Xem 1-20 trên 388 kết quả Aesthetics
  • The transportation system is a network of highways, trails, railroads, airports, transmission lines, pipelines, canals, and waterways set in the landscape. The goal of the transportation designer is to fit the highway or other facility into the adjacent landscape in a way that is complementary to, and enhances, the existing landscape. Achieving this goal requires consideration of natural, ecological, aesthetic, economic, and social influences related to that landscape.

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  • This Sourcebook presents guidelines for improving the appearance of short- to medium-span bridges (those with spans up to about 300 feet). These structures constitute the great majority of bridges and are often referred to as “workhorse” bridges. The Sourcebook begins by explaining why it is necessary for engineers to consider bridge aesthetics. It then provides practical, easy-to-apply ideas for design engineers to use in developing elegant designs for the typical bridges on which they work every day.

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  • Why another book on botulinum toxin in aesthetic medicine? There are a couple of reasons. First: the main reason is the tremendous progress that we are seeing in the use of this drug, which rapidly outstrips the present literature. Second: we still think there is a need for good books as there is still a lot of confusion and misconceptions around the different indications and the different drugs.

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  • Research objectives: Contributing to interpretation problems and practical reasoning, which recommended fundamental solution to meet development goals overall personality development of students towards the contingent future military officers. Clarifying the nature and some problems with regularity developed aesthetic sense of students trained officer Vietnam People's Army.

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  • Enter the world of the stylish Japanese house, where every object in sight is a work of art. Japan Style introduces 20 special residences. With more than 200 color photographs, this book showcases the stunning beauty of old homes, and reveals how they are cared for by their owners. Traditional Japanese homes, with superbly crafted fine wood, great workmanship and seasonal interior arrangements, have an aesthetic of infinite simplicity. Unlike Japanese inns and historical buildings, the houses featured in this book are private property and are not open to public viewing.

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  • About Aristotle: Aristotle (384 BC – 322 BC) was a Greek philosopher, a student of Plato and teacher of Alexander the Great. His writings cover many subjects, including physics, metaphysics, poetry, theater, music, logic, rhetoric, politics, government, ethics, biology, and zoology. Together with Plato and Socrates (Plato's teacher), Aristotle is one of the most important founding figures in Western philosophy. Aristotle's writings constitute a first at creating a comprehensive system of Western philosophy, encompassing morality and aesthetics, logic and science, politics and metaphysics.

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  • Not all sensations, and not even all harmonious sensations, are however aesthetic. Witasek holds, it is true, that all aesthetic feelings presuppose (are founded on) intuitive presentations; but he nevertheless draws a clear line between aesthetic experiences on the one hand, even those relating to objects of sense and to simple Gestalten, and merely sensory feelings - for example my feeling of pleasure in the warmth of a wood fire. To follow his reasoning here we must introduce yet a further distinction in the realm of mental phenomena between acts and contents.

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  • First, however we must deal with the more problematic examples of aesthetic objects comprehended in category 4. Here it is no longer the case that the subject must be connected in a real relation to some real existing object. Thus his aesthetic pleasure may no longer be conceived as flowing - more or less as a matter of course - from his perceptual experiences of the object's parts or moments and of their more or less harmonious interrelations. Consider the pleasure we experience in watching, say, a silent film. Here the real thing...

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  • At a recent meeting of the American Academy of Esthetic Dentistry a survey questioned whether aesthetic treatment methods were ethical. The situation typical for that time was used as basis for the survey: "Let's assume that the patient is completely healthy and there are no biological or physical reasons for a therapeutic intervention.

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  • Aesthetics — Basics*1 Introduction 2.2 2.3 2.4 2.5 2.6 2.7 2.8 2.

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  • The aesthetic enjoyment we have in music and in the phantasy-feelings to which it gives rise reflects further, however, a special functional relationship between the sound- Gestalten and the feelings we experience: the nature or quality of a given phantasy-feeling depends at least in part on the character of the music which provokes it. As Mach and James, Ehrenfels and Witasek all in different ways recognised, there is a certain similarity between sound-Gestalten on the one hand and the psychical states to which they give rise, a fact which opens up the much wider...

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  • The development of 3D animation systems has been driven primarily by a hyper-realist ethos, and 3D computer graphic (CG) features have broadly complied with this agenda. As a counterpoint to this trend, some researchers, technologists and animation artists have explored the possibility of creating more expressive narrative output from 3D animation environments. This article explores 3D animation aesthetics, technology and culture in this context.

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  • Sometimes it is best not to begin at the beginning. The question ‘‘What is art?’’ might seem to be the obvious starting point for the philosophy of art. Surely, one might think, an inquiry into the nature of art should take the question ‘‘What is art?’’ to be central and therefore ask that question first. After all, if we want to know what art is, what else should we ask?

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  • Aesthetic feelings are distinguished from sensory feelings, now, by the fact that the former are related to the content of a presentation, the latter to the act itself. 21 Thus sensory feelings, but not aesthetic feelings, are directly sensitive to the quality and intensity of the act, and all sensations are, above a certain intensity, painful. Further, the sensory feeling disappears or is at least reduced to an almost unnoticeable intensity in the passage from sensation (perception) to a reproduced presentation in memory. ...

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  • Now the argument is that we cannot appropriately appreciate what we do not understand. Science understands how landscapes came to be and how they now function as communities of life. But people, too, form their communities of life; humans cannot appropriately appreciate what they do not stand-under, that is, undergo; and the scientist qua scientist does not objectively undergo any such experience. That requires persons sensitively encountering land- scapes, evaluating them, making a living on them, rebuilding them, responding to them.

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  • I am encouraged in arguing for such a view by a trend that seems to characterize some recent anthropological and philosophical literature, a trend towards recognizing that aesthetics may be usefully defined independently of art. The anthropologist Jacques Maquet, for example, has argued repeatedly (e.g. 1979: 45; 1986: 33) that art and aesthetics are best treated as independent. Among philosophers, Nick Zangwill (1986: 261) has argued that ‘one could do aesthetics without mentioning works of art! Sometimes I think it would be safer to do so.’ And T. J. ...

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  • The anthropology of aesthetics as I see it, then, consists in the comparative study of valued perceptual experience in different societies. While our common human physiology no doubt results in our having universal, generalized responses to certain stimuli, perception is an active and cognitive process in which cultural factors play a dominant role. Perceptions are cultural phenomena.

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  • Another kind of reductionism occurs with attempts to reduce percep- tion to brain processes or neural events (Ramachandran & Hirstein 1999). Evidently, the brain is necessary for perceptual processing. Yet, according to TSC, perceptual processes are constructed in real time in the interaction between agent and environment. As Harth (2004) remarks in discussing the relation between neurophysiology and art, a theory of artistic expression must take into account not only the human brain, but also the world at large.

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  • Finally, a few words of caution. Vision is given a prominent position in aesthetics, often dominating the other senses. The present approach is similar in this, but it should be stressed that hearing, touch, smell, and even taste all are implicated in perceptual processing. The vision system in the brain is linked to the other sensory systems, which permits interaction at an early processing stage. At a later stage, visual information is integrated with other kinds of sensory information to produce multimodal perceptual experiences and mental imagery....

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  • Whether we get forms with extensive clarity by use of Baumgarten’s aesthetic considerations can not be answered conclusively on these cases, because much indicate that it has given some vague ideas when students encounter these considerations during evaluations, but without putting them into real use in their leading feature or as a guidelines in the design process. However, to the question: How can designers formulate aesthetic considerations which communicate a clear message to other professionals? an obvious answer is to make use of Baumgarten’s aesthetic considerations. ...

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