Image quality and the aesthetic judgment of photographs: Contrast, sharpness, and grain teased apart and put together.

2011 ◽  
Vol 5 (2) ◽  
pp. 165-176 ◽  
Author(s):  
Pablo P. L. Tinio ◽  
Helmut Leder ◽  
Marlies Strasser
Keyword(s):  
Image Quality ◽  
Aesthetic Judgment ◽  
The Aesthetic

Hearing the Contradictions: Aesthetic Experience, Music and Digitization

2018 ◽  
Vol 12 (3) ◽  
pp. 289-302
Author(s):  
Nancy Weiss Hanrahan
Keyword(s):  
Aesthetic Experience ◽  
Cultural Practice ◽  
Aesthetic Judgment ◽  
Thick Description ◽  
Cultural Form ◽  
Social Forms ◽  
Primary Object ◽  
The World ◽  
Digital Environments ◽  
The Aesthetic

If, as Susan Buck-Morss (2003) suggests, aesthetic experience is an occasion for “making critical judgments about not only cultural forms but social forms of our being-in-the-world,” or if it is linked, in David Hesmondhalgh’s (2013) account, to the possibilities of collective flourishing, potential changes in the nature of that experience merit critical attention. This article reflects on the ways in which these social or ethical dimensions of the aesthetic experience of music are affected by digitization. It moves from a discussion of aesthetic experience as a form of encounter that refers to a common world, to consideration of recent work in music sociology that engages themes that emerge from that discussion: aesthetic judgment, and the question of difference and commonality. With illustrations from focus group interviews, I suggest that the quantization associated with digital environments is altering the cultural form of aesthetic judgment, just as personalization is changing the meaning of “difference” in this context. The essay is intended as a disclosive critique that takes as its primary object not the world observable through thick description or hermeneutic interpretation of actual cultural practice, but a world evoked through critical reflection on its actual and potential constellations of meaning.

Feminist Aesthetics

2021 ◽  
Author(s):  
A. W. Eaton
Keyword(s):  
Aesthetic Judgment ◽  
Male Gaze ◽  
Canon Formation ◽  
Artistic Production ◽  
The Arts ◽  
Female Nude ◽  
Inclusive Approach ◽  
The Aesthetic ◽  
Feminist Aesthetics

This chapter summarizes central issues and themes in feminist philosophical aesthetics in the analytic tradition, although some continental figures are discussed. After introducing the interdisciplinary, intersectional and trans* inclusive approach that feminist aesthetics is starting to take, this essay discusses situatedness, artistic canon formation, humanism vs. gynocentrism, rewriting the philosophical canon, overcoming artworld biases, and the role of the aesthetic in systemic oppression. Specific topics to be discussed include the male gaze, the female nude, the concept of artistic genius, women’s artistic production, the purported universality of correct aesthetic judgment, the sex/gender distinction as it pertains to aesthetics and the arts, and body aesthetics.

scholarly journals The neural mechanism of aesthetic judgments of dynamic landscapes: an fMRI study

2020 ◽  
Vol 10 (1) ◽  
Author(s):  
Xueru Zhao ◽  
Junjing Wang ◽  
Jinhui Li ◽  
Guang Luo ◽  
Ting Li ◽  
...  
Keyword(s):  
Visual Processing ◽  
Occipital Lobe ◽  
Neural Mechanism ◽  
Aesthetic Judgment ◽  
Neural Mechanisms ◽  
Middle Temporal Gyrus ◽  
Dynamic Stimuli ◽  
Dynamic Landscapes ◽  
The Aesthetic ◽  
Aesthetic Judgments

AbstractMost previous neuroaesthetics research has been limited to considering the aesthetic judgment of static stimuli, with few studies examining the aesthetic judgment of dynamic stimuli. The present study explored the neural mechanisms underlying aesthetic judgment of dynamic landscapes, and compared the neural mechanisms between the aesthetic judgments of dynamic landscapes and static ones. Participants were scanned while they performed aesthetic judgments on dynamic landscapes and matched static ones. The results revealed regions of occipital lobe, frontal lobe, supplementary motor area, cingulate cortex and insula were commonly activated both in the aesthetic judgments of dynamic and static landscapes. Furthermore, compared to static landscapes, stronger activations of middle temporal gyrus (MT/V5), and hippocampus were found in the aesthetic judgments of dynamic landscapes. This study provided neural evidence that visual processing related regions, emotion-related regions were more active when viewing dynamic landscapes than static ones, which also indicated that dynamic stimuli were more beautiful than static ones.

A Constraint on the Expressive Timing of a Melodic Gesture: Evidence from Performance and Aesthetic Judgment

1992 ◽  
Vol 10 (2) ◽  
pp. 221-241 ◽  
Author(s):  
Bruno H. Repp
Keyword(s):  
Music Performance ◽  
Individual Preference ◽  
Musical Instrument ◽  
Aesthetic Judgment ◽  
Digital Interface ◽  
Temporal Shape ◽  
Individual Variations ◽  
Timing Function ◽  
Artistic Freedom ◽  
The Aesthetic

Discussions of music performance often stress diversity and artistic freedom, yet there is general agreement that interpretation is not arbitrary and that there are standards that performances can be judged by. However, there have been few objective demonstrations of any extant constraints on music performance and judgment, particularly at the level of expressive microstructure. This study illustrates such a constraint in one specific case: the expressive timing of a melodic gesture that occurs repeatedly in Robert Schumann's famous piano piece, "Traumerei." Tone onset timing measurements in 28 recorded performances by famous pianists suggest that the most common " temporal shape" of this (nominally isochronous) musical gesture is parabolic and that individual variations can be described largely by varying a single degree of freedom of the parabolic timing function. The aesthetic validity of this apparent constraint on local performance timing was investigated in a perceptual experiment. Listeners judged a variety of timing patterns (original parabolic, shifted parabolic, and nonparabolic) imposed on the same melodic gesture, produced on an electronic piano under control of a Musical Instrument Digital Interface (MIDI). The original parabolic patterns received the highest ratings from musically trained listeners. (Musically untrained listeners were unable to give consistent judgments.) The results support the hypothesis that there are classes of optimal temporal shapes for melodic gestures in music performance and that musically acculturated listeners know and expect these shapes. Being classes of shapes, they represent flexible constraints within which artistic freedom and individual preference can manifest themselves.

The spatial frequencies influence the aesthetic judgment of buildings transculturally

2014 ◽  
Vol 5 (3-4) ◽  
pp. 143-149 ◽  
Author(s):  
Manila Vannucci ◽  
Simone Gori ◽  
Haruyuki Kojima
Keyword(s):  
Aesthetic Judgment ◽  
Spatial Frequencies ◽  
The Aesthetic

scholarly journals The Influence of User Interface Attributes on Aesthetics

i-com ◽  
2018 ◽  
Vol 17 (1) ◽  
pp. 41-55 ◽  
Author(s):  
Thomas Schmidt ◽  
Christian Wolff
Keyword(s):  
User Interface ◽  
Interface Design ◽  
Visual Complexity ◽  
Aesthetic Judgment ◽  
Aesthetic Judgement ◽  
Subjective Impression ◽  
Presentation Time ◽  
Set Up ◽  
The Aesthetic ◽  
The One

Abstract In this paper we present an empirical study among 40 participants which investigates the relationship between various factors of user interface aesthetics on the one hand, and the influence of the user interface attributes, symmetry, colorfulness as well as visual complexity on user interface aesthetics on the other hand. The user interface aesthetics will be classified in intuitive aesthetics (1st impression with a presentation time of 500 ms) and reflective aesthetics (reflective long-term impression after a longer presentation). Reflective aesthetics is further classified in classical aesthetics (common attractiveness) as well as expressive aesthetics (creativity). For this study we have set up a corpus of 30 websites which are used as stimulus material. In a multi-step lab experiment, participants rate aesthetics and their subjective impression concerning user interface attributes using questionnaires. We are able to show that the intuitive aesthetic judgment correlates strongly with the reflective judgment. The symmetry of a website positively correlates with all definitions of aesthetics, especially with the classical or traditional interpretation in the sense of attractiveness. Visual complexity can be seen as the strongest predictor for the aesthetic judgement of users and it negatively correlates with all definitions. Concerning colorfulness, a preference for websites of a medium degree of colorfulness for the intuitive as well as the classical aesthetics can be stated. Concerning expressive aesthetics, websites of moderate to high colorfulness receive the best judgments. The relationships which we have found are finally discussed in the context of previous research and some implications for future user interface design are given.

The Assessment of Aesthetic Judgment Ability

1985 ◽  
Vol 3 (1) ◽  
pp. 63-79 ◽  
Author(s):  
Gary Bamossy ◽  
Marilyn Johnston ◽  
Michael Parsons
Keyword(s):  
Art Education ◽  
Internal Consistency ◽  
Strong Evidence ◽  
Discriminant Validity ◽  
Reliability And Validity ◽  
Aesthetic Judgment ◽  
Criterion Group ◽  
Group Validity ◽  
The Aesthetic ◽  
Acceptable Internal Consistency

This article presents evidence for reliability and validity for the Aesthetic Judgment Ability (AJA) test. The test is a relatively easy to administer measure of aesthetic ability in judging paintings. Initial findings demonstrate strong evidence for test stability and acceptable internal consistency. It appears to be sensitive in discriminating between groups with clear evidence of criterion-group validity and discriminant validity. The cognitive-developmental perspective of the instrument provides a viable basis for explaining differences in aesthetic judgment. It is potentially useful as a pre-posttest assessment in courses of art education and, in conjunction with other measures, may also be useful in improving understanding of reactions to art.

scholarly journals The Evolution of the Aesthetic Vision in Kabbani’s Poetic Discourse

2018 ◽  
Vol 9 (4) ◽  
pp. 180
Author(s):  
Samir Al-Sheikh ◽  
Ahmed Hasan Mousa
Keyword(s):  
Aesthetic Judgment ◽  
The Body ◽  
Cultural Patterns ◽  
Verbal Art ◽  
Poetic Discourse ◽  
Poetic Image ◽  
Poetic Imagery ◽  
The Aesthetic ◽  
Modern Arabic ◽  
The Universe

If poetry is the verbal art of beauty, and beauty is truth, then, poetry has its own truth which is universal by nature since the poetic patterns embody a particular vision of the universe. This universal truth is encoded in poetic image. The poet who creatively used the poetic image to express his aesthetic vision is Nizar Kabbani (1923- 1998). The study aims at exploring the development of the notion of beauty as structured in the modern Arab poetic works. It aims at investigating Kabbani’s poetic imagery in its amorous-erotic aspects. The study proceeds with the hypothesis that the modern love poet’s synesthetic imagery is an impressive representation of Kant’s aesthetic axioms as encoded in his Critique of the Aesthetic Judgment. The scope of the inquiry focuses upon the love lyrics and songs of the modern Arabic love poet regardless his political writings. Kabbani’s poetics is investigated in terms of Aesthetic Cultural Approach (ACA), a critical orientation that links the cultural patterns of meaning to the aesthetic structures of the poem. Of the seminal findings of the study is that Kabban’s love poems are pleasurable moments in which the body of the beloved becomes the source of the poet’s ecstasy and joyfulness.

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