DOCSLIB.ORG

Sanna Lehtinen Aesthetics

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Sanna Lehtinen Aesthetics View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Helsingin yliopiston digitaalinen arkisto EXCURSIONS INTO EVERYDAY SPACES Mapping Aesthetic Potentiality of Urban Environments through Preaesthetic Sensitivities Sanna Lehtinen Aesthetics Department of Philosophy, History, Culture, and Art Studies University of Helsinki, Finland EXCURSIONS INTO EVERYDAY SPACES Mapping Aesthetic Potentiality of Urban Environments through Preaesthetic Sensitivities Sanna Lehtinen Aesthetics Department of Philosophy, History, Culture, and Art Studies University of Helsinki, Finland Excursions into Everyday Spaces Mapping Aesthetic Potentiality of Urban Environments through Preaesthetic Sensitivities Sanna Lehtinen Academic dissertation to be publicly discussed, by due permission of the Faculty of Arts at the University of Helsinki in auditorium XIV (Main Building, Unioninkatu 34), on the 13th of November, 2015 at 12 o’clock. Supervised by Professor Arto Haapala Faculty of Arts University of Helsinki Reviewed by Professor Andrew Ballantyne School of Architecture, Planning and Landscape Newcastle University and Univ.-Doz. DDr. Mădălina Diaconu Institute of Philosophy University of Vienna Discussed with Professor Andrew Ballantyne School of Architecture, Planning and Landscape Newcastle University ______________________________ © 2015 Sanna Lehtinen ISBN 978-951-51-1553-9 (paperback) ISBN 978-951-51-1554-6 (PDF) http://ethesis.helsinki.fi Graphic design by Janne Lehtinen Tammerprint, Tampere 2015 Abstract This study examines the complex relation between spatial experience and aesthetic experience. It is argued that spatial experience specifically in the context of everyday spaces makes it possible to experience them aesthetically as well. A wide selection of research ranging from environmental and philosophical aesthetics to architectural theory, psychology, human geography, and other relevant disciplines is employed in order to achieve a more detailed picture of how spatial experience is formed in the first place. This experience is described mainly in terms of phenomenology but is then related to other ways of understanding experiences and their prerequisites. Different notions of space and spatiality and a more comprehensive articula- tion of the relation of perception to spatial experience, sensory perception, and how senses contribute to spatial experience are in the focus of attention at the beginning of the study. Different experiential layers that can be distinguished within the space which is closest experienced are explored. Interaction with environment is discussed and the notion of preaesthetic is presented to clarify the relation between the two different types of experiences. Following this, the notion of preaesthetic is studied against eminent notions such as aesthetic attitude and aesthetic engagement that show elements that have traditionally been considered to either lead to or define aesthetic experiences. This study shows that the effect that spatial experience has on revealing aes- thetic potentialities in everyday environments is far more complicated than has previously been understood. Due to its contingent qualities, spatial experience sometimes leads to “failed” aesthetic experiences even in situations where there is obvious aesthetic potentiality. Even though there are some overlapping qualities in spatial and aesthetic experiences, they cannot thus be equated, as has more or less been done in different branches studying the topics of art and architectural experiences, for example. In the final part of the study, some possible directions for future research are pointed out and the application possibilities of these new developments in aesthetic theory are presented by short case studies, in which a closer look is taken into a chosen set of urban everyday spaces. vii Acknowledgments Now, only in retrospect, is it possible to see that the starting point of this journey can be traced back 15 years to the moment when I took the train one last time to Helsinki Central railway station. That was when I started both my studies in aesthetics and a relationship with the city as its inhabitant. The urban setting morphed into the sphere of my everyday, a spatio-temporal continuation of lived moments interwoven into a web of memories and future experiences in-the-making. In many ways, all this is a reminder that there is no escaping one’s past – the only choice is to let it return in different patterns within opportunities that life offers plenty of. My deep gratitude goes to my supervisor Prof. Arto Haapala for believing in me and my project, and for helping me to find ways to make things work. His gentle but determined style of supervising has left enough room for me to find my own voice and style. This I believe to be crucial for someone immersing oneself in the study of aesthetics. I wish to thank my fellow researchers at the University of Helsinki with whom I have shared many memorable moments in different phases of this process: Dr. Hanne Appelqvist, Prof. Kaisa Broner-Bauer, Petteri Enroth, Dr. Saara Hacklin, Dr. Martta Heikkilä, Ari Korhonen, Petteri Kummala, Lecturer Leena Laiho, Veera Launis, Tarja Rannisto, Jani Vanhala, and Dr. Janne Vanhanen. Special thanks go, of course, to Dr. Kalle Puolakka for being always first and foremost a friend with whom I have had the pleasure of sharing adventures in the academic world ever since entering the university. My heartfelt thanks go to Dr. Juha-Pekka Liljander and Anja Kuhalampi from the Lahti branch of University of Helsinki for being reliable supporters of my project and enabling its realisation. Many thanks for collegial support to my fellow researchers during the Lahti years: Dr. Riikka Puhakka, Anu-Liisa Rönkä, Dr. Karoliina Ojanen, and Anna Kouhia. I wish to thank the whole former “Luovis” team for having provided an environment bubbling with positive energy positivity. I am also grateful to Prof. Harri Veivo for support in the initial phases of my path towards a Ph.D. Later on, Docent and Lecturer Oiva Kuisma and Docent viii and Lecturer Max Ryynänen have both been very encouraging, and I have had the pleasure of their company on many of my conference travels. I also very much appreciate the advice and support given by Prof. Pauline von Bonsdorff, Prof. Sirpa Tani, and Prof. P. T. Karjalainen on different occasions. I wish to extend my gratitude to my old workplace, Amos Anderson Art Museum, and its Director Kai Kartio together with many former colleagues working there. I worked there as an undergraduate and when initially drafting this research project. The particular space of the old museum premises is where many of my thoughts regarding spatial experience started to formulate. Special thanks to my fellow Amos colleague and art historian Oscar Ortiz-Nieminen for kindly sharing his extensive knowledge on church architecture. Aesthetics is a small discipline in Finland, but internationally it collects together a large and fascinating group of people doing research on different branches of the field. From the beginning of my career, I have been fortunate enough to travel and meet many wise and wonderful colleagues to share experiences with. Thank you for your support, advice, and friendship: Dr. Luiza Cent, Dr. Malgosia Trzeciak, Dr. Ana Rita Ferreira, and Dr. Angela Kun. My Nordic colleagues hold a special place in my heart; thank you especially Dr. Anna-Lena Carlsson and Dr. Brit Strandhagen, together with many others from the Nordic Society of Aesthetics. I also wish to use the opportunity to thank Prof. Bente Larsen and participants of her seminar in Paris for including me in their delightful company at the very final stages of writing the manuscript. I benefited especially from Vendela Grundell and Trude Talette Simonsen’s close reading and insightful comments on the last chapter of this book. Thank you also to Dr. Matthew Pelowski and Dr. Luise Reitstätter for kindly sharing their research results. I am also in gratitude to Prof. Arnold Berleant, Prof. Allen Carlson, Prof. Yrjö Sepänmaa, and Prof. Cheng Xiangzhan for their support and advice at different phases of my PhD studies. I feel honoured to have had the opportunity to make acquaintance with so many world-renowned scholars in World Congresses (2010 Beijing and 2013 Krakow) and wish to thank the International Association of Aesthetics for choosing me as one of the receivers of the Young Scholar Award in 2013. ix My pre-examiners, Prof. Andrew Ballantyne and DDr. Mădălina Diaconu, made numerous useful comments to the manuscript of which I am most grateful and have made according changes to my best capacity. I wish to thank Prof. Michael Lucas for helping me to clarify some architectural definitions and for pointing out some good examples of the use of different kinds of spaces. Thank you also to Dr. Mark Shackleton for the English revision of the manuscript. Many thanks go to Galerie Forsblom, Ihme Contemporary Art Festival, and Raumlabor Berlin for giving me a permission to use their photos. This work was started with the financial support from Finnish Cultural Foundation and University of Helsinki Funds. Most of the net time of 4 years and 4 months of my research has been done at the International Institute of Applied Aesthetics during the time when it belonged to the now defunct Lahti Unit of Palmenia Centre for Continuing Education of the University of Helsinki. The IIAA with its roots firmly in environmental aesthetics has provided me with a deep sense of belonging, and I am happy that the story of my PhD is now a part of its history as well. Last but not least, it has been crucial to the development of my thought to test many of the ideas presented here in international conferences: these travels have been funded by travel grants of the Chancellor of University of Helsinki, Cultural Ministry of Spain, and Centre franco‐norvégien en sciences sociales et humaines (Paris). This work was realised with unwavering support of friends and family, and for that I am forever grateful; thank you especially Karoliina, Johanna, Terhi, Sanna & families.
Load more

Recommended publications
  • The Work of Art in the Age of Digital Reproduction and Mediated Reality
    Ulla Karttunen The Work of Art in the Age of Digital Reproduction and Mediated Reality. The Work of Art in the Age of Digital Reproduction and Mediated Reality. Ethics and Aesthetics in the dream and cream world of every-extending publicity Ulla Karttunen * University of Eastern Finland Shift in publicities My focus is on the public, published, reproduced sides of reality – existing in the contemporary world is something more than immediate presence, it very often also means touching what is already mediated. Reality, as public and social, consists not only of persons, actions and social structures; it is also made up of images and words, reflections and reproductions. I shall call these reproduced parts of reality-mediated realities. * [email protected], [email protected] Art, Emotion and Value. 5th Mediterranean Congress of Aesthetics, 2011 479 Ulla Karttunen The Work of Art in the Age of Digital Reproduction and Mediated Reality. Art and science are traditional forms of reflecting and interpreting reality, but in today’s society there are also many forms of mediated reality that did not exist just a short while ago. Public realms of words and images have undergone enormous change, massive growth, and a kind of virtual urbanization. In spite of silent villages, consisting of prayer books, textual newspapers and religious imagery, we have today real publiCITIES: crowded centres and favelas consisting of advertisements, reality shows, magazines, lifestyle books, music videos, blogs and so on. This development has been made possible by various technical discoveries, inventions from photography and cinema to computers and digital reproduction. In the 19th century advertising, marketing, entertainment, celebrity culture and similar fields were either non-existent or minimal if we compare their coverage today.1 These areas are generally based on visual enjoyment, so aesthetics (with its visual orientation criticized in anti-ocularcentric2 philosophy) could have dealt with them.
    [Show full text]
  • Computational Media Aesthetics for Media
    COMPUTATIONAL MEDIA AESTHETICS FOR MEDIA SYNTHESIS XIANG YANGYANG (B.Sci., Fudan Univ.) A THESIS SUBMITTED FOR THE DEGREE OF DOCTOR OF PHILOSOPHY NUS GRADUATE SCHOOL FOR INTEGRATIVE SCIENCES AND ENGINEERING NATIONAL UNIVERSITY OF SINGAPORE 2013 ii DECLARATION I hereby declare that this thesis is my original work and it has been written by me in its entirety. I have duly acknowledged all the sources of information which have been used in the thesis. This thesis has also not been submitted for any degree in any university previously. XIANG YANGYANG January 2014 iii ACKNOWLEDGMENTS First and foremost, I would like to thank my supervisor Profes- sor Mohan Kankanhalli for his continuous support during my Ph.D study. His patience, enthusiasm, immense knowledge and guidance helped me throughout the research and writing of this thesis. I would like to thank my Thesis Advisory Committee members: Prof. Chua Tat-Seng, and Dr. Tan Ping for their insightful com- ments and questions. I also want to thank all the team members of the Multimedia Analysis and Synthesis Laboratory, without whom the thesis would not have been possible at all. Last but not the least, I would like to express my appreciation to my family. They have spiritually supported and encouraged me through the whole process. iv ABSTRACT Aesthetics is a branch of philosophy and is closely related to the nature of art. It is common to think of aesthetics as a systematic study of beauty, and one of its major concerns is the evaluation of beauty and ugliness. Applied media aesthetics deals with basic media elements, and aims to constitute formative evaluations as well as help create media products.
    [Show full text]
  • Paths from the Philosophy of Art to Everyday Aesthetics
    Paths from the Philosophy of Art to Everyday Aesthetics Edited by Oiva Kuisma, Sanna Lehtinen and Harri Mäcklin Paths from the Philosophy of Art to Everyday Aesthetics © 2019 Authors Cover and graphic design Kimmo Nurminen ISBN 978-952-94-1878-7 PATHS FROM THE PHILOSOPHY OF ART TO EVERYDAY AESTHETICS Eds. Oiva Kuisma, Sanna Lehtinen and Harri Mäcklin Published in Helsinki, Finland by the Finnish Society for Aesthetics, 2019 6 Contents 9 Oiva Kuisma, Sanna Lehtinen and Harri Mäcklin Introduction: From Baumgarten to Contemporary Aesthetics 19 Morten Kyndrup Were We Ever Modern? Art, Aesthetics, and the Everyday: Distinctions and Interdependences 41 Lars-Olof Åhlberg Everyday and Otherworldly Objects: Dantoesque Transfiguration 63 Markus Lammenranta How Art Teaches: A Lesson from Goodman 78 María José Alcaraz León Aesthetic Intimacy 101 Knut Ove Eliassen Quality Issues 112 Martta Heikkilä Work and Play – The Built Environments in Terry Gilliam’s Brazil 132 Kalle Puolakka Does Valery Gergiev Have an Everyday? 148 Francisca Pérez-Carreño The Aesthetic Value of the Unnoticed 167 Mateusz Salwa Everyday Green Aesthetics 180 Ossi Naukkarinen Feeling (With) Machines 201 Richard Shusterman Pleasure, Pain, and the Somaesthetics of Illness: A Question for Everyday Aesthetics 215 Epiloque: Jos de Mul These Boots Are Made for Talkin’. Some Reflections on Finnish Mobile Immobility 224 Index of Names 229 List of Contributors 7 OIVA KUISMA, SANNA LEHTINEN & HARRI MÄCKLIN INTRODUCTION: FROM BAUMGARTEN TO CONTEMPORARY AESTHETICS ontemporary philosopher-aestheticians
    [Show full text]
  • Applied Aesthetics
    1 UNIT 3 APPLIED AESTHETICS: WESTERN PERSPECTIVE Contents 3.0 Objectives 3.1 Introduction 3.2 World of Music/ Applied Aesthetics of Musicology 3.3 Applied Aesthetics in Mathematical Domains 3.4 Application of Aesthetics in Information Field 3.5 Applied Aesthetics related to Digital Art and a Host of varied fields 3.6 Application of Aesthetics in Other Fields 3.7 Let Us Sum Up 3.8 Further Readings and References 3.0 OBJECTIVES “Applied Aesthetics is the application of the branch of philosophy of aesthetics to cultural constructs” Applied aesthetics seems to derive a new shape, an enriched stature, thus aesthetics is made ever moving, ever growing by additions of some sort at each step. Invigorated in strength, enriched numerously with precious additions and constructs, it compares well with life itself, which according to the Veda is ‘gigantic’, Prano Virat, it is ever growing, ever flowing like a river or stream, without a break to look back, or to beat a retreat, it is not like a stagnated pool of water, which gives foul smell; it is refreshed each moment, it always gives fresh look of novelty, poise, patience. By applying aesthetics to various aspects of life and nature, it aims is to make it more suited to enlarge it into gigantic Bunyan tree of knowledge and also to make it an interdisciplinary and multi-dimensional branch of study. As above mentioned, it is a philosophy though some have called it ‘a science of beauty’. The question is, should it be treated as ‘philosophy’ or ‘science’ or both.
    [Show full text]
  • Journal of Scottish Thought
    Journal of Scottish Thought Volume 10 Published by the Research Institute of Irish and Scottish Studies University of Aberdeen 2018 ISSN 1755 9928 Editor: Endre Szécsényi © The Contributors This volume of The Journal of Scottish Thought developed from a conference hosted by the Research Institute of Irish and Scottish Studies, University of Aberdeen. The Journal of Scottish Thought is a peer reviewed, open access journal published annually by the Research Institute of Irish and Scottish Studies at the University of Aberdeen. Correspondence should be addressed to The Journal of Scottish Thought, 19 College Bounds, University of Aberdeen, AB24 3UG. Printed and bound by CPI Group (UK) Ltd, Croydon, CR0 4YY. CONTENTS Editorial Note v Ronald W. Hepburn’s Agnosticism Mary Warnock 1 Is the Sacred Older than the Gods? Guy Bennett-Hunter 13 Religious Experience, Imagination and Interpretation: A Case Study Peter Cheyne 26 The Voice of Cordelian Ethics: Imagination and the Loss of Religion Michael McGhee 52 Aesthetic and Moral James Kirwan 69 Aesthetic Experience, Metaphysics and Subjectivity: Ronald W. Hepburn and ‘Nature-Mysticism’ David E. Cooper 90 Constructing the Aesthetics of Nature Cairns Craig 102 Ronald W. Hepburn on Wonder and the Education of Emotions and Subjectivity James MacAllister 123 Wonder and the Everyday: Hepburnian Considerations and Beyond Arto Haapala 139 Notes on Contributors 153 Editorial Note On 18–19 May 2018, a symposium was held in the Research Institute of Irish and Scottish Studies at the University of Aberdeen to commemorate the tenth anniversary of the death of Ronald W. Hepburn. The speakers of this event – Arnar Árnason, Guy Bennett-Hunter, Pauline von Bonsdorff, Isis Brook, David E.
    [Show full text]
  • A Beautiful Future for Aesthetics: Three Avenues of Progress
    A Beautiful Future for THE AMERICAN SOCIETY FOR AESTHETICS: Aesthetics: Three Avenues AN ASSOCIATION FOR AESTHETICS, CRITICISM, AND THEORY OF THE ARTS of Progress John Dyck VOLUME 37 NUMBER 1 SPRING 2017 CUNY—The Graduate Center What is the future of the ASA? Where is it going? Where should it be 1 A Beautiful Future for Aesthetics: Three going? I will make some suggestions about how the ASA can ensure Avenues of Progress, by John Dyck a healthy and beautiful future not only for itself as an organization, 4 Suggestions for the ASA: Creativity, but also for philosophical aesthetics and philosophy of art. I will Diversity, and Disciplinary Study, by outline three main opportunities. First, I will suggest fruitful new Sarah Gokhale directions of research within philosophical aesthetics. Second, I will show how the ASA can be fruitful within the academy at large, 6 News from the National Office encouraging interdisciplinary work in aesthetics. Finally, I will show how the ASA can spread its wings beyond the academy, engaging the 7 Conference Reports public regarding aesthetics. Pursuing any of these avenues helps to ensure a healthy future for the ASA and aesthetics. 8 Aesthetics News 9 Calls for Papers What do I mean by a ‘healthy future’ for the ASA? Mainly, I mean a well-populated future. This involves, first, number of members; the 12 Upcoming Events ASA will be well-populated if it has lots of members. But it also means diversity of membership. Sherri Irvin has recently shown that aes- Active Aestheticians 15 thetics has a diversity problem, in particular regarding publication.1 The ASA needs active members who identify as minorities in terms of their ethnic, gender, and sexual orientation, and ability status.
    [Show full text]
  • Research CV David Davies I Academic History 1) Degrees
    Research CV David Davies I Academic History 1) Degrees Sought and Obtained: Ph.D. in Philosophy, University of Western Ontario (1987). M.A. in Philosophy, University of Manitoba (1979). B.A. in Politics, Philosophy, Economics, Oxford University (1970). 2) Theses and Dissertations: Ph.D. Dissertation (Western Ontario, 1987): The Infirmities of Externalism: Putnam and Dummett on the Realist Programme in Metaphysics and the Philosophy of Language. Supervisor: Prof. Robert Butts M.A. Thesis (Manitoba, 1979): The Aesthetic Relevance of Artistic Acts. Supervisor: Prof Michael Stack. (3) Areas of Interest and Specialisation: Areas of Current Research and Specialisation: Philosophy of Art (especially Ontology and Epistemology of Art; Phil. of Literature; Phil. of Film; Phil. of Photography; Phil. of the Visual Arts; Phil. of the Performing Arts; Phil. of Music); Metaphysics; Philosophy of Language; Philosophy of Mind. Other Areas of Interest and Competence: Philosophy of Science; Philosophy of Social Science; Philosophy of Cognitive Science; Ethics; Kant. II Publications Books and Monographs Philosophy of The Performing Arts (Oxford: Wiley Blackwell, 2011), in the series Foundations of the Philosophy of the Arts. Aesthetics and Literature (London: Continuum, 2007). Art as Performance (Oxford: Blackwell, 2004) [Chinese translation by Fong Jun (Nanjing: Jiangsu Meishu Chubanshe (Jiangsu Fine Arts Publishing House), 2008] Edited books Blade Runner, co-edited with Amy Coplan, edited collection of papers in the series ‘Philosophers on Film’, (London: Routledge, 2015). (Introduction, 1-30, co-authored with Amy Coplan.) The Thin Red Line, edited collection of papers in the series ‘Philosophers on Film’. (London: Routledge, August 2008). (‘Introduction’, 1-9) Contemporary Readings in the Philosophy of Literature, co-edited with Carl Matheson, (Toronto, April 2008).
    [Show full text]
  • Horror Movie Aesthetics
    HORROR MOVIE AESTHETICS: How color, time, space and sound elicit fear in an audience. Thesis Presented by Xiangyi Fu to The Department of Art + Design In Partial Fulfillment of the Requirements for the Degree of Master of Fine Arts in Information Design and Visualization Northeastern University Boston, Massachusetts May, 2016 2 ABSTRACT Fear is one of the most basic and important human emotions. At very beginning of movie history in 1895, when the audience first saw the Lumieres Bothers’ The Arrival of a Train at La Ciotat Station on the big screen, almost the entire audience tried to escape from the theater. The image of the approaching train caused fear. To intensify feelings of fear in the audience, film artists use sound, lighting, timing, motion and other stylistic devices. Among the wide range of film genres, especially horror movies aim to trigger a physiological and psychological response of fear in the audience. Within the genre, horror films differ widely from each other based on their time period, sub-genre, and regional differences including religious and cultural motifs. There many different ways of investigating how horror movies accomplish to terrify and horrify an audience, for example, via an analysis of plots, characters, and dialogue. This thesis examines what constitutes the different cinematic styles of horror movies – color/ lighting, time/motion, spatial relationships, and sound – in different horror movies. The result of my research is presented in an interactive visualization of cinematic aesthetics that enables a cinematic student to explore the patterns of how those elements are applied on the screen and can ultimately trigger and influence an audience’s mood.
    [Show full text]
  • The Polish Journal of Aesthetics
    The Polish Journal of Aesthetics The Polish Journal of Aesthetics 49 (2/2018) Jagiellonian University in Kraków The Polish Journal of Aesthetics Editor-in-Chief: Leszek Sosnowski Editorial Board: Natalia Anna Michna (Deputy Editor), Dominika Czakon (Deputy Editor), Anna Kuchta (Secretary), Klaudia Adamowicz, Marcin Lubecki, Miłosz Markiewicz, Adrian Mróz Advisory Board: Władysław Stróżewski, Tiziana Andino, Nigel Dower, Saulius Geniusas, Jean Grondin, Carl Humphries, Ason Jaggar, Dalius Jonkus, Akiko Kasuya, Carolyn Korsmeyer, Leo Luks, Diana Tietjens Meyers, Carla Milani Damião, Mauro Perani, Kiyomitsu Yui Contact: Institute of Philosophy, Jagiellonian University 52 Grodzka Street, 31-004 Kraków, Poland [email protected], www.pjaesthetics.uj.edu.pl Published by: Institute of Philosophy, Jagiellonian University 52 Grodzka Street, 31-004 Kraków Co-publisher: Wydawnictwo Nowa Strona – Marcin Lubecki 22/43 Podgórze Street, 43-300 Bielsko-Biała Editorial Layout and Typesetting: Katarzyna Migdał, Marcin Lubecki Cover Design: Katarzyna Migdał On the Cover: View through Seldom Seen by James Turrell with overflying crow and crescent moon (Wikimedia Commons) First Edition © Copyright by Jagiellonian University All rights reserved e-ISSN 2353-723X Editors of the Volume: Monika Murawska and Piotr Schollenberger CONTENTS Introduction 9 Articles MATTHEW E. GLADDEN A Phenomenological “Aesthetics of Isolation” as Environmental Aesthetics for an Era of Ubiquitous Art 11 MAGDALENA KRASIŃSKA The Convergence of Phenomenology and Semiotics in Georges
    [Show full text]
  • Research on the Role of Design Aesthetics in Modern Designxs
    MATEC Web of Conferences 176, 02012 (2018) https://doi.org/10.1051/matecconf/201817602012 IFID 2018 Research on the Role of Design Aesthetics in Modern Design Yehua Qu1, Xuanbo Mao2 Dian Li3 1, 3Shenyang University of Chemical Technology, Department of Industry & Art Design, Shenyang, China 2Dalian University, School of Art, Dalian, China Abstract. The essence of design is "to create things according to the laws of beauty". The factor of beauty is one of the most important criteria to evaluate the quality of design, and consumers will recognize those products with perfect combination of technology and form. With the expansion of the consumer society and the spread of the aesthetics of everyday life, the social status of design is increasingly prominent. Whether or not the design can be accepted or recognized by consumers in the end, aesthetics is one of the most important factors. 1 Design aesthetics Design aesthetics, as the name suggests, should be about 2.1 The form system of the design the aesthetics of design, or the discipline of exploring the This includes the connotation and extension of the beauty of design. Design aesthetics is a window to know design, the form features, the aesthetic law and the trend design and understand it from the perspective of of development, etc. aesthetics. "The research object of design aesthetics includes all fields of art design. From product to design process and 2.2 The designer design method; from the use and consumption of things This includes designer's knowledge structure, life to obtaining a variety of value, especially the acquisition experience, ideology, aesthetic pursuit and social ethics, of aesthetic value; from design plan, conception to etc.
    [Show full text]
  • Download Bachelor of Art Theory Schema
    1 SEEKING PHILOSOPHY BY WORDS 1 ART and META-ART ULRICH DE BALBIAN META-PHILOPHY RESEARCH CENTER 1 2 PREFACE The first encounter I had with her caused me to be passionate about her many levels, multi-dimensions, infinite contexts and endless questions I had about you. It was not merely a passing infatuation but instead the beginning of a long and ever deepening friendship, the repeated re-discovery of a long lost one, a profound bond. A bond with that what is my deepest being, an ever-increasing intimacy that always increases and multiplies, the fulfilment of a need, that what defines me, that what constitutes my reality, my life-worlds and the meaning of my multiverses. You are never out of my mind, you I seek in every context, you I need to find in all situations, from the seemingly most superficial, the everyday, the most subtle and simple, the most complex and cryptic. I perceive with and through you and see and think through you, you are the aims, the purpose and the contents of all my thought and reflections, you I seek endlessly, you I discover, uncover, find and encounter whatever hear, see, taste, touch and feel. You are the behind the energy of lover, the vibrations of lovers, the light of the stars, the source, both the beginning, the path leading to and the end and realization of wisdom. You are the shrine in which a deity reveals hidden knowledge and the divine purpose of life, you are the deity, the knowledge, the meaning and the purpose that are revealed.
    [Show full text]
  • AESTHETICS and MOBILITY Article 3
    Contemporary Aesthetics (Journal Archive) Volume 0 Special Volume 1 (2005) AESTHETICS AND MOBILITY Article 3 2005 Aesthetics and Mobility - A Short Introduction into a Moving Field Ossi Naukkarinen University of Helsinki, [email protected] Follow this and additional works at: https://digitalcommons.risd.edu/liberalarts_contempaesthetics Part of the Aesthetics Commons Recommended Citation Naukkarinen, Ossi (2005) "Aesthetics and Mobility - A Short Introduction into a Moving Field," Contemporary Aesthetics (Journal Archive): Vol. 0 , Article 3. Available at: https://digitalcommons.risd.edu/liberalarts_contempaesthetics/vol0/iss1/3 This Article is brought to you for free and open access by the Liberal Arts Division at DigitalCommons@RISD. It has been accepted for inclusion in Contemporary Aesthetics (Journal Archive) by an authorized editor of DigitalCommons@RISD. For more information, please contact [email protected]. Aesthetics and Mobility - A Short Introduction into a Moving Field About CA Ossi Naukkarinen Journal Abstract Contact CA Aesthetics cannot by any means be defined only as philosophy of art. Everything can be approached from an aesthetic standpoint. Links Aesthetically interesting ways to move about can be found in most everyday situations. Our everyday mobility consists of various ways of Submissions getting about, and sometimes our approach to them is aesthetically colored. That we move in different ways and link them with aesthetic Search Journal considerations of some sort is deeply rooted in our thinking. Our bodily experiences of the world are typically movement experiences, and our conceptual thinking is also built on them: We simply cannot make sense of the world without making use of conceptions of bodily movement. Editorial Board Key Words Permission to Reprint aesthetics, mobility, bodily experiences, phenomenology, theory of mobility Privacy Site Map 1.
    [Show full text]