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This paper establishes interpretative criteria for the aesthetic evaluation of contemporary gardens and parks, specifically focusing on a dendrological park. Initially, it examines the potential of a "contract with nature" as a foundational basis for such evaluation but subsequently challenges this notion. The paper posits that political and material-ecological aspects significantly influence aesthetic judgments in these spaces. It argues that these elements are integral to eliciting a direct aesthetic experience and necessitates explicit explication in their interpretation. This study further interprets gardens and parks as akin to works of art in that they represent, albeit without conventional subject matter, the nuanced relationships to the lives of individuals. The paper elucidates the more profound, often unspoken dialogues between nature, culture, and individual experience by viewing these spaces as representational mediums. [ABSTRACT FROM AUTHOR]

Enhancing course design and pedagogy to encourage engagement and creativity is fundamental in doctoral education. Using poetry is an innovative way to enrich nursing education through aesthetic knowing. The authors in this paper aim to describe an educational exercise utilizing the Cut-Up Method to create haiku poems. PhD nursing students used the Cut-Up Method to produce haiku poems describing the meaning of nursing science. Themes from the haiku poems include relationship building, caring and caring relationships, and the evolution of nursing. Learning activities promote aesthetic knowing to facilitate engagement, creativity, and collaboration. The Cut-Up Method and haikus are creative ways of developing aesthetic knowing. [ABSTRACT FROM AUTHOR]

Introduction: Why was the study undertaken? What was the research question, the tested hypothesis or the purpose of the research? The research question is: What are the implications of disciplinary aesthetics when marine science meets art in educational research? Children in schools from Victoria, Australia were engaged in a series of marine science fieldtrips, workshops and lessons based on the Great Southern Reef, a temperate marine environment of Australia. They created drawings based on provocations, to depict their knowledge of marine species, before and after these education experiences. Methods: When, where, and how was the study done? What materials were used or who was included in the study groups (patients, etc.)? This paper shares the mixed methodology used by focusing on the qualitative methods used, that arose out of a need to understand the role of aesthetics in this research project. This paper documents the analysis of data that included children's drawings and dialogue between researchers and children from interviews. We discuss insights into the role of aesthetics that were revealed in the visual and narrative data from perspectives of children's learning and how the researchers were able to understand this. These findings are discussed considering the teaching intentions and procedures used, the importance of this multimodal approach to research that revealed aesthetics of science, visual art and language in education. Results: What answer was found to the research question; what did the study find? Was the tested hypothesis true? The research reveals the important role drawing has when trying to understand the students' varying degrees of understanding marine science education. Variables include: their prior experience with marine environments, students' drawing abilities, stylistic elements (that can render an image 'confident' or 'sketchy'), compositional devices and use of perspective that their drawings depict (looking at a pier from underwater or through snorkel goggles). It also includes interpretations and explanations of their drawings and other uses of language such as the use of written labels to reinforce or clarify parts of their drawings. Discussion: What might the answer imply and why does it matter? How does it fit in with what other researchers have found? What are the perspectives for future research? This research reveals the important role of multi-modal approaches in science learning and the significant and dependent role of visual art and words, for students to communicate their learnt content knowledge. It highlights the aesthetic experiences that must be taken into consideration when teaching, learning and when understanding what has been learnt. [ABSTRACT FROM AUTHOR]

We have a responsibility as science educators to work with young people to enact education that enables collective rebalancing of relationships between humans and more-than-humans that are disturbed by human-induced climate change. However, to date, climate change education has not been prioritized in school science at a policy, curricula, classroom and community level, due to an aesthetic which does not sufficiently value climate science or recognize the social impacts of science as part of the discipline. We argue in this conceptual research paper from a pragmatist perspective that an aesthetic shift is required to include science as part of climate change education as a transdisciplinary endeavor that focuses on addressing socio-ecological challenges through student agency and community action. We explore the synergy between science education aesthetics and climate change aesthetics as we advocate for a transformative aesthetics of climate change education. We do so through a process of reflection on and conceptualization of our stories of climate change education in Australia. We propose that such an aesthetic (how we ought to value) should not be considered in isolation but rather that it forms the basis for the ethics (how we ought to conduct ourselves) and logic (how we ought to think) of young people being with us in a community of inquiry in the Anthropocene. We argue that we (teachers and students) ought to conduct ourselves in loving ways toward human and more-than-human kin that necessitates that we think as a community of inquiry to address the challenges of the Anthropocene. In doing so we suggest that we can realize a radical pragmatist meliorism for climate change education that is underpinned by the three normative sciences, the most foundational of which is aesthetics [ABSTRACT FROM AUTHOR]

This paper explores the novel “Forty Rules of Love” by Elif Shafak, which evokes the historical personality of the great scholar Jalal al-Din al-Rumi, dubbed by the West “the Shakespeare of the Islamic world”. He was known for his moderation and tolerance, for his call to coexistence and fraternity between the members of different religions, and his condemnation of violence and extremism of all kinds. So, the novel strives to change the misconceptions of the West regarding the Asian countries of the East and to challenge the negative attitude towards Islam, known nowadays as Islamophobia. The paper aims to address the evil of fanaticism and violence and introduce the Western reader to the sublime spiritual aesthetics of the East, which starkly contrast to the savage image of Islam as presented by the media. By studying the novel, which has been translated into more than fifty languages, the paper also seeks to emphasise the role of literature, in general, in spreading cultural awareness among fellow human beings so that people can live in peace and safety. [ABSTRACT FROM AUTHOR]

This article contemplates the idyllic imagery of Elizabeth Gaskell's rural texts in relation to the key visual motifs of the Internet aesthetic "cottagecore." Meanwhile, the paper also strives to highlight the importance of both the Victorian era, particularly its literature and art, with regard to this popular Internet aesthetic. With some brief references to influential figures of the age, the cultural timeframe surrounding Gaskell's rural fiction is shown to offer significant historical relevance to the romanticisation of the English countrycottage life. The literary and pictorial texts serve as examples of this cultural process. Considering the author's mostly ornamental use of cottages in Wives and Daughters as well as her employment of floral characterisation, the paper also highlights the visual aesthetics of the cottage art of Helen Allingham and Myles Birket Foster as well as rural depictions made by illustrators of Gaskell's provincial works that display the visual after-life of Gaskell's rural texts. [ABSTRACT FROM AUTHOR]

Objective: The consequences of falls in the elderly are severe, ranging from skin abrasion to hip fracture, which is very easy to cause death. Using advanced technology to develop anti-fall clothing that meets the needs of the elderly can play a significant role in protecting the elderly. By reviewing and analyzing the existing literature on the importance of fall protection clothing in reducing falls and protecting the body of the elderly, it is hoped to explore further research that needs improvement. Methods: Guided by the preferred reporting items for systematic reviews and meta-analyses, eight related studies were identified through Web of Science, Scopus and Chinese National Knowledge Infrastructure. The research objects, approaches, material and equipment, protection principle, and survey results are extracted. Results: Two articles verified the fall detection algorithm adopted in the research through experiments, which significantly improved fall detection accuracy. Six papers found that selecting appropriate cushioning materials can effectively reduce the consequences of falls of the elderly through experimental comparative analysis. Finally, three attributes for significant design value are drawn: (1) size and fit; (2) cushioning materials; (3) wearable sensing elements. Conclusions: Anti-fall clothing can effectively protect the elderly when they fall. Further design experiments are needed to select appropriate cushioning materials and wearable sensing elements based on anthropometry and aesthetics to design the style and structure of the garment to achieve the purpose of protecting the elderly. [ABSTRACT FROM AUTHOR]

The research paper contends that Artificial Intelligence (AI) serves as a collaborative partner in architectural design, rather than merely a utility tool. To substantiate this argument, a three-phase, nine-test investigation evaluating the strengths and limitations of two prominent AI platforms: Midjourney AI and Stable Diffusion was undertaken. These platforms synergize human creativity and AI capabilities through features like text prompts and image references, thereby fostering innovative avenues in architecture. Our analysis indicates that Midjourney AI is proficient in generating initial design concepts, largely thanks to its extensive data libraries, but is deficient in design refinement and user control. Conversely, Stable Diffusion empowers designers with greater control via features like ControlNet but sacrifices visual clarity due to its smaller generative models. Both platforms share a common flaw: an overemphasis on aesthetics and shape at the expense of functional understanding. Building upon these empirical observations, the paper outlines strategies for designers to reasonably leverage AI in optimising workflows. It confirms two key hypotheses concerning the interplay of creativity, control, and collaboration, emphasising that both human architects and AI systems benefit from iterative feedback and continuous adaptation. In summary, the study posits that AI is not just an adjunct technology but a transformative force with the capacity to fundamentally alter architectural design processes, paving the way for a new paradigm where human expertise and machine capabilities converge for enriched design outcomes. [ABSTRACT FROM AUTHOR]

In this essay, we explore Cooper's theorizing of institutional aesthetics and technology to analyse a field study of a commoning process at a recreational area at Linnarhult near Gothenburg, Sweden. The paper focuses on a series of craft interventions that used the willow plant to make the area a common space. Using Cooper's theories, we analyse the community craft activities conducted at Linnarhult as an aesthetic process of making a common space by crafting frames, boundaries and reflections on site. We thus conclude by highlighting the process of commoning through institutional aesthetics, and we reflect on our attempt to use Cooper's theoretical ideas in analysing a concrete case. His emphasis and exemplary writing on the aesthetics of institutions has inspired us greatly, but our exploration has come with challenges and probably a deal of betrayal. [ABSTRACT FROM AUTHOR]

This paper explores Moritz Geiger's work on the role of emotions in aesthetic appreciation and shows its potential for contemporary research. Drawing on the main tenets of Geiger's phenomenological aesthetics as an aesthetics of value, the paper begins by elaborating his model of aesthetic appreciation. I argue that, placed in the contemporary debate, his model is close to affective models which make affective states responsible for the apprehension of the aesthetic value of an artwork, though Geiger also makes important concessions to the intellectualist. Like proponents of the affective model, Geiger argues that a work's aesthetic values are extracted by means of an affective state, more precisely, a "liking". However, like the intellectualist, he considers that a focus on the emotions might interfere in the aesthetic appreciation of the artwork. Next, I reconstruct Geiger's distinction between surface and depth effects in terms of a distinction between two types of emotional responses to artworks. It is argued that Geiger offers a powerful tool to distinguish those emotions that are intrinsically related to aesthetic values from those that are not and that this distinction can be useful to understand how different kinds of emotions contribute to aesthetic appreciation. I examine the historical sources of Geiger's distinction in Theodor Lipps's aesthetics and compare Geiger's account with the works of other early phenomenologists. In the final part, I illustrate the place of Geiger's model in the contemporary discussion by means of an example. [ABSTRACT FROM AUTHOR]

As phenomenology rose to prominence at the beginning of the 20th century, several aestheticians tried to establish the Husserlian method of "phenomenological reduction" in the field of aesthetics. These ventures were met with resistance from psychological aesthetics, which was the predominant form of aesthetics in the German-speaking world at the time. This paper examines, first, practical attempts to apply the method of "phenomenological reduction" in aesthetics. Using Waldemar Conrad and Moritz Geiger as examples, I try to trace what aestheticians actually did when they applied this method in their investigations. Secondly, I reconstruct the four central objections with which psychological aesthetics reacted to such attempts. I have identified four central counterarguments in the work of Johannes Volkelt and Oswald Külpe, who were among the most eminent critics of phenomenological aesthetics: the transcendental argument, the susceptibility-to-errors argument, the constructivism argument, and the non-normativity argument. Finally, I also discuss the refusal of psychological aesthetics to acknowledge that a genuine phenomenological method even existed and the consequences of this refusal. [ABSTRACT FROM AUTHOR]

Vasily Sesemann's aesthetics is a transcendental philosophy that seeks to answer the question of how an experience of beauty is possible. Sesemann insists that aesthetics should focus on the study of the aesthetic object itself, and through it go to the problematics of the act of perception and creativity. Sesemann states that not only the relationship between the work of art and the perceiver is important in order to understand the aesthetic object, but also the relationship between the work of art and the creator. The aesthetic object in its sedimented form not only retains indications of the act of creation, but also makes demands on the perceiving subject. Aesthetic objects are sedimented passive structures that can be activated by the performative actions of the perceiver when she discovers the appropriate way of perception. Sesemann, like Moritz Geiger, claims that aesthetics is impossible without an analysis of feelings. He, like Geiger, recognizes the importance of empathy in aesthetic experience. However, Sesemann develops the concept of aesthetic empathy using Max Scheler's arguments. Empathy is necessary, because the perceiver must be able to understand expressions. The aim of this paper is to analyse the phenomenological aspects of Vasily Sesemann's aesthetics. Firstly, this paper analyzes the Sesemann's phenomenology of aesthetic experience. Secondly, it shows that the analysis performed by Sesemann demonstrates why empathy plays a leading role in aesthetic experience. [ABSTRACT FROM AUTHOR]

This paper looks at two memorials built in India to commemorate Sikh victims of the violent events of June 1984 and November 1984. Gurdwara Yaadgaar Shaheedan (Gurdwara Martyrs' Memorial) was built in the Golden Temple complex, Amritsar in 2013, and the Wall of Truth: Sikh Genocide Memorial was inaugurated in Gurdwara Rakabganj, New Delhi in 2017. While both memorials commemorate related events and are built by the same group of people, they differ completely in the choice of nomenclature, design and even the justification given for their creation. This paper discusses the differences between these memorials and their relevance in the memorial politics of contemporary India. [ABSTRACT FROM AUTHOR]

This paper introduces a model for analyzing the aesthetic value of game rules. Drawing on Nguyen's theory of agential aesthetics, this paper argues that the aesthetic value of a rule is related to the ways in which it contains modalities of agency. Using football's (soccer) offside rule as a case study, this article provides a way of thinking about the aesthetics of game rules. [ABSTRACT FROM AUTHOR]

This research paper explores the aesthetic and ecological characteristics of various Prunus taxa in landscape design, specifically focusing on the eastern and southeastern provinces of Turkey. The study aims to identify native Subgenus Amygdalus taxa that can adapt to arid habitats and contribute to the resilience of the natural environment in the face of climate change. The research was conducted through on-site observation, photography, and herbarium techniques. The study found that certain Prunus species have visual impact and are used in afforestation, erosion control, almond orchards, and as hedge plants. The paper emphasizes the importance of using native species in landscape design to support biodiversity, control storm runoff, improve environmental quality, and enhance rural-urban connectivity. The study suggests that Subgenus Amygdalus taxa can enhance the resilience of urban landscapes and proposes their use in sustainable gardening practices. The article provides specific information about the morphology, habitat, distribution, and landscape function of different Prunus taxa, highlighting their unique traits and suitability for various landscape design purposes. It also discusses the benefits of using these taxa, such as attracting bees and insects, preventing land abandonment, controlling forest fires, and mitigating the consequences of climate change. The text emphasizes the adaptability of these taxa to environmental stresses and their potential use in combating desertification, controlling soil erosion, and providing habitat for wildlife. The article also addresses the cultivation and conservation of Prunus taxa, emphasizing the need to counter homogenization and meet evolving needs in the [Extracted from the article]

Nowadays, the ultimate goal of microsurgical breast reconstruction is not merely the effective transfer of vascularized tissue but the achievement of a natural, symmetric appearance. The aim of this present study was to systematically summarize the published evidence on abdominal-based free flap inset for breast reconstruction in order to provide principles and classification that could guide the surgeon in choosing the most appropriate inset technique based on patient and flap characteristics. A comprehensive review was performed following the Preferred Reporting Items for Systematic Reviews and Meta-Analyses (PRISMA) guidelines, looking for articles on the insetting technique for free flap breast reconstruction. After screening 306 publications, 24 papers (published from 1994 to 2020) were included in the study. We identified four main breast anatomical features on which the papers reviewed focused when describing their insetting technique: breast width, breast ptosis, breast projection, and upper pole fullness. Patient body type, type of mastectomy, and reported complications are also discussed. Flap shaping and inset during breast reconstruction are fundamental steps in any reconstructive procedure. Despite the low evidence in the current literature, this systematic review provides a framework to guide the surgeon's decision-making and optimize the aesthetic outcomes of abdominal-based free flap breast reconstruction. [ABSTRACT FROM AUTHOR]

Showcasing plays a fundamental role in arts education programmes. This paper presents an approach to research scenarios which explore 'event-centred' projects. Drawing on arts-based methodologies and research projects, this approach could be extended to the study of seasonal rituals, festivals and other types of organisational settings in which creative work culminates in some type of public display. This paper defines the key features of this method, which draw on Paul Willis' concept of 'grounded aesthetics' and Sarah Pink's work on the sensorial and embodied experience. I discuss the experimentation with various digital media and documentation strategies which adopt a participatory and collaborative perspective. I focus on how the sensorial, multimodal and collaborative approaches to ethnography are used within event-centred research projects which complement more 'traditional' ethnographic approaches. Finally, this paper offers a methodological contribution regarding how to unpack the 'grounded aesthetics' of specific contexts and communities. [ABSTRACT FROM AUTHOR]

Drawing on and contextualizing the papers of Alexander Wilson (1953-1993), a Toronto-based writer, activist, and horticulturalist, this article explores the reciprocal relationship between Wilson's intellectual and political work. It focuses on Wilson's involvement with The Body Politic during the late 1970s and early 1980s, and highlights Wilson's role in interviewing Michel Foucault in Toronto in 1982. Encompassing feminism, socialism, and environmentalism as part of a critique of narrow notions of 'gay' identity and aesthetics, Wilson's project, it is suggested, prefigured the emergence of queer politics. At the same time, Wilson enacted a queer parrhesia in keeping with Foucault's Toronto lectures on "speaking the truth about oneself." [ABSTRACT FROM AUTHOR]

Micro nanotechnology refers to the emerging technology of material production using a single atomic or molecular structure. The structure and size of materials range from one to 100 microns or nanometers. In this paper, micro nanotechnology is used to study the aesthetic practice of sculpture technology and architectural sculpture art. This paper aims to combine traditional art ideas with science and technology to promote common development. This paper first introduces the micro nanoengraving technology and architectural sculpture art, it includes the definition of works, classification of works, and research on artistic commonalities and differences, and then summarizes the characteristics of micro nanoengraving materials. Finally, this paper will carry out aesthetic practice of sculpture works based on micro nanocreation. Finally, this paper compares with the works created by traditional technology. The results show that the recognition and creativity evaluation of sculpture works based on micro nanocreation have reached more than 8 points. It verifies the effectiveness of the technology. [ABSTRACT FROM AUTHOR]

Copyright of Trans/Form/Ação is the property of Trans/Form/Acao and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Background: Self-management, autonomy, and quality of life are key constructs in enabling people to live well with dementia. This population often becomes isolated following diagnosis, but it is important for them to feel encouraged to maintain their daily activities and stay socially active. Promoting Independence in Dementia (PRIDE) fosters social inclusion and greater dementia self-management through an interactive handbook. Objective: This study aimed to develop a paper-based PRIDE manual on a web-based platform. Methods: Two overarching stages were used to create the web-based version of PRIDE. The first was Preliminary Development, which encompassed tendering, preliminary development work, consultations, beta version of the website, user testing and consultation on beta version, and production of the final web-based prototype. The second stage was Development of the Final PRIDE App, which included 2 sprints and further user testing. Results: Through a lengthy development process, modifications were made to app areas such as the log-in process, content layout, and aesthetic appearance. Feedback from the target population was incorporated into the process to achieve a dementia-friendly product. The finished PRIDE app has defined areas for reading dementia-related topics, creating activity plans, and logging these completed activities. Conclusions: The PRIDE app has evolved from its initial prototype into a more dementia-friendly and usable program that is suitable for further testing. The finished version will be tested in a reach, effectiveness, adoption, implementation, and maintenance study, with its potential reach, effectiveness, and adoption explored. Feedback gathered during the reach, effectiveness, adoption, implementation, and maintenance study will lead to any further developments in the app to increase its applicability to the target audience and usability. [ABSTRACT FROM AUTHOR]

Copyright of Social Sciences & Humanities Studies / Društvene i Humanističke Studije (DHS) is the property of Faculty of Humanities & Social Sciences, University of Tuzla and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper adopts Sunnie Ododo’s ‘Facekurade Theatre’ as a framework for interrogating the stage performance of Eliagu Ameh’s Displaced as Directed by Olagoke Ifatimehin. The paper highlights issues of corruption, oppression, sex slavery, deceit, destitution and suicide as dehumanizing experiences which permeates the lives of people living in Internally Displaced Persons’ camps. Drawing from the theoretical exigencies of Sunny Ododo’s facekuerade theatre aesthetics, the paper explores the semiotic use of mask (both the presence and absence of it) as a technique which aids the conveyance of double intentionality and the artistic transformation of performers/actors into multiple roles. This paper further contends ideologically that the corruption associated with the provision of aid to Internally Displaced Persons in their camps is orchestrated by inhumane and faceless individuals who profit at the expense of those in desolation and such practices should be curtailed. Women and children suffer most from displacement as they become victims of sexual predators and several oppressive conditions. This paper reveals that the deliberate aesthetic use of mask in the performance especially by the antagonist aided in enhancing and consolidating the meanings intended in the performance text. It concludes that the use of performance aesthetics such as Facekuerade theatre in framing the portrayal of social issues in theatre offer audiences the opportunity reflects on their prevailing realities. [ABSTRACT FROM AUTHOR]

The UEFA Europa League group stage clash on 24 October and 7 November 2019 between Celtic FC of Glasgow and SS Lazio of Rome offers fascinating insight into ultra social movements as forms of leadership. This exploratory research paper conceptualizes this tie as an Event that provides both a pivotal point of cross-cultural reflection on ultra fan groups as emergent social movements, and a means for the examination of forms of social leadership in contemporary society. In such terms, the paper initiates a critical consideration of The Green Brigade, a self-styled ultra fan group of Celtic FC as an emerging social movement, characterizes the group in terms of the differentiated ultra/ultraS binary, begins to qualitatively address the question as to levels of support for the group among the wider constituency of Celtic supporters, and as such, tentatively explores the groups' leadership and organizational characteristics. The research concludes that a creative and action-oriented leadership style can be discerned. While organizational characteristics require further examination, intimations of a logic of development emerge. [ABSTRACT FROM AUTHOR]

This paper seeks to introduce a meaning-making process called 'sensuous abstraction' as one approach to aesthetic experience in line with Dewey's philosophy. Dewey highlights aesthetic experience as the best form of experience that integrates emotional and intellectual qualities to foster deep learning and insights. Building on contemporary research on sensation, affect, and human brain, this paper identifies two distinct modes of human understanding: the linguistic/conceptual system and the sensuous-imaginative system. The former, often associated with abstraction and intellectual thinking, is heavily emphasized in traditional schooling, but the latter, integral to human cognition, is sadly neglected and overlooked. While situational meaning offers a way to bridge the two systems, it often falls short of leading to aesthetic experience. In response, sensuous abstraction can promote a process of meaning making that becomes more general than sensation but never as general as linguistic categories while maintaining its sensory wholeness as aesthetic experience demands. Using a classical artwork as an example, this paper concludes sensuous abstraction can be adopted as one approach for educators to create learning experiences by integrating sensory experience and generalizations and abstractions that lead to aesthetic experience. [ABSTRACT FROM AUTHOR]

The composer, author, and teacher, John Cage, was exercised by our 'inability' to truly listen when approaching sound. In exploring the influences on Cage's avant-garde style, specifically the spiritual discipline found in both Zen Buddhism and Chance operations, this paper attempts to distinguish his philosophy (and use) of silence and chance as an aesthetic pedagogy. In accordance with Dewey's aesthetic theory and Shusterman's Somaesthetics, resolving the inability to listen is aesthetically conceived as somatic 'attuning' to the occurrence of chance sounds in the ambience of the world. By maintaining Cage's spiritually informed approach as a compositional framework, this paper highlights how his philosophy of silence is pedagogically illustrative of the active engagement we can have with the world. This approach is most apparent in Cage's 4'33", where the 'musicalizing' of everyday sounds erodes the boundaries between art and life, creating a continuity with the world. Somewhat problematically, Cage attempted to make this possible by channelling experience into a state of immersion, unifying art and life by 'letting go' of subjectivity. But as is shown by the Fluxus artists who were inspired by Cage's teachings, the possibility for negotiating Cage's terms brings with it an opportunity to theoretically reflect on the educational processes that underpin Cage's approach to sound. [ABSTRACT FROM AUTHOR]

In this paper, I examine Johannes de Silentio's presentation of the faith of Abraham, deriving therefrom a new way of conceiving his notion of faith as a paradoxical co-inhabiting of both the aesthetic and the ethical stages, rather than as a rejection, synthesis, or overcoming of them. Relying largely upon Silentio's account of Abraham's faith as anxious but not doubting, I argue that the interpretations of Fear and Trembling by Alastair Hannay and Mark C. Taylor fail to account for some essential aspects of Silentio's depiction. I conclude that faith, as it is described in Fear and Trembling, cannot be philosophically understood as it is not an object for thought but an existential perspective one lives. [ABSTRACT FROM AUTHOR]

The attempt to decolonize Arabic thought haunted a generation of Maghrebi intellectuals who were predominantly steeped in French colonial schooling and were largely influenced by the metropole's intellectual trends of the 1960s and 1970s. This paper focuses on two Moroccan intellectuals: Abdallah Laroui (b. 1933) and Abdelkebir Khatibi (1938–2009), both considered 'radical critics' who invented a decolonial language of Arabic critique in both Arabic and French that draws on local and global paradigms. Laroui's philosophical and historical works, mostly written in French, are widely studied and translated, but his literary works written in Arabic are little known or studied. In the case of Khatibi, whose critical and literary works are in French, the combined analysis of the critical and the literary remains limited. This paper proposes a comparative 'reading together' of Laroui's novel Al-Ghorba (Exile, 1971) with Khatibi's La mémoire tatouée (Tattooed memory, 1971), while engaging with questions of the aesthetics and forms of creativity that expand the critical field for both authors. I argue that reading Laroui and Khatibi's literary works together can shed important light on their decolonial aesthetics and politics, particularly on how they perceived the unfinished project of decolonization as being aimed at imperial hegemony as well as at the internal exclusions of ethnonationalism. [ABSTRACT FROM AUTHOR]

The term Design Intelligence System, Methodology, and Strategy indicates a new digital modality of architecturally constructed and visualized diagrammatic research framework and environment. Aiming to facilitate, articulate, and support any kind of documentary, scientific, and creative investigative practice with large amounts of data in a formalized way, DI system, methodology, and strategy have been proposed for consideration to be included into the fields of Design Research and Design Science. It has been argued that they can offer a specific response to various research requirements and make a contribution at the level of methodology, instrumentation, and research strategy. Beside the control and guidance of data-operations in line with research subjects and questions, the system preserves design research procedures and dynamics of problem-solving and decision-making as formal inscription, or information-architecture, enabling one to visualize maps and lines of inference and connectivity between different information and arguments, and to acknowledge main issues in delivering a proof and carrying out valid reasoning. Regarding the fact that, alongside extensive use as a means of artistic exploration, this kind of digital framework, formalization, and system has not been substantially questioned as a means of reliable and functional scientific research in the targeted Design Research and Design Science fields, the paper will address these issues through comments on the system's attributes, arguments, relevance, and contributions, and analysis of the performed test-studies, their development stages, and the system's determinants, which have led to its final eleven criteria-form. The field of Diagrammatics has been proposed as a broader context due to the Design Intelligence System's central diagrammatic properties and modes of operation. [ABSTRACT FROM AUTHOR]

The dissemination and reception of Bernard Bolzano's ideas were not only mediated by his personal circumstances and context but also by the vicissitudes of his work. This paper traces the fate of his works from his death in 1848 to the publication of the first volume of his Gesamtausgabe in 1969, and it does so with the help of one of the last published volumes of this edition, namely the Bolzano‐Gesamtbibliographie 1804–1999. As the paper shows, this book is more than a mere list of publications and constitutes a highly valuable resource for anyone interested in Bolzano studies, the use of which is explained in detail. [ABSTRACT FROM AUTHOR]

The exaggeration of Oscar Wilde's aestheticism that the work of art is purely for beauty and pleasure and has nothing to do with morality makes it very difficult for his moral philosophy to be conceived. Even his novel, The Picture of Dorian Gray, which is meant to balance his exaggeration of pleasure in his aestheticism, is often misinterpreted as an aesthetic eulogy. At the same time, some see it as a pure contradiction to his former philosophic position. This paper, therefore, attempts to identify his moral philosophy through a dialectic study of his aestheticism and The Picture of Dorian Gray. As it is qualitative research, the authors source their data primarily from literary works by Oscar Wilde, while other library materials serve as secondary sources. Various philosophical tools, especially dialectics and hermeneutics, are applied in data interpretation. The finding is that contrary to the expectation and assumption of many scholars, ethical hedonism rather than aesthetic hedonism is his moral philosophy. [ABSTRACT FROM AUTHOR]

Caring for the other is an ethical as well as an aesthetic question: but where does one end and where does the other begin? Rita Charon, in her work Narrative Medicine (2006), builds a strong case against such separation in medical care, or more precisely, against the negligence of what she calls "narrative competence"—defined as the ability to absorb, interpret, and translate stories of others. Charon compares the work of health professionals to that of a skilled translator, who reads not only words but also silences and metaphors. While Charon focuses primarily on developing the concept of care as aesthetic experience for health professionals, Yuriko Saito's recent publication Aesthetics of Care (2022) draws a parallel between care ethics in general and aesthetic experience. Both, according to Saito, share the same attitudes such as open-mindedness, receptivity, respect, and collaborative spirit. In this paper, I will discuss the concept of care in Belgian film director Chantal Akerman's later works: My Mother Laughs (2019) and No Home Movie (2015). Through different media—the former being a memoir and the latter a documentary—Akerman cares for her mother and bears witness to the end of her mother's life. Taking cues from Charon and Saito, I argue that both media are media of care: they are aesthetic means of bearing witness to illness, trauma, love, and care. Especially through filmmaking, Akerman seems to have achieved the impossible: that is, the desire of the daughter not to take her eyes off her dying mother and look at her eternally. Such desire is also expressed in her film aesthetics: the long take inscribes a waiting becoming infinite; it is as if the movie, or the motion picture, is exposed to both a slow death and a passage to eternity. At the same time, unlike Charon and Saito, who position the carer as an ideal reader and viewer, I argue that Akerman as the carer is by no means perfect: her memoir offers a detailed account of her need to keep a distance and hide from her mother, and of her mother's complaint about Akerman not sharing her life with her. Distance is what Akerman struggles with regarding her relation to her mother, and she struggles with it through writing and filming. In Akerman's case, the ability to achieve the impossible with aesthetic media lies precisely in mediation and mediality: they enable a relation of care that is close, yet still maintains a safe distance. [ABSTRACT FROM AUTHOR]

The 'language of breathlessness' and 'systemic distortions in breathing patterns,' often termed as 'postcolonial breathlessness,' mark the narrative techniques of almost all the postmodern and postcolonial writers to match the uncertainties that prevail at the backdrops of their fictional works. A number of Salman Rushdie's novels mark the unusual properties of breath in providing an interface between the physiological, the metaphoric and the linguistic. Rushdie has used a variety of narrative techniques to depict the theme of 'postcolonial breathlessness,' namely, Magic Realism, 'pessoptimistic divide, "chutnification of history,' and many other binary oppositions. One such set of elements is the Grotesque and the Aesthetics. The interplay between these two elements is prominent in Rushdie's fictional writings. This paper focuses on the last scene of The Moor's Last Sigh where the interplay weaves an intricate design to portray the final catastrophic climax of Moor's 'combat breathing' amidst 'intergenerational conflict' in Vasco Miranda's palace in Benengeli. [ABSTRACT FROM AUTHOR]

In the history of Chinese embroidery, Gu's Embroidery in the late Ming Dynasty and Ding Pei's Principles of Embroidery can be considered the pinnacle of embroidered painting's practice and texts. Nowadays, there are many studies of the unique position and artistic value of "embroidered painting." It is in this context that this paper offers a particular consideration of the technical aspects of embroidered painting in the Ming and Qing dynasties. With a series of specific questions, this paper is designed to examine embroidered painting from the perspective of stitching technique and gender, as well as its dual status as both an independent art form and a stitching technique. However, due to its nature as a women-exclusive art, embroidery suffered discriminatory treatment and was unable to acquire its privileged status in a male-dominated imperial society. As a result, embroidered painting had to win discourse power by not emphasizing its sophisticated technique. [ABSTRACT FROM AUTHOR]

Jonathan Palmer's account of his artmaking practice illuminates the distinct role of intuition and the centrality of aesthetic experience in the creative process. The paper throws light on the work of creating a setting and framework that lends itself to an intuitive engagement, both in art-making and in analysis, an engagement that allows the painter and analyst to remain open to new formations of not-yet represented elements of experience. This paper shows what is entailed in keeping the possibly of fresh experience alive, by careful attention to the framing of things, the properties of the chosen medium, and the experimental posture of the practitioner. [ABSTRACT FROM AUTHOR]

Background: According to social-ecological models, the built and natural environment has the potential to facilitate or hinder physical activity (PA). While this potential is well researched in urban areas, a current systematic review of how the built and natural environment is related to PA in rural areas is lacking. Methods: We searched five databases and included studies for adults (18–65 years) living in rural areas. We included quantitative studies investigating the association between any self-reported or objectively measured characteristic of the built or natural environment and any type of self-reported or objectively measured PA, and qualitative studies that reported on features of the built or natural environment perceived as barriers to or facilitators of PA by the participants. Screening for eligibility and quality assessment (using the Standard Quality Assessment Criteria for Evaluating Primary Research Papers from a Variety of Fields) were done in duplicate. We used a narrative approach to synthesize the results. Results: Of 2432 non-duplicate records, 51 quantitative and 19 qualitative studies were included. Convincing positive relationships were found between the availability and accessibility of places for exercise and recreation and leisure-time PA as well as between the overall environment and leisure-time PA. Possible positive associations were found between the overall environment and total and transport-related PA, between greenness/natural environment and total PA, between cycling infrastructure and aesthetics and MVPA, and between pedestrian infrastructure and total walking. A possible negative relationship was found between safety and security and total walking. Qualitative studies complemented several environmental facilitators (facilities for exercise and recreation, sidewalks or streets with low traffic, attractive natural environment) and barriers (lack of facilities and destinations, lack of sidewalks, speeding traffic and high traffic volumes, lack of street lighting). Conclusions: Research investigating the relationship between the built and natural environment and PA behaviors of adults living in rural areas is still limited and there is a need for more high-quality and longitudinal studies. However, our most positive findings indicate that investing in places for exercise and recreation, a safe infrastructure for active transport, and nature-based activities are possible strategies that should be considered to address low levels of PA in rural adults. Trial registration: PROSPERO: CRD42021283508. [ABSTRACT FROM AUTHOR]

In this introduction to the special issue on Gardens of eudaimonia: cultivating human flourishing through sensory experiences, the topic of the collection is contextualized within the recent and growing interest in gardens among scholars from different disciplines as well as the wider public. Since the beginning of this millennium, academic attention to gardens has moved its focal point from aesthetic considerations to an interest in the benefits gardening can offer to human life and well-being. In this introductory chapter, we first lead the reader through a small selection of examples from garden history, which highlight sensory impressions; secondly, we introduce sensory history with an emphasis on garden perception. Thirdly, we present the concept of a 'flourishing life' (one of the ways how one could translate the Greek word, and rich concept of eudaimonia) and its relations to the sensations available to human experience in gardens. Most importantly, we strive to show that the sensorium is not limited to the five senses traditionally intended; rather, it contains a synesthetic variety of feelings, perceptions, moods, and atmospheres that emerge as an environmental ensemble in gardens and contribute as such to the achievement of a 'good human life'. The introduction is closed by a content overview of the individual contributions. [ABSTRACT FROM AUTHOR]

This paper investigates whether an ethical flaw in an artwork can be an aesthetic merit. I explore two versions of immoralism from Eaton and Kieran. I will defend the immoralist claim that artworks containing rough heroes are ethically flawed. I will then argue that an indirect connection between an ethical flaw and aesthetic merit is sufficient for immoralism, so long as it is a necessary connection. On this understanding of immoralism, I will argue that Eaton and Kieran are both successful in showing that an ethical flaw in an artwork can make it aesthetically better. [ABSTRACT FROM AUTHOR]

In The Birth of Tragedy, Nietzsche employs the dichotomy of Apollonian and Dionysian to explain artistic phenomena. The film Joker shows the origin story of the Joker, a comic-book supervillain. This paper offers a reading of Joker through Nietzsche’s ideas from The Birth of Tragedy. By doing so, it aims to achieve three things: first, to demonstrate the relevance of Nietzsche’s aesthetic theory in analyzing culture; second, to reveal the political dimension of Nietzsche’s thought in The Birth of Tragedy; and third, to shed light on the ominous implications of Joker’s popularity. [ABSTRACT FROM AUTHOR]

The ancient Western philosophy and the discourse surrounding Western theories of pleasure of human existence, has predominantly been shaped by male perspectives. Various expressions of 'Female Pleasure' are often either subjugated to the constraints of 'Male Pleasure' or marginalized due to concerns about their perceived adverse effects on the heterosexual societal framework. Conversely, in the contemporary cinematic landscape, there is ongoing experimentation with representational strategies of the female body, aimed at constructing visual narratives and aesthetics that convey the experience of female pleasure on screen. Lesbian cinema, in particular, provides a substantial opportunity to explore the multitudes of female pleasure beyond the confines of normative oedipal narratives of desire and pleasure. The objective of this paper aims to scrutinize the cinematic representational strategies related to eating through a critical feminist lens, exploring how they collectively shape a compelling spectacle of female pleasure and desire in the film Blue Is the Warmest Colour (2013). [ABSTRACT FROM AUTHOR]

The field of interior home design has witnessed a growing utilization of machine learning. However, the subjective nature of aesthetics poses a significant challenge due to its variability among individuals and cultures. This paper proposes an applied machine learning method to enhance manufactured custom doors in a proper and aesthetic home design environment. Since there are millions of possible custom door models based on door types, wood species, dyeing, paint, and glass types, it is impossible to foresee a home design model fitting every custom door. To generate the classification data, a home design expert has to label thousands of door/home design combinations with the different colors and shades utilized in home designs. These data train a random forest classifier in a supervised learning context. The classifier predicts a home design according to a particular custom door. This method is applied in the following context: A web page displays a choice of doors to a customer. The customer selects the desired door properties, which are sent to a server that returns an aesthetic home design model for this door. This door configuration generates a series of images through the Unity 3D engine module, which are returned to the web client. The customer finally visualizes their door in an aesthetic home design context. The results show the random forest classifier's good performance, with an accuracy level of 86.8%, in predicting suitable home design, marking the way for future developments requiring subjective evaluations. The results are also explained using a feature importance graphic, a decision tree, a confusion matrix, and text. [ABSTRACT FROM AUTHOR]

Gond painting, an integral part of the Gond cultural identity of central India, has emerged as highly appreciated and recognised tribal art form worldwide in the recent times. These traditional paintings are believed to have started with the transformation of Gond oral folklores. The Pradhan Gond, a subgroup of the Gonds, who were traditionally assigned to sing songs of the glorification of the gods, goddesses and nature with a Bana, a traditional single-stringed musical instrument, was assumed to initiate the paintings of Gond folktales. They narrated the collective beliefs, values and legends of the Gond tribe on the origin, relationship and divine powers in the form of paintings. The traditions of performing the assigned responsibilities of Pradhan Gond were believed to have lost during the Mughal era and British rule. This research paper focuses on the study of the reflections of three popular Gond folk stories, i.e. Basin Kanya, Mahua tree and Bada Dev, in the contemporary Gond paintings of Madhya Pradesh. The paintings of Jangarh Singh Shyam and Durga Bai have been chosen for the study. [ABSTRACT FROM AUTHOR]

In my paper, I will discuss the role of the image in the determination of people’s approaches and attitudes towards places. After a short introduction (§1), in the first part of the essay I will discuss the main points of criticism against the image in relation to the issue of environmental appreciation. In doing so, I will relate Allen Carlson’s criticism towards the so-called ‘landscape cult’ in environmental aesthetics (§2) to the post-structuralist critique of the concept of landscape that has been carried out in the field of human geography (§3). In the fourth section, I will emphasize the structuring and performative character of representations, and will show how, in the present, the image remains one of the fundamental ways of regulating relations between subjects of experience and places (§4). The task of a theory of place-image, informed by knowledge acquired in the fields of visual and media studies, is to learn to read images as tools for understanding and defining the environment around us. [ABSTRACT FROM AUTHOR]

The advent of Television as a means of communication came with many challenges as it sought to distinguish itself from the already existing radio and print media. To effectively win viewership, TV production has to constantly battle with both the existing technologies and the emerging ones. Starting with analogue to the present digital form of broadcasting, TV programmes, most especially, televised debates or talk shows make constant use of ICT tools in the design, production, and transmission processes. The utilisation of these tools inevitably transforms the programmes into more interesting and sophisticated ones, though, the content can be lacking. This paper delves into the aesthetic presentation of ICTs on television programmes in Cameroon particularly on two renowned televised debates: Press Hour and Canal Presse. It adopts a content analysis method to examine the place of ICTs in the amelioration of TV programmes. From the study, it is seen that the advent of the TV was analogue, and the arrival of New Information and Communication Technologies completely changed the production landscape to digital thereby giving a completely different aesthetic look to the programmes. [ABSTRACT FROM AUTHOR]

The phenomenon called "return to the city" has intensified in Rzeszów. After a clear decline in the number of inhabitants at the beginning of the present century, for several years there has been a steady increase in population, which is not related to incorporating more towns into the city. The paper presents the analysis of data collected during the study carried out in the city. Residents of the city declared satisfaction with their place of residence. The main reasons for satisfaction were the cleanliness of the city, aesthetics, work, noticeable city development, developed infrastructure, and a high level of security and peace. [ABSTRACT FROM AUTHOR]

This paper concerns the practice of Glasgow-based painter Louise Hopkins. Most known for her detailed, laboured repainting of furnishing fabrics, Hopkins appropriates found images and everyday mass-produced fabrics into her work. Founded on the interstices between semiotics and formalism, her aim is the turning of found images into painting. Unravelling this particular aspect of her practice will form the central concern of this paper. Based on ethnographic research with the artist, this paper will explore the artist's commitment to the discipline of painting through the lens of an anthropological analysis and specifically, how her work evokes modernist concerns with aesthetics and formalism long since thought dead. In what follows I will address how artists are currently engaged with aesthetic concerns, ensuring its continual transformation and revival and how, like the medium of painting itself, its prophesied death has never really materialised. [ABSTRACT FROM AUTHOR]

This article analyses different ways of perceiving sports based on the study of cinematographic documentary of the first Olympic Games. The aim is to explore the political discourses and aesthetic senses transmitted through images, studying footages from the beginning of the twentieth century until Berlin 1936, when the aestheticization process became analogous to the sportization process, as Norbert Elias pointed out. This 'movement-image'—as Gilles Deleuze named it—shows that a set of documentary Olympics footages, especially those produced since Saint Louis Games in 1904, projected meanings about the individual and collective body. The hypothesis is that historic filmed physical activities intended to educate through not only the gaze but also the gaze itself, to form ways of perceiving bodies and practices. The central focus of this paper argues that the informative cinema teaches through the exhibition of educated bodies, but also forms the sensitivity of the viewer perspective. In other words, it not only transmits ways of doing but also forms an ethos, to form ways of perceiving, to form ways of being sensitive. The aim of this study is to explore the political discourses and aesthetic senses transmitted through the Olympic images, which are often loaded with moralism and patriotism. This paper concludes with a conceptual counterpoint between Jacques Rancière and Walter Benjamin about technical reproducibility and political reproduction, considering the aesthetic-political tension that sports put into play. [ABSTRACT FROM AUTHOR]