Search

What is the pedagogical place of silence in the Anthropocene classroom? Should we as teachers—particularly as teachers involved in the education of aesthetic sensibilities—understand our classrooms as sites in which awareness of our Anthropocene predicament is spread, sites in which a general sense of the urgency of our times is disseminated? And is this awareness not best spread via explicit facts and data, the key story of climate change and biodiversity loss, with these themes serving as the background against which we interpret the symbolic abstractions of aesthetic objects? This article follows Ursula Le Guin's example to a conclusion that perhaps differs from the consensus. Our overall argument is that cultivating a certain sort of silence relative to the Anthropocene can be profoundly educational for our students, if—of course—that silent teaching is done artfully. [ABSTRACT FROM AUTHOR]

Enlightenment modernity brings about the domination of industrialization, bureaucracy and instrumental rationality over the subject and its school life. At this time, the subject is like living in what Weber called the "iron cage" ruled by instrumental rationality. The worship of rational authority in education has reached such an extent that aesthetics characterized by perceptual enjoyment has been suppressed, denied and outlawed, which is embodied in the loss of transcendence of aesthetic education. Utilitarianism and entertainment are the main manifestations of the loss of transcendence in aesthetic education. Therefore, it is necessary to regain the transcendence of aesthetic education in three aspects: first, to redeem the rigid and bureaucratic school life through aesthetics, to save the "beautiful risk" of education dominated by instrumental rationality in education; second, to resist the one-sided development of human beings through aesthetic education, and to create unique and individualized personality traits by cultivating students' individualized aesthetic interest; Thirdly, we should resist the "standard answer" through the interpretation of the pluralistic meaning of works of art in aesthetic education. [ABSTRACT FROM AUTHOR]

Aesthetic education, conveyed through public art courses, serves as a vital form of humanistic literacy education. It represents an effective approach to fostering innovative and creative thinking among college students. In order to effectively analyze the aesthetic education work of 46 universities, an aesthetic education index evaluation system is constructed, involving indicators including faculty strength, curriculum setting, teaching management, artistic practice, and teaching support. The secondary indicators corresponding to the five indicators are statistically analyzed, and a comprehensive evaluation analysis of the current development status of aesthetic education in 46 universities in Anhui Province is conducted by combining theoretical analysis with empirical analysis. Based on principal component analysis, an integrated evaluation model for the development of aesthetic education in universities in Anhui Province is further constructed. The model designed quantifies the influence weight of each aesthetic education index on the development of aesthetic education in Anhui Province, and forges a theoretical basis for determining the precursors of rapid development of aesthetic education in Anhui Province. Additionally, a novel approach is introduced to gauge the progression of aesthetic education within universities in Anhui Province, considering the dispersion of aesthetic education index data across the province. The comprehensive evaluation model for the development of aesthetic education in Anhui Province exhibits an overall declining trend. Hence, it is suggested to utilize the maximum value of the first derivative of the comprehensive evaluation model as an indicator of the imminent rapid development of aesthetic education in Anhui Province. On this basis, the probability equation of sustainable development of aesthetic education in Anhui Province is defined. Overall, the research results lay a theoretical foundation for the development of aesthetic education in Anhui Province. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Educational Studies (1673-1298) is the property of Journal of Educational Studies Editorial Office 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 explores the experiences of six teacher learners and one teacher educator in a graduate course on aesthetic education at a Midwestern university in the U.S. Using collective autoethnography and arts-practice research, the researcher/participants examine how aesthetic experiences were activated in the learning environment and how this activation supported the development of transformational rethinking that led to the changing of formed habits of teaching. Findings reveal how aesthetic teacher education can be therapeutic, aid in building connections between the teacher and students (and among students), inspire wonder and discovery, facilitate the valuing and including of cultural and linguistic backgrounds of students, compel new perspectives, and promote attunement to process. [ABSTRACT FROM AUTHOR]

People's living standards have gradually improved, people have higher and higher requirements at the spiritual level, and music is increasingly loved by people. In the process of music development, music teaching reform is the focus of the current society. Based on the current educational background, the teaching mode of teachers has changed, breaking the ecological balance in the traditional classroom, which has brought advantages to music teaching. Aesthetic education, especially music education, plays a balanced and promoting role in intellectual education and even the whole quality education. Music can effectively reduce the pressure of intellectual education itself on students' bodies and minds, so that intellectual education can achieve better results. Virtual reality (VR) and artificial intelligence (AI), as the latest technologies in the new century, have been rapidly integrated into the music education (ME) industry. By applying VR and AI technologies to the music teaching process, students' learning ability can be effectively improved. Through the use of VR and AI technology, this text has created an interactive curriculum teaching mode and verified the feasibility of combining VR and AI technology with music teaching through experimental analysis. The experimental results show that the recognition of bass signal, midrange signal, and treble signal has reached 100, 90, and 100%, respectively. In general, the recognition accuracy of the algorithm in this text is very high, which can satisfy the requirements of music signal recognition and can be applied to daily music teaching. [ABSTRACT FROM AUTHOR]

Copyright of Historia y Memoria de la Educación is the property of Historia y Memoria de la Educacion 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.)

Involved in the process of formation of the personality and of the self-formation, aesthetic education aims at the development of the ability to correctly perceive and understand the beauty in the real life, the formation of aesthetic consciousness, aesthetic taste and sense, the need and possibility to participate in the creation of beauty in art and in life. Through the aesthetic education, we aim to prepare pupils for the act of valorization-reception-assimilation and the act of creating aesthetic values. The article presents ways and strategies to contribute to the development of the competence of self-instruction of pupils, in terms of education for beauty, so that they become efficient and autonomous in daily school activities, assume responsibilities, develop skills inside and outside the classroom. The conclusion of this article is that by encouraging pupils to be independent and responsible in their learning, they will become adults with motivation for lifelong learning. [ABSTRACT FROM AUTHOR]

"Integration of Moral, Intellectual, Physical, Aesthetic and Labor Education" is an important practical proposition in the development of education and teaching reform in the new era. It is also the practice of the educational concept of "Educating Five Domains Simultaneously". This article reviews "Six Arts Education" of the slave society in ancient China, and Cai Yuanpei's "Educating Five Domains Simultaneously" policy before the founding of the People's Republic of China. It summarizes the history of founding ceremony of the People's Republic of China and the reconstruction of the education system, analyzes the evolution of the educational policy of the Party and the state, reflects on the achievements of "integration of five-education", and tries to clarify the historical evolution of "Educating Five Domains Simultaneously", so that the practice of "integration of five- education" has a clear far and near vision. [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.)

This essay appraises Michael W. Clune's arguments for the importance of literary judgment. It mainly supports Clune's case but argues that judgment in fact goes deeper and extends further than Clune recognizes. [ABSTRACT FROM AUTHOR]

Michael W. Clune argues in A Defense of Judgment that aesthetic education can unleash our capacity to critique our values and transform our preferences and desires. Works of art hold the possibility of self-transcendence and unselfing; expertise in aesthetic judgment enables us to enter into this possibility. But how do we come to want to change what we want within a culture that conceals the value of this practice? Tolstoy's The Death of Ivan Ilyich (1886) stages how a change of heart in the midst of everyday reality can reorient us to the possibility of a new life. [ABSTRACT FROM AUTHOR]

The popular appreciation of dry white wines is most frequently directed to young wines. However, present consumption trends comprise the valorisation of aged dry white wines. Therefore, the present work was aimed at the sensory analysis of aged dry white wines to define their sensory space and to understand which factors drive their quality evaluation by experienced tasters (critics, oenologists and students). Individuals were asked to evaluate several synthetic and aesthetic attributes and to characterise the analytic sensory profile through a Check-All-That-Apply (CATA) methodology. The quality evaluations were differently correlated with wine synthetic parameters according to the taster group. For both critics and oenologists, overall quality scores were driven by persistence and complexity. Moreover, quality was also highly correlated with power for critics and with balance for oenologists. Quality scores were highly correlated with wine browning (absorbance at 420 nm) for critics. The tasting panel showed a homogeneous analytic description of aroma, taste and mouthfeel consistent with wine age. The different ages could be associated with a continuous sensory space characterised by a decreasing perception of freshness and an increase in mature and mellowed descriptors. All wines shared an austere in-mouth perception elicited by their acidity, saltiness, bitterness, smoothness and dryness. The age prediction showed that most tasters failed to guess the aged wines that were more than roughly 13 years old, indicating that tasters were not familiar with the sensory features of white wines from 17 to 46 years old. In conclusion, experienced tasters consistently described the sensory space and recognised the high quality of aged dry white wines. Education programs may use the defined sensory spaces according to aging and to expand the range of quality perception by consumers. [ABSTRACT FROM AUTHOR]

In this article, I will try to show that (1) one of the more compelling reasons for advocating for aesthetic normativity comes from an axiom that suppositionally underlies aesthetic educational endeavors and (2) by framing aesthetic judgments contextually and hypothetically we may be able to deal effectively with one of the more compelling reasons for antinormativity, namely the fact of irreconcilable differences between judgments of two equally competent judges. I will try to show that framing judgments contextually is common practice in aesthetic education. [ABSTRACT FROM AUTHOR]

Zhejiang's aesthetic education has developed rapidly in recent years, especially in the context of global aesthetic education that promotes the integration of noble culture with popular culture and emphasizes diversity, compromise, and reproducibility. In light of this year's high reexamination of aesthetic education by the country, provinces, and cities, aesthetic education has been elevated to a new level. However, existing aesthetic education still has problems, such as the indistinguishability of aesthetic education and art education concepts, the one-sidedness of aesthetic education content, and the shortage of aesthetic education teachers. These problems have long affected the development of Zhejiang's aesthetic education. The issue of promoting aesthetic education has become a major concern for aesthetic education teachers throughout the province and even the country. Therefore, this article focuses on the current situation and problems of Zhejiang's aesthetic education. A comparison of the current status and achievements of Taiwan's aesthetic education with Zhejiang, drawing on each other's experience, learning from each other's strengths and weaknesses, and in-depth research on teachers' performance in aesthetic education, aesthetic education training programs, and campus cultural construction, and other aspects is put forward. A series of implementation plans for the promotion of aesthetic education, such as "synergy training" and "education of people with a view," was provided as a practical experiment and a theoretical reference for promoting the rapid development of aesthetic education in the country. [ABSTRACT FROM AUTHOR]

This article examines the sustainability of gastronomic services in Bahía de Caráquez, Ecuador and its impact on the positioning of the tourist destination. It analyzes the quality of service provided by different categories of restaurants based on customer feedback and proposes strategies for sustainability. The text also discusses the cultural heritage of gastronomy, consumer behavior in tourist destinations, and the role of gastronomy in driving the economy. It emphasizes the importance of ethical and sustainable practices in gastronomy and the contribution of gastronomic diversity to cultural identity. [Extracted from the article]

Augmented reality (AR) offers a transforming user experience and has been increasingly integrated into entertainment and service contexts. Drawing on experience economy theory and employing a mixed‐methods approach, this research evaluates the antecedents and consequences of four realms of viewer experiences: entertainment, educational, aesthetic, and escapist experiences, in AR‐infused sports videos. A qualitative study of semi‐structured interviews highlights three critical AR features in sports videos (i.e., novelty, vividness, and informativeness) in shaping viewer experiences. Subsequently, a research model is formulated to elucidate the relationships among AR features, four realms of viewer experiences, and behavioral intentions. A quantitative analysis based on survey data reveals that AR features exert varying effects on viewers' entertainment, educational, and aesthetic experiences, yet none significantly affects escapist experience, which is relatively trivial in viewers' overall experience. Entertainment, educational, aesthetic, and escapist experiences have various influences on viewers' intentions to watch again, to recommend, and to pay, except that entertainment and educational experiences do not significantly affect intention to pay. This research stresses the importance of understanding multiple aspects of user experiences in AR research and provides useful guidelines for AR features and viewer experience design in sports videos. [ABSTRACT FROM AUTHOR]

In this essay Vilém Flusser outlines a liberating approach to aesthetic education that overcomes the disintegration of culture exemplified by the disastrous tripartition of science, politics, and art. Flusser views this tripartition as an inevitable consequence of the unmanageable quantity of information available to modern humans that prevents them from participating completely and acquiring true competence in culture. The response to these overwhelming quantities of information is a turn to specialization. Flusser contrasts this current state of culture with the imagined unity of the Stone Age before the dissolution of a unified culture. As part of his solution to this dilemma, Flusser rejects the view that knowledge of every aspect of culture must be the prerequisite for competence with culture. He posits instead that the task of future education will be to train students to access, connect, and manipulate the information that modern technologies allow us to store. In this way the goal of school will be to train generalists, not specialists. Knowledge transfer is out. These generalists are quasi artists who participate actively in the growth of culture. Flusser evokes an original meaning of art from before the tripartition, art as method, in this case a method that facilitates communication between different subcultures and generates new information from what our technologies have stored. [ABSTRACT FROM AUTHOR]

In international philosophy of music education, there are some philosophers who are important points of reference. One of them is the German Immanuel Kant (1724–1804). While his philosophy is complex, an oversimplified understanding of his ideas turned him into the "bad guy" of international music education philosophy, being in favor for instance of art for its own sake. His assumed ideas are thought to be the foundation of aesthetic education, in opposition to music education concepts promoting praxis and social change. The prominent role Kant plays leads to questions: Can an eighteenth-century philosopher be blamed for twentieth-century music education concepts and their supposed aberrations? And what did Kant really say? By addressing these and related questions, this paper offers fresh perspectives on Kant's original concept and the role his assumed ideas play in international music education philosophy, aiming at revising some discourses around them. Furthermore, Kant as a case in point, can lead to general considerations about the function of philosophy in music education philosophy. [ABSTRACT FROM AUTHOR]

Since the Middle Ages, Augustine and the wealth of his writings have had an enormous impact on Western philosophical thinking. His approach to time and memory, which he sets out in his eleventh book of the Confessions , is one of the most important sources for research about the philosophy of time. Augustine describes time as a permanent movement in which the future passes unceasingly through an unrelated present into the past. Only the very present moment exists, but this present moment is infinitely short. If the past is no more, the future is not yet, and the present is indivisibly brief, memoria becomes the determining factor of human consciousness. Augustine's theory of memory and time reveals an epistemological connection with the functioning of human consciousness. Since his understanding of time and memory is already of great relevance in many interdisciplinary approaches, it can also become important to the philosophy of music education. Revisiting Augustine's concept of memoria can give us new impetus on questions about aesthetic education, cancel culture, and utopian thinking. [ABSTRACT FROM AUTHOR]

This document discusses the rise of diplopia, or double vision, as a side effect of neurotoxin injections used for cosmetic purposes. It emphasizes the importance of expertise in cosmetic medicine and the need for thorough examination and medical history assessment to identify any underlying vulnerabilities. The document provides information on the importance of documentation and assessment in cosmetic treatments involving neurotoxin injections, as well as the significance of proper injection technique and potential risks. It also provides instructions for conducting a comprehensive eye examination to diagnose and treat diplopia following neurotoxin injections, and highlights the importance of understanding ocular anatomy and open communication with patients. [Extracted from the article]

The development of ceramic art as an aesthetic medium in Chinese education is significant aspect of contemporary fine arts education system. This study explored the status of contemporary status of ceramic arts in education and its linkage with aesthetic pleasure within the context of China. The dimensions considered in this study included integration of ceramic arts in the curriculum of Chinese universities, edu-communicative function of ceramic arts, the aesthetic characteristics of ceramic art and role of modern digital tools in spreading the art and craft associated with clay. To fulfill the aims of study and to reach an efficient conclusion, this study employed a qualitative approach. Using this approach, an overview of Chinese ceramic education was presented using both primary and secondary data, where the primary data was derived from interviews with informants from relevant universities. The findings of the study highlight that ceramic art is a significant aspect of contemporary Chinese arts education in its universities, which has the dual objective of develop artistic skills of students and also enhance the edu-communicative function of the ceramic art representing the Chinese culture. The findings revealed that ceramic art not only caried aesthetic elements but it was also a prime source of creating aesthetic pleasure as it played the role of aesthetic medium in education. It was evident that due to its aesthetic purpose, ceramic art demonstrated the notions of 'Art for Art's sake'. It has also been found that digital tools play a significant role in bringing innovation in ceramic art education and spread the skills of clay-art. The findings of this paper have numerous implications for the personnel and practitioners of Chinese fine arts institutions especially those who have curriculum related to ceramic art. [ABSTRACT FROM AUTHOR]

Literary texts deal with ethically highly relevant topics such as violence, the climate crisis or animal welfare, they deal with historical and political events and discuss developments in medicine, etc. If one follows the current social debate about autonomy, which is being conducted particularly in the art discourse, then such texts would be considered post-autonomous insofar as they supposedly overcome the historical principle of aesthetic autonomy and link their autonomy directly to the aesthetic treatment of social issues. But where is the line between social responsibility and aesthetic autonomy? In the following, instead of autonomy and post-autonomy as binarism, an attempt is made to start from perspective structures in literary texts that make the relative degree of autonomy determinable by describing them as aesthetic and/or ethical. With recourse to the classical concept of autonomy (Moritz, Schiller) and Kant's deontological ethics, autonomy is developed as a relative category and transferred into a concept of perspectival autonomy. In the 18th century, aesthetic autonomy, also insofar as it is based on sensualist premises and thus places emphasis on sensory perception, cannot be separated from the constitution of the human being as an individual. If equal weight is given to the aesthetic and the ethical side when analyzing literary texts, perspective structures can be observed in literary texts that are to be made fruitful in the following as perspectives of autonomy for the discourse on the limits and possibilities of literature. The focus here is neither on the relationship between content (socially heteronomous) on the one hand and (aesthetically autonomous) form on the other, nor on the levels of production, object and reception, but rather on a conceptualization of autonomy from the end of the 18th century to the current debates on the (post-)autonomy of art between ethics and aesthetics. If an ethical perspective of aesthetic autonomy is sought, this does not call into question the fact that, firstly, literature is always connected to the ›world‹ and, secondly, this connection is also possible without concrete content specifications, because, thirdly, literature has a ›poetic function‹ (Jakobson) to which moral or political intentions are subordinate. However, since external and self-references, i. e. text-external influences and text-internal poetics, cannot always be easily and clearly distinguished and distilled in isolation from each other in a text, a scaling approach is proposed here in relation to the autonomy postulate in order to locate texts between autonomy and heteronomy. The analysis of gradations, degrees or weightings of autonomy replaces their close connection to aesthetics in favor of an ethical and/or aesthetic perspective of a literary text. This is intended to counter both a narrow understanding of aesthetic autonomy (which is neither consistent with the meaning of the word autonomy as self-legislation nor with the founding theses of the 18th century) and a broad understanding. Aesthetic autonomy is neither to be equated with purity, isolation and freedom from purpose (narrow understanding = normative criteria that strongly restrict aesthetic autonomy in terms of definition) nor does it consist in the aesthetic ›translation‹ of social discourses on the level of form that is fundamentally given in literary texts (broad understanding = the only criterion is literariness, so that aesthetic autonomy would be attributed to all literary-poetic texts regardless of content). The fundamental reference of a text to the world is distinguished in the approach pursued here from an ethical perspective, which includes an effect of literature beyond a reference to the world. This effect is not intended to be normative, but is part of the aesthetic self-legislation of a text. It is aimed at knowledge, change and development or, in the words of the aesthetics of Moritz and Schiller: at ›inner education‹. Following a localization of autonomy between the suspicion of ideology and the postulate of post-autonomy, which refers to some selected positions of research, the various definitions of aesthetic autonomy are first weighed against each other in order to then establish a connection to life science and ethics. The reflections on the constitution of aesthetic autonomy under ethical auspices finally lead to an attempt to develop a scale of the outlined perspectival autonomy on which literary texts can be approximately located. The analytical examination of (historical) concepts of aesthetic autonomy is relevant insofar as, on the one hand, existing classifications and weightings can be questioned and, on the other hand, it can be examined which understanding of aesthetic autonomy should be introduced into the current discourse on the tasks and social significance of literature. If it becomes clear that aesthetic autonomy is a construction that has been constituted from very different discourse-dependent attempts at definition, then it is possible to choose the appropriate concept for analyzing and describing texts from the variety of terms. To do this, however, it is necessary 1) to de-ideologize or demystify aesthetic autonomy, i. e. neither to elevate it to a pedestal nor to discredit it with ivory tower metaphors, and 2) to break open its supposedly narrow framework with absolute claims and either/or definitions. Contemporary aesthetics does not need autonomy as a fighting concept, a confession or to form fronts, but as a (meta-)category between and/or above the discourses. [ABSTRACT FROM AUTHOR]

The article responds to the postulate repeatedly articulated in recent years that the basic assumptions of autonomy aesthetics should be replaced with a »heteronomy aesthetics of modernity« (Marcus Hahn), which is supposedly more adequate to the conditions and practices of the latter and which is also sociologically or anthropologically founded. First, we present the central theories, hypotheses and reference texts (Annette Werberger, Fredric Jameson and especially Bruno Latour) claimed by the proponents of this endeavour (Hahn, Irene Albers and Frederic Ponten), which themselves do not engage in a deeper examination of the aesthetics of autonomy. Then, we contrast these theories with two established approaches to the critical sociologisation of aesthetic autonomy (Peter Bürger and Pierre Bourdieu). The analytical comparison of Bürger's and Bourdieu's theoretical designs reveals, on the one hand, significant differences and, on the other hand, reflects the fact that the German criticism of Bourdieu (Hans-Edwin Friedrich, Karlheinz Stierle, Gerhard Plumpe/Nils Werber), which is often based on systems theory, wrongly associates his theory with that of Bürger. Since the differences between Bürger and Bourdieu are reflected in their respective readings of Immanuel Kant, we will reconstruct the latter's concept of ›disinterested pleasure‹. Bourdieu's objectifying and relational reception of Kant is different from Bürger's, which is more concerned with an ideology-critical unmasking and depotentiation. The resulting consideration of the discursive and social conditions of possibility for aesthetic autonomy not only reveals the reductionist understanding by Hahn et al. but also the fact that Bourdieu's theoretical design already provides a much more differentiated set of analytical tools for the »consistently historically proceeding, unadjusted history of entanglement, function and practice« (Albers/Hahn/Ponten 2022, 13) of literature and aesthetics demanded by Albers, Hahn and Ponten as a »methodological redeployment«. From the perspective of field theory, the patterning of Friedrich Schiller's theory of ›aesthetic education‹ demonstrates the generalizing fallacy that has already undermined older schools of ideology criticism (Hocks/Schmidt, Janz), to which Albers, Hahn and Ponten now nonetheless explicitly and affirmatively refer: On the one hand, they ignore the analytical differentiation between the object level and the meta-level, i. e. between the self-statements of the actors as ›stakes‹ (by which Bourdieu understands literary works that, according to him, are positional statements) and the scientific objectification of these statements. On the other hand, they ignore the related distinction between positionings on a symbolic and positions on a social level, i. e. in the present context between the assertion of autonomy and the corresponding social position, in short: between what authors say and what they ›are‹ or do. According to Bourdieu, such symbolic positionings and social positions are only mediated by a »homology between the two structures« that is by no means static, but must be specified for each historical situation. In this respect, the polemically derived project of a »heteronomy aesthetics of modernity« proves to be epistemologically one-sided and ill-conceived, especially as it ultimately does not correspond to Latour's undertaking of a symmetrical anthropology, to which it affirmatively refers. It should be replaced by a differentiated theory formation that takes into account both the historical circumstances and the state of theoretical discussion, without having to abandon postulating a consistent sociologisation and historicisation of the aesthetics of autonomy. [ABSTRACT FROM AUTHOR]

Copyright of Cuadernos del Centro de Estudios de Diseño y Comunicación is the property of Cuadernos del Centro de Estudios de Diseno y Comunicacion 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.)

The article titled "Love as Aesthetic Education" explores the concept of love and its relationship to aesthetic education. The author argues that love cultivates perceptual and cognitive powers in the lover, allowing them to appreciate beauty and develop their reasoning abilities. The article also discusses the tension between love and the object of love, as well as the role of memory and representation in the experience of love. The text explores Emerson's perspective on love and passion, the concept of charm and its relationship to beauty and love, and the role of aesthetic judgment in love plots. It also examines how Virginia Woolf incorporates these ideas into her novel "To the Lighthouse." The conclusion suggests that love and beauty are subjective and open to interpretation. [Extracted from the article]

Laudato si’ points to the crisis of a civilizing paradigm, which can also be seen in a certain disappearance of aesthetic sensitivity, and thus indicates the relationship between an appropriate aesthetic education and the preservation of the environment in order to resist a contemporary utilitarian pragmatism. This paper aims to explore the elements contained in the social encyclical and in the perspective of Pope Francis that can corroborate a theological aesthetics of the Common Home. In particular, these elements relate to a notion of interconnectedness with all things and their intercultural and ethical consequences, respectively in the culture of encounter and the culture of care. [ABSTRACT FROM AUTHOR]

Purpose: The continuous evolution of e-commerce with young consumers' growing interest in online shopping has transformed the retail landscape across the world. With the surge in online sales, counterfeits of luxury goods have also found themselves from brick-and-mortar shelves to online e-commerce sites. Against this backdrop, this study aims to understand and analyse young consumers' online counterfeit purchase behaviour (OCPB). Additionally, it also aims at identifying the determinants that influence their purchase decisions. Design/methodology/approach: Following an extensive review of the literature, the present study pursued a quantitative approach in exploring critical demographic, psychographic, behavioural and situational factors influencing OCPB. The study was conducted in India through an online survey using a structured questionnaire. Findings: The findings indicate that young consumers' OCPB is significantly related to influencing factors like brand consciousness, fashion involvement, face consciousness, impulsive buying tendency, acquisition centrality and utilitarian shopping values. Furthermore, moderating effects of perceived anonymity (PA) and moral disengagement (MD) on OCPB were also observed and validated. Research limitations/implications: The study examined the critical factors and their linkages while building upon a structural framework on OCPB, keeping India as a representative sample. The proposed framework will bring more clarity and further insights that will help scholars expand the research domain with more cross-cultural studies and aid brand e-marketers to strategize their action towards developing strong brand aesthetic values. Originality/value: The study contributes towards the literature by introducing PA and MD vis-à-vis building a framework for studying young consumers' OCPB. [ABSTRACT FROM AUTHOR]

Copyright of Comunicar (English Edition) is the property of Oxbridge Publishing House 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.)

Copyright of Fabrica Litterarum Polono-Italica is the property of Wydawnictwo Uniwersytetu Slaskiego 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.)

Copyright of Nauki o Wychowaniu. Studia Interdyscyplinarne is the property of Wydawnictwo Uniwersytetu Lodzkiego 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.)

Copyright of Nauki o Wychowaniu. Studia Interdyscyplinarne is the property of Wydawnictwo Uniwersytetu Lodzkiego 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.)

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 document is a collection of abstracts from the International Journal of Psychology, covering various topics related to psychology and the arts. One abstract discusses the role of aesthetic education in developing psychomotor skills, while another explores the relationship between artistic work and the Rorschach test. Additional abstracts examine gender differences and chronic stress in music undergraduates, the effects of expressive arts-based intervention on traumatized adolescents, and the impact of aesthetic education on cognitive development. There are also abstracts on the classification and consistency of Indian musical modes, the aesthetic appreciation of haiku poetry, and the impact of musical impressing on individuals and society. The article specifically focuses on the art form called Aitys, analyzing its psychological nature and its ability to foster skills needed in the modern market world. It emphasizes the communicative and interactive aspects of Aitys, highlighting its role in promoting creative thinking and creating a sense of ethnic unity among Kazakh young people. [Extracted from the article]

By progressively embracing the general principles of integrated, parametric, interdisciplinary design that considers the manufacturing elements of the imagined product, the modern aesthetic designer is called upon to broaden their knowledge and abilities. Especially when there is a need to produce complex shapes, when cost-effective, there are also numerous 3D printing technologies available today, to be used both in the conceptual phase (prototyping) and for actual production. The present paper aims to propose a discussion on the role of product engineering modelling in aesthetic design education. The progress of new 3D parametric modelling tools available to aesthetic designers is discussed, with a focus on the most cutting-edge features that have been released recently. The importance of parametric design education in general and the positive effects its application can have in the design process will also be discussed. [ABSTRACT FROM AUTHOR]

This study examines what bank employees do in the face of their managers' aesthetic expectations and controls and how they experience this process. The main argument of the research is how one's aestheticism plays a role in working life. The research is designed on the main question 'Is the aestheticism of bank employees used as a means of labor exploitation? Phenomenology, one of the qualitative research designs, was adopted and the 'interpretative phenomenology' type of phenomenology research design was used. For sample selection, a total of 20 participants, both male and female, from public and private bank employees were interviewed using snowball sampling method. The research data were obtained through semi-structured in-depth interviews with the participants. Analyses were conducted using MAXQDA 22, a computer-aided qualitative data analysis program. As a result of the research; employees evaluated aesthetic labor not only as physical/visual aesthetics, but also as a whole from different perspectives such as auditory, intellectual and harmony/harmony aesthetics. Employees strive for aesthetic labor in order to participate in employment and sustainability of employment in a postmodern order based on competition. Due to the functioning of the surveillance mechanism, employees take care to keep these efforts dynamic in both manager and customer relations. The growth of the services sector has led employees to develop aesthetic labor strategies as well as aesthetic labor efforts and skills. In the research, the results of aesthetic labor exploitation of the employee in various aspects such as gender-based discrimination, commodification of labor, surveillance mechanism, obligation, emotional mask, glass ceiling, self-alienation, unfair rewarding, time and cost were reached. In this context, when a sectoral and gender-based evaluation is made, aesthetic labor exploitation is more intense in private banks and female employees. [ABSTRACT FROM AUTHOR]

This article explores the concept of institutional aesthetics, which suggests that human institutions have both functional and aesthetic aspects. The author draws parallels between art theory and the perception of institutions, emphasizing the importance of understanding the inner aspects of phenomena. The article discusses the tension between practical and aesthetic approaches in the study of organizations, highlighting the work of various scholars. It also explores the concept of the Event, which emphasizes the interactive nature of human action. The text further discusses Lyotard's analysis of the sublime Event and the importance of contestation and irreducible otherness in understanding institutions. Lastly, the author discusses the concept of the Fold, which challenges traditional thinking by emphasizing the interconnectedness of elements in institutions. Overall, the article argues that an aesthetic approach is necessary to fully understand institutional behavior. [Extracted from the article]

Moby-Dick has long served as an index of contemporary events and changing paradigms. Yet despite its long and varied history of interpretation, an analysis of the novel's reception history demonstrates a striking unanimity of purpose. In nearly every instance, Ahab's excesses and inhumanities are identified and prohibited in the name of ensuring that the novel can aid in the work of furthering the aesthetic education of man. In the process, the artwork's integrity, achievement and essential irreducibility are subordinated to the demand that artworks provide essential moral instruction. The present essay reconstructs this common task through a close reading of the novel's reception history, tracking its development from the time of Melville's contemporaries to more recent debates between Donald E. Pease and William V. Spanos. Through Theodor W. Adorno's work on aesthetics and society, this critical reinterpretation of Moby-Dick tries to better understand the "wicked book" its author first recognized, and for whose infernal birth he felt, in his own words, "as spotless as the lamb." [ABSTRACT FROM AUTHOR]

INTRODUCTION: With the development of the information age and the application of cloud computing and big data technology, new changes have occurred in the field of education. Today, the form of learning is becoming more and more diversified, and cloud computing, big data and other information technologies can be more often applied in teaching and learning. The application of cloud computing to the creation and teaching of music can not only improve the interaction between teachers and students in the traditional classroom, but also cloud computing can better capture the problems of teaching in the classroom and provide adjustment suggestions through big data. OBJECTIVES: This study is to realize distance music teaching of SPOC through cloud computing, big data and other technologies. Further use of cloud computing technology is to improve the traditional music teaching classroom teaching and learning tools are not rich enough, the student perception is more single problem. At the same time, cloud computing technology is also utilized in order to explore the effect of distance music education. METHODS: Based on the management of learning theory, constructivism and communicative learning theory, this paper carries out the research on music creation and teaching through the methods of cloud computing and big data, and collects and summarizes the related literature at home and abroad, researches the development of big data and cloud computing in the field of music teaching and introduces the principle of SPOC teaching that supports students' independent learning through big data technology. RESULTS: Based on the training concept of MOOC and cloud computing, the teaching process encourages teachers and students to apply the pedagogical methods of cloud computing to improve the level of music nowadays teaching and learning at the same time, improve the overall quality of students. CONCLUSION: Music aesthetics education has diversity, SPOC learning process and cloud computing technology should be developed by developing an independent learning method. Therefore, cloud computing technology can help students learn music independently in a three-dimensional way, effectively develop the design stage of the learning process, use big data and cloud computing to better enrich the music teaching model, and implement the construction of independent knowledge. Future research can continue to develop towards empirical evidence and a large number of data experiments. [ABSTRACT FROM AUTHOR]

This paper examines the iconic conception of aesthetic education in the work of Friedrich Schiller, with the aim of elucidating Schiller's unique innovation of this notion in understanding i) the relationship between aesthetic and ethical value and ii) the transformative possibilities within a collective, social dimension of aesthetic experience. The paper provides an overview of the Kantian origins of Schiller's aesthetic programme (Section 1). It then considers Schiller's critique of the perceived failings of the Kantian and Enlightenment republican models of ethical value and political emancipation (Section 2) before turning to his positive alternative aesthetic programme (Section 3). The paper concludes (Section 4) with some evaluation and reflection on Schiller's original contributions. [ABSTRACT FROM AUTHOR]

Wulingyuan is a world natural heritage property mainly dominated by rare quartz sandstone peak forest landscape at home and abroad and supplemented by karst landscapes, with a large number of geological and historical sites, biological and ecological landscape and unique cultural landscapes. Preserving the secluded and beautiful scenery environment, biological environment and ecosystem of subtropical zone, Wulingyuan presents a splendid and magnificent landscape, with high aesthetic value, and becomes an important practice base of aesthetic education. The aesthetic education value of Wulingyuan World Natural Heritage Property can be realized by systematically studying and presenting the aesthetic education value of Wulingyuan World Natural Heritage Property, developing a series of aesthetic education courses to lead tourists into the world of Wulingyuan aesthetic education, carrying out a series of popular science activities of "Wulingyuan World Natural Heritage Property Entering Campus", and incorporating into the aesthetic education curriculum system of schools, etc. This paper analyzes the landscape aesthetic characteristics of Wulingyuan World Natural Heritage Property thoroughly, which indicates the direction for realizing the aesthetic education value of the property, and also provides a reference for realizing the aesthetic education value of similar world natural heritage property. [ABSTRACT FROM AUTHOR]

The aim of the paper is to describe how therapeutic landscape creates value added for tourists in spa resorts. Survey data were collected from 184 tourists to Swoszowice spa resort in Poland using a self-administered questionnaire. The results indicated that the way the therapeutic landscape creates value added for tourists differs concerning socio-demographic, behavioural and psychographic factors. The conclusions have important implications for scholars, allowing them to understand the importance of the therapeutic landscape and its determinants for tourists. Knowledge of how tourists assess landscape aesthetics, which constitute value added in the structure of the destination-specific therapeutic tourism product (DSTTP), is essential for local government entities and managers of treatment enterprises to develop and manage a therapeutic product that meets the needs of their customers. The present paper fills the gap in the subject literature, which lacks studies assessing the therapeutic landscape as one of the elements in the structure of DSTTP. [ABSTRACT FROM AUTHOR]

Innovations in training programs impact the educational system and the level of students' professional abilities. Therefore, the purpose of this study is to investigate the use of innovative technologies in teaching music and aesthetics with the use of intelligent technology. Students from various music schools in Beijing participated in the study: elementary (112 respondents), middle (123 respondents), and high school (98 respondents) (areas: piano, violin, and percussion), a total of 343 participants. Assessment of the students' level of proficiency took place in several stages: comparing the students' level of proficiency with that they had before the experiment, for this purpose an average eight-point system was used. The next stage consisted of a comparison of grades for the final academic concert. The results showed that the greatest improvement was seen in the percussion class and the least in the violin class. Piano students showed an average result in the correlation comparison, but their level was the highest in the final academic concert, 48.55% of the students showed a level of skill above average. While 39.13% of the violin students scored "excellent" and "good". The same level among the students of "percussion instruments" was shown by 35.71% of the students. Thus, one can conclude that applying intelligent technologies positively impacts students' performance, but it is necessary to be careful in choosing applications and technologies for implementation in the educational process. Further research should be directed at the impact of other applications and programs on learning, as well as ways to improve other music education areas and how they can be changed by intelligent technology use. [ABSTRACT FROM AUTHOR]

Purpose: Employee satisfaction is critical in any workplace. Research suggests that the environment that people work in can contribute greatly to levels of satisfaction as well as productivity. Limited research exists, however, on how the aesthetics of a workplace impact both employee satisfaction and well-being. This paper aims to identify whether the aesthetics in a workplace environment at one university influences employee satisfaction and well-being. Design/methodology/approach: This paper shares data from a survey that determined whether the workplace environment at one university in Queensland, Australia supports its workers' job satisfaction and well-being. The survey was distributed amongst all staff at three campuses with a total of 73 usable responses. Findings: Findings showed that there is a strong need for an aesthetically pleasing workplace and its positive impacts on employees. In addition, an aesthetically pleasing workplace was perceived to have a positive impact on the respondents' likelihood of spending more time at work, hence, a greater sense of satisfaction. The respondents indicated a moderate level of satisfaction with the aesthetics of their workspace and environment including feeling safe. Research limitations/implications: Implications show that further improvements could be attained in the workplace through the addition of natural lighting, plants and artwork. The employees also indicated they would like more control over the aesthetics of the work environment. Originality/value: This research is original as it was not known whether aesthetics in the workplace influenced worker satisfaction and/or well-being. [ABSTRACT FROM AUTHOR]

Recent scholarship on Vladimir Nabokov has increasingly drawn connections between his literary works and his scientific interests, first and foremost his thinking on insect mimicry. While this approach to Nabokov's writing has been productive for several of his novels, mimicry has so far not been considered in relation to Pnin. This article argues that we should understand imitation as one of the novel's core thematic and aesthetic concerns. Approaching the novel as preoccupied with issues of imitation allows us to see not only how Pnin reframes the immigrant narrative as one of imperfect performance of Americanness but also how it connects the issue of assimilation to larger questions of the aesthetic and ethic education of readers. [ABSTRACT FROM AUTHOR]

This study focuses on the innovative teaching mode of design aesthetics education in the information age, and builds a flipped classroom and blended teaching mode of design aesthetics based on MOOC+SPOC platform. The study points out that traditional design aesthetics education needs to integrate modern technology to enhance students’ aesthetic ability and innovation literacy. By conducting teaching experiments in 10 colleges and universities, the results show that students using the blended teaching mode significantly outperform the traditional teaching mode in terms of design aesthetics performance, interest and cognitive learning effects. The study also proposes a personalized recommendation method to effectively promote students’ in-depth learning of design aesthetics. The conclusion emphasizes that design aesthetics education in the information age should focus on technology integration and teaching mode innovation to improve the teaching effect and cultivate design aesthetics talents adapted to the development of the times.

The article has been dedicated to the commentary of mugams in Nizami Gancavi's creation. It has been commented on here giving an explanation Nizami Gancavi's mugams as national moral values. It is shown in the article that, Nizami Gancavi considers Azerbaijan mugams as both national-moral values and the school of the strangest aesthetic artistic taste bringing up. The article reflects both etymological shade of meaning and dedicating of them to which historical and political events. The article gives information about the history of musical instruments which are used during performance mugam sets-as ney, tar, saz, dutar, chegane, drum, horn, fagana, oud, setar, rubab, barbed, jang, arganum, rud, daf, etc. [ABSTRACT FROM AUTHOR]