scholarly journals ZANIEDBANE KRAJOBRAZY: O ESTETYCE POLSKIEJ PRZESTRZENI ZURBANIZOWANEJ

2021 ◽  
Vol 36 ◽  
pp. 83-97
Author(s):  
Weronika Bryl-Roman
Keyword(s):  
Cultural Context ◽  
Historical Perspective ◽  
Aesthetic Education ◽  
Proper Understanding ◽  
The Social ◽  
Polish Society ◽  
Landscape Quality ◽  
Communist Past ◽  
The Aesthetic ◽  
Aesthetic Values

The article offers a reflection on the possible causes of a disregarding attitude to the value of landscape and spatial order in contemporary Poland. Neglecting aesthetic values, usually interpreted as an effect of the communist past, is considered in the paper as a symptom of a specific spatial culture correlated with the social and cultural grounds of the present Polish society. Although it is possible to point out several viable determinants of the present landscape quality in Poland, they all seem to have the same origin. To fea- ture it, the author refers to P. Bourdieu’s habitus concept as well as to the socio-historical perspective in which the Polish society was shaped (peasant culture). The problem of the lack of adequate aesthetic education also stems from the same cultural context. The enhancement of pro-landscape thinking requires resolute actions in many fields. Nonetheless, a proper understanding of the aesthetic education seems to be crucial here.

scholarly journals On the centenary of Zygmunt Janiszewski (1888-1920): ideals of mathematical practice and the constitution of continuum theory

2020 ◽  
Vol 8 (18) ◽  
pp. 431-453
Author(s):  
Luis Carlos Arboleda ◽  
Andrés Chaves
Keyword(s):  
Mathematical Practice ◽  
Continuum Theory ◽  
Axiomatic System ◽  
Intellectual Character ◽  
The Social ◽  
Polish School ◽  
The Aesthetic ◽  
Aesthetic Values ◽  
Philosophy Of Mathematical Practice ◽  
Scientific Life

This paper shows the importance of applying a certain approach to the history and philosophy of mathematical practice to the study of Zygmunt Janiszewski's contribution to the topological foundations of Continuum theory. In the first part, a biography of Janiszewski is presented. It emphasizes his role as one of the founders of the Polish School of Mathematics, and the social, political and military facets in which his intellectual character was revealed, as well as the values that guided his academic and scientific life. Kitcher's view of mathematical practice is then adopted to examine the philosophical conceptions and epistemological style of Janiszewski in relation to the construction of the formal axiomatic system of knowledge about the continua. Finally, it is shown the convenience of differentiating in Kitcher's approach, the methods, procedures, techniques and strategies of practice, and the aesthetic values of mathematics. Keywords: Zygmunt Janiszewski; Continuum theory; Philosophy of mathematical practice; Polish school of mathematics.

Climate Change Law: Encounters with Aesthetics and Art

Climate Law ◽  
2018 ◽  
Vol 8 (3-4) ◽  
pp. 279-319
Author(s):  
Benjamin J. Richardson
Keyword(s):  
Climate Change ◽  
Global Warming ◽  
Climate Mitigation ◽  
Mitigation And Adaptation ◽  
Law And Policy ◽  
The Social ◽  
Political Struggles ◽  
The Aesthetic ◽  
Aesthetic Values

Climate change has multifaceted aesthetic dimensions of legal significance. Global warming alters the aesthetic properties of nature, and further aesthetic changes are precipitated by climate mitigation and adaptation responses of impacted societies. The social and political struggles to influence climate change law are also influenced by aesthetics, as environmental activists and artists collaborate to influence public opinion, while conversely the business sector through its marketing and other aesthetic communications tries to persuade consumers of its climate-friendly practices to forestall serious action on global warming. This article distils and analyses these patterns in forging a novel account of the role of aesthetics in climate change law and policy, and it makes conclusions on how this field of law should consider aesthetic values through ‘curatorial’ guidance.

scholarly journals Traditional Japanese pottery and its influence on the American mid 20th century ceramic art

2021 ◽  
pp. 139-153
Author(s):  
Johannis Tsoumas
Keyword(s):  
Interwar Period ◽  
Cultural Context ◽  
Late Nineteenth Century ◽  
New Order ◽  
The Social ◽  
Ceramic Art ◽  
The World ◽  
Late Nineteenth ◽  
Post War ◽  
Aesthetic Values

The Japanese ceramic tradition that was to emerge along with other forms of traditional crafts through the Mingei Movement during the interwar period, as a form of reaction to the barbaric and expansive industrialization that swept Japan from the late nineteenth century, brought to light the traditional, moral, philosophical, functional, technical and aesthetic values that had begun to eliminate. Great Japanese artists, art critics and ceramists, such as Soetsu Yanagi and Shōji Hamada, as well as the emblematic personality of the English potter Bernard Leach, after caring for the revival of Japanese pottery, believed that they should disseminate the philosophy of traditional Japanese pottery around the world and especially in the post-war U.S.A. where it found a significant response from great American potters and clay artists, but also from the educational system of the country.  This article aims to focus precisely on the significant influence that postwar American ceramic art received from traditional Japanese pottery ideals. The author in order to document the reasons for this new order of things, will study and analyze the work of important American potters and ceramic artists of the time, and will highlight the social, philosophical and cultural context of the time in which the whole endeavor took place. 

scholarly journals The Aesthetic Education Value of Thematic Art Creation

2021 ◽  
Vol 5 (12) ◽  
pp. 147-150
Author(s):  
Yingying Cui
Keyword(s):  
Art History ◽  
Cultural Context ◽  
Aesthetic Education ◽  
Theoretical Research ◽  
Chinese Art ◽  
Aesthetic Value ◽  
Self Confidence ◽  
Education Value ◽  
Important Position ◽  
The Aesthetic

Thematic art creation is a product of a complex social, historical, and cultural context, and it fills an important position in the development of modern and contemporary Chinese art history. Since the 21st century, with the introduction and implementation of a series of national major thematic art creation projects, thematic art creation has gradually moved from a marginal position in art history to a core area, becoming a visual narrative method with independent aesthetic value. Moving towards cultural consciousness and carrying cultural self-confidence, thematic art creation requires the guidance, standardization, and support of related art theories. The lack and absence of theoretical research restricts the development of thematic art creation. This study combs through the research results and literature materials of thematic art creation since the new century as well as studies the aesthetic education value of thematic art creation image narration.

scholarly journals 3. The Fields of Arts the General Education System the Republic of Moldova

2016 ◽  
Vol 11 (1) ◽  
pp. 20-29
Author(s):  
Marina Morari
Keyword(s):  
General Education ◽  
Educational System ◽  
Education System ◽  
Fine Arts ◽  
Aesthetic Education ◽  
Traditional Theory ◽  
School Subject ◽  
The Republic ◽  
The Aesthetic ◽  
Aesthetic Values

Abstract The general education system identifies two approaches for encompassing arts: through the curricular field and through the extracurricular and extra-scholastic aesthetic education. The fields of arts are assigning a sector, an area of activity, a branch or a compartment. In the general education system, the fields of art have been differently formed. As a school subject, art is being studied through literature, music and fine arts. Some of them are not included in the educational plan (theatre, choreography). The statute of arts (literature, music, fine arts) in the educational system is outlined from two perspectives: art as a school subject and art as an artistic activity. The area of art shall not be reduced to a school subject or a type of arts. The artistic education in the educational system corresponds to the aesthetic education compartment and it happens in the extracurricular and extra-scholastic educational framework. According to the classic, traditional theory, the aesthetic education often is reduced to the level of artistic education. An efficient perspective in capitalizing the fields of art through education may be the extension of the artistic education borders outside the aesthetic values, by extra-aesthetic values – behavioral, moral, spiritual, social etc.

scholarly journals Countervailing aesthetics? Depictions of British Muslims and the multicultural working class in post-7/7 art

2018 ◽  
Vol 53 (2) ◽  
pp. 240-254
Author(s):  
Madeline Clements
Keyword(s):  
Working Class ◽  
Cultural Context ◽  
First Century ◽  
Community Members ◽  
The Social ◽  
Islamic Terrorism ◽  
Breeding Grounds ◽  
The Media ◽  
The Aesthetic ◽  
British Culture

This article considers the significance of artist Philip Gurrey’s 2008 series of portraits of members of multicultural working-class communities in Beeston, Leeds, in the social, political, and cultural context of the aftermath of the 7/7 bombings. Reflecting on the impetus for making these works, Gurrey has observed that “the predominant rhetoric [in 2007] was almost as if this place was generating extremism” (2014a: n.p.). In his opinion, “the artist’s prerogative is to look at the aesthetic generated; the feel and mood of the place as portrayed by the media was completely wrong” (2014b). This essay focuses on The Beeston Series (2008–2009) of paintings, which Gurrey composed by merging and splicing together the features and skin-tones of the suburb’s community members, and subsequently exhibited to local audiences at the BasementArtsProject in south Leeds, a space removed from the metropolitan centres that appeared either to dismiss or to demonize them. Drawing on Jill Bennett’s explorations of art as the “critical, self-conscious manipulation of media” (2012: 6), this article goes on to explore how such mundane and unsensational, though striking, portraits presented an aesthetic that ran counter to contemporaneous representations of such communities as the breeding grounds of Islamic terrorism. It argues that through such critical, aesthetic approaches, artists in twenty-first-century Britain contest still-dominant discourses around the failure of multiculturalist policies and supposed alienness to indigenous British culture of Muslim identities, and fears about the harbouring of an “enemy within”. In doing so, it draws comparisons between Gurrey’s regionally-specific paintings and other more metropolitan attempts to depict the aesthetic realities of 7/7, the perpetrators of such attacks, and the multicultural, working-class identities scrutinized in their wake. Works discussed in relation to The Beeston Series include Mark Sinckler’s controversial drawing Age of Shiva (2008), and Faiza Butt’s Is This the Man (2010) portrait series.

scholarly journals PREPARATION OF FUTURE TEACHERS FOR THE FORMATION OF AESTHETIC CULTURE OF A PERSONALITY BY MEANS OF NON-FORMAL ART EDUCATION

2018 ◽  
pp. 115-122
Author(s):  
Vikroriia Irkliienko
Keyword(s):  
Effective Means ◽  
Aesthetic Education ◽  
Educational Institutions ◽  
Future Teachers ◽  
Activity Component ◽  
National Heritage ◽  
Complex Training ◽  
The Aesthetic ◽  
The Individual ◽  
Aesthetic Values

The author of the article considers the fact that art is a factor of integration of an individual and an environment, a person and a society. Every personality asserts in various spheres of social reality. Thus an effective means of aesthetic development is the involvement of future teachers in national heritage and culture, which manifests itself in the traditions of national holidays in order to form an aesthetic culture of the individual.The concept of "aesthetic culture of the individual" is a multi-faceted category; therefore its structural elements are information, emotional and feeling, and activity components. The basis of the information component is knowledge of the development and formation of Ukrainian national culture, the ability of the individual to reconstitute them in aesthetic judgments. The emotional and feeling component is reconstituted in emotional and feeling attitude to aesthetic values, the interaction of the subject through feelings with the object. Activity component is the orientation of a person towards activity and the process of creating aesthetic values. It integrates information and emotional and feeling factors, gives dynamic nature to the concept of "aesthetic culture"; it is realized in the orientation of a person to create, spread, consume aesthetic values and affects the level of aesthetic culture of the individual.It is determined that the means of formation of aesthetic culture of the individual is a folk holiday as a model of highly aesthetized life; the conditions for its effective formation are outlined, in particular: updating of the content, forms, methods and techniques of aesthetic education; taking into account age and individual peculiarities of the person in the process of aesthetic education; application of psychological and pedagogical principles, in particular emotional and feeling, rational, systematic, principle of consistency; creating of human recourses for formation of the aesthetic culture of the individual.The importance of complex training of future teachers to form the aesthetic culture of the individual, which can be realized in the course of non-formal artistic education through participation in various artistic groups while studying at higher educational institutions, is emphasized.

scholarly journals “Taste” as an aesthetic category in moralistic and philosophical literature of the XVII century

2021 ◽  
pp. 54-66
Author(s):  
Nataliya Vladimirovna Zaуtseva
Keyword(s):  
Everyday Life ◽  
Modern Art ◽  
Behavioral Pattern ◽  
Philosophical Literature ◽  
Xvii Century ◽  
The Social ◽  
The Aesthetic ◽  
Aesthetic Values

This article analyzes the emergence of the aesthetic category of taste, which dates back to 1620s–1630s, as well as the factors of its emergence. The author correlates the aesthetic category of “taste” with one of the categories of gallant aesthetics “fineness”, which becomes the key requirement for the behavioral pattern of a secular person, as well as for the lifestyle of French aristocracy of the XVII century overall, emphasizing the social conditionality of the concept of taste. From the sphere of secular communication and everyday life, the categories of “fineness” and “fined taste” flow into the sphere of art, which unfolds the discussion on the subjectivity of taste and the tyranny of rules. The problem of taste remains relevant, as we see the blending of edges of this concept, denial of the hierarchy of aesthetic values in modern art. The question of the development of criteria for assessing the artworks is still as urgent as in the XVII century. At the same time, it is impossible to speak of the development and transformation of the aesthetic category of “taste” if the origins of its emergence are unfathomable. The dispute around the crucial for aesthetics dichotomy “taste” and “rules” has blazed up in France in the late XVII century. In this discussion, “fine taste” is opposed not to the concepts of “no taste” or “bad taste”, they are analogous to taste since being subjective. The concept of “taste” was opposed to the rule, which instigated the dispute of the aesthetic thought of the XVII century.

scholarly journals Rise of the aesthetic experience and the crisis of the aesthetic values

2015 ◽  
Vol 58 (1) ◽  
pp. 17-37
Author(s):  
Aleksandar Cuckovic
Keyword(s):  
Everyday Life ◽  
Aesthetic Experience ◽  
Artistic Production ◽  
Artificial Environment ◽  
The Social ◽  
Mass Reproduction ◽  
The Aesthetic ◽  
Concept Of Beauty ◽  
Aesthetic Values ◽  
Different Sources

The possibility of aesthetic experience is in recent years more common than ever, because of the different contents that are being more and more invested with the aesthetic properties. They originate from the very different sources, first of all, from the artistic production and the mass reproduction of the artifacts, then, from the whole human artificial environment, where the mass media play an prominent role, but from the social rituals and ceremonies and from the individually chosen ?lifestyles? as well. Although the notion of the ?aesthetic experience? overpowered the traditionally dominant concept of ?beauty? in the modern aeshtetics, the nature of its value still initiates the debates, because the experiences are more numerous than their holders. The excellence of art has been merged in the banality of everyday life, which obtained an attractive appearance, but not the beauty of spirit, lovable surface, but not the true depth. As a strategy of turning the unaesthetic to aesthetic, aestheticization would be more promising if it would not be reduced to the mere anaesthetic technique of beautification, but if it would be the trigger for the legitimation of pervasive interference of all of the domains of rationality, which are still seen irreconcilable and, therefore, as usurpative.

scholarly journals Peranan Kesenian Adok Sebagai Sarana Pendidikan Estetika Pada Masyarakat di Korong Ubun-Ubun

2021 ◽  
Vol 21 (3) ◽  
pp. 173-189
Author(s):  
Selvi Kasman ◽  
Fahmi Marh ◽  
Saaduddin Saaduddin
Keyword(s):  
Data Collection ◽  
Performing Arts ◽  
Participant Observation ◽  
Aesthetic Education ◽  
Ethnographic Approach ◽  
The Aesthetic ◽  
Traditional Arts ◽  
Arts Community ◽  
Aesthetic Values ◽  
People’S Perceptions

This paper aims to reveal the aesthetic values and ideas contained in the musical art of Adok in Korong Ubun-Ubun, which acts as a means of aesthetic education for the performing arts community and the supporting community. As a virtue contained in Adok art, the aesthetic values and ideas make the position of Adok art different when compared to other traditional arts, so that the research is important. The research location was Jorong Ujuang Ladang, Korong Ubun-Ubun, Kanagarian X Koto Singkarak, Solok Regency. The object of research was Art Adok, focusing on the aesthetic aspects of the performance. This study uses an ethnographic approach and data collection techniques through participant observation. Minang values related to the value of taste (aesthetics) in Adok art contribute positively to the perspective of the supporting community so that they can change people’s perceptions and understanding of Adok art. The results of this study can also prove that the Adok art can be one of the presentations of Minang’s which the supporting community has not realized. 

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