> arts theory</a>, <a href="https://publications.waset.org/abstracts/search?q=aesthetic%20of%20the%20ugly" title=" aesthetic of the ugly"> aesthetic of the ugly</a>, <a href="https://publications.waset.org/abstracts/search?q=beauty%20and%20ugliness" title=" beauty and ugliness"> beauty and ugliness</a>, <a href="https://publications.waset.org/abstracts/search?q=arts%20of%20east%20and%20west" title=" arts of east and west"> arts of east and west</a> </p> <a href="https://publications.waset.org/abstracts/163237/the-transformation-of-beauty-and-ugliness-in-art-aesthetics" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/163237.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">85</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">387</span> Reading Literature between Aesthetic Values and Ideology</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Ahmed%20Hassan%20Sabra">Ahmed Hassan Sabra</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Context: The research explores the impact of ideology on the aesthetic reading of literary texts. It aims to investigate how ideology affects the way in which readers interpret and appreciate literature. The study focuses on a selection of Arabic novels that have been subject to significant controversy among critics, with some praising their aesthetic value and others denouncing it. By analyzing this controversy, the research seeks to demonstrate the extent to which ideology influences aesthetic judgments in literary readings. Research Aim: The aim of this study is to examine the influence of ideology on the aesthetic reading of literary texts. It seeks to understand how the ideological perspective of readers shapes their interpretation and evaluation of literature. Methodology: The research adopts an aesthetic approach as the primary methodology for investigating the relationship between literary reading and ideological reception. By employing this approach, the study aims to uncover the intricate connections between aesthetics and ideology in the process of interpreting and appreciating literature. Findings: The research reveals that ideology cannot be separated from the aesthetic experience of reading literary texts. It argues that the ideological perspective of the reader significantly impacts their aesthetic judgments and interpretations. The differing viewpoints among critics regarding the aesthetic value of the selected Arabic novels highlight the influence of ideology on readers' assessments of artistic merit. Theoretical Importance: The study contributes to the understanding of the complex interplay between aesthetics and ideology in the realm of literary interpretation. It reinforces the notion that aesthetic judgments are not solely based on the intrinsic qualities of the text but are also shaped by the ideological framework of the reader. Data Collection: The research collects data by examining critical responses to a number of Arabic novels that have generated controversy. These responses include both positive and negative evaluations of the novels' aesthetic value. The research also considers the ideological positions and perspectives of the critics. Analysis Procedures: The collected data is analyzed using an aesthetic lens, taking into account the ideological viewpoints expressed in the critical responses. The analysis explores how these ideological perspectives influence the aesthetic judgments made by the critics. Questions Addressed: The research addresses the question of how ideology impacts the aesthetic reading of literary texts. It investigates the extent to which ideology shapes readers' interpretations and evaluations of literature, particularly in the case of controversial novels. Conclusion: The study concludes that ideology plays a significant role in the aesthetic reading of literary texts. It demonstrates that readers' ideological perspectives influence their interpretation and evaluation of a text's aesthetic value. The research highlights the interconnectedness of aesthetics and ideology in the process of literary reception, emphasizing the importance of considering the ideological framework of readers when analyzing the aesthetic qualities of literature. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=novel" title="novel">novel</a>, <a href="https://publications.waset.org/abstracts/search?q=aesthetic" title=" aesthetic"> aesthetic</a>, <a href="https://publications.waset.org/abstracts/search?q=ideology" title=" ideology"> ideology</a>, <a href="https://publications.waset.org/abstracts/search?q=reading" title=" reading"> reading</a> </p> <a href="https://publications.waset.org/abstracts/172662/reading-literature-between-aesthetic-values-and-ideology" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/172662.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">73</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">386</span> Giving Gustatory Aesthetics Its Place at the Table</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Brock%20Decker">Brock Decker</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Vision and hearing have been given metaphysical, epistemic, moral and aesthetic preference over the gustatory senses since the very beginnings of Western philosophy. This unjustified prejudice has directed philosophical inquiry away from taste and smell and the values and interests of those concerned with them. The metaphysical and epistemic prejudices that have hindered work in this field are confronted by accepting an oblique invitation from David Hume to pursue a gustatory aesthetics of taste. A framework for further discussion of gustatory experience is added by arguing that taste and smell are cognitively configurable senses capable of bifurcated intentionality and that the taste perception of states of affairs is influenced both by culture and personal preference. Taste perceptions are revealed to admit an aesthetic standard. Using both a Humean aesthetic and a Brillat-Savarin-inspired understanding of taste can explain and discriminate between untrained and expert aesthetic taste experiences and contribute a perspective free from traditional prejudice for future work in the aesthetics of taste. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=aesthetics" title="aesthetics">aesthetics</a>, <a href="https://publications.waset.org/abstracts/search?q=Hume" title=" Hume"> Hume</a>, <a href="https://publications.waset.org/abstracts/search?q=Korsmeyer" title=" Korsmeyer"> Korsmeyer</a>, <a href="https://publications.waset.org/abstracts/search?q=taste" title=" taste"> taste</a>, <a href="https://publications.waset.org/abstracts/search?q=Scruton" title=" Scruton"> Scruton</a> </p> <a href="https://publications.waset.org/abstracts/162662/giving-gustatory-aesthetics-its-place-at-the-table" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/162662.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">62</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">385</span> Analyzing the Perceptions of Emotions in Aesthetic Music</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Abigail%20Wiafe">Abigail Wiafe</a>, <a href="https://publications.waset.org/abstracts/search?q=Charles%20Nutrokpor"> Charles Nutrokpor</a>, <a href="https://publications.waset.org/abstracts/search?q=Adelaide%20Oduro-Asante"> Adelaide Oduro-Asante</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The advancement of technology is rapidly making people more receptive to music as computer-generated music requires minimal human interventions. Though algorithms are applied to generate music, the human experience of emotions is still explored. Thus, this study investigates the emotions humans experience listening to computer-generated music that possesses aesthetic qualities. Forty-two subjects participated in the survey. The selection process was purely arbitrary since it was based on convenience. Subjects listened and evaluated the emotions experienced from the computer-generated music through an online questionnaire. The Likert scale was used to rate the emotional levels after the music listening experience. The findings suggest that computer-generated music possesses aesthetic qualities that do not affect subjects' emotions as long as they are pleased with the music. Furthermore, computer-generated music has unique creativity, and expressioneven though the music produced is meaningless, the computational models developed are unable to present emotional contents in music as humans do. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=aesthetic" title="aesthetic">aesthetic</a>, <a href="https://publications.waset.org/abstracts/search?q=algorithms" title=" algorithms"> algorithms</a>, <a href="https://publications.waset.org/abstracts/search?q=emotions" title=" emotions"> emotions</a>, <a href="https://publications.waset.org/abstracts/search?q=computer-generated%20music" title=" computer-generated music"> computer-generated music</a> </p> <a href="https://publications.waset.org/abstracts/148498/analyzing-the-perceptions-of-emotions-in-aesthetic-music" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/148498.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">136</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">384</span> Exploration of Correlation between Design Principles and Elements with the Visual Aesthetic in Residential Interiors</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Ikra%20Khan">Ikra Khan</a>, <a href="https://publications.waset.org/abstracts/search?q=Reenu%20Singh"> Reenu Singh</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Composition is essential when designing the interiors of residential spaces. The ability to adopt a unique style of using design principles and design elements is another. This research report explores how the visual aesthetic within a space is achieved through the use of design principles and design elements while maintaining a signature style. It also observes the relationship between design styles and compositions that are achieved as a result of the implementation of the principles. Information collected from books and the internet helped to understand how a composition can be achieved in residential interiors by resorting to design principles and design elements as tools for achieving an aesthetic composition. It also helped determine the results of authentic representation of design ideas and how they make one’s work exceptional. A questionnaire survey was also conducted to understand the impact of a visually aesthetic residential interior of a signature style on the lifestyle of individuals residing in them. The findings denote a pattern in the application of design principles and design elements. Individual principles and elements or a combination of the same are used to achieve an aesthetically pleasing composition. This was supported by creating CAD illustrations of two different residential projects with varying approaches and design styles. These illustrations include mood boards, 3D models, and sectional elevations as rendered views to understand the concept design and its translation via these mediums. A direct relation is observed between the application of design principles and design elements to achieve visually aesthetic residential interiors that suit an individual’s taste. These practices can be applied when designing bespoke commercial as well as industrial interiors that are suited to specific aesthetic and functional needs. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=composition" title="composition">composition</a>, <a href="https://publications.waset.org/abstracts/search?q=design%20principles" title=" design principles"> design principles</a>, <a href="https://publications.waset.org/abstracts/search?q=elements" title=" elements"> elements</a>, <a href="https://publications.waset.org/abstracts/search?q=interiors" title=" interiors"> interiors</a>, <a href="https://publications.waset.org/abstracts/search?q=residential%20spaces" title=" residential spaces"> residential spaces</a> </p> <a href="https://publications.waset.org/abstracts/154535/exploration-of-correlation-between-design-principles-and-elements-with-the-visual-aesthetic-in-residential-interiors" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/154535.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">103</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">383</span> Psychology Behind Aesthetic Rhinoplasty–Introducing the Term Sifon</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Komal%20Saeed">Komal Saeed</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Introduction: Rhinoplasty is considered one of the challenging aesthetic procedures. Psychosocial concerns motivate the urge for aesthetic procedures especially rhinoplasty. Males who fall in this category are designated as single, immature, male, over expectant and narcissistic (SIMON) in literature. As of yet, there is no term that depicts females showing similar characteristics. The purpose of this study is to evaluate the incidence of body dysmorphic disorder (BDD) in females seeking rhinoplasty and to introduce a term for such individuals. Materials and Methods: A prospective, questionnaire based, qualitative study was conducted in the Department Of Plastic Surgery between March 2018 and March 2020. 110 female candidates seeking aesthetic rhinoplasty were included in the study. BDD was evaluated using the Dysmorphic Concerns Questionnaire, DCQ. Data were analyzed using SPSS version 25 software and correlation between the groups was evaluated. Results: Out of 110 female subjects, 77.3% (n=85) were single, 16.4% (n=18) were married and 6.4% (n=7) were divorced. BDD was found in 41.8% (n=46) of the candidates, majority being single (n=41, 89.1%) and having educational status above diploma (n=39, 84.8%). There was a statistically higher percentage of young adults between 24 and 28 years (n=33, 71.7%) having BDD (p= 0.0001). Conclusion: Considering the high frequency of BDD among females seeking rhinoplasty, a standardized term ‘SIFON’ is introduced to describe such individuals who are S; single, I; immature, F; female, O; over expectant, N; narcissistic as apposed to SIMON in males. These individuals perceive aesthetic procedures as a solution to their body dissatisfaction. Therefore, preoperative counseling seems necessary to avoid unsatisfactory outcomes secondary to mental health. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=aesthetic%20rhinoplasty" title="aesthetic rhinoplasty">aesthetic rhinoplasty</a>, <a href="https://publications.waset.org/abstracts/search?q=body%20dismorphic%20disorder" title=" body dismorphic disorder"> body dismorphic disorder</a>, <a href="https://publications.waset.org/abstracts/search?q=single" title=" single"> single</a>, <a href="https://publications.waset.org/abstracts/search?q=immature" title=" immature"> immature</a>, <a href="https://publications.waset.org/abstracts/search?q=obsessive" title=" obsessive"> obsessive</a> </p> <a href="https://publications.waset.org/abstracts/153900/psychology-behind-aesthetic-rhinoplasty-introducing-the-term-sifon" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/153900.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">99</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">382</span> The Role of Product’s Aesthetic Criteria in Customer Behavior: An Approach on Design Process</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Mozhgan%20Sabzehparvar">Mozhgan Sabzehparvar</a>, <a href="https://publications.waset.org/abstracts/search?q=Mohammad%20Montazeri"> Mohammad Montazeri</a>, <a href="https://publications.waset.org/abstracts/search?q=Mahdie%20Jafarnejad%20Shahri"> Mahdie Jafarnejad Shahri</a>, <a href="https://publications.waset.org/abstracts/search?q=Neda%20Boroumandi"> Neda Boroumandi</a>, <a href="https://publications.waset.org/abstracts/search?q=Shakib%20Alipour"> Shakib Alipour</a>, <a href="https://publications.waset.org/abstracts/search?q=Hamide%20Torabi"> Hamide Torabi</a>, <a href="https://publications.waset.org/abstracts/search?q=Zahra%20Dehghani"> Zahra Dehghani</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In this article, the aesthetic criteria, which are regarded as the key factors in the product development, and design process are carefully taken into account and an attempt has been made to extract the influential concepts in successful product design. This review article was conducted from 22.05.2021 to 22.06.2021, recent published paper in English (2017-2021) in three search engines of JSTOR, IEEE, and EMERALD were selected. The selected main keywords in our search were "Customer, Behavior, Aesthetics, Marketing and Product". During the screenings, 21 articles were analyzed. The aesthetic criteria play a role in increasing the power of choice, loyalty, satisfaction and purchase intention of the customers. Also, product design has a positive effect on the customers’ perception of aesthetics and acts effectively on customer behavior. Aesthetics has a significant relationship with the customer's intention to buy products and can make the product popular and satisfy people. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=product%20design" title="product design">product design</a>, <a href="https://publications.waset.org/abstracts/search?q=design%20process" title=" design process"> design process</a>, <a href="https://publications.waset.org/abstracts/search?q=customer%20behaviour" title=" customer behaviour"> customer behaviour</a>, <a href="https://publications.waset.org/abstracts/search?q=aesthetic" title=" aesthetic"> aesthetic</a>, <a href="https://publications.waset.org/abstracts/search?q=marketing" title=" marketing"> marketing</a> </p> <a href="https://publications.waset.org/abstracts/161830/the-role-of-products-aesthetic-criteria-in-customer-behavior-an-approach-on-design-process" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/161830.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">90</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">381</span> The Connection Between the Semiotic Theatrical System and the Aesthetic Perception</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=P%C4%83curar%20Diana%20Istina">Păcurar Diana Istina</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The indissoluble link between aesthetics and semiotics, the harmonization and semiotic understanding of the interactions between the viewer and the object being looked at, are the basis of the practical demonstration of the importance of aesthetic perception within the theater performance. The design of a theater performance includes several structures, some considered from the beginning, art forms (i.e., the text), others being represented by simple, common objects (e.g., scenographic elements), which, if reunited, can trigger a certain aesthetic perception. The audience is delivered, by the team involved in the performance, a series of auditory and visual signs with which they interact. It is necessary to explain some notions about the physiological support of the transformation of different types of stimuli at the level of the cerebral hemispheres. The cortex considered the superior integration center of extransecal and entanged stimuli, permanently processes the information received, but even if it is delivered at a constant rate, the generated response is individualized and is conditioned by a number of factors. Each changing situation represents a new opportunity for the viewer to cope with, developing feelings of different intensities that influence the generation of meanings and, therefore, the management of interactions. In this sense, aesthetic perception depends on the detection of the “correctness” of signs, the forms of which are associated with an aesthetic property. Fairness and aesthetic properties can have positive or negative values. Evaluating the emotions that generate judgment and implicitly aesthetic perception, whether we refer to visual emotions or auditory emotions, involves the integration of three areas of interest: Valence, arousal and context control. In this context, superior human cognitive processes, memory, interpretation, learning, attribution of meanings, etc., help trigger the mechanism of anticipation and, no less important, the identification of error. This ability to locate a short circuit produced in a series of successive events is fundamental in the process of forming an aesthetic perception. Our main purpose in this research is to investigate the possible conditions under which aesthetic perception and its minimum content are generated by all these structures and, in particular, by interactions with forms that are not commonly considered aesthetic forms. In order to demonstrate the quantitative and qualitative importance of the categories of signs used to construct a code for reading a certain message, but also to emphasize the importance of the order of using these indices, we have structured a mathematical analysis that has at its core the analysis of the percentage of signs used in a theater performance. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=semiology" title="semiology">semiology</a>, <a href="https://publications.waset.org/abstracts/search?q=aesthetics" title=" aesthetics"> aesthetics</a>, <a href="https://publications.waset.org/abstracts/search?q=theatre%20semiotics" title=" theatre semiotics"> theatre semiotics</a>, <a href="https://publications.waset.org/abstracts/search?q=theatre%20performance" title=" theatre performance"> theatre performance</a>, <a href="https://publications.waset.org/abstracts/search?q=structure" title=" structure"> structure</a>, <a href="https://publications.waset.org/abstracts/search?q=aesthetic%20perception" title=" aesthetic perception"> aesthetic perception</a> </p> <a href="https://publications.waset.org/abstracts/163469/the-connection-between-the-semiotic-theatrical-system-and-the-aesthetic-perception" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/163469.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">89</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">380</span> Culture, Consumption, and Markets of Aesthetics: A10-Year Literature Review</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Chin-Hsiang%20Chu">Chin-Hsiang Chu</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This article review the literature in the field among the marketing and aesthetics, the current market and customer-oriented product sales, and gradually from the practical functionality, transformed into the visual appearance of the concept note and the importance of marketing experience substance 'economic Aesthetics' trend. How to introduce the concept of aesthetic and differentiate products have become an important content of marketing management in for an organization in marketing.In previous studies,marketing aesthetic related researches are rare.Therefore, the purpose of this study to explore the connection between aesthetics and marketing of the market economy, and aggregated content through literature review, trying to find related research implications for the management of marketing aesthetics, market-oriented and customer value and development of the product. In this study, the problem statement and background, the development of the theory of evolution, as well as methods and results of discovery stage, literature review was conducted to explore. The results found: (1) Study of Aesthetics will help deepen the shopping environment and service environment commonly understood. (2) the perceived value of products imported aesthetic, consumer willingness to buy, and even premium products will be more attractive. (3) marketing personnel for general marketing management with a high degree of aesthetic identity. (4) management in marketing aesthetics connotation, aesthetic characteristics of five elements is greatly valued by the real-time, complex, specificity, attract sexual and richness. (5) allows consumers to experience through the process due to stimulate the senses, the mind and thinking with the corporate brand or have a deeper link. Results of this study can be used as business in a competitive market, new product development and design of the guide. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=marketing%20aesthetics" title="marketing aesthetics">marketing aesthetics</a>, <a href="https://publications.waset.org/abstracts/search?q=aesthetics%20economic" title=" aesthetics economic"> aesthetics economic</a>, <a href="https://publications.waset.org/abstracts/search?q=aesthetic" title=" aesthetic"> aesthetic</a>, <a href="https://publications.waset.org/abstracts/search?q=experiential%20marketing" title=" experiential marketing"> experiential marketing</a> </p> <a href="https://publications.waset.org/abstracts/53536/culture-consumption-and-markets-of-aesthetics-a10-year-literature-review" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/53536.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">258</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">379</span> Shaping Traditional Chinese Culture in Contemporary Fashion: ‘Guochao’ as a Rising Aesthetic and the Case Study of the Designer Brand Angel Chen</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Zhe%20Ginnie%20Wang">Zhe Ginnie Wang</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Recent cultural design studies have begun to shed light on the discussion of Western-Eastern cultural and aesthetic hybridization, especially in the field of fashion. With the unprecedented spread of cultural Chinese fashion design in the global fashion system, the under-identified ‘Guochao’ aesthetic that has emerged in the global market needs to be academically emphasized with a methodological approach looking at the Western-Eastern cultural hybridization present in fashion visualization. Through an in-depth and comprehensive investigation of a representative international-based Chinese designer, Angel Chen's fashion show 'Madam Qing', this paper provides a methodological approach on how a form of traditional culture can be effectively extracted and applied to modern design using the most effective techniques. The central approach examined in this study involves creating aesthetic revolutions by addressing Chinese cultural identity through re-creating and modernizing traditional Chinese culture in design. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=style%20modernization" title="style modernization">style modernization</a>, <a href="https://publications.waset.org/abstracts/search?q=Chinese%20culture" title=" Chinese culture"> Chinese culture</a>, <a href="https://publications.waset.org/abstracts/search?q=guochao" title=" guochao"> guochao</a>, <a href="https://publications.waset.org/abstracts/search?q=design%20identity" title=" design identity"> design identity</a>, <a href="https://publications.waset.org/abstracts/search?q=fashion%20show" title=" fashion show"> fashion show</a>, <a href="https://publications.waset.org/abstracts/search?q=Angel%20Chen" title=" Angel Chen"> Angel Chen</a> </p> <a href="https://publications.waset.org/abstracts/131274/shaping-traditional-chinese-culture-in-contemporary-fashion-guochao-as-a-rising-aesthetic-and-the-case-study-of-the-designer-brand-angel-chen" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/131274.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">356</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">378</span> A Study on Energy-Saving Modular Housing Units Considering Environmental and Aesthetic Aspects</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Jae%20Hee%20Chung">Jae Hee Chung</a>, <a href="https://publications.waset.org/abstracts/search?q=Tae%20Uk%20Kang"> Tae Uk Kang</a>, <a href="https://publications.waset.org/abstracts/search?q=Byung%20Seo%20Kim"> Byung Seo Kim</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This study aims to propose design technologies for the energy-saving modular housing units considering environmental and aesthetic aspects. Modular houses are environmentally friendly based on 3R (Reduce, Reuse, Recycle) because they can dramatically reduce carbon dioxide and construction wastes generated during the construction, use, and disposal process by the pre-fabrication at the factory and the recyclability of the unit, compared to the existing construction methods. The existing modular housing, however, tends to focus on quantitative aspects of energy reduction, such as windows, insulation, and introduction of renewable energy, and there is not much research on energy-saving type units considering the environmental aspects such as daylighting and ventilation, and the design that goes beyond the standardized appearance. Therefore, this study conducts theoretical investigation and analytical case studies on the energy-saving methods through various architectural planning elements as well as materials like insulation considering the environmental and aesthetic aspects in the modular housing. Then, comparative analysis on the energy efficiency through the energy simulation is conducted. As a conclusion, the energy-saving modular housing units considering environmental and aesthetics aspects are proposed. It is expected that this study will contribute to the supply and activation of modular housing through deriving design technologies for the energy-saving modular housing units that consider not only quantitative aspects but also qualitative aspects. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=aesthetic%20aspects" title="aesthetic aspects">aesthetic aspects</a>, <a href="https://publications.waset.org/abstracts/search?q=energy-saving" title=" energy-saving"> energy-saving</a>, <a href="https://publications.waset.org/abstracts/search?q=environmental" title=" environmental"> environmental</a>, <a href="https://publications.waset.org/abstracts/search?q=modular%20housing" title=" modular housing"> modular housing</a> </p> <a href="https://publications.waset.org/abstracts/71272/a-study-on-energy-saving-modular-housing-units-considering-environmental-and-aesthetic-aspects" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/71272.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">357</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">377</span> Dancing Calligraphy: An Aesthetic Study of Dancing Ink (2017)</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Chingwen%20Yeh">Chingwen Yeh</a>, <a href="https://publications.waset.org/abstracts/search?q=Chang%20Ning%20Hung"> Chang Ning Hung</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper aims to analysis the aesthetic qualities of Dancing Ink (2017) performed by Miao-Hsuan Dance Group in Taiwan. The premiere was performed at Taichung Seaport Art Center Exhibition Hall Room A, in Taichung Taiwan on March 11th, 2017. What calligraphic elements were applied into the contemporary dance choreography was examed by these authors. Although calligraphy and dance are two different art forms, one can see in Dancing Ink that the beauty of Yin Yang force circling; the flow of Chi from inner meditation to the outer physical action are resonated in both art forms. The aesthetic experience was documented through qualitative research methods. In-depth interviews were conducted within a focus group including the calligrapher, the choreographer, the participated professional dancers and the appreciators. Subject matter, movement qualities, characteristic and meaning are the four main areas of interpretation originated from Janet Adshead’s dance analytical theory. Based on all the research data collection and analysis, this research found: 1) Making invisible spirituality visible in relations to creative process, 2) An artistic symbol that transforms from two-dimensional into three-dimensional generates a new aesthetic value, 3) Choreography and calligraphy require different artistic skills and disciplines but expressed the similar dynamic and rhythm in their movement. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Chi" title="Chi">Chi</a>, <a href="https://publications.waset.org/abstracts/search?q=Dancing%20Ink" title=" Dancing Ink"> Dancing Ink</a>, <a href="https://publications.waset.org/abstracts/search?q=Miao%20Hsuan%20Dance%20Group" title=" Miao Hsuan Dance Group"> Miao Hsuan Dance Group</a>, <a href="https://publications.waset.org/abstracts/search?q=Yin%20Yang%20force" title=" Yin Yang force"> Yin Yang force</a> </p> <a href="https://publications.waset.org/abstracts/71356/dancing-calligraphy-an-aesthetic-study-of-dancing-ink-2017" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/71356.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">405</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">376</span> The Impact of Generative AI Illustrations on Aesthetic Symbol Consumption among Consumers: A Case Study of Japanese Anime Style</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Han-Yu%20Cheng">Han-Yu Cheng</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This study aims to explore the impact of AI-generated illustration works on the aesthetic symbol consumption of consumers in Taiwan. The advancement of artificial intelligence drawing has lowered the barriers to entry, enabling more individuals to easily enter the field of illustration. Using Japanese anime style as an example, with the development of Generative Artificial Intelligence (Generative AI), an increasing number of illustration works are being generated by machines, sparking discussions about aesthetics and art consumption. Through surveys and the analysis of consumer perspectives, this research investigates how this influences consumers' aesthetic experiences and the resulting changes in the traditional art market and among creators. The study reveals that among consumers in Taiwan, particularly those interested in Japanese anime style, there is a pronounced interest and curiosity surrounding the emergence of Generative AI. This curiosity is particularly notable among individuals interested in this style but lacking the technical skills required for creating such artworks. These works, rooted in elements of Japanese anime style, find ready acceptance among enthusiasts of this style due to their stylistic alignment. Consequently, they have garnered a substantial following. Furthermore, with the reduction in entry barriers, more individuals interested in this style but lacking traditional drawing skills have been able to participate in producing such works. Against the backdrop of ongoing debates about artistic value since the advent of artificial intelligence (AI), Generative AI-generated illustration works, while not entirely displacing traditional art, to a certain extent, fulfill the aesthetic demands of this consumer group, providing a similar or analogous aesthetic consumption experience. Additionally, this research underscores the advantages and limitations of Generative AI-generated illustration works within this consumption environment. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=generative%20AI" title="generative AI">generative AI</a>, <a href="https://publications.waset.org/abstracts/search?q=anime%20aesthetics" title=" anime aesthetics"> anime aesthetics</a>, <a href="https://publications.waset.org/abstracts/search?q=Japanese%20anime%20illustration" title=" Japanese anime illustration"> Japanese anime illustration</a>, <a href="https://publications.waset.org/abstracts/search?q=art%20consumption" title=" art consumption"> art consumption</a> </p> <a href="https://publications.waset.org/abstracts/173744/the-impact-of-generative-ai-illustrations-on-aesthetic-symbol-consumption-among-consumers-a-case-study-of-japanese-anime-style" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/173744.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">72</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">375</span> Impact of Minimalism in Dance Education on the Development of Aesthetic Sensibilities</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Meghamala%20Nugehally">Meghamala Nugehally</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper hypothesises and draws inferences on the impact of minimalism in dance education on the development of artistic and aesthetic sensibilities in individuals in the age group of 5-18 yrs of age. This research and conclusions are within the context of Indian Classical Dance, which is based on Indian theories of aesthetics drawn from the Natyashastra, an ancient treatise on Indian dance and drama. The research employs training methods handed down through a strict one-on-one teacher-student tradition known as the Guru-Shishya Parampara. Aesthetic principles used are defined, and basic theories from the Natyashastra are explained to provide background for the research design. The paper also discusses dance curriculum design and training methodology design within the context of these aesthetic theories. The scope of the research is limited to two genres of Indian classical forms: Bharatanatyam and Odissi. A brief description of these dance forms is given as background and dance aesthetics specific to these forms are described. The research design includes individual case studies of subjects studied, independent predetermined attributes for observations and a qualitative scoring methodology devised for the purpose of the study. The study describes the training techniques used and contrasts minimal solo training techniques with the more elaborate group training techniques. Study groups were divided and the basis for the division are discussed. Study observations are recorded and presented as evidences. The results inform the conclusion and set the stage for further research in this area. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=dance%20aesthetics" title="dance aesthetics">dance aesthetics</a>, <a href="https://publications.waset.org/abstracts/search?q=dance%20education" title=" dance education"> dance education</a>, <a href="https://publications.waset.org/abstracts/search?q=Indian%20classical%20dance" title=" Indian classical dance"> Indian classical dance</a>, <a href="https://publications.waset.org/abstracts/search?q=minimalism" title=" minimalism"> minimalism</a> </p> <a href="https://publications.waset.org/abstracts/53986/impact-of-minimalism-in-dance-education-on-the-development-of-aesthetic-sensibilities" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/53986.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">228</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">374</span> Khiaban (the Street) as an Ancient Percept of the Iranian Urban Landscape: An Aesthetic Reading of Lalehzar Street, the First Modern Khiaban in Iran</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Mohammad%20Atashinbar">Mohammad Atashinbar</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Lalehzar was one of the main streets in central Tehran in late Qajar and 1st Pahlavi (1880-1940) and a center of attention for the government. It was a natural walk during the last decade of the reign of Nasser al-Din Shah (1880-1895). However, this street lost its prosperity status under the 2nd Pahlavi and evolved from a modern cultural street to a commercial corridor. Lalehzar's decline was the result of the immigration of the upper class from the inner city to the northern part and the consequent transfer of amenities and luxury goods with them. It seems that during Lalehzar's six decades of prosperity, this khiâbân has received an aesthetic look, which has made it enjoyable and appreciated by Tehran’s people. Various post-revolutionary urban management measures have been taken to revive Lalehzar and improve the quality of its urban life. Since the beginning of the Safavid era, the khiâbân was accompanied by the concept of urban space, and its characteristics are explained by referring to the main axis of the Persian Garden with rows of trees, streams, and a line of flowers on both sides. The construction of a street inside the city as an urban space benefits from a mental concept as a spiritual and exciting space, especially in common forms in the Persian Garden. Before that, the khiâbân was a religious and mythical concept, and we can even say that the mastery of this concept led to its appearance in the garden. In Tehran, Lalehzar Street is a gateway to modernity. The aesthetic changes in Lalehzar Street, inspired by Nasser al-Din Shah's journey to Europe around 1870, coinciding with the changes in architectural and urban landscape movements around the world between 1880 and 1940. The Shah is impressed by the modernist urbanism and, in particular, the Champs-Élysées in Paris. A tree-lined promenade with the hallmarks of the Persian Garden is familiar to Nasser al-Din Shah's mental image of beauty. In its state of mind, the main axis of the Persian Garden has the characteristics of a promenade. Therefore, the origins of the aesthetic of Lalehzar Street come from the aesthetics of the khiâbân. Admitting that the Champs-Élysées served as a model for Lalehzar, it seems that the Shah wanted to associate the Champs-Élysées with Lalehzar and highlight its landscape aspects by building this street. Depending on whether the percepts have their own aesthetic, this proposal seeks to analyze the aesthetic evolutions of the khiâbân as a percept towards the street as a component of the urban landscape in Lalehzar. The research attempts to review the aesthetic aspects of Lalehzar between 1880-1940 by using iconographic analysis, based on the available historical data, to find the leading aesthetics principles of this street. The aesthetic view to Lalehzar as an artwork is one of the main achievements of this study. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Lalehzar" title="Lalehzar">Lalehzar</a>, <a href="https://publications.waset.org/abstracts/search?q=aesthetics" title=" aesthetics"> aesthetics</a>, <a href="https://publications.waset.org/abstracts/search?q=percept" title=" percept"> percept</a>, <a href="https://publications.waset.org/abstracts/search?q=Tehran" title=" Tehran"> Tehran</a>, <a href="https://publications.waset.org/abstracts/search?q=street" title=" street"> street</a> </p> <a href="https://publications.waset.org/abstracts/135964/khiaban-the-street-as-an-ancient-percept-of-the-iranian-urban-landscape-an-aesthetic-reading-of-lalehzar-street-the-first-modern-khiaban-in-iran" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/135964.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">151</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">373</span> Jean-Francois Lyotrard's Concept of Different and the Conceptual Problems of Beauty in Philosophy of Contemporary Art</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Sunandapriya%20Bhikkhu">Sunandapriya Bhikkhu</a>, <a href="https://publications.waset.org/abstracts/search?q=Shimo%20Sraman"> Shimo Sraman</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The main objective of this research is to analytically study the concept of Lyotard’s different that rejects the monopoly criteria and single rule with the incommensurable, which can explain about conceptual problems of beauty in the philosophy of contemporary art. In Lyotard’s idea that basic value judgment of human should be a value like a phrase that is a small unit and an individual such as the aesthetic value that to explain the art world. From the concept of the anti-war artist that rejects the concept of the traditional aesthetic which cannot be able to explain the changing in contemporary society but emphasizes the meaning of individual beauty that is at the beginning of contemporary art today. In the analysis of the problem, the researcher supports the concept of Lyotard’s different that emphasizes the artistic expression which opens the space of perception and beyond the limitations of language process. Art is like phrase or small units that can convey a sense of humanity through the aesthetic value of the individual, not social criteria or universal. The concept of Lyotard’s different awakens and challenge us to the rejection of the single rule that is not open the social space to minorities by not accepting the monopoly criteria. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=difference" title="difference">difference</a>, <a href="https://publications.waset.org/abstracts/search?q=Jean-Francois%20Lyotard" title=" Jean-Francois Lyotard"> Jean-Francois Lyotard</a>, <a href="https://publications.waset.org/abstracts/search?q=postmodern" title=" postmodern"> postmodern</a>, <a href="https://publications.waset.org/abstracts/search?q=beauty" title=" beauty"> beauty</a>, <a href="https://publications.waset.org/abstracts/search?q=contemporary%20art" title=" contemporary art"> contemporary art</a> </p> <a href="https://publications.waset.org/abstracts/70728/jean-francois-lyotrards-concept-of-different-and-the-conceptual-problems-of-beauty-in-philosophy-of-contemporary-art" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/70728.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">307</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">372</span> The Audiovisual Media as a Metacritical Ludicity Gesture in the Musical-Performatic and Scenic Works of Caetano Veloso and David Bowie</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Paulo%20Da%20Silva%20Quadros">Paulo Da Silva Quadros</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This work aims to point out comparative parameters between the artistic production of two exponents of the contemporary popular culture scene: Caetano Veloso (Brazil) and David Bowie (England). Both Caetano Veloso and David Bowie were pioneers in establishing an aesthetic game between various artistic expressions at the service of the music-visual scene, that is, the conceptual interconnections between several forms of aesthetic processes, such as fine arts, theatre, cinema, poetry, and literature. There are also correlations in their expressive attitudes of art, especially regarding the dialogue between the fields of art and politics (concern with respect to human rights, human dignity, racial issues, tolerance, gender issues, and sexuality, among others); the constant tension and cunning game between market, free expression and critical sense; the sophisticated, playful mechanisms of metalanguage and aesthetic metacritique. Fact is that both of them almost came to cooperate with each other in the 1970s when Caetano was in exile in England, and when both had at the same time the same music producer, who tried to bring them closer, noticing similar aesthetic qualities in both artistic works, which was later glimpsed by some music critics. Among many of the most influential issues in Caetano's and Bowie's game of artistic-aesthetic expression are, for example, the ideas advocated by the sensation of strangeness (Albert Camus), art as transcendence (Friedrich Nietzsche), the deconstruction and reconstruction of auratic reconfiguration of artistic signs (Walter Benjamin and Andy Warhol). For deepen more theoretical issues, the following authors will be used as supportive interpretative references: Hans-Georg Gadamer, Immanuel Kant, Friedrich Schiller, Johan Huizinga. In addition to the aesthetic meanings of Ars Ludens characteristics of the two artists, the following supporting references will be also added: the question of technique (Martin Heidegger), the logic of sense (Gilles Deleuze), art as an event and the sense of the gesture of art ( Maria Teresa Cruz), the society of spectacle (Guy Debord), Verarbeitung and Durcharbeitung (Sigmund Freud), the poetics of interpretation and the sign of relation (Cremilda Medina). The purpose of such interpretative references is to seek to understand, from a cultural reading perspective (cultural semiology), some significant elements in the dynamics of aesthetic and media interconnections of both artists, which made them as some of the most influential interlocutors in contemporary music aesthetic thought, as a playful vivid experience of life and art. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Caetano%20Veloso" title="Caetano Veloso">Caetano Veloso</a>, <a href="https://publications.waset.org/abstracts/search?q=David%20Bowie" title=" David Bowie"> David Bowie</a>, <a href="https://publications.waset.org/abstracts/search?q=music%20aesthetics" title=" music aesthetics"> music aesthetics</a>, <a href="https://publications.waset.org/abstracts/search?q=symbolic%20playfulness" title=" symbolic playfulness"> symbolic playfulness</a>, <a href="https://publications.waset.org/abstracts/search?q=cultural%20reading" title=" cultural reading"> cultural reading</a> </p> <a href="https://publications.waset.org/abstracts/120266/the-audiovisual-media-as-a-metacritical-ludicity-gesture-in-the-musical-performatic-and-scenic-works-of-caetano-veloso-and-david-bowie" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/120266.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">166</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">371</span> The Long-Term Effects of Immediate Implantation, Early Implantation and Delayed Implantation at Aesthetics Area</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Xing%20Wang">Xing Wang</a>, <a href="https://publications.waset.org/abstracts/search?q=Lin%20Feng"> Lin Feng</a>, <a href="https://publications.waset.org/abstracts/search?q=Xuan%20Zou">Xuan Zou</a>, <a href="https://publications.waset.org/abstracts/search?q=Hongchen%20liu"> Hongchen liu</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Immediate Implantation after tooth extraction is considered to be the ideal way to retain the alveolar bone, but some scholars believe the aesthetic effect in the Early Implantation case are more reliable. In this study, 89 patients were added to this retrospective study up to 5 years. Assessment indicators was including the survival of the implant (peri-implant infection, implant loosening, shedding, crowns and occlusal), aesthetics (color and fullness gums, papilla height, probing depth, X-ray alveolar crest height, the patient's own aesthetic satisfaction, doctors aesthetics score), repair defects around the implant (peri-implant bone changes in height and thickness, whether the use of autologous bone graft, whether to use absorption/repair manual nonabsorbable material), treatment time, cost and the use of antibiotics.The results demonstrated that there is no significant difference in long-term success rate of immediate implantation, early implantation and delayed implantation (p> 0.05). But the results indicated immediate implantation group could get get better aesthetic results after two years (p< 0.05), but may increase the risk of complications and failures (p< 0.05). High-risk indicators include gingival recession, labial bone wall damage, thin gingival biotypes, planting position and occlusal restoration bad and so on. No matter which type of implanting methods was selected, the extraction methods and bone defect amplification techniques are observed as a significant factors on aesthetic effect (p< 0.05). <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=immediate%20implantation" title="immediate implantation">immediate implantation</a>, <a href="https://publications.waset.org/abstracts/search?q=long-term%20effects" title=" long-term effects"> long-term effects</a>, <a href="https://publications.waset.org/abstracts/search?q=aesthetics%20area" title=" aesthetics area"> aesthetics area</a>, <a href="https://publications.waset.org/abstracts/search?q=dental%20implants" title=" dental implants"> dental implants</a> </p> <a href="https://publications.waset.org/abstracts/30972/the-long-term-effects-of-immediate-implantation-early-implantation-and-delayed-implantation-at-aesthetics-area" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/30972.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">356</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">370</span> Aesthetic Preference and Consciousness in African Theatre: A Performance Appraisal of Tyrone Terrence's a Husband's Wife</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Oluwatayo%20Isijola">Oluwatayo Isijola</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The destructive influence of Europe on Africa has also taken a tow on the aesthetic essence of the African Art, which centres on morality and value for human life. In a parallel vein, the adverse turn of this influence on the dramaturgy of some contemporary African plays, poses impedance to audience consciousness in performance engagements. Through the spectrum of African Aesthetics, this study attempts a performance appraisal of A Husband’s wife; an unpublished play written by Tyrone Terence for the African audience. The researcher proffers two variant textual interpretations of the play to evaluate performance engagement in its default realistic mode, which holds an unresolved 'Medean-impulse', and another wherein the resolution is treated to a paradigm shift for aesthetic preference. The investigation employs the mixed method, which combines the quantitative and qualitative methodologies. Keen observation on the reactions and responses of audience members that were engaged in both performances, and on-the-spot interview with selected audience members, were the primary sources for the qualitative data. However, quantitative data was captured in an on-the-spot survey with the instrument of the questionnaire served to a sample population of the audience. The study observes that the preference for African aesthetics as exemplified in the second performance which deployed a paradigm shift did enhance audience consciousness. Hinging on performance aesthetic theory, the paper recommends that all such African plays bestowed with the shortcoming of African aesthetics, should be appropriately treated to paradigm shifts for performance engagement, in the interest of enhancing audience consciousness in the Nigerian Theatre. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=African%20aesthetics" title="African aesthetics">African aesthetics</a>, <a href="https://publications.waset.org/abstracts/search?q=audience%20consciousness" title=" audience consciousness"> audience consciousness</a>, <a href="https://publications.waset.org/abstracts/search?q=paradigm%20shift" title=" paradigm shift"> paradigm shift</a>, <a href="https://publications.waset.org/abstracts/search?q=median-impulse" title=" median-impulse"> median-impulse</a> </p> <a href="https://publications.waset.org/abstracts/57730/aesthetic-preference-and-consciousness-in-african-theatre-a-performance-appraisal-of-tyrone-terrences-a-husbands-wife" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/57730.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">332</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">369</span> Nabokov’s Lolita: Externalization of Contemporary Mind in the Configuration of Hedonistic Aesthetics</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Saima%20Murtaza">Saima Murtaza</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Ethics and aesthetics have invariably remained the two closely integrated artistic appurtenances for the production of any work of art. These artistic devices configure themselves into a complex synthesis in our contemporary literature. The labyrinthine integration of ethics and aesthetics, operating in the lives of human characters, to the extent of transcending all limits has resulted in an artistic puzzle for the readers. Art, no doubt, is an extrinsic expression of the intrinsic life of man. The use of aesthetics in literature pertaining to human existence; aesthetic solipsism, has resulted in the artistic objectification of these characters. The practice of the like aestheticism deprives the characters of their souls, rendering them as mere objects of aesthetic gaze at the hands of their artists-creators. Artists orchestrate their lives founding it on a plot which deviates from normal social and ethical standards. Their perverse attitude can be seen in dealing with characters, their feelings and the incidents of their lives. Morality is made to appear not as a religious construct but as an individual’s private affair. Furthermore, the idea of beauty incarnated, in other words hedonistic aesthetic does not placate a true aesthete. Ethics and aesthetics are the two most recurring motifs of our contemporary literature, especially of Nabokov’s world. The purpose of this study is to peruse these aforementioned motifs in Nabokov’s most enigmatic novel Lolita, a story of pedophilia, which is in fact reflective of our complex individual psychic and societal patterns. The narrative subverts all the traditional and hitherto known notions of aesthetics and ethics. When applied to literature, aesthetic does not simply mean ‘beautiful’ in the text. It refers to an intricate relationship between feelings and perception and also incorporates within its range wide-ranging emotional reactions to text. The term aesthetics in literature is connected with the readers whose critical responses to the text determine the merit of any work to be really a piece of art. Aestheticism is the child of ethics. Morality sets the grounds for the production of any work and the idea of aesthetics gives it transcendence. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=ethics" title="ethics">ethics</a>, <a href="https://publications.waset.org/abstracts/search?q=aesthetics%20and%20hedonistic%20aesthetic" title=" aesthetics and hedonistic aesthetic"> aesthetics and hedonistic aesthetic</a>, <a href="https://publications.waset.org/abstracts/search?q=nymphet%20syndrome" title=" nymphet syndrome"> nymphet syndrome</a>, <a href="https://publications.waset.org/abstracts/search?q=pedophilia" title=" pedophilia"> pedophilia</a> </p> <a href="https://publications.waset.org/abstracts/98933/nabokovs-lolita-externalization-of-contemporary-mind-in-the-configuration-of-hedonistic-aesthetics" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/98933.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">158</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">368</span> The Paradox of Design Aesthetics and the Sustainable Design</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Asena%20Demirci">Asena Demirci</a>, <a href="https://publications.waset.org/abstracts/search?q=Gozen%20Guner%20Akta%C5%9F"> Gozen Guner Aktaş</a>, <a href="https://publications.waset.org/abstracts/search?q=Nur%20Ayalp"> Nur Ayalp</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Nature provides a living space for humans, also in contrast it is destroyed by humans for their personal needs and ambitions. For decreasing these damages against nature, solutions are started to generate and to develop. Moreover, precautions are implemented. After 1960s, especially when the ozone layer got harmed and got thinner by toxic substances coming from man made structures, environmental problems which effected human’s activities of daily living. Thus, this subject about environmental solutions and precautions is becoming a priority issue for scientists. Most of the environmental problems are caused by buildings and factories which are built without any concerns about protecting nature. This situation creates awareness about environmental issues and also the terms like sustainability, Renewable energy show up in building, Construction and architecture sectors to provide environmental protection. In this perspective, the design disciplines also should be respectful to nature and the sustainability. Designs which involve the features like sustainability, renewability and being ecologic have specialties to be less detrimental to the environment rather than the designs which do not involve. Furthermore, these designs produce their own energy for consuming, So they do not use the natural resources. They do not contain harmful substances and they are made of recyclable materials. Thus, they are becoming environmentally friendly structures. There is a common concern among designers about the issue of sustainable design. They believe that the idea of sustainability inhibits the creativity. All works of design resemble each other from the point of aesthetics and technological matters. In addition, there is a concern about design ethics which aesthetic designs cannot be accepted as a priority. For these reasons, there are few designs included the features of being eco-friendly and well-designed and also had design concerns around the world. Despite the other design disciplines, The concept of sustainability is getting more important each day in interior architecture and interior design. As it is known that human being spends 90 % of his life in interior spaces, The importance of that concept in interior spaces is obvious. Aesthetic is another vital concern in interior space design also. Most of the time sustainable materials and sustainable interior design applications conflicts with personal aesthetic parameters. This study aims to discuss the great paradox between the design aesthetic and the sustainable design. Does the sustainable approach in interior design disturbs the design aesthetic? This is one of the most popular questions that have been discussed for a while. With this paper this question will be evaluated with a case study which analyzes the aesthetic perceptions and preferences of the users and designers in sustainable interior spaces. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=aesthetics" title="aesthetics">aesthetics</a>, <a href="https://publications.waset.org/abstracts/search?q=interior%20design" title=" interior design"> interior design</a>, <a href="https://publications.waset.org/abstracts/search?q=sustainable%20design" title=" sustainable design"> sustainable design</a>, <a href="https://publications.waset.org/abstracts/search?q=sustainability" title=" sustainability"> sustainability</a> </p> <a href="https://publications.waset.org/abstracts/27460/the-paradox-of-design-aesthetics-and-the-sustainable-design" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/27460.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">291</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">367</span> The Aesthetics of Time in Thus Spoke Zarathustra: A Reappraisal of the Eternal Recurrence of the Same</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Melanie%20Tang">Melanie Tang</a> </p> <p class="card-text"><strong>Abstract:</strong></p> According to Nietzsche, the eternal recurrence is his most important idea. However, it is perhaps his most cryptic and difficult to interpret. Early readings considered it as a cosmological hypothesis about the cyclic nature of time. However, following Nehamas’s ‘Life as Literature’ (1985), it has become a widespread interpretation that the eternal recurrence never really had any theoretical dimensions, and is not actually a philosophy of time, but a practical thought experiment intended to measure the extent to which we have mastered and perfected our lives. This paper endeavours to challenge this line of thought becoming scholarly consensus, and to carry out a more complex analysis of the eternal recurrence as it is presented in Thus Spoke Zarathustra. In its wider scope, this research proposes that Thus Spoke Zarathustra — as opposed to The Birth of Tragedy — be taken as the primary source for a study of Nietzsche’s Aesthetics, due to its more intrinsic aesthetic qualities and expressive devices. The eternal recurrence is the central philosophy of a work that communicates its ideas in unprecedentedly experimental and aesthetic terms, and a more in-depth understanding of why Nietzsche chooses to present his conception of time in aesthetic terms is warranted. Through hermeneutical analysis of Thus Spoke Zarathustra and engagement with secondary sources such as those by Nehamas, Karl Löwith, and Jill Marsden, the present analysis challenges the ethics of self-perfection upon which current interpretations of the recurrence are based, as well as their reliance upon a linear conception of time. Instead, it finds the recurrence to be a cyclic interplay between the self and the world, rather than a metric pertaining solely to the self. In this interpretation, time is found to be composed of an intertemporal rather than linear multitude of will to power, which structures itself through tensional cycles into an experience of circular time that can be seen to have aesthetic dimensions. In putting forth this understanding of the eternal recurrence, this research hopes to reopen debate on this key concept in the field of Nietzsche studies. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Nietzsche" title="Nietzsche">Nietzsche</a>, <a href="https://publications.waset.org/abstracts/search?q=eternal%20recurrence" title=" eternal recurrence"> eternal recurrence</a>, <a href="https://publications.waset.org/abstracts/search?q=Zarathustra" title=" Zarathustra"> Zarathustra</a>, <a href="https://publications.waset.org/abstracts/search?q=aesthetics" title=" aesthetics"> aesthetics</a>, <a href="https://publications.waset.org/abstracts/search?q=time" title=" time"> time</a> </p> <a href="https://publications.waset.org/abstracts/109821/the-aesthetics-of-time-in-thus-spoke-zarathustra-a-reappraisal-of-the-eternal-recurrence-of-the-same" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/109821.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">150</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">366</span> Biostimulation Effect of Ozone Therapy and Superficial Peeling on Facial Rejuvenation: A Case Report and Literature Review</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Ferreira%20R.">Ferreira R.</a>, <a href="https://publications.waset.org/abstracts/search?q=Rocha%20K."> Rocha K.</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Ozone therapy is indicated for improving skin aesthetics, adjusting oxidative tissue levels, increasing collagen production, and even skin volumizing. This paper aims to carry out a case report that demonstrates the positive results of ozone therapy in association with superficial peeling. The application in association showed positive results for bio-stimulating activities in the reported case demonstrating to be a viable clinical technique. The bio-stimulating effect of ozone therapy in association with peeling is a promising aesthetic therapeutic modality with fast and safe results as an aesthetic therapeutic option. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=bio-stimulating%20effect" title="bio-stimulating effect">bio-stimulating effect</a>, <a href="https://publications.waset.org/abstracts/search?q=ozone%20therapy" title=" ozone therapy"> ozone therapy</a>, <a href="https://publications.waset.org/abstracts/search?q=neocollagenesis" title=" neocollagenesis"> neocollagenesis</a>, <a href="https://publications.waset.org/abstracts/search?q=peeling" title=" peeling"> peeling</a> </p> <a href="https://publications.waset.org/abstracts/157129/biostimulation-effect-of-ozone-therapy-and-superficial-peeling-on-facial-rejuvenation-a-case-report-and-literature-review" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/157129.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">102</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">365</span> An Exploratory Study of Chinese Paper-Cut Art in Household Product Design </h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Ruining%20%20Wu">Ruining Wu</a>, <a href="https://publications.waset.org/abstracts/search?q=Na%20Song"> Na Song</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Paper-cut, as one of the Chinese traditional folk decoration art, has become a unique visual aesthetic characteristics of the Chinese nation in the long-term evolution of cultural symbols. Chinese paper-cut art is the treasure-house for product design in natural resources. This paper first analyzed Chinese folk art of historical origin, cultural background, cultural values, aesthetic value, style features of Chinese paper cut art, then analyzed the design thought and design cases of paper-cut art application in different areas, such as clothing design, logo design and product design areas. Through the research of Chinese paper-cut art culture and design elements, this paper aims to build a household product design concept of Chinese traditional culture. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=paper-cut%20art" title="paper-cut art">paper-cut art</a>, <a href="https://publications.waset.org/abstracts/search?q=culture" title=" culture"> culture</a>, <a href="https://publications.waset.org/abstracts/search?q=household%20products" title=" household products"> household products</a>, <a href="https://publications.waset.org/abstracts/search?q=design" title=" design"> design</a> </p> <a href="https://publications.waset.org/abstracts/64971/an-exploratory-study-of-chinese-paper-cut-art-in-household-product-design" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/64971.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 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