Search results for: anthropocentric aesthetic

Authors: Rubi Alvarez-Rodriguez

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Traditionally, eco-centric and anthropocentric forms of environmentalism have been seen as mutually exclusive. While eco-centrism focuses on global environmental issues, anthropocentrism is concerned with local ones. The objective of this paper is to characterize the relationship between eco-centric and anthropocentric attitudes across 43 countries. This study analysed secondary data from the 2005 World Values Survey, using a standard linear regression approach. It is shown that eco-centric and anthropocentric attitudes are not mutually exclusive and that the predominance of one over the other is best predicted by a country’s level of wealth.

Keywords: anthropocentrism, eco-centrism, pro-environmental attitudes, wealth

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Authors: Po-Ching Wang

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Considering the notable effects of natural resource consumption and impacts on fragile ecosystems, reflection on contemporary sustainable design is critical. Nevertheless, the idea of ‘green’ has been misapplied and even abused, and, in fact, much damage to the environment has been done in its name. In 1996’s popular science fiction film Independence Day, an alien species, having exhausted the natural resources of one planet, moves on to another —a fairly obvious irony on contemporary human beings’ irresponsible use of the Earth’s natural resources in modern times. In fact, the human ambition to master nature and freely access the world’s resources has long been inherent in manifestos evinced by productions of the environmental design professions. Ron Herron’s Walking City, an experimental architectural piece of 1964, is one example that comes to mind here. For this design concept, the architect imagined a gigantic nomadic urban aggregate that by way of an insect-like robotic carrier would move all over the world, on land and sea, to wherever its inhabitants want. Given the contemporary crisis regarding natural resources, recently ideas pertinent to structuring a sustainable environment have been attracting much interest in architecture, a field that has been accused of significantly contributing to ecosystem degradation. Great art, such as Fallingwater building, has been regarded as nature-friendly, but its notion of ‘green’ might be inadequate in the face of the resource demands made by human populations today. This research suggests a more conservative and scrupulous attitude to attempting to modify nature for architectural settings. Designs that pursue spiritual or metaphysical interconnections through anthropocentric aesthetics are not sufficient to benefit ecosystem integrity; though high-tech energy-saving processes may contribute to a fine-scale sustainability, they may ultimately cause catastrophe in the global scale. Design with frugality is proposed in order to actively reduce environmental load. The aesthetic taste and ecological sensibility of design professions and the public alike may have to be reshaped in order to make the goals of environmental sustainability viable.

Keywords: anthropocentric aesthetic, aquarium sustainability, biosphere 2, ecological aesthetic, ecological footprint, frugal design

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Authors: Mara Varelaki

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In response to the challenge of the environmental crisis the discipline of environmental ethics examines the relation of human beings towards the environment and the value of the non-human constituents of the surrounding world. In the face of this crisis, assumptions regarding human and nature relations ought to be traced and reexamined because they can cause difficulties in diagnosing problematic attitudes towards the environment and non-human animals. This paper presents the claims that European and the Judea-Christian cosmogonic myths place the human figure in the core of the creation of the cosmos, thus verifying a hierarchical structure where humans occupy the top, and they establish a perception of nature as a non-human other. By doing so, these narratives provide some justification to the notion of the human-nature dichotomy and the human domination over other life forms and ecosystems. These anthropocentric assumptions evolved into what Hilde Lindemann terms master narratives and their influence extents to ecocentric ethical theories which attempt, and often fail, to shed the anthropocentrism of the western ethical tradition. The goal of this paper is (1) to trace the anthropocentric assumptions embedded in western thought and (2) articulate how they maintain their grip on our contemporary understanding of the human relation to and position within the environment, thus showing the need for a method of detecting and bracketing anthropocentric assumptions in social narratives and ethical frameworks.

Keywords: cosmogonies, anthropocentrism, human/nature dichotomy, master narratives, ecocentrism

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Authors: Artem Surkov

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This work is devoted to a problem of aesthetic quality determinism in the context of contemporary art. The object of study is photography regarding as a kind of art which demands specific system of quality marking. Objective: To define aesthetic criteria in photography art. For current searching different kind of texts by such powerful authors like Clement Greenberg and Rosalind Krauss, Theodor Adorno and Herbert Marcuse, Charlott Cotton and Boris Groys, Viktor Miziano and Ekaterina Degot' were analyzed. Before all, there are two different kinds of photography: the classic art photography (by Ansel Adams) and the photography as kind of art (by Andreas Gursky). In this text we are talking about the photography as kind of art. The main principle of current searching is synthesis of two different approaches: modernism and postmodernism. This method helps us to define uniform criteria of aesthetic quality in photography as kind of art. The criteria mentioned in conclusion paragraph are: aesthetic rationality, aesthetic economy, awareness (using photographic technics or references), and intention to go beyond form, practice and method.

Keywords: aesthetic, art, criteria of quality, photography, visually

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Authors: Hasanah Md. Amin

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The existence of cyberspace and its growing contents is real and overwhelming. Visual as one of the properties of cyber contents is increasingly becoming more significant and popular among creator and user. The visual and aesthetic of the content is consistent with many similarities. Aesthetic, although universal, has slight differences across the world. Aesthetic power could impress, influence, and cause bias among the users. The content creator who knows how to manipulate this visuals and aesthetic expression can dominate the scenario and the user who is ‘expressive literate’ will gain much from the scenes. User who understands aesthetic will be rewarded with competence, confidence, and certainly, a personality enhanced experience in carrying out a task when participating in this chaotic but promising cyberworld. The aim of this article is to gain knowledge from related literature and research regarding User-Generated Content (UGC), which focuses on aesthetic expression by the Net generation. The objective of this preliminary study is to analyze the aesthetic expression linked to visual from the participatory cultural viewpoint looking for meaning, value, patterns, and characteristics.

Keywords: visual overloaded, user-generated content, net generation, visual arts

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Authors: Armando Cuspinera

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Humans are nature itself, being with non-human species part of the same ecosystem, but the praxis reflects that not all relations are the same. In fields of design such as Biomimicry, Biodesign, and Biophilic design exist different approaches towards nature, nevertheless, anthropocentric principles such as domination, objectivization, or exploitation are defined in the same as ecocentric principles of inherent importance in life itself. Anthropocentrism has showed humanity with pollution of the earth, water, air, and the destruction of whole ecosystems from monocultures and rampant production of useless objects that life cannot outstand this unaware rhythm of life focused only for the human benefits. Even if by nature the biosphere is resilient, studies showed in the Paris Agreement explain that humanity will perish in an unconscious way of praxis. This is why is important to develop a differentiation between anthropocentric and ecocentricprinciples in the praxis of design, in order to enhance respect, valorization, and positive affectivity towards other life forms is necessary to analyze what principles are reproduced from each practice of design. It is only from the study of immaterial dimensions of design such as symbolism, epistemology, and ontology that the relation towards nature can be redesigned, and in order to do so, it must be studies from the dimensions of ontological design what principles –anthropocentric or ecocentric- through what the objects enhance or focus the perception humans have to its surrounding. The things we design also design us is the principle of ontological design, and in order to develop a way of ecological design in which is possible to consider other species as users, designers or collaborators is important to extend the studies and relation to other living forms from a transdisciplinary perspective of techniques, knowledge, practice, and disciplines in general. Materials, technologies, and any kind of knowledge have the principle of a tool: is not good nor bad, but is in the way of using it the possibilities that exist within them. The collaboration of disciplines and fields of study gives the opportunity to connect principles from other cultures such as Deep Ecology and Environmental Humanities in the development of methodologies of design that study nature, integrates their strategies to our own species, and considers life of other species as important as human life, and is only form the studies of ontological design that material and immaterial dimensions can be analyzed and imbued with structures that already exist in other fields.

Keywords: design, antropocentrism, ecocentrism, ontological design

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Authors: Qianyu Zhang

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The spread of digital technology in China has worsened the generation gap and intergenerational competition for cultural and aesthetic discourse. Meanwhile, the increased accessibility of cultural works has encouraged the sharing and inheritance of collective cultural memories between generations. However, not each cultural work can engage positively with efforts to bridge intergenerational aesthetic differences. This study argues that in contemporary China, where new media and the Internet are widely available, featured cultural works have more potential to help enhance the cultural aesthetic consensus among different generations, thus becoming an effective countermeasure to narrow the intergenerational aesthetic rift and cultural discontinuity. Specifically, the generational aesthetic gap is expected to be bridged or improved through the shared appreciation or consumption of cultural works that meet certain conditions by several generations. In-depth interviews of Gen X and Gen Z (N=15, respectively) in China uncovered their preferences and commonalities for cultural works and shared experiences in appreciating them. Results demonstrate that both generations’ shared appreciation of cultural work is a necessary but insufficient condition for its effective response to the generational aesthetic gap. Coding analysis rendered six dimensions that cultural works with the potential to bridge the intergenerational aesthetic divide should satisfy simultaneously: genre, theme, content, elements, quality, and accessibility. Cultural works that engage multiple senses/ compound realistic, domestic and contemporary cultural memories/ contain the narrative of family life and nationalism/ include more elements familiar to the previous generation/ are superb-produced and unaffected/ are more accessible better promote intergenerational aesthetic exchange and value recognition. Moreover, compared to the dilemma of the previous generation facing the aesthetic gap, the later generation plays a crucial role in bridging the generational aesthetic divide.

Keywords: cultural works, generation gap, generation X, generation Z, cultural memory

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Authors: Rachel Bechtold, Catherine Shoulders, Donald Johnson, Jennie Popp, Elena Garcia, Lisa Wood

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Creating successfully restored urban landscapes involves both the sound design of natural resources and the incorporation of human perceptions of landscape. Moving forward with an invested interest from society is a challenge for the efficacy of reclaimed landscape design. In particular, urban areas present a dynamic environment wherein society and nature compete for resources and space. This review is meant to examine how perceptions of urban community members, the stakeholders for the plant species that share their environment, are reflected in aesthetic considerations. Findings from this literature review include themes of (1) aesthetic perceptions of stakeholders in rehabilitated landscapes and (2) the importance of organizing indicators of aesthetic perception for future design decisions. Recommendations include addressing the gap in research on aesthetic perceptions of reclaimed urban landscapes and addressing the lack of a consistent and widely accepted framework for these interdisciplinary studies. With knowledge of stakeholder perceptions, improved aesthetic and ecologic designs can more seamlessly merge into reclaimed urban landscapes.

Keywords: phytoremediation, urban landscape design, aesthetic perception, landscape ecology, phytorestoration, landscape reclamation, rehabilitation

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Authors: Yu Chen

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In line with existing philosophical approaches, this research proposes a conceptual model with an innovative spatial vision and aesthetic principles for Artificial Intelligence (AI) application in brand advertising. The model first identifies the major constituencies in contemporary advertising on three spatial levels—physical, psychological, and symbolic. The model further incorporates the relationships among AI, aesthetics, branding, and advertising and their interactions with the major actors in all spaces. It illustrates that AI may follow the aesthetic principles-- beauty, elegance, and simplicity-- to reinforce brand identity and consistency in advertising, to collaborate with stakeholders, and to satisfy different advertising objectives on each level. It proposes that, with aesthetic guidelines, AI may assist consumers to emerge into the physical, psychological, and symbolic advertising spaces and helps transcend the tangible advertising messages to meaningful brand symbols. Conceptually, the research illustrates that even though consumers’ engagement with brand mostly begins with physical advertising and later moves to psychological-symbolic, AI-assisted advertising should start with the understanding of brand symbolic-psychological and consumer aesthetic preferences before the physical design to better resonate. Limits of AI and future AI functions in advertising are discussed.

Keywords: AI, spatial, aesthetic, brand advertising

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Authors: Alessandro Marano

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Aim: The author describes the aesthetic modification using orthognathic surgery and closed rhinoplasty. Methods: Series of case study. After orthognathic surgery we can observe a dramatical change of aesthetic especially in the mid-face and nose projection. The advancement of maxillary bone through Le Fort I osteotomy will change the nasal tip projection and lips roundness; combining orthognathic surgery with closed approach rhinoplasty will manage both function and aesthetic of all mid face district. Results: Combining Le Fort I osteotomy with closed approach rhinoplasty resulted in good objective results with high patient satisfaction. Le Fort I osteotomy will increase projection of mid face and the closed approach rhinoplasty will modify the nasal shape to be more harmonic with the new maxillary district. The scars are not visible because hidden inside the mouth and nose. Conclusions: The orthognathic surgery combined with closed approach rhinoplasty are very effective for changing the aesthetic of the mid face. The results illustrate the difference between the use of orthognathic surgery only and to use it in association of closed approach rhinoplasty. Using both will allow to obtain a long lasting and pleasing results.

Keywords: orthognathic, rhinoplasty, aesthetic, face

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Authors: Wenjin Li, Jing Sun

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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.

Keywords: artistic aesthetics, arts theory, aesthetic of the ugly, beauty and ugliness, arts of east and west

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Authors: Nikolaos Mamalis

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The work of the eminent architect and composer has undoubtedly been influenced both by his architecture and collaboration with Le Corbusier and by the conquests of the musical avant-garde of the 20th century (Schoenberg, Messian, Bartock, electroacoustic music). It is known that the golden mean and the Fibonacci sequence played a momentous role in the Architectural Avant-garde (Modulor) and expanded on musical pursuits. Especially in the 50s (serialism), it was a structural tool for composition. Xenakis' architectural and musical work (Sacrifice, Metastasis, Rebonds, etc.) received the influence of the Golden Section, as has been repeatedly demonstrated. However, the idea of this retrospective sequence and the reflection raised by the search for new proportions, both in the architectural and the musical work of Xenakis, was not limited to constituting a step, a workable formula that acted unifyingly with regard to the other parameters of the musical work, or as an aesthetic model that makes sense - philosophically and poetically - an anthropocentric dimension as in other composers (see Luigi Nono) ̇ triggered a qualitative leap, an opening of the composer to the assimilation of mathematical concepts and scientific types in music and the consolidation of new sound horizons of stochastic music.

Keywords: golden ratio, music, space, stochastic music

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Authors: Ahmed Hassan Sabra

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Context: The research explores the impact of ideology on the aesthetic reading of literary texts. It aims to investigate how ideology affects the way in which readers interpret and appreciate literature. The study focuses on a selection of Arabic novels that have been subject to significant controversy among critics, with some praising their aesthetic value and others denouncing it. By analyzing this controversy, the research seeks to demonstrate the extent to which ideology influences aesthetic judgments in literary readings. Research Aim: The aim of this study is to examine the influence of ideology on the aesthetic reading of literary texts. It seeks to understand how the ideological perspective of readers shapes their interpretation and evaluation of literature. Methodology: The research adopts an aesthetic approach as the primary methodology for investigating the relationship between literary reading and ideological reception. By employing this approach, the study aims to uncover the intricate connections between aesthetics and ideology in the process of interpreting and appreciating literature. Findings: The research reveals that ideology cannot be separated from the aesthetic experience of reading literary texts. It argues that the ideological perspective of the reader significantly impacts their aesthetic judgments and interpretations. The differing viewpoints among critics regarding the aesthetic value of the selected Arabic novels highlight the influence of ideology on readers' assessments of artistic merit. Theoretical Importance: The study contributes to the understanding of the complex interplay between aesthetics and ideology in the realm of literary interpretation. It reinforces the notion that aesthetic judgments are not solely based on the intrinsic qualities of the text but are also shaped by the ideological framework of the reader. Data Collection: The research collects data by examining critical responses to a number of Arabic novels that have generated controversy. These responses include both positive and negative evaluations of the novels' aesthetic value. The research also considers the ideological positions and perspectives of the critics. Analysis Procedures: The collected data is analyzed using an aesthetic lens, taking into account the ideological viewpoints expressed in the critical responses. The analysis explores how these ideological perspectives influence the aesthetic judgments made by the critics. Questions Addressed: The research addresses the question of how ideology impacts the aesthetic reading of literary texts. It investigates the extent to which ideology shapes readers' interpretations and evaluations of literature, particularly in the case of controversial novels. Conclusion: The study concludes that ideology plays a significant role in the aesthetic reading of literary texts. It demonstrates that readers' ideological perspectives influence their interpretation and evaluation of a text's aesthetic value. The research highlights the interconnectedness of aesthetics and ideology in the process of literary reception, emphasizing the importance of considering the ideological framework of readers when analyzing the aesthetic qualities of literature.

Keywords: novel, aesthetic, ideology, reading

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Authors: Brock Decker

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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.

Keywords: aesthetics, Hume, Korsmeyer, taste, Scruton

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Authors: Tooba Sabir, Namra Sabir, Mohammad Amjad Sabir

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The human-environment relationship has been projected since the beginning of literary tradition i.e. pastoral tradition, however, the interest of critics, writers and poets, in this view, has been developed, since the last couple of decades because of the increasing scope of environmental studies and growing environmental issues. One such novel, that projects human-environment relationship, is ‘The Alchemist.’ It is Paulo Coelho’s one of the most read novels. It holds a central theme that the universe conspires to help a person achieve his destiny, projecting anthropocentrism and human domination by centralizing human and devaluing the intrinsic worth of ecosystem. However, ecocritical analysis of the text reveals that the novel contains, at several instances, ecocentrism as well e.g. ‘everything on earth is being continuously transformed because earth is alive.’ This portrays ecosphere as living and dynamic entity rather than a mere instrument for human to achieve his destiny. The idea that the universe shares the same language projects unity of nature showing the relationship between human and non-human aspects of the environment as one being and not separate or superior to one another. It depicts human as a part of the environment and not the lord of the world. Therefore, it can be concluded that the novel oscillates between both the ecocentric and the anthropocentric phenomena. It is not suggested, however, that one phenomenon should be valued over the other but that the complexities of both the phenomena should be recognized, acknowledged and valued in order to encourage the interactions between literature and environment.

Keywords: anthropocentrism, ecocentrism, ecocritical analysis, human-environment relationship

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Authors: Abigail Wiafe, Charles Nutrokpor, Adelaide Oduro-Asante

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The advancement of technology is rapidly making people more receptive to music as computer-generated music requires minimal human interventions. Though algorithms are applied to generate music, the human experience of emotions is still explored. Thus, this study investigates the emotions humans experience listening to computer-generated music that possesses aesthetic qualities. Forty-two subjects participated in the survey. The selection process was purely arbitrary since it was based on convenience. Subjects listened and evaluated the emotions experienced from the computer-generated music through an online questionnaire. The Likert scale was used to rate the emotional levels after the music listening experience. The findings suggest that computer-generated music possesses aesthetic qualities that do not affect subjects' emotions as long as they are pleased with the music. Furthermore, computer-generated music has unique creativity, and expressioneven though the music produced is meaningless, the computational models developed are unable to present emotional contents in music as humans do.

Keywords: aesthetic, algorithms, emotions, computer-generated music

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Authors: Ikra Khan, Reenu Singh

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Composition is essential when designing the interiors of residential spaces. The ability to adopt a unique style of using design principles and design elements is another. This research report explores how the visual aesthetic within a space is achieved through the use of design principles and design elements while maintaining a signature style. It also observes the relationship between design styles and compositions that are achieved as a result of the implementation of the principles. Information collected from books and the internet helped to understand how a composition can be achieved in residential interiors by resorting to design principles and design elements as tools for achieving an aesthetic composition. It also helped determine the results of authentic representation of design ideas and how they make one’s work exceptional. A questionnaire survey was also conducted to understand the impact of a visually aesthetic residential interior of a signature style on the lifestyle of individuals residing in them. The findings denote a pattern in the application of design principles and design elements. Individual principles and elements or a combination of the same are used to achieve an aesthetically pleasing composition. This was supported by creating CAD illustrations of two different residential projects with varying approaches and design styles. These illustrations include mood boards, 3D models, and sectional elevations as rendered views to understand the concept design and its translation via these mediums. A direct relation is observed between the application of design principles and design elements to achieve visually aesthetic residential interiors that suit an individual’s taste. These practices can be applied when designing bespoke commercial as well as industrial interiors that are suited to specific aesthetic and functional needs.

Keywords: composition, design principles, elements, interiors, residential spaces

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Authors: Komal Saeed

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Introduction: Rhinoplasty is considered one of the challenging aesthetic procedures. Psychosocial concerns motivate the urge for aesthetic procedures especially rhinoplasty. Males who fall in this category are designated as single, immature, male, over expectant and narcissistic (SIMON) in literature. As of yet, there is no term that depicts females showing similar characteristics. The purpose of this study is to evaluate the incidence of body dysmorphic disorder (BDD) in females seeking rhinoplasty and to introduce a term for such individuals. Materials and Methods: A prospective, questionnaire based, qualitative study was conducted in the Department Of Plastic Surgery between March 2018 and March 2020. 110 female candidates seeking aesthetic rhinoplasty were included in the study. BDD was evaluated using the Dysmorphic Concerns Questionnaire, DCQ. Data were analyzed using SPSS version 25 software and correlation between the groups was evaluated. Results: Out of 110 female subjects, 77.3% (n=85) were single, 16.4% (n=18) were married and 6.4% (n=7) were divorced. BDD was found in 41.8% (n=46) of the candidates, majority being single (n=41, 89.1%) and having educational status above diploma (n=39, 84.8%). There was a statistically higher percentage of young adults between 24 and 28 years (n=33, 71.7%) having BDD (p= 0.0001). Conclusion: Considering the high frequency of BDD among females seeking rhinoplasty, a standardized term ‘SIFON’ is introduced to describe such individuals who are S; single, I; immature, F; female, O; over expectant, N; narcissistic as apposed to SIMON in males. These individuals perceive aesthetic procedures as a solution to their body dissatisfaction. Therefore, preoperative counseling seems necessary to avoid unsatisfactory outcomes secondary to mental health.

Keywords: aesthetic rhinoplasty, body dismorphic disorder, single, immature, obsessive

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Authors: Mozhgan Sabzehparvar, Mohammad Montazeri, Mahdie Jafarnejad Shahri, Neda Boroumandi, Shakib Alipour, Hamide Torabi, Zahra Dehghani

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In this article, the aesthetic criteria, which are regarded as the key factors in the product development, and design process are carefully taken into account and an attempt has been made to extract the influential concepts in successful product design. This review article was conducted from 22.05.2021 to 22.06.2021, recent published paper in English (2017-2021) in three search engines of JSTOR, IEEE, and EMERALD were selected. The selected main keywords in our search were "Customer, Behavior, Aesthetics, Marketing and Product". During the screenings, 21 articles were analyzed. The aesthetic criteria play a role in increasing the power of choice, loyalty, satisfaction and purchase intention of the customers. Also, product design has a positive effect on the customers’ perception of aesthetics and acts effectively on customer behavior. Aesthetics has a significant relationship with the customer's intention to buy products and can make the product popular and satisfy people.

Keywords: product design, design process, customer behaviour, aesthetic, marketing

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Authors: Păcurar Diana Istina

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The indissoluble link between aesthetics and semiotics, the harmonization and semiotic understanding of the interactions between the viewer and the object being looked at, are the basis of the practical demonstration of the importance of aesthetic perception within the theater performance. The design of a theater performance includes several structures, some considered from the beginning, art forms (i.e., the text), others being represented by simple, common objects (e.g., scenographic elements), which, if reunited, can trigger a certain aesthetic perception. The audience is delivered, by the team involved in the performance, a series of auditory and visual signs with which they interact. It is necessary to explain some notions about the physiological support of the transformation of different types of stimuli at the level of the cerebral hemispheres. The cortex considered the superior integration center of extransecal and entanged stimuli, permanently processes the information received, but even if it is delivered at a constant rate, the generated response is individualized and is conditioned by a number of factors. Each changing situation represents a new opportunity for the viewer to cope with, developing feelings of different intensities that influence the generation of meanings and, therefore, the management of interactions. In this sense, aesthetic perception depends on the detection of the “correctness” of signs, the forms of which are associated with an aesthetic property. Fairness and aesthetic properties can have positive or negative values. Evaluating the emotions that generate judgment and implicitly aesthetic perception, whether we refer to visual emotions or auditory emotions, involves the integration of three areas of interest: Valence, arousal and context control. In this context, superior human cognitive processes, memory, interpretation, learning, attribution of meanings, etc., help trigger the mechanism of anticipation and, no less important, the identification of error. This ability to locate a short circuit produced in a series of successive events is fundamental in the process of forming an aesthetic perception. Our main purpose in this research is to investigate the possible conditions under which aesthetic perception and its minimum content are generated by all these structures and, in particular, by interactions with forms that are not commonly considered aesthetic forms. In order to demonstrate the quantitative and qualitative importance of the categories of signs used to construct a code for reading a certain message, but also to emphasize the importance of the order of using these indices, we have structured a mathematical analysis that has at its core the analysis of the percentage of signs used in a theater performance.

Keywords: semiology, aesthetics, theatre semiotics, theatre performance, structure, aesthetic perception

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Authors: Chin-Hsiang Chu

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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.

Keywords: marketing aesthetics, aesthetics economic, aesthetic, experiential marketing

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Authors: Zhe Ginnie Wang

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Recent cultural design studies have begun to shed light on the discussion of Western-Eastern cultural and aesthetic hybridization, especially in the field of fashion. With the unprecedented spread of cultural Chinese fashion design in the global fashion system, the under-identified ‘Guochao’ aesthetic that has emerged in the global market needs to be academically emphasized with a methodological approach looking at the Western-Eastern cultural hybridization present in fashion visualization. Through an in-depth and comprehensive investigation of a representative international-based Chinese designer, Angel Chen's fashion show 'Madam Qing', this paper provides a methodological approach on how a form of traditional culture can be effectively extracted and applied to modern design using the most effective techniques. The central approach examined in this study involves creating aesthetic revolutions by addressing Chinese cultural identity through re-creating and modernizing traditional Chinese culture in design.

Keywords: style modernization, Chinese culture, guochao, design identity, fashion show, Angel Chen

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Authors: Jae Hee Chung, Tae Uk Kang, Byung Seo Kim

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This study aims to propose design technologies for the energy-saving modular housing units considering environmental and aesthetic aspects. Modular houses are environmentally friendly based on 3R (Reduce, Reuse, Recycle) because they can dramatically reduce carbon dioxide and construction wastes generated during the construction, use, and disposal process by the pre-fabrication at the factory and the recyclability of the unit, compared to the existing construction methods. The existing modular housing, however, tends to focus on quantitative aspects of energy reduction, such as windows, insulation, and introduction of renewable energy, and there is not much research on energy-saving type units considering the environmental aspects such as daylighting and ventilation, and the design that goes beyond the standardized appearance. Therefore, this study conducts theoretical investigation and analytical case studies on the energy-saving methods through various architectural planning elements as well as materials like insulation considering the environmental and aesthetic aspects in the modular housing. Then, comparative analysis on the energy efficiency through the energy simulation is conducted. As a conclusion, the energy-saving modular housing units considering environmental and aesthetics aspects are proposed. It is expected that this study will contribute to the supply and activation of modular housing through deriving design technologies for the energy-saving modular housing units that consider not only quantitative aspects but also qualitative aspects.

Keywords: aesthetic aspects, energy-saving, environmental, modular housing

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Authors: Chingwen Yeh, Chang Ning Hung

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This paper aims to analysis the aesthetic qualities of Dancing Ink (2017) performed by Miao-Hsuan Dance Group in Taiwan. The premiere was performed at Taichung Seaport Art Center Exhibition Hall Room A, in Taichung Taiwan on March 11th, 2017. What calligraphic elements were applied into the contemporary dance choreography was examed by these authors. Although calligraphy and dance are two different art forms, one can see in Dancing Ink that the beauty of Yin Yang force circling; the flow of Chi from inner meditation to the outer physical action are resonated in both art forms. The aesthetic experience was documented through qualitative research methods. In-depth interviews were conducted within a focus group including the calligrapher, the choreographer, the participated professional dancers and the appreciators. Subject matter, movement qualities, characteristic and meaning are the four main areas of interpretation originated from Janet Adshead’s dance analytical theory. Based on all the research data collection and analysis, this research found: 1) Making invisible spirituality visible in relations to creative process, 2) An artistic symbol that transforms from two-dimensional into three-dimensional generates a new aesthetic value, 3) Choreography and calligraphy require different artistic skills and disciplines but expressed the similar dynamic and rhythm in their movement.

Keywords: Chi, Dancing Ink, Miao Hsuan Dance Group, Yin Yang force

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Authors: Han-Yu Cheng

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This study aims to explore the impact of AI-generated illustration works on the aesthetic symbol consumption of consumers in Taiwan. The advancement of artificial intelligence drawing has lowered the barriers to entry, enabling more individuals to easily enter the field of illustration. Using Japanese anime style as an example, with the development of Generative Artificial Intelligence (Generative AI), an increasing number of illustration works are being generated by machines, sparking discussions about aesthetics and art consumption. Through surveys and the analysis of consumer perspectives, this research investigates how this influences consumers' aesthetic experiences and the resulting changes in the traditional art market and among creators. The study reveals that among consumers in Taiwan, particularly those interested in Japanese anime style, there is a pronounced interest and curiosity surrounding the emergence of Generative AI. This curiosity is particularly notable among individuals interested in this style but lacking the technical skills required for creating such artworks. These works, rooted in elements of Japanese anime style, find ready acceptance among enthusiasts of this style due to their stylistic alignment. Consequently, they have garnered a substantial following. Furthermore, with the reduction in entry barriers, more individuals interested in this style but lacking traditional drawing skills have been able to participate in producing such works. Against the backdrop of ongoing debates about artistic value since the advent of artificial intelligence (AI), Generative AI-generated illustration works, while not entirely displacing traditional art, to a certain extent, fulfill the aesthetic demands of this consumer group, providing a similar or analogous aesthetic consumption experience. Additionally, this research underscores the advantages and limitations of Generative AI-generated illustration works within this consumption environment.

Keywords: generative AI, anime aesthetics, Japanese anime illustration, art consumption

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Authors: Adrian Parr

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In May 2019, the United Nations Intergovernmental Science-Policy Platform on Biodiversity and Ecosystem Services (IPBES) released the Global Assessment Report on Biodiversity and Ecosystem Services. The report warned that within the next few decades, human activities are on the verge of driving nearly one million species to extinction. The primary reasons for the alarming decline in species diversity are habitat loss and biodiversity demise, both of which are connected to changing climactic conditions, pollution, the introduction of non-indigenous species, clearing of land, overconsumption and population growth. These findings present two gargantuan challenges for humanity. The first is existential: human well-being is imbricated in the flourishing of other animals and plants. Second, as the authors of an unprecedented decline in species occurring between 1,000 and 10,000 the natural extinction background rate, humans also have the capacity to change course. One way humanity can accomplish the transformation needed to change course is to put the power of scientific thinking and imagination to work and to move beyond the anthropocentric framing of how we create the world in which we live by embracing a transspecies set of practices. This proposes that transspecies design is an other-than-anthropocentric approach to regenerating, restoring, reinvigorating, and replenishing the natural environment. Transpecies design aspires to honor biodiversity as a common heritage, one we share with other species. Rather than presenting human experience and flourishing as the goal of design, transspecies design takes the inextricable linkages connecting animals and plants as both the point of departure and the end goal of design. As such, transspecies design moves beyond human experience and behavior serving as the fundamental ingredient for how design decisions are made and the direction design processes take. Transpecies design engages the substantive realities of a multiplicity of species as both design content and form, harnessing the affective capacity of design to maximize deep flourishing.

Keywords: green urbanism, species extinction, biodiversity, sustainability

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Authors: Lisa Tragbar

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Since the Rio declaration, the agreement resulting from the Earth Summit in 1992, the UN member states acknowledge that peace and environmental protection are deeply linked to each other. It has also been made clear by Contemporary Peace research since the early 2000 that the lack of natural resources increases conflicts, as well as potential war conflicts (general environmental conflict thesis). I argue that peace ethics need to reconsider the role of the environment in peace ethics, from conflict prevention to peacebuilding. Sumak kawsay is a concept that offers a non-anthropocentric perspective on the subject. Several Contemporary Peace Ethicists don’t take environmental peace sufficiently into account. 1. The Peace theorist Johan Galtung famously argues that positive peace depends mostly on social, economic and political factors, as institutional structures establish peace. Galtung has a relational approach to peace, yet only between human interactors. 2. Michael Fox claims in his anti-war argument to consider nonhuman entities in conflicts. Because of their species interrelation, humans cannot decide on the fate of other species. 3. Although Mark Woods considers himself a peace ecologist, following Reichberg and Syse, and argues from a duty-based perspective towards nature, he mostly focuses on the protection of the environment during war conflicts. I want to focus on a non-anthropocentric view to argue that the environment is an entity of human concern in order to construct peace. Based on the premises that the lack of natural resources create tensions that play a significant part in international conflicts and these conflicts are potential war conflicts, I argue that a non-anthropocentric account to peace ethics is an indispensable perspective towards the recovery of these resources and therefore the reduction of war conflicts. Sumak kawsay is an approach contributing to a peaceful environment, which can play a crucial role in international peacekeeping operations. To emphasize sumak kawsay in peace ethics, it is necessary to explain what this principle includes and how it renews Contemporary Peace ethics. The indigenous philosophy of life of the Andean Quechua philosophy in Ecuador and varities from other countries from the Global South include a holistic real-world vision that contains concepts like the de-hierarchization of humans and nature as well as the reciprocity principle towards nature. Sumak kawsay represents the idea of the intrinsic value of nature and an egalitarian way of life and interconnectedness between human and nonhuman entities, which has been widely neglected in Traditional War and Peace Ethics. If sumak kawsay is transferred to peacekeeping practices, peacekeepers have restorative duties not only towards humans, but also towards nature. Resource conservation and environmental protection are the first step towards a positive peace. By recognising that healthy natural resources contribute to peacebuilding, by restoring balance through compensatory justice practices like recovery, by fostering dialogue between peacekeeping forces and by entitling ecosystems with rights natural resources and environmental conflicts are more unlikely to happen. This holistic approach pays nature sufficient attention and can contribute to a positive peace.

Keywords: environment, natural resources, peace, Sumak Kawsay

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Authors: Aysel Mehdiyeva

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As a driving force of society, the role of teachers is important in inspiring, motivating, and encouraging the younger generation to protect the environment. In light of these, the study aims to explore teachers’ beliefs to understand teachers’ engagement with teaching about the environment. Though teachers’ beliefs about the environment have been explored by a number of researchers, the influence of these beliefs in their professional lives and in shaping their classroom instructions has not been widely investigated in Azerbaijan. To this end, this study aims to reveal the beliefs of secondary school geography teachers about the environment and find out the ways teachers’ beliefs of the environment are enacted in their classroom practice in Azerbaijan. Different frameworks have been suggested for measuring environmental beliefs stemming from well-known anthropocentric and biocentric worldviews. The study addresses New Ecological Paradigm (NEP) by Dunlap to formulate the interview questions as discussion with teachers around these questions aligns with the research aims serving to well-capture the beliefs of teachers about the environment. Despite the extensive applicability of the NEP scale, it has not been used to explore in-service teachers’ beliefs about the environment. Besides, it has been used as a tool for quantitative measurement; however, the study addresses the scale within the framework of the qualitative study. The research population for semi-structured interviews and observations was recruited via purposeful sampling. Teachers’ being a unit of analysis is related to the gap in the literature as to how teachers’ beliefs are related to their classroom instructions within the environmental context, as well as teachers’ beliefs about the environment in Azerbaijan have not been well researched. 6 geography teachers from 4 different schools were involved in the research process. The schools are located in one of the most polluted parts of the capital city Baku where the first oil well in the world was drilled in 1848 and is called “Black City” due to the black smoke and smell that covered that part of the city. Semi-structured interviews were conducted with the teachers to reveal their stated beliefs. Later, teachers were observed during geography classes to understand the overlap between teachers’ ideas presented during the interview and their teaching practice. Research findings aim to indicate teachers’ ecological beliefs and practice, as well as elaborate on possible causes of compatibility/incompatibility between teachers’ stated and observed beliefs.

Keywords: environmental education, anthropocentric beliefs, biocentric beliefs, new ecological paradigm

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Authors: Meghamala Nugehally

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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.

Keywords: dance aesthetics, dance education, Indian classical dance, minimalism

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Authors: Mohammad Atashinbar

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Lalehzar was one of the main streets in central Tehran in late Qajar and 1st Pahlavi (1880-1940) and a center of attention for the government. It was a natural walk during the last decade of the reign of Nasser al-Din Shah (1880-1895). However, this street lost its prosperity status under the 2nd Pahlavi and evolved from a modern cultural street to a commercial corridor. Lalehzar's decline was the result of the immigration of the upper class from the inner city to the northern part and the consequent transfer of amenities and luxury goods with them. It seems that during Lalehzar's six decades of prosperity, this khiâbân has received an aesthetic look, which has made it enjoyable and appreciated by Tehran’s people. Various post-revolutionary urban management measures have been taken to revive Lalehzar and improve the quality of its urban life. Since the beginning of the Safavid era, the khiâbân was accompanied by the concept of urban space, and its characteristics are explained by referring to the main axis of the Persian Garden with rows of trees, streams, and a line of flowers on both sides. The construction of a street inside the city as an urban space benefits from a mental concept as a spiritual and exciting space, especially in common forms in the Persian Garden. Before that, the khiâbân was a religious and mythical concept, and we can even say that the mastery of this concept led to its appearance in the garden. In Tehran, Lalehzar Street is a gateway to modernity. The aesthetic changes in Lalehzar Street, inspired by Nasser al-Din Shah's journey to Europe around 1870, coinciding with the changes in architectural and urban landscape movements around the world between 1880 and 1940. The Shah is impressed by the modernist urbanism and, in particular, the Champs-Élysées in Paris. A tree-lined promenade with the hallmarks of the Persian Garden is familiar to Nasser al-Din Shah's mental image of beauty. In its state of mind, the main axis of the Persian Garden has the characteristics of a promenade. Therefore, the origins of the aesthetic of Lalehzar Street come from the aesthetics of the khiâbân. Admitting that the Champs-Élysées served as a model for Lalehzar, it seems that the Shah wanted to associate the Champs-Élysées with Lalehzar and highlight its landscape aspects by building this street. Depending on whether the percepts have their own aesthetic, this proposal seeks to analyze the aesthetic evolutions of the khiâbân as a percept towards the street as a component of the urban landscape in Lalehzar. The research attempts to review the aesthetic aspects of Lalehzar between 1880-1940 by using iconographic analysis, based on the available historical data, to find the leading aesthetics principles of this street. The aesthetic view to Lalehzar as an artwork is one of the main achievements of this study.

Keywords: Lalehzar, aesthetics, percept, Tehran, street

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