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aesthetics</title> <meta name="description" content="Search results for: Indian aesthetics"> <meta name="keywords" content="Indian aesthetics"> <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 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action="https://publications.waset.org/abstracts/search"> <div 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="Indian aesthetics"> <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> 1524</div> </div> </div> </div> <h1 class="mt-3 mb-3 text-center" style="font-size:1.6rem;">Search results for: Indian aesthetics</h1> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">1524</span> An Exploration of The Patterns of Transcendence in Indian and Hopkins’s Aesthetics </h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Lima%20Antony">Lima Antony</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In G. M. Hopkins’s poetics and aesthetics there is scope for a comparative study with Indian discourses on aesthetics, an area not adequately explored so far. This exploration will enrich the field of comparative study of diverse cultural expressions and their areas of similarity. A comparative study of aesthetic and religious experiences in diverse cultures will open up avenues for the discovery of similarities in self-experiences and their transcendence. Such explorations will reveal similar patterns in aesthetic and religious experiences. The present paper intends to prove this in the theories of Hopkins and Indian aesthetics. From the time of the Vedas Indian sages have believed that aesthetic enjoyment could develop into a spiritual realm. From the Natyasastra of Bharata, Indian aesthetics develops and reaches its culmination in later centuries into a consciousness of union with the mystery of the Ultimate Being, especially in Dhvanaāloka of Anandavardhana and Locana of Abhinavagupta. Dhvanyaloka elaborates the original ideas of rasa (mood or flavor) and dhvani (power of suggestion) in Indian literary theory and aesthetics. Hopkins was successful, like the ancient Indian alankarikas, in creating aesthetically superb patterns at various levels of sound and sense for which he coined the term ‘inscape’. So Hopkins’s aesthetic theory becomes suitable for transcultural comparative study with Indian aesthetics especially the dhvani theories of Anandavardhana and Abhinavagupta. Hopkins’s innovative approach to poetics and his selection of themes are quite suitable for analysis in the light of Indian literary theories. Indian philosophy views the ultimate reality called Brahman, as the 'soul,' or inner essence, of all reality. We see in Hopkins also a search for the essence of things and the chiming of their individuality with the Ultimate Being in multidimensional patterns of sound, sense and ecstatic experience. This search culminates in the realization of a synthesis of the individual self with the Ultimate Being. This is achieved through an act of surrender of the individuality of the self before the Supreme Being. Attempts to reconcile the immanent and transcendent aspects of the Ultimate Being can be traced in the Indian as well as Hopkins’s aesthetics which can contribute to greater understanding and harmony between cultures. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Dhvani" title="Dhvani">Dhvani</a>, <a href="https://publications.waset.org/abstracts/search?q=Indian%20aesthetics" title=" Indian aesthetics"> Indian aesthetics</a>, <a href="https://publications.waset.org/abstracts/search?q=transcultural%20studies" title=" transcultural studies"> transcultural studies</a>, <a href="https://publications.waset.org/abstracts/search?q=Rasa" title=" Rasa"> Rasa</a> </p> <a href="https://publications.waset.org/abstracts/96823/an-exploration-of-the-patterns-of-transcendence-in-indian-and-hopkinss-aesthetics" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/96823.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">148</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">1523</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">1522</span> Towards the Prediction of Aesthetic Requirements for Women’s Apparel Product</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Yu%20Zhao">Yu Zhao</a>, <a href="https://publications.waset.org/abstracts/search?q=Min%20Zhang"> Min Zhang</a>, <a href="https://publications.waset.org/abstracts/search?q=Yuanqian%20Wang"> Yuanqian Wang</a>, <a href="https://publications.waset.org/abstracts/search?q=Qiuyu%20Yu"> Qiuyu Yu</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The prediction of aesthetics of apparel is helpful for the development of a new type of apparel. This study is to build the quantitative relationship between the aesthetics and its design parameters. In particular, women’s pants have been preliminarily studied. This aforementioned relationship has been carried out by statistical analysis. The contributions of this study include the development of a more personalized apparel design mechanism and the provision of some empirical knowledge for the development of other products in the aspect of aesthetics. <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=crease%20line" title=" crease line"> crease line</a>, <a href="https://publications.waset.org/abstracts/search?q=cropped%20straight%20leg%20pants" title=" cropped straight leg pants"> cropped straight leg pants</a>, <a href="https://publications.waset.org/abstracts/search?q=knee%20width" title=" knee width"> knee width</a> </p> <a href="https://publications.waset.org/abstracts/110584/towards-the-prediction-of-aesthetic-requirements-for-womens-apparel-product" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/110584.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">186</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">1521</span> A Learning Process for Aesthetics of Language in Thai Poetry for High School Teachers</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Jiraporn%20Adchariyaprasit">Jiraporn Adchariyaprasit</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The aesthetics of language in Thai poetry are emerged from the combination of sounds and meanings. The appreciation of such beauty can be achieved by means of education, acquisition of knowledge, and training. This research aims to study the learning process of aesthetics of language in Thai poetry for high school teachers in Bangkok and nearby provinces. There are 10 samples selected by purposive sampling for in-depth interviews. According to the research, there are four patterns in the learning process of aesthetics of language in Thai poetry which are 1) the study of characteristics and patterns of poetry, 2) the training of poetic reading, 3) the study of social and cultural contexts of poetry’s creation, and 4) the study of other sciences related to poetry such as linguistics, traditional dance, and so on. <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=poetry" title=" poetry"> poetry</a>, <a href="https://publications.waset.org/abstracts/search?q=Thai%20poetry" title=" Thai poetry"> Thai poetry</a>, <a href="https://publications.waset.org/abstracts/search?q=poetry%20learning" title=" poetry learning"> poetry learning</a> </p> <a href="https://publications.waset.org/abstracts/19357/a-learning-process-for-aesthetics-of-language-in-thai-poetry-for-high-school-teachers" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/19357.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">436</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">1520</span> Science and Technology as Contemporary Epistemological Conditions of Literature</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Lin%20Zou">Lin Zou</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper explores how the development of science and technology in the recent decades has created new conditions for literature and aesthetics. These are epistemological conditions that not only offer empirical understandings of the human mentality, behavior, emotions, and humanity in general, but reshape how value and the ontological questions are understood and linked with humanity. This paper will discuss the implications of these epistemological conditions for the depiction and interpretation of human subjectivity in literature. The paper will first seek to present the argument that science and technology have created new conditions for literature and aesthetics. It then outlines the implications of these new conditions for literature and aesthetics. The main methodologies used are close reading and case studies. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=epistemological%20conditions" title="epistemological conditions">epistemological conditions</a>, <a href="https://publications.waset.org/abstracts/search?q=literature%20and%20aesthetics" title=" literature and aesthetics"> literature and aesthetics</a>, <a href="https://publications.waset.org/abstracts/search?q=science%20and%20technology" title=" science and technology"> science and technology</a>, <a href="https://publications.waset.org/abstracts/search?q=subjectivity" title=" subjectivity"> subjectivity</a> </p> <a href="https://publications.waset.org/abstracts/152348/science-and-technology-as-contemporary-epistemological-conditions-of-literature" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/152348.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">115</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">1519</span> The Study of the Concept of Aesthetics in Architecture Derived from the Ideas of Jörg Kurt Greuther</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Mana%20Pirhadi">Mana Pirhadi</a>, <a href="https://publications.waset.org/abstracts/search?q=Maryam%20Pirhadi"> Maryam Pirhadi</a>, <a href="https://publications.waset.org/abstracts/search?q=Fatemeh%20Tavakoli"> Fatemeh Tavakoli</a> </p> <p class="card-text"><strong>Abstract:</strong></p> As there are several styles and attitudes among the practitioners of the present time, it is difficult to achieve a definition of beauty for contemporary architecture and aesthetic concepts has different frameworks in various disciplines. Beauty can be regarded as one of the most important elements of architecture; therefore, having a clear understanding of beauty can help architects and audiences to create or analyze an architectural work. This paper investigates the assumption that we can have a clearer understanding of the concept of aesthetics in architecture by analyzing the ideas of the contemporary analyst of architectural aesthetics, Jörg Greuther. Thus, the question is how the concept of aesthetics in architecture will be analyzed in their thoughts. In general, the paper aims to examine aesthetic concepts in the contemporary era that are expressed relying on Greuther's views. The paper adopts a descriptive-analytic approach in terms of methodology. Finally, through the study of the viewpoints of various scholars and specifically considering Greuther's definition that focuses on the effect of psychological-social factors on human perception and formation of the schema, it could be said that aesthetics means to have a good knowledge of truth and understand it. <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=beauty%20perception" title=" beauty perception"> beauty perception</a>, <a href="https://publications.waset.org/abstracts/search?q=contemporary%20architecture" title=" contemporary architecture"> contemporary architecture</a>, <a href="https://publications.waset.org/abstracts/search?q=J%C3%B6rg%20Greuther" title=" Jörg Greuther"> Jörg Greuther</a> </p> <a href="https://publications.waset.org/abstracts/66961/the-study-of-the-concept-of-aesthetics-in-architecture-derived-from-the-ideas-of-jorg-kurt-greuther" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/66961.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">1518</span> Evaluating Psychosocial Influence of Dental Aesthetics: A Cross-Sectional Study</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Mahjabeen%20Akbar">Mahjabeen Akbar</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Dental aesthetics and its associated psychosocial influence have a significant impact on individuals. Correcting malocclusions is a key motivating factor for majority patients; however, psychosocial factors have been rarely incorporated in evaluating malocclusions. Therefore, it is necessary to study the psychosocial influence of malocclusion in patients. The study aimed to determine the psychosocial influence of dental aesthetics in dental students by the ‘Psychosocial Impact of Dental Aesthetics Questionnaire’ and self-rated Aesthetic Component of the Index of Orthodontic Treatment Need (IOTN). This was a quantitative study using a cross-sectional study design. One hundred twenty dental students (71 females and 49 males; mean age 24.5) were selected via purposive sampling from July to August 2019. Dental students with no former orthodontic treatment were requested to fill out the ‘Psychosocial Impact of Dental Aesthetics Questionnaire.’ Variables including; self-confidence/insecurity, social influence, psychological influence and self-perception of the need of an orthodontic treatment were evaluated by a sequence of statements, while dental aesthetics were evaluated by using the IOTN Aesthetic Component. To determine the significance, the Kruskal-Wallis test was utilized. The results show that all four variables measuring psychosocial impact indicated significant correlations with the perceived malocclusions with a p-value of less than 0.01. The results conclude there is a strong psychological and social influence of altered dental aesthetics on an individual. Moreover, the relationship between the IOTN-AC grading with the psychosocial wellbeing of an individual stands proven, indicating that the perception of altered dental aesthetics is as important as a factor in treatment need as the amount of malocclusion. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=dental%20aesthetics" title="dental aesthetics">dental aesthetics</a>, <a href="https://publications.waset.org/abstracts/search?q=malocclusion" title=" malocclusion"> malocclusion</a>, <a href="https://publications.waset.org/abstracts/search?q=psychosocial%20influence" title=" psychosocial influence"> psychosocial influence</a>, <a href="https://publications.waset.org/abstracts/search?q=dental%20students" title=" dental students"> dental students</a> </p> <a href="https://publications.waset.org/abstracts/119136/evaluating-psychosocial-influence-of-dental-aesthetics-a-cross-sectional-study" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/119136.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">152</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">1517</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">1516</span> Modern Forms and Aesthetics in Design</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Chukwuma%20Anya">Chukwuma Anya</a>, <a href="https://publications.waset.org/abstracts/search?q=Mekwa%20Eme"> Mekwa Eme</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The term ‘’FORM’’ in design could be referred to as the combination of various shapes of different sizes and assembling them in appropriate positions to achieve a unique figure of high aesthetic value. A deduction from this definition is that forms contribute immensely to the actualization of aesthetics in a building. When these various shapes and figures are properly assembled, it may give rise to a concept in design. However some architects and other designers either misuse or abuse the use of these shapes, hence resulting to a design imbalance, lack of uniformity and expression. This academic work is designed to educate the public on the proper usage of some regular shapes like circles, rectangles, pentagons, hexagons, triangles etc, to achieve a unique form in design. By the end of this work, one should be able to assemble different shapes to express different emotions of the mind, such as peace, love, confusion, war, and unity. Some elements of design, such as balance, stability, functionality and aesthetics, will also be achieved even as the building maintains its unique form. <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=form" title=" form"> form</a>, <a href="https://publications.waset.org/abstracts/search?q=balance" title=" balance"> balance</a>, <a href="https://publications.waset.org/abstracts/search?q=stability" title=" stability"> stability</a> </p> <a href="https://publications.waset.org/abstracts/168695/modern-forms-and-aesthetics-in-design" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/168695.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">1515</span> Act East Policy and the Politics of the Non-Recognized Thai-Indian Diasporic Community in Thailand</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Ruchi%20Agarwal">Ruchi Agarwal</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The Indian diaspora in Thailand is as ethnically diverse as any other country. Although a relatively small community, the Indian diaspora has long established its roots, some with their fifth generation now living in Thailand. The community has a solid social and economic standing recognized by the host country but lacks connections with its ethnic roots in the home country. The biggest dilemma faced by the younger generation of the Indian diasporic community is the identity crisis. Regardless of being born and brought up in Thailand and possessing Thai citizenship, they do not get recognition as Thais by their Thai counterparts. However, with the Act Asia Policy of the Indian government, there has been an increase in social and political activities organized by old and new Indian associations, bringing new hopes of recognizing the Thai-Indian diasporic community. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Indian" title="Indian">Indian</a>, <a href="https://publications.waset.org/abstracts/search?q=Thailand" title=" Thailand"> Thailand</a>, <a href="https://publications.waset.org/abstracts/search?q=diaspora" title=" diaspora"> diaspora</a>, <a href="https://publications.waset.org/abstracts/search?q=Act%20East%20Policy" title=" Act East Policy"> Act East Policy</a>, <a href="https://publications.waset.org/abstracts/search?q=Thai" title=" Thai"> Thai</a> </p> <a href="https://publications.waset.org/abstracts/156586/act-east-policy-and-the-politics-of-the-non-recognized-thai-indian-diasporic-community-in-thailand" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/156586.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">152</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">1514</span> Impact of Western Music Instruments on Indian Classical Music</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Hukam%20Chand">Hukam Chand</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Over the past few years, the performance of Indian classical music has been improved a lot due to the technical inclusion of western instruments. Infect, the Indian classical music is all about raags which portray a mood and sentiments expressed through a microtonal scale based on natural harmonic series. And, most of the western instruments are not based on natural harmonic series and the tonal system is the only system which has considerable influence on the Indian classical music. However, the use of western instruments has been growing day by day in one way or the other by the Indian artists due to their quality of harmony. As a result of which, there are some common instruments such as harmonium, violin, guitar, saxophone, synthesizer which are being used commonly by Indian and western artists. On the other hand, a lot of fusion has taken place in the music of both sides due to the similar characteristics in their instruments. For example, harmonium which was originally the western instrument has now acquired an important position in Indian classical music to perform raags. Besides, a lot of suggestions for improving in the Indian music have been given by the artists for technical modification in the western instruments to cater the needs of Indian music through melody approach. Pt. Vishav Mohan Bhatt an Indian musician has developed Mohan Veena (called guitar) to perform raags. N. Rajam the Indian lady Violinist has made a remarkable work on Indian classical music by accompanied with vocal music. The purpose of the present research paper is to highlight the changes in Indian Classical Music through performance by using modified western music instruments. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Indian%20classical%20music" title="Indian classical music">Indian classical music</a>, <a href="https://publications.waset.org/abstracts/search?q=Western%20instruments" title=" Western instruments"> Western instruments</a>, <a href="https://publications.waset.org/abstracts/search?q=harmonium" title=" harmonium"> harmonium</a>, <a href="https://publications.waset.org/abstracts/search?q=guitar" title=" guitar"> guitar</a>, <a href="https://publications.waset.org/abstracts/search?q=Violin%20and%20impact" title=" Violin and impact"> Violin and impact</a> </p> <a href="https://publications.waset.org/abstracts/46996/impact-of-western-music-instruments-on-indian-classical-music" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/46996.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">521</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">1513</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">1512</span> Evolution of Memorial Architecture: Comparative Study of Aesthetics and Elements of Memorials in Europe and Indian Subcontinent</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Madhusudan%20Hamirwasia">Madhusudan Hamirwasia</a>, <a href="https://publications.waset.org/abstracts/search?q=Sarang%20Barbarwar"> Sarang Barbarwar</a>, <a href="https://publications.waset.org/abstracts/search?q=Arshleen%20Kaur"> Arshleen Kaur</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The construction of memorials began thousands of years ago and the practice is still continuing. These memorials became a symbol to honor great people and events in the history. The aim of the study was to understand the evolution of memorials from an architectural design perspective. It is also concentrated on the similarities and differences between the memorials in Europe and those in the Indian subcontinent. The study shows how the design of a memorial has seen a considerable shift from the tribal Urasgattas to the contemporary commemorative structures. While they were somber symbolic gestures in the past, they have now transformed into a socio-cultural space in urban areas. Not only the memorials were inspired by the culture but the culture too got influenced by the memorials as with progressing time, they hold the vital link to our past. The study intends to encapsulate the essence of design elements in these memorials that convey the visitors the intangible messages held by the edifice in its tangible presence. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=evolution" title="evolution">evolution</a>, <a href="https://publications.waset.org/abstracts/search?q=emotion" title=" emotion"> emotion</a>, <a href="https://publications.waset.org/abstracts/search?q=memorials" title=" memorials"> memorials</a>, <a href="https://publications.waset.org/abstracts/search?q=symbolism" title=" symbolism"> symbolism</a> </p> <a href="https://publications.waset.org/abstracts/126308/evolution-of-memorial-architecture-comparative-study-of-aesthetics-and-elements-of-memorials-in-europe-and-indian-subcontinent" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/126308.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">142</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">1511</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">1510</span> CSR: Corporate Social Responsibility Performance of Indian Automobiles Companies</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Jagbir%20Singh%20Kadyan">Jagbir Singh Kadyan</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This research paper critically analyse the performance of those Indian Automobile Companies which are listed and traded on the National Stock Exchange (NSE) of India and which are also included in the NSE nifty auto Index. In India, CSR–Corporate Social Responsibility is mandatory for certain qualifying companies under the Indian Companies Act 2013, which replaces the erstwhile Companies Act 1956. There has been a significant shift in the focus and approaches of the Indian Corporates towards their CSR obligations with the insertion of section 135, revision of section 198 and introduction of schedule VII of the Indian Companies Act 2013. Every such qualifying companies are required to mandatorily spend at least 2% of their annual average net profit of the immediately preceding three financial years on such CSR activities as specified under schedule VII of the Companies act 2013. This research paper analyzes the CSR performance of such Indian companies. This research work is originally based on the secondary data. The annual reports of the selected Indian automobile companies have been extensively used and considered for this research work. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=board%20of%20directors" title="board of directors">board of directors</a>, <a href="https://publications.waset.org/abstracts/search?q=corporate%20social%20responsibility" title=" corporate social responsibility"> corporate social responsibility</a>, <a href="https://publications.waset.org/abstracts/search?q=CSR%20committees" title=" CSR committees"> CSR committees</a>, <a href="https://publications.waset.org/abstracts/search?q=Indian%20automobile%20companies" title=" Indian automobile companies"> Indian automobile companies</a>, <a href="https://publications.waset.org/abstracts/search?q=Indian%20companies%20act%202013" title=" Indian companies act 2013"> Indian companies act 2013</a>, <a href="https://publications.waset.org/abstracts/search?q=national%20stock%20exchange" title=" national stock exchange"> national stock exchange</a> </p> <a href="https://publications.waset.org/abstracts/60146/csr-corporate-social-responsibility-performance-of-indian-automobiles-companies" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/60146.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">538</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">1509</span> Balancing Aesthetics, Sustainability, and Safety in Handmade Fabric Face Masks: A Testimony of Creativity and Adaptability</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Anne%20Mastamet-Mason">Anne Mastamet-Mason</a>, <a href="https://publications.waset.org/abstracts/search?q=Oluwatosin%20Onakoya"> Oluwatosin Onakoya</a>, <a href="https://publications.waset.org/abstracts/search?q=Karla%20Tissiman"> Karla Tissiman</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The COVID-19 pandemic that ravaged the world in 2020 brought about the need for handmade fabric face masks in South Africa and beyond. These masks showcased individuality and environmental responsibility and effectively aided our battle against the virus. These practical masks held significant meaning, representing human creativity, resilience, and commitment to sustainability in adversity. This paper examines how aesthetics, sustainability, and safety were achieved in the Handmade Fabric Face Masks. It analyses how their integration signified human agility and resilience to the pandemic while promoting dignity and environmental welfare. The research conducted a qualitative analysis to choose handmade fabric face masks and assess their aesthetic, sustainable, and safety features. The study involved interviewing a group of mask designers and users who evaluated the masks' efficacy in providing protection, aesthetics, and environmental sustainability. Although the designers demonstrated a high level of knowledge in the design aspects, the results indicated a need for more information regarding the functional safety measures and some environmental factors in mask selection and production. The mask analysis also revealed that the masks available in the market combined aesthetics and environmental protection but had limited safety measures. Despite the lack of balance of aesthetics, sustainability, and safety among the designers and the users of hand-fabric masks, functional aspects of fabrics and sustainability literacy are essential <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=sustainable%20fashion" title="sustainable fashion">sustainable fashion</a>, <a href="https://publications.waset.org/abstracts/search?q=fabric%20mask" title=" fabric mask"> fabric mask</a>, <a href="https://publications.waset.org/abstracts/search?q=aesthetics" title=" aesthetics"> aesthetics</a>, <a href="https://publications.waset.org/abstracts/search?q=safety%20measures" title=" safety measures"> safety measures</a> </p> <a href="https://publications.waset.org/abstracts/179688/balancing-aesthetics-sustainability-and-safety-in-handmade-fabric-face-masks-a-testimony-of-creativity-and-adaptability" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/179688.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">64</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">1508</span> Machines Hacking Humans: Performances Practices in Electronic Music during the 21st Century</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Zimasa%20Siyasanga%20Gysman">Zimasa Siyasanga Gysman</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper assesses the history of electronic music and its performance to illustrate that machines and technology have largely influenced how humans perform electronic music. The history of electronic music mainly focuses on the composition and production of electronic music with little to no attention paid to its performance by the majority of scholars in this field. Therefore, establishing a history of performance involves investigating what compositions of electronic music called for in the production of electronic music performance. This investigation into seminal works in the history of electronic music, therefore, illustrates the aesthetics of electronic music performance and the aesthetics established in the very beginnings of electronic music performance demonstrate the aesthetics of electronic music which are still prevalent today. The key aesthetics are the repurposing of technology and the hybridisation of technology. Performers take familiar technology (technology that society has become accustomed to using in daily life), not necessarily related to music or performance and use it as an instrument in their performances, such as a rotary dial telephone. Likewise, since the beginnings of electronic music, producers have always experimented with the latest technologies available to them in their compositions and performances. The spirit of performers of electronic music, therefore, revolves around repurposing familiar technologies and using them in new ways, whilst similarly experimenting with new technologies in their performances. This process of hybridisation plays a key role in the production and performance of electronic music in the twentieth century. Through various interviews with performers of electronic music, it is shown that these aesthetics are driving performance practices in the twenty-first century. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=body" title="body">body</a>, <a href="https://publications.waset.org/abstracts/search?q=hybridisation" title=" hybridisation"> hybridisation</a>, <a href="https://publications.waset.org/abstracts/search?q=performance" title=" performance"> performance</a>, <a href="https://publications.waset.org/abstracts/search?q=sound" title=" sound"> sound</a> </p> <a href="https://publications.waset.org/abstracts/102904/machines-hacking-humans-performances-practices-in-electronic-music-during-the-21st-century" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/102904.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">161</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">1507</span> Investigating the Effect of Aesthetics of Wisdom and Thought on Islamic-Iranian Architecture and Modern Western Architecture: Considering the Position of Islamic Philosophy and Western Philosophy in the Art of Architecture</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Hamid%20Mohamad%20Hosein%20Zadeh%20Hashemi">Hamid Mohamad Hosein Zadeh Hashemi</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In this article, in order to recognize the value of aesthetics of the place of wisdom and mysticism on Islamic art-architecture, and compare it with the influence of philosophy and thought on the "modern art of architecture" of the West, it examines the position of wisdom and philosophy in art Architecture ". In this regard, one can point out the unique status of "art of architecture" in human societies, which in two cultures of the East and West, based on the ideas of Islamic wisdom and Western thought, has taken a dual path, so that even today, even from the original And the basic "art of architecture" of its primary and academic has turned away and has undergone some kind of transformation. To this end, we examine some of the "aesthetics" positions based on the "art of architecture" in the broad sense of the word, in order to reflect on the historical course of this art, and with regard to the position of Islamic thought and Western thought, each of which originated from, but based on The basis of cultures, climate, and sociology, and others, are ultimately the result of an arbitrary result, namely the achievement of the aesthetic position of wisdom and mysticism on the "Islamic-Iranian" architecture of art "and its opposition to the position of philosophy and thought On modern art of modern architecture of the West. <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=art" title=" art"> art</a>, <a href="https://publications.waset.org/abstracts/search?q=philosophy" title=" philosophy"> philosophy</a>, <a href="https://publications.waset.org/abstracts/search?q=the%20art%20of%20Architecture" title=" the art of Architecture"> the art of Architecture</a>, <a href="https://publications.waset.org/abstracts/search?q=wisdom" title=" wisdom"> wisdom</a> </p> <a href="https://publications.waset.org/abstracts/89982/investigating-the-effect-of-aesthetics-of-wisdom-and-thought-on-islamic-iranian-architecture-and-modern-western-architecture-considering-the-position-of-islamic-philosophy-and-western-philosophy-in-the-art-of-architecture" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/89982.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">247</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">1506</span> International Migration of Highly Skilled Indian Professionals: A Case Study of Indian IT Professionals in Japan, Preliminary Results</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Rimpi%20Rani">Rimpi Rani</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In the 2000s, a new migration trend of highly skilled Indian professionals towards Japan has appeared. This paper examines the factors that set off the incoming of highly skilled Indian professionals in Japan, mainly focusing on IT professionals’ immigration, and the reasons of the increase in their number. It investigates the influence of four factors: The Japanese immigration policy, the bilateral relations between India and Japan, the higher education system in India and the American H-1B visa policy with its cap system. This study concludes that increased and continuous supply of highly skilled Indian professionals have intensified the competition for migration to traditional destinations like the USA. This led Indian professionals   to consider other options such as Japan. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=international%20migration" title="international migration">international migration</a>, <a href="https://publications.waset.org/abstracts/search?q=India" title=" India"> India</a>, <a href="https://publications.waset.org/abstracts/search?q=Japan" title=" Japan"> Japan</a>, <a href="https://publications.waset.org/abstracts/search?q=highly%20skilled%20professionals" title=" highly skilled professionals"> highly skilled professionals</a> </p> <a href="https://publications.waset.org/abstracts/57334/international-migration-of-highly-skilled-indian-professionals-a-case-study-of-indian-it-professionals-in-japan-preliminary-results" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/57334.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">312</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">1505</span> Relationship between Growth of Non-Performing Assets and Credit Risk Management Practices in Indian Banks</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Sirus%20Sharifi">Sirus Sharifi</a>, <a href="https://publications.waset.org/abstracts/search?q=Arunima%20Haldar"> Arunima Haldar</a>, <a href="https://publications.waset.org/abstracts/search?q=S.%20V.%20D.%20Nageswara%20Rao"> S. V. D. Nageswara Rao</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The study attempts to analyze the impact of credit risk management practices of Indian scheduled commercial banks on their non-performing assets (NPAs). The data on credit risk practices was collected by administering a questionnaire to risk managers/executives at different banks. The data on NPAs (from 2012 to 2016) is sourced from Prowess, a database compiled by the Centre for Monitoring Indian Economy (CMIE). The model was estimated using cross-sectional regression method. As expected, the findings suggest that there is a negative relationship between credit risk management and NPA growth in Indian banks. The study has implications for Indian banks given the high level of losses, and the implementation of Basel III norms by the central bank, i.e. Reserve Bank of India (RBI). Evidence on credit risk management in Indian banks, and their relationship with non-performing assets held by them. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=credit%20risk" title="credit risk">credit risk</a>, <a href="https://publications.waset.org/abstracts/search?q=identification" title=" identification"> identification</a>, <a href="https://publications.waset.org/abstracts/search?q=Indian%20Banks" title=" Indian Banks"> Indian Banks</a>, <a href="https://publications.waset.org/abstracts/search?q=NPAs" title=" NPAs"> NPAs</a>, <a href="https://publications.waset.org/abstracts/search?q=ownership" title=" ownership"> ownership</a> </p> <a href="https://publications.waset.org/abstracts/59779/relationship-between-growth-of-non-performing-assets-and-credit-risk-management-practices-in-indian-banks" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/59779.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">408</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">1504</span> A Study on Golden Ratio (ф) and Its Implications on Seismic Design Using ETABS</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Vishal%20A.%20S.%20Salelkar">Vishal A. S. Salelkar</a>, <a href="https://publications.waset.org/abstracts/search?q=Sumitra%20S.%20Kandolkar"> Sumitra S. Kandolkar</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Golden ratio (ф) or Golden mean or Golden section, as it is often referred to, is a proportion or a mean, which is often used by architects while conceiving the aesthetics of a structure. Golden Ratio (ф) is an irrational number that can be roughly rounded to 1.618 and is derived out of quadratic equation x2-x-1=0. The use of Golden Ratio (ф) can be observed throughout history, as far as ancient Egyptians, which later peaked during the Greek golden age. The use of this design technique is very much prevalent. At present, architects around the world prefer this as one of the primary techniques to decide aesthetics. In this study, an analysis has been performed to investigate whether the use of the golden ratio while planning a structure has any effects on the seismic behavior of the structure. The structure is modeled and analyzed on ETABS (by Computers and Structures, Inc.) for Seismic requirements equivalent to Zone III (Region: Goa-India) as per Indian Standard Code IS-1893. The results were compared to that of an identical structure modeled along the lines of normal design philosophy, not using the Golden Ratio tools. The results were then compared for Story Shear, Story Drift, and Story Displacement Readings. Improvement in performance, although slight, but was observed. Similar improvements were also observed in subsequent iterations, performed using time-acceleration data of previous major earthquakes matched to Zone III as per IS-1893. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=ETABS" title="ETABS">ETABS</a>, <a href="https://publications.waset.org/abstracts/search?q=golden%20ratio" title=" golden ratio"> golden ratio</a>, <a href="https://publications.waset.org/abstracts/search?q=seismic%20design" title=" seismic design"> seismic design</a>, <a href="https://publications.waset.org/abstracts/search?q=structural%20behavior" title=" structural behavior"> structural behavior</a> </p> <a href="https://publications.waset.org/abstracts/129401/a-study-on-golden-ratio-f-and-its-implications-on-seismic-design-using-etabs" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/129401.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">181</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">1503</span> Understanding the Qualities of Indian Neighborhoods: Understanding of Social Spaces</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Venkata%20Ravi%20Kumar%20Veluru">Venkata Ravi Kumar Veluru</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Indian traditional neighborhoods are socially active and sometimes intrusive communities, which are losing their qualities due to western influences, undermining the traditional Indian values by blind adaptation of western neighborhood concepts since the scale is not suitable to the Indian context. This paper aims to understand the qualities of Indian traditional neighborhoods by evaluating a traditional neighborhood of Jaipur, comparing it with a modern planned neighborhood of Chandigarh, designed by a foreign planner, in the neighborhood concept of the western world, to find out the special qualities of traditional Indian neighborhoods as compared to western concepts in terms of social spaces, by way of physical observation of selected neighborhoods and residents structured questionnaire survey. The combined analysis found that social spaces are abundantly available in traditional neighborhoods, which are missing in modern neighborhoods, which are the main qualities where interactions happen, aiming towards the formation of social capital. The qualities of traditional neighborhoods have to be considered while designing new neighborhoods in India. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Indian%20neighborhoods" title="Indian neighborhoods">Indian neighborhoods</a>, <a href="https://publications.waset.org/abstracts/search?q=modern%20neighborhoods" title=" modern neighborhoods"> modern neighborhoods</a>, <a href="https://publications.waset.org/abstracts/search?q=neighborhood%20planning" title=" neighborhood planning"> neighborhood planning</a>, <a href="https://publications.waset.org/abstracts/search?q=social%20spaces" title=" social spaces"> social spaces</a>, <a href="https://publications.waset.org/abstracts/search?q=traditional%20neighborhoods" title=" traditional neighborhoods"> traditional neighborhoods</a> </p> <a href="https://publications.waset.org/abstracts/155054/understanding-the-qualities-of-indian-neighborhoods-understanding-of-social-spaces" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/155054.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">121</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">1502</span> The Roles of Aesthetics and Information Quality on Intention to Continued Used of Digital Library within the Context of UTAUT2</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Shahruhaida%20Adayu%20Mohd%20Paili">Shahruhaida Adayu Mohd Paili</a>, <a href="https://publications.waset.org/abstracts/search?q=Abd%20Latif%20Abdul%20Rahman"> Abd Latif Abdul Rahman</a>, <a href="https://publications.waset.org/abstracts/search?q=Asmadi%20Mohammed%20Ghazali"> Asmadi Mohammed Ghazali</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Digital library was developed by many organizations, especially universities. The digital library can be considered as a new information system. Digital library brings many benefits to the users. There are many researches that have investigated the importance of the digital library, the acceptance, and continuance use of digital library. The investigation towards the digital library is important and it is crucial to understand the reason why users accept and continued use of digital library. Users can search the information and available resources through the digital library website. It is important to know the user’s perception towards the aesthetics of the digital library. Besides that, because of digital library provided information to the users, the researcher also needed to investigate the quality of information in digital library. This study used Extending the Unified Theory of Acceptance and Use of Technology (UTAUT2) in order to know the user’s intention to continued use of digital library. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=digital%20library" title="digital library">digital library</a>, <a href="https://publications.waset.org/abstracts/search?q=aesthetics" title=" aesthetics"> aesthetics</a>, <a href="https://publications.waset.org/abstracts/search?q=information%20quality" title=" information quality"> information quality</a>, <a href="https://publications.waset.org/abstracts/search?q=intention%20to%20continued%20use%20of%20digital%20library" title=" intention to continued use of digital library"> intention to continued use of digital library</a>, <a href="https://publications.waset.org/abstracts/search?q=UTAUT2" title=" UTAUT2"> UTAUT2</a> </p> <a href="https://publications.waset.org/abstracts/45725/the-roles-of-aesthetics-and-information-quality-on-intention-to-continued-used-of-digital-library-within-the-context-of-utaut2" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/45725.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">388</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">1501</span> The Nimbārka School of Vedānta and the Indian Classical Dance: The Philosophical Relevance through Rasa Theory</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Shubham%20Arora">Shubham Arora</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper illustrates a relationship between the Dvaitādvaita (dualistic non-dualistic) doctrine of Nimbārka school of Vedānta and philosophy of Indian classical dance, through the Rasa theory. There would be a separate focus on the philosophies of both the disciplines and then analyzing Rasa theory as a connexion between them. The paper presents ideas regarding the similarity between the Brahman and the dancer, manifestation of enacting character and the Jīva (soul), the existence of the phenomenal world and the imaginary world classification of rasa on the basis of three modes of nature, and the feelings and expressions depicting the Dvaita and Advaita. The reason behind choosing such a topic is an intention to explore the relativity of the Vedantic philosophy of this school in real manner. It is really important to study the practical implications and relevance of the doctrine with other disciplines for perceiving it cogently. In our daily lives, we use various forms of facial expressions and bodily gestures in order to communicate, along with the oral and written means of communication. What if, when gestures and expressions mingle with the music beats, in order to present an idea? Indian Classical dance is highly rich in expressing the emotions using extraordinary expressions, unconventional bodily gestures and mesmerizing music beats. Ancient scriptures like Nāṭyaśāstra of Bharata Muni and Abhinava Bhārati by Abhinavaguptā recount aesthetics in a well-defined and structured way of acting and dancing and also reveal the grammar of rasa theory. Indian Classical dance is not only for entertainment but it is deeply in contact with divinity. During the period of Bhakti movement in India, this art form was used as a means to narrate the vignettes from epics like Rāmāyana and Mahābhārata and Purānas. Even in present era, this art has a deep rooted philosophy within. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Advaita" title="Advaita">Advaita</a>, <a href="https://publications.waset.org/abstracts/search?q=Brahman" title=" Brahman"> Brahman</a>, <a href="https://publications.waset.org/abstracts/search?q=Dvaita" title=" Dvaita"> Dvaita</a>, <a href="https://publications.waset.org/abstracts/search?q=Jiva" title=" Jiva"> Jiva</a>, <a href="https://publications.waset.org/abstracts/search?q=Nimbarka" title=" Nimbarka"> Nimbarka</a>, <a href="https://publications.waset.org/abstracts/search?q=Rasa" title=" Rasa"> Rasa</a>, <a href="https://publications.waset.org/abstracts/search?q=Vedanta" title=" Vedanta"> Vedanta</a> </p> <a href="https://publications.waset.org/abstracts/62063/the-nimbarka-school-of-vedanta-and-the-indian-classical-dance-the-philosophical-relevance-through-rasa-theory" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/62063.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">299</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">1500</span> Developing a Modular Architecture of Apparel Product</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Yu%20Zhao">Yu Zhao</a>, <a href="https://publications.waset.org/abstracts/search?q=Mengqin%20Sun"> Mengqin Sun</a>, <a href="https://publications.waset.org/abstracts/search?q=Yahui%20Zhang"> Yahui Zhang</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Apparel products (or apparel) with the sense of aesthetics, usability (ergonomics) and function are fundamental and varied in people’s daily life. The numerous apparel thus produced by apparel industry, have been triggered many issues, such as the waste of sources and the environmental pollutions. In this study, a hybrid architecture called modular architecture of apparel (MAA) has been proposed to deal with the variety of apparel, and thus to overcome the aforementioned issues. Generally, the establishment of MAA takes advantage of the modular design of a general product that a product is assembled with many modules through their modular interface connector. The development of MAA is to first analyze the structure of apparel in terms of the necessity to form an apparel and the aesthetics, ergonomics, and function of apparel; then to divide apparel into many segments (or module in product design) based on the structure of apparel; to develop modular interfaces and modular interface connectors in terms of the features of apparel’s modules. It is noted that in the general product design, modules of a product are only about the function and ergonomics, but in MAA, the module of aesthetics is developed. Further, an apparel design with employing the MAA is carried out to validate its usefulness and efficiency. There are three contributions out of this study, the first is to overcome the aforementioned issues (i.e. waste of source and environmental pollutions); the second is the improvement of the modular design for product by considering aesthetics; the third is to add the value in realizing the personalized mass production of apparel in the near future. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=apparel" title="apparel">apparel</a>, <a href="https://publications.waset.org/abstracts/search?q=architecture" title=" architecture"> architecture</a>, <a href="https://publications.waset.org/abstracts/search?q=modular%20design" title=" modular design"> modular design</a>, <a href="https://publications.waset.org/abstracts/search?q=segment" title=" segment"> segment</a> </p> <a href="https://publications.waset.org/abstracts/82693/developing-a-modular-architecture-of-apparel-product" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/82693.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">283</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">1499</span> Aesthetics and Semiotics in Theatre Performance</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> Structured in three chapters, the article attempts an X-ray of the theatrical aesthetics, correctly understood through the emotions generated in the intimate structure of the spectator that precedes the triggering of the viewer’s perception and not through the superposition, unfortunately common, of the notion of aesthetics with the style in which a theater show is built. The first chapter contains a brief history of the appearance of the word aesthetic, the formulation of definitions for this new term, as well as its connections with the notions of semiotics, in particular with the perception of the message transmitted. Starting with Aristotle and Plato, and reaching Magritte, their interventions should not be interpreted in the sense that the two scientific concepts can merge into one discipline. The perception that is the object of everyone’s analysis, the understanding of meaning, the decoding of the messages sent, and the triggering of feelings that culminate in pleasure, shaping the aesthetic vision, are some elements that keep semiotics and aesthetics distinct, even though they share many methods of analysis. The compositional processes of aesthetic representation and symbolic formation are analyzed in the second part of the paper from perspectives that include or do not include historical, cultural, social, and political processes. Aesthetics and the organization of its symbolic process are treated, taking into account expressive activity. The last part of the article explores the notion of aesthetics in applied theater, more specifically in the theater show. Taking the postmodern approach that aesthetics applies to the creation of an artifact and the reception of that artifact, the intervention of these elements in the theatrical system must be emphasized –that is, the analysis of the problems arising in the stages of the creation, presentation, and reception, by the public, of the theater performance. The aesthetic process is triggered involuntarily, simultaneously, or before the moment when people perceive the meaning of the messages transmitted by the work of art. The finding of this fact makes the mental process of aesthetics similar or related to that of semiotics. No matter how perceived individually, beauty, the mechanism of production can be reduced to two. The first step presents similarities to Peirce’s model, but the process between signified and signified additionally stimulates the related memory of the evaluation of beauty, adding to the meanings related to the signification itself. Then, the second step, a process of comparison, is followed, in which one examines whether the object being looked at matches the accumulated memory of beauty. Therefore, even though aesthetics is derived from the conceptual part, the judgment of beauty and, more than that, moral judgment come to be so important to the social activities of human beings that it evolves as a visible process independent of other conceptual contents. <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=semiotics" title=" semiotics"> semiotics</a>, <a href="https://publications.waset.org/abstracts/search?q=symbolic%20composition" title=" symbolic composition"> symbolic composition</a>, <a href="https://publications.waset.org/abstracts/search?q=subjective%20joints" title=" subjective joints"> subjective joints</a>, <a href="https://publications.waset.org/abstracts/search?q=signifying" title=" signifying"> signifying</a>, <a href="https://publications.waset.org/abstracts/search?q=signified" title=" signified"> signified</a> </p> <a href="https://publications.waset.org/abstracts/167158/aesthetics-and-semiotics-in-theatre-performance" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/167158.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">109</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">1498</span> The Status and Role of Women in Indian IT Industry and Relevant Role and Scope of HRM</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Shivani%20Kolarkar">Shivani Kolarkar</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Splendid growth in Indian IT has generated women employment on a large scale in India and continues to do it. Indian IT industry has achieved this in spite of total masculine dominance in other Indian engineering industries, where the ratio of women employment is almost negligible as compared to men. Indian IT today proudly enjoys a strong pool of technically educated, intellectual, and skillful women employees. IT industry has encouraged technical education for women in India, to a great extent. The software industry has definitely contributed to developing a positive and dignified role and status of women employees in Indian IT industry. It has promoted women’s social and economic role and status. In spite of all, gender discrimination still persists in Indian IT, also, which is low as compared to other industries, but it is a matter of concern. An Indian woman is bound to carry dual roles which are equally over-stressed for IT women employees. Long working hours, night shifts, work pressures and insufficient safety majors and necessary facilities for women contributes to making her physical-mental life, family and married life troublesome. Which forces her either to cluster at low-end jobs in IT/elsewhere or to sacrifice her career. Nature, role and status of HRM needs to be broadened, deepened and shaped into research-oriented multidimensional perspective in the context of really enhancing role and status of Indian IT women with high appreciation of women employees’ dignity and entity. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=attrition" title="attrition">attrition</a>, <a href="https://publications.waset.org/abstracts/search?q=gender%20discrimination" title=" gender discrimination"> gender discrimination</a>, <a href="https://publications.waset.org/abstracts/search?q=HRM" title=" HRM"> HRM</a>, <a href="https://publications.waset.org/abstracts/search?q=Indian%20IT" title=" Indian IT"> Indian IT</a>, <a href="https://publications.waset.org/abstracts/search?q=software%20industry" title=" software industry"> software industry</a>, <a href="https://publications.waset.org/abstracts/search?q=job%20satisfaction" title=" job satisfaction"> job satisfaction</a>, <a href="https://publications.waset.org/abstracts/search?q=safety" title=" safety"> safety</a>, <a href="https://publications.waset.org/abstracts/search?q=technical%20education" title=" technical education"> technical education</a>, <a href="https://publications.waset.org/abstracts/search?q=women%20employment" title=" women employment "> women employment </a> </p> <a href="https://publications.waset.org/abstracts/3257/the-status-and-role-of-women-in-indian-it-industry-and-relevant-role-and-scope-of-hrm" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/3257.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">646</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">1497</span> Customer Relationship Management - “Is It a Myth or a Reality in Indian Consumer Context”</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Manish%20Manohar%20Hingorani">Manish Manohar Hingorani</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The purpose of the research is to find out the level of understanding, adoption, and implementation of CRM in Indian Businesses, either product/ service and the processes which should be followed to ensure minimal to no customer churn and further enhance loyalty. The study used comprehensive qualitative interviews of 36 respondents across mid and senior-level management in product and services organizations of Indian origin. The findings of the study exhibit a gap between the understanding, adoption and implementation of CRM in the Indian context. Different Industries have attributed different levels of understanding, adoption, and limited implementation studies on CRM to the Indian context exists in different industries, but studies related to the consequences of not understanding the true meaning of CRM at the grass root level and further than on non-adoption and non-implementation will have an adverse effect on the customer loyalty, and customer satisfaction leading to customer churn. As this was a qualitative approach, the analysis was content-based and discourse based. The responses were taken from mid to very-senior management decision-makers in organizations of Indian origin. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=customer%20relationship%20management" title="customer relationship management">customer relationship management</a>, <a href="https://publications.waset.org/abstracts/search?q=Indian%20consumer" title=" Indian consumer"> Indian consumer</a>, <a href="https://publications.waset.org/abstracts/search?q=customer%20loyalty" title=" customer loyalty"> customer loyalty</a>, <a href="https://publications.waset.org/abstracts/search?q=customer%20experience" title=" customer experience"> customer experience</a>, <a href="https://publications.waset.org/abstracts/search?q=customer%20satisfaction" title=" customer satisfaction"> customer satisfaction</a> </p> <a href="https://publications.waset.org/abstracts/162438/customer-relationship-management-is-it-a-myth-or-a-reality-in-indian-consumer-context" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/162438.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">95</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">1496</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">1495</span> Parallels Between Indian Art Music and Western Art Music: The Suppression of the Notion of the 'Melody'</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Kedarnath%20Awati">Kedarnath Awati</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Some parallels between Indian Art Music and Western Art Music, such as the identity of the basic heptatonic scale structure, are quite obvious and need no further discussion. Other parallels are far less obvious, and it is one of them that the author is interested in. Specifically, the author would like to make a serious claim that in both types of music, there is an unspoken dependence on melody. Yes, it is true that the techniques that the two systems use for elaboration are very, very different: Western music uses the techniques of harmony, counterpoint, orchestration and motivic variation, while the Indian systems, both the Hindustani and the Carnatic traditions use the technique of raagdaari. The reason that this point is barely spoken about is that both in the West as well as in India, artists tend to think of melody as something elementary or as something 'given'. The Indian musicians would much rather dwell upon this or that meend or taan or other technical device, while the West thinks that melody is passé and would rather discuss the merits and demerits of spectralism and perhaps serialism. The author would like to explore this theme further in his paper. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Indian%20art%20music" title="Indian art music">Indian art music</a>, <a href="https://publications.waset.org/abstracts/search?q=Western%20art%20music" title=" Western art music"> Western art music</a>, <a href="https://publications.waset.org/abstracts/search?q=melody" title=" melody"> melody</a>, <a href="https://publications.waset.org/abstracts/search?q=raagdaari" title=" raagdaari"> raagdaari</a>, <a href="https://publications.waset.org/abstracts/search?q=motivic%20variation." title=" motivic variation."> motivic variation.</a> </p> <a href="https://publications.waset.org/abstracts/176465/parallels-between-indian-art-music-and-western-art-music-the-suppression-of-the-notion-of-the-melody" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/176465.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">64</span> </span> </div> </div> <ul class="pagination"> <li class="page-item disabled"><span class="page-link">&lsaquo;</span></li> <li class="page-item active"><span class="page-link">1</span></li> <li class="page-item"><a class="page-link" href="https://publications.waset.org/abstracts/search?q=Indian%20aesthetics&page=2">2</a></li> <li class="page-item"><a class="page-link" href="https://publications.waset.org/abstracts/search?q=Indian%20aesthetics&page=3">3</a></li> <li class="page-item"><a class="page-link" href="https://publications.waset.org/abstracts/search?q=Indian%20aesthetics&page=4">4</a></li> <li class="page-item"><a class="page-link" href="https://publications.waset.org/abstracts/search?q=Indian%20aesthetics&page=5">5</a></li> <li class="page-item"><a class="page-link" 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