aesthetic experience

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Aesthetic experience of dance performances

Aesthetic experience of dance performances

Instrument: A list of unipolar and bipolar seven-point scales with descriptors was used for measuring the aesthetic experience of the dancers and the spectators observing the dance performances. Some of the descriptors (unipolar seven-point scales: fascinating, irresistible, unique, eternal, profound, exceptional, universal and ineffable) were taken from a preliminary study (Polovina & Marković, 2006). The rest of the descriptors used in this experiment had been extracted in the preliminary study of the research (bipolar seven-point scale: clumsy – elegant; boring – interesting; slow – fast; ugly – beautiful; lethargic – energetic; cold – passionate; reserved – erotic; sorrowful – happy; hard – soft; odious – seductive; insensitive – sensitive; easy – difficult; prosaic – romantic; restrained – sensual; imbalanced – balanced; sluggish – lively; relaxing – exciting; static – dynamic; stiff – agile; weak – strong; controlled – free; raw – subtle; apathetic – enthusiastic; discordant – rhythmic; untrained – trained; infirm – powerful and expressionless – expressive). Thirty-five scales in total were used as the descriptors of the aesthetic experience of dance performances.
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Cultural based preconceptions in aesthetic experience of architecture

Cultural based preconceptions in aesthetic experience of architecture

The basis of this research is in perceptive analysis (which is an integral part of gnoseologic theories) of represented sequences. Ernst Cassirer studies relations of constitutive moments of cognition, empha- sizing impossibility of existence of an isolated sensory conscience which, as independent fact, would keep out of a definition by means of theoretical functions of meaning. Cassirer relies on Johann Wolfgang von Goethe’s gradation looking – observation – reflection – association which indicates that with each closer look into the world, we are theorizing. Gombrich believes perceiving is interpreting by means of classification (Genette, 1996). The juncture of intuitive and rational knowledge forms the set general knowledge in relation to which registered empirical data are selected and interpreted when perceived. Since each visual sensation is located in the context of time and space, what we see now is in part what we have seen in the past. Nevertheless, previous knowledge can contain precon- ceptions, dogmatic assumptions based on generally accepted ideas. Then again, a course of human thought comprehending the reality is selective and associative, and aesthetic experience is inseparable from the process of perception and interpretation.
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É CINDERELA OU BRANCA DE NEVE? – A EXPERIÊNCIA ESTÉTICA DE CRIANÇAS EM ATIVIDADE COM CONTO DE FADAS / Is it Cinderella or Snow White? – The aesthetic experience of children in activity with a fairy tale

É CINDERELA OU BRANCA DE NEVE? – A EXPERIÊNCIA ESTÉTICA DE CRIANÇAS EM ATIVIDADE COM CONTO DE FADAS / Is it Cinderella or Snow White? – The aesthetic experience of children in activity with a fairy tale

Abstract: Fairy tales have promoted the fascination of several generations and we can highlight as elements that favored this fascination both the organization of the structural aspects of the use of language and aspects of learning and development of the people who are involved with the experience. This article aims to analyze the aesthetic experience in the oral retelling strategies of children in activity with the fairy tale Snow White. The methodological approach of Qualitative Epistemology by González Rey (2005; 2010), which has as a principle the constructive-interpretative and dialogical character in the production of knowledge. The empirical research was carried out in a public institution of Early Childhood Education in the Distrito Federal, with the participation of two girls aged between 5 and 6 years old. The instruments and procedures used were established according to the relational process built throughout the research and bring together participant observation, conversational dynamics, workshops held for reading children's stories, oral recounts, pictorial records and playful activities. Two dimensions of the narrative serve to expand the theoretical review on the theme: a psychological dimension (BRUNER, 1996; 2008; 2014; VIGOTSKI, 2012) and a literary dimension (ABRAMOVICH, 1986; COELHO, 1984; 2000; YUNES, 2002; ZILBERMAN, 1984). In the analysis of the information presented, we evidenced the relationship between the activities of the (re) storytelling with the value they present to favor aesthetic and imaginative experiences in which the symbolic-emotional production of the children participating in the research is evident.
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Experiência estética no Centro de Pesquisas e Conservação da Natureza Pró-Mata – PUCRS<br>Aesthetic experience in the Center for Research and Conservation of Nature Pró-Mata – PUCRS

Experiência estética no Centro de Pesquisas e Conservação da Natureza Pró-Mata – PUCRS<br>Aesthetic experience in the Center for Research and Conservation of Nature Pró-Mata – PUCRS

Abstract: Excessive rationalization of modern thought put aside the emotions and feelings that allowed us a sensitivity to our ethics training. The aesthetics allow us insight as a whole, would be something that would affect the sensitivity in destabilizing and allowing change of thought and attitude. The aesthetic experience lived in the Center for Research and Conservation of Nature Pro- Mata - PUCRS is provided by the scenic beauty of its landscape preserved. During the development of the project, between 2012 and 2013, were followed nine groups who attended the site. The science education in CPCN Pro-Mata activities and goals of the groups was not exclusive of aesthetic experience lived on site by the participants. The question of aesthetics appeared even with the strength of the learning agreement and added new meanings to experiences.
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Fine-tuning our senses with (sound) art for aesthetic experience

Fine-tuning our senses with (sound) art for aesthetic experience

An aesthetic attitude or an aesthetic state of mind: any object could be the focus of aesthetic experience, as long as the subject of experience is adopting an attitude, which usually implies some sort of detachment or a feature of disinterestedness.

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ESTUDOS LITERÁRIOS, LEITURA E EXPERIÊNCIA ESTÉTICA / Literary Studies, Reading and Aesthetic Experience

ESTUDOS LITERÁRIOS, LEITURA E EXPERIÊNCIA ESTÉTICA / Literary Studies, Reading and Aesthetic Experience

O texto literário, como objeto estético na formação do indivíduo, e a literatura, em sentido amplo e nos documentos orientadores e norteadores do currículo, convergem para u[r]

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Fotografia deslocada e experiência estética em Mario Bellatin Misfit / Misfit Photography and Aesthetic Experience in Mario Bellatin’s Work

Fotografia deslocada e experiência estética em Mario Bellatin Misfit / Misfit Photography and Aesthetic Experience in Mario Bellatin’s Work

Nesse sentido, a escrita de Bellatin tem muito de confessional, mas as fronteiras do real e da ficção são tão provocadas por ele, tanto em sua obra quanto em sua vida pública, que tudo d[r]

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Rev. Adm. (São Paulo)  vol.51 número2

Rev. Adm. (São Paulo) vol.51 número2

It is implicit in the statement above that, in the current mode of production, the commodity-labor has become a sensitive objective that can be perceived regarding symmetry, cleanliness, agreeableness, modernity, youth, disposition, etc. That is, for the purchaser of the commodity-labor, the appearance comes into play even before its productive consumption. An example of such a peculiar aesthetic experience takes place during job interviews. In these occasions, it is common to perceive the candidates’ efforts to employ the “management of impressions”, this set of social abilities trough that individuals seek to control the image they give off to others, to be granted the job opportunity. It is up to candidates to evidence their talents, hide their deiciencies, and show enthusiasm for the position and even treating the interviewer with sympathy (Grisci & Carvalho, 2003). Although these strategies of representing “competitive edges” to the potential employer seem individual, they represent consolidated values in the reiied world of management. “The current perspective is that subjects become the managers of their careers, by resorting to strategies to make themselves attractive workers, according to the denomination by a magazine belonging to Grupo Exame, published in Brazil: Você S.A.” (Grisci & Carvalho, 2003, p. 4).
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Art Appreciation and the Method of Aesthetic Transfer

Art Appreciation and the Method of Aesthetic Transfer

The method of aesthetic transfer is a modern teaching method in art education. It emphasises the pedagogic value of the aesthetic experience. It is a comprehensive method, as it encompasses different parameters of art didactics. It affects lesson time allocation and determines content, methods, and teaching modes. It also affects motivation and inal evaluation. The essence of the method of aesthetic transfer lies in transferring aesthetic messages from the artwork to students. The foundation and condition for a successful implementation of the method of aesthetic transfer is a high-quality art appreciation. There are several ways and methods for successfully developing art appreciation, the common objective of all being to allow students to see, perceive, and enjoy a work of art. Thus they enrich their artistic and aesthetic development, and establish a positive attitude towards art, while this method at the same time encourages their own artistic exploration.
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Ideological assumptions in aesthetic judgment of architecture

Ideological assumptions in aesthetic judgment of architecture

According to Petrović (1989:326), critical judgment, as well as the aesthetic system as a whole, is profoundly conditioned by time, theoretical-learning possibilities and cultural- historic assumptions and preconceptions. ‘While the general aesthetic attitude is conditioned by the nature of philosophical systems, and this system itself by general theoretical-cognitive assumptions, consequently by sociological condition as a general ideological perspective, the taste is conditioned, by cultural-historical factors as well, but more significantly by the individual-psychological factor’ (Petrović, ibid.). In accordance with this, it is useful to refer to recent papers which consider the problems of the effects that a cultural context has on the aesthetic experience of architecture (Stevanović, 2011), and show how the aesthetic value of an architectural structure could be shaped by various ideological and political concepts (Mako, 2012). In both cases, situations are researched where the domination of cultural, ideological, moral, pragmatic, existential, economical or humanistic meanings in aesthetic reception can appear over pure perceptual qualities of the architectural structure. However, the problematization of possibilities of everyday aesthetic experience or judgment of taste is not of primary importance in this survey. The subject of interest of this paper, in fact, relates
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Development of Prototype Outcomes-Based Training Modules  for Aesthetic Dentistry

Development of Prototype Outcomes-Based Training Modules for Aesthetic Dentistry

From Table 3, we can see that in all aspects of all-ceram ic restorations, the responden ts stated that they are all “very m uch im portant/ very m uch needed in the training m odule. It can be seen in the table that the highest m ean of 4.45 corresponds to the installation an d cem entation of inlays. Ran ked second are the tooth preparation of ven eers and the diagnosis and treatm en t plannin g of ven eers with a m ean of 4.44. The aspect which ranked the least is the diagnosis an d treatm ent planning for inlays with a m ean of 4.38 . The findings of the Shenoy and Shenoy in 20 10 stated the disadvantage of den tal ceram ics as restorative m aterials is that it is not capable of withstandin g forces such as m astication. This lim itation does not pose as a barrier to the respondents because it is still ceram ics that give the utm ost aesthetic results. [8 ] Alternately, Yan g, Cook and Paddock in 20 0 5 justified the use of ceram ics when they said that patien ts often dem and aesthetic posterior restorations forcing the restorative dentist to utilize altern atives to tradition al direct or in direct m etallic restorative m aterials. Current porcelain system s provide outstan din g aesthetics and sufficien t strength to be considered for m an y posterior applications. [9]
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Genetic terrain programming: an aesthetic approach to terrain generation

Genetic terrain programming: an aesthetic approach to terrain generation

An experiment was conducted to test the perseverance of terrain features across several LODs and the consequent impact in generation times for our evolutionary tool GenTP (developed with GPLAB 6 , an open source GP toolbox for Matlab 7 ). A set of TPs was chosen to generate terrains with grid sizes from 50 to 450. Figure 2 presents the results of the execution of four different TPs at three LODs with grid sizes of 50x50, 150x150 and 450x450. The first row corresponds to TP1, the second to TP2 and so on. TP1 (with 8 nodes) and TP2 (with 17 nodes) were evolved by their aesthetic appeal and the TP3 and TP4 were evolved with a terrain feature in mind. A mountain in TP3 (with 13 nodes) and a volcano in TP4 (with 7 nodes). In this experience all TPs have preserved their main features independently of the chosen grid size. Due to terminals' randomness consecutive calls of the same terminal will always generate a slightly different height map. This is a desired characteristic, but it can be controlled for a specific LOD, by fixating the random number seed. However, this approach does not work for generating terrains at different LODs, because the amount of necessary random numbers will vary accordingly with the chosen LOD. This explains the differences from terrains at different LODs generated by the same TP. Figure 3 shows the average time of 10 execution of each TP at each grid size on a Pentium Core 2 Duo at 1,66 GHz with 2 GB of RAM. As expected the generation time increases at a quadratic pace with the increase of the number of grid points, e.g. for TP4 from 18,4 ms at 50x50 to 1066,0 ms at 450x450. The generation time also increased, as anticipated, with the number of TP's
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Male face anatomy in the focus of aesthetic medicine

Male face anatomy in the focus of aesthetic medicine

A multicenter, randomized, double-blind, placebo-controlled study of eficacy and safety of 3 doses of botulinum toxin A in the treatment of glabellar lines.. Rzany B, [r]

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Diferenças entre autopercepção e critérios normativos na identificação das oclusopatias.

Diferenças entre autopercepção e critérios normativos na identificação das oclusopatias.

A cross-sectional study was carried out among all 315 students aged 14-18 years who attended a highschool in Florianópolis, Brazil. A single dentist collected clinical data about malocclusion (Dental Aesthetic Index) and a questionnaire was applied to assess perceived aesthetic and masticatory satisfaction and need for orthodontic treatment. Data analysis included frequency distribution calculation and multiple logistic regression modeling.

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The aesthetic value of mathematical knowledge and mathematics teaching

The aesthetic value of mathematical knowledge and mathematics teaching

Эффективность университетской лекции по математике зависит от степени взаимного ре- агирования преподавателя и студентов друг на друга, поскольку подобно тому, как театральное представл[r]

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Key words: Capitalism Aesthetic, Environmentalist Discourse, Post-modernity, hyper-

Key words: Capitalism Aesthetic, Environmentalist Discourse, Post-modernity, hyper-

A lacuna aberta pela introdução da especulação ambiental no capitalismo estético se dá quando colocamos em xeque a impossibilidade da reutilização numa produção qu[r]

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Dynamic UCLA for single tilted implant in an aesthetic region

Dynamic UCLA for single tilted implant in an aesthetic region

Tilted implants are mostly used in posterior regions, in cases of atrophic maxillae where the proximity to the sinus may restrict the amount of bone available to the anchorage of dental implants [9]. However, some authors also report successful installation of tilted implants in anterior regions with no compromise of an aesthetic result [12].

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L´Experience

L´Experience

Aconselha-se a continuação de atividade por parte do gestor de redes sociais da equipa, que continue a cativar o público com atividades na página, para que esta não perca aderência (po[r]

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A experiência com o teatro na formação dos professores: potencialidades à Educação Ambiental e à Educação Estética<br>The experience with the theater in teacher training: potential environmental education and Aesthetic Education

A experiência com o teatro na formação dos professores: potencialidades à Educação Ambiental e à Educação Estética<br>The experience with the theater in teacher training: potential environmental education and Aesthetic Education

E para abordar as experiências com o teatro, trazemos também outros momentos vividos pela professora Ana: “na minha vida as duas vezes que algum professor propôs traba[r]

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Comportamento de compra em e-commerce : influência da web experience na decisão de compra no sector do vestuário

Comportamento de compra em e-commerce : influência da web experience na decisão de compra no sector do vestuário

A presente dissertação permitiu explorar um tema que já foi discutido em diversos estudos, porém, num contexto do consumidor português de vestuário online não foram assim tantos os estudos abordados em redor deste tema. A investigação dá assim continuidade a um estudo de Lorenzo, Constantinides e Gomez-Borja (2009), direcionando para o cliente online português, contribuindo para a extensão do conhecimento do comportamento de compra online com a adição da influência na decisão de compra. O objetivo principal, ou seja, o principal foco do estudo, foi abordar, numa primeira fase, os fatores que afetavam a web experience (usabilidade, interatividade, confiança e estética), analisando também os seus respetivos elementos, e determinar se os respondentes concordavam ou não com a influência positiva que a web experience tinha na decisão de compra. Os resultados extraídos dos questionários indicam que todos os fatores da web experience influenciam a experiência online do consumidor e, posteriormente, esta vai gerar uma influência positiva na decisão de compra. Numa perspetiva dos não compradores, foi também possível identificar que o fator da confiança foi uma razão que influenciou negativamente, porém, todos os outros fatores, não foram considerados razões para a não compra. Para além destas conclusões, é igualmente uma contribuição teórica, a análise aos elementos de cada fator, estudando quais os mais valorizados pelos consumidores.
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