Applied aesthetics

While structural integrity, cost, nature of building materials, and the functional utility of a building greatly influence the design process, architects can apply aesthetic considerations to buildings and related architectural structures. The general principles of aesthetic design include ornamentation, demarcation, texture, flow, solemnity, symmetry, color, granularity, the interplay of sunlight and shadows, transcendence and harmony. Interior designers, less limited by structural problems, have more opportunities to attract aesthetics. They can use color, color harmony, wallpaper, decorations, furnishings, fabrics, textures, lighting, working with floors, and also adhere to aesthetic concepts such as feng shui.  

A new art form fighting for the right to be accepted is digital art, a byproduct of computer programming, which raises new questions about what art is. Although the parallel use of many aesthetic means in traditional media, digital art can additionally use the aesthetic qualities of interrelated tactile relationships; interactivity; autonomous generation; the complexity and interdependence of relationships; uncertainty; and playfulness.

Artists working with this art are often forced to justify their use of the computer, rather than the traditional medium, which means that it is about what constitutes art.

Critics of digital art are many. For example, graphics programs allow you to achieve perfect shading without much effort. In other types of programs, it makes sense that because of the many tools, filters, distortions, the artist has at his disposal a real factory of images. Various criticisms ultimately boil down to the question of "what efforts does an artist put into his work?"

The 3D art community often refers to the fact that while the programs they use to render and shadow objects, their efforts are more similar to a sculptor or architect, representing an aesthetically organized, illuminated and textured scene. Users of other programs, such as Photoshop or Gimp, note that, although they may have many tools, the art itself must be much more detailed and imaginative to stand out. In both cases, there is the problem of overcoming the barriers of limited technology and the lack of direct contact with its environment.

Fashion designers use a variety of methods to allow people to express their unconscious through clothing. Designers use fabric, clipping, color, scale, reminiscences, texture, color harmony, transparency, insignia, accessories, beadwork and embroidery to create personalized clothes. It can also be used to find the average size of things, to make the product suitable for a large number of consumers.

Cinema combines a wide variety of disciplines, each of which can have its own aesthetic principles. The aesthetics of cinematography is closely connected with photography, the movement of objects, the camera, as well as the intensity, color and placement of the lighting - all this is very important. Sound recording, editing and mixing are other, but very important parts of cinematography. A special place is occupied by locations, the work of the costumer and make-up artist. Often, all these things are associated with the aesthetic features of the director.

Installation is perhaps the only discipline unique to film, video and television. Time, rhythm and progression of images make up the final version of the film. This procedure is one of the most important elements of post-production and includes editing and mixing sound, as well as the development and implementation of digital special effects.

In the case of a video installation, the presentation method for the public of the finished material becomes very important. Work can be projected on a simple monitor, on a wall or other surface, or embedded in a large sculpture installation. A video installation may also include sound.

Despite the fact that food is the main and frequently used product, careful attention to the aesthetic possibilities of food can turn it into a gastronomy. Cooks awaken aesthetic pleasure in us through our vision, using the color and arrangement of the ingredients; our taste and smell, using spices, variety or contrast, waiting for a dish, seduction by it, as well as decorative elements and side dishes. In the case of drinking water, formal criteria are used for aesthetic evaluation, such as smell, color, amount of dissolved solids and purity. In the US, there are clear standards for these parameters to determine aesthetic acceptability.

However, it is worth paying attention to the use in the aesthetics of Adorno the word translated as "culinary." Adorno distinguishes between technically accurate and "excellent" performance, as well as an even more perfect performance, in which the "truth" of a musical work manifests itself; a performance with a lot of interpretations, with great opportunities for interpretation, but it sounds strange to the public, spoiled by popular conductors (perhaps in the manner in which Glenn Gould plays Beethoven's music). Unfortunately for the inexperienced reader Adorno , this is not something technical, such as, for example, "original tools." Instead, it is a work of art that does not condone spectator desires and whims. There is a connection with the Marxist interpretation, which, refusing to perceive the public as an omnipotent "client", puts the teacher or even priestly "higher" than ordinary viewers; this is something that only the most snobbish French chefs can dare to do, trying to try to instill in the public a taste for the High.

There are different forms of "high" cuisine, but it should be noted that an ordinary person laughs at the mannered yuppies eating designer food that is not common outside the circle of people attending Berg's concerts. An ordinary person simply considers them eccentrics, but is not outraged by them, which means that ethical judgments play a role in aesthetic judgments. Experts in ethics and aesthetics systematically overlook this fact, which other thinkers, such as Tolstoy, put in the center. Based on Adorno ’s theory that (simple) cooking is not art, the idea of ​​perceiving cooking as an art genre would be a joke to Adorno’s admirer (if such existed), and the process of eating is as an assessment.

Monty Python often oddly plays up this mystery: in Monty Python and the Meaning of Life, in the part of Mr. Creosote, the sycophantic waiter convinces an extremely fat man to eat another candy, after which Mr. Creosote is sick of the entire dining hall. Please note that this scene, despite its disgustingness, has more claims to be called art than designer food.

This can be an unconscious commentary on any theory of art that blindly equates "fine cuisine" and a visit to art galleries; a kind of tourist equation in which these same galleries are actually overflowing with Mister Creosotes after dinner. Even an ordinary person from the street will confirm that a starving artist visiting a gallery is more aware of the high, intrinsic, elusive aura of a work of art than Mr. Creosote, which means that for some authors, including Adorno , there is a connection between ethics and aesthetics (they are almost repeat each other in this vein, using the words "good and bad"; in the case of ethics to characterize people and their actions, and in the case of aesthetics - to determine the value of a work of art).

The prerequisites for abandoning culinary art start with Kant's idea of ​​the sublime, but it does not end there: can a post-Holocaust (the Nazis playing Bach; Adorno questions about the possibility of poetry after Auschwitz) and a German officer who enjoys fine cuisine have something in common with art, become important aesthetic issues. The Marxist theory of art will most likely come to the conclusion that the chef cannot be an artist, since he is deprived of autonomy and, in the end, depends on the client, Mr. Creosote.

There is a developed theory of aesthetics of jokes and humor, including mathematical and logical analysis.

Aesthetics in the field of information technology has focused on the study of human-computer interaction in order to create user-friendly devices and software applications. Software itself has aesthetic dimensions, as well as processes related to information technology, and events such as computer video games and virtual reality modeling. Digital culture is a special aesthetics for assessing the attractiveness of digital environments, such as web browsers, websites, as well as visual and sound art, created exclusively using digital technology. The concept of cyberspace is sometimes associated with the concept of the sublime.

Aesthetics in the field of information technology also refers to the act of designing the software itself. Numerous programmers claim to experience a measure of elegance in the functionality and structuring of software at the source code level ^[1] . For example, a short, powerful expression that clearly expresses the intent of a code can be considered “beautiful” for a bad programmer who is charged with maintaining the specified code. This contrasts with the short, mysterious, obscure, and overly “smart” code. Properly done documentation can emphasize the effect of beautiful code when it is clear, brief, explains the programmer’s intent, and broadens the understanding that can be obtained simply by looking at the code. Comments that are redundant (only explain what the code already explains), mysterious and too long or short, can distract from the beautiful code. Aesthetics in programming can also have a practical level: under the right conditions, elegant code can work faster and more efficiently and, most importantly, be less prone to errors.

Critics of this say that the need to justify “good design” by referring to “cost savings” means that “good design” is not “art” because art is autonomous, and many aesthetics have to say that art arises in applications that exceed saving means. In the field of information technology, user-friendly theorists must justify their “user-friendly” applications and often ignore basic statistics when most users love the system, but a significant minority hate it. That is, they can opt out of the standard deviation of their data in order to sell good design at a better price, and this has nothing to do with art.

A frequent occurrence among real programmers is their frequent hatred of the practice described in the books as best practice and good design. The Marxist theory of industrial "art" would attribute this to alienation, in which ordinary programmers never produce the code they own.

The most complex works on aesthetics can be found in the works of Edsger Wibe Dijkstra and computation notes. Beauty, according to Dijkstra, abandoned the notion of accessibility, like many “artistic” works of ancient and modern. In fact, no aesthetic makes user-friendliness canonical and necessary in a work of art.

Designers need a lot of aesthetic qualities to improve the competitiveness of their products: smoothness, brilliance or reflectivity, texture, pattern, tortuosity, color, simplicity, usability, speed, symmetry, naturalness and modernism. People working with Design Aesthetics focus on design, appearance and how people perceive products. Designer aesthetics are interested in the appearance of products; The explanation and meaning of this phenomenon is mainly studied in terms of social and cultural factors. A distinctive feature of the section is research and education in the field of sensory modalities in relation to product design. These areas of focus create design baggage that allows engineers to develop products, systems, and services and match them to the right field of use.

Landscape designers use design elements such as axis, line, surface shape, horizontal and vertical planes, texture, and scale to create aesthetic variations in the landscape. They can additionally use aesthetic elements such as pools or fountains of water, plants, seasonal dispersions, stone works, fragrance, outdoor lighting, statues and lawns.

In poetry, short stories, novels, and science fiction, authors use various methods to appeal to our aesthetic values. Depending on the type of letter, the author can use rhythm, illustrations, structure, temporal displacement, juxtaposition, dualism, images, fantasy, expectation, analysis, humor / cynicism, and reflections.

Aesthetics in cartography is associated with the visual perception of reading a map and can take two forms: responses to the map itself as an aesthetic object (for example, through details, color and shape), as well as a map object that often symbolizes a landscape (for example, a specific terrain expression forms an imaginary visual experience of aesthetics).

Cartographers make aesthetic judgments when designing maps to ensure that the content forms a clear expression of themes. Antique cards, perhaps, are especially revered because of their aesthetic value, which may seem the result of their styles and ornaments. Thus, aesthetics are often mistakenly considered a byproduct of design. If it is accepted that aesthetic judgments are made in a particular social context, they are fundamental to the symbolism of the cartographer, and as such are an integral part of the function of maps.

Unlike industrial design, which focuses on the aesthetic qualities of consumer products (see below), the use of aesthetics in marketing relates to the very appearance of the product, its branding, its commercial representation or the reputation of its manufacturer. Marketers can change the consumer's aesthetic appreciation in sophistication, color harmony, style, memorable melodies, slogans, craftsmanship, comfort, attentiveness, authenticity, or associated impressions associated with the consumption of the product. The idea of ​​marketing is to force the human mind, including with the help of aesthetics, to think in the direction in which he would not have done this before without external influence.

Main article: Mathematical beauty

Additional Information: Mathematical Humor

Mathematics are often compared to music and poetry. Hungarian mathematician Paul Erdus expressed his views on the indescribable beauty of mathematics when he said: “Why are the beautiful numbers? It’s like the question, “Why is Beethoven’s beautiful Ninth Symphony?” Mathematics refers to the "feelings" of logic, order, novelty, elegance and discovery. Some concepts in mathematics with a special aesthetic application include sacred relationships in geometry, intuitiveness of axioms, complexity and intrigue of fractals, hardness and regularity of polyhedra, as well as certainty related theorems in disciplines. In mathematical humor there is a developed aesthetics and theory of humor.

Main article: Aesthetics of music

Some of the aesthetic elements expressed in music include lyricism, harmony, hypnosis, emotionality, temporal dynamics, volume dynamics, resonance, playfulness, color, subtlety, intimacy, depth, and mood (see Musical development). Aesthetics in music is often considered very sensitive to their context: what sounds good in modern rock music may sound terrible in the context of early baroque.

Cognitive science also considered aesthetics with the advent of neuroesthetics, created by Semir Zeki , who tries to explain the prominence of great art as the embodiment of the biological principles of the brain, namely that great works of art capture the essence of things just like vision, when the brain captures the foundations of the world from constantly changing flow sensory input.

The performing arts appeal to our aesthetics of story, grace, balance, class, time, power, shock, humor, costume, irony, beauty, drama, expectation and sensuality. While live performances are usually limited to physical reality, film performance can additionally add aesthetic elements to large-scale actions, fantasy, and a complex intertwined musical score. The performance often deliberately mixes the aesthetics of several forms. Role-playing games are sometimes perceived as performing arts with their own aesthetic structure, called the theory of role-playing games.

Aesthetic actions in visual art are usually associated with a sense of vision. However, a painting or sculpture is also perceived by spatially recognized associations and context, and even to some extent by sense of smell, hearing, and touch. The form of work can be the subject of aesthetic. In painting, the aesthetic convention, in which we see a three-dimensional representation rather than a two-dimensional canvas, is so well understood that most people do not understand that they make an aesthetic interpretation. This concept is the basis of abstract impressionism.

In the United States in the post-war period, the “pusher” theories of Hans Hofmann, which establish a connection between color and perceived depth, strongly influenced the generation of well-known abstract artists, many of whom were studied by Hofmann and were usually associated with abstract expressionism. Hofmann's attitude to abstraction as a de facto moral imperative of a serious artist was very influential.

Some aesthetic effects available in visual art include variations, juxtaposition, repetition, field effects, symmetry or asymmetry, perceived mass, subconscious structure, linear dynamics, tension and peace, pattern, contrast, perspective, dimension, movement, rhythm, unity or gestalt, matrix and proportion.

Более половины человечества живет в городах; хотя он представляет собой высокую цель, планирование и достижение городской эстетики, благоустройство связано с большой исторической удачей, случайностью и косвенным гештальтом. Тем не менее, эстетически приятные города имеют определенные черты: этническое и культурное разнообразие, многочисленные микроклиматы, способствующие разнообразию растительности, достаточный общественный транспорт, общественное искусство и свобода выражения в обществе в виде скульптур, граффити и уличного искусства или зонирование, который создает как плотно, так и малонаселенные районы, живописную соседнюю географию (океаны или горы), общественные места и такие события, как организация парков и парады, музыкальное разнообразие через местное радиовещание или уличных музыкантов и соблюдение законов, которые уменьшают шум, преступность и загрязнения.

Недавнее исследование предполагает, что визуальная эстетика компьютерного интерфейса - сильный детерминант удовлетворения и удовольствия пользователей. Исследовательские и подтверждающие факторные анализы нашли, что восприятие пользователей состоит из различных главных размеров. Исследователи Лави и Трактинский нашли два основных аспекта, которые они назвали «классической эстетикой» и «выразительной эстетикой» ^[2] :

1. Классическая эстетика - относится к эстетическим представлениям, которые велись с древности до 18-го века. Эти понятия подчеркивают упорядоченный и понятный дизайн и тесно связаны со многими правилами проектирования, которые пропагандируют эксперты по « юзабилити ».
2. Выразительная эстетика - созданная креативностью дизайнеров и оригинальностью, а также способность нарушать дизайнерские соглашения.

Хотя оба измерения воспринимаемой эстетики взяты из пула эстетических суждений, они четко различимы друг от друга.

В недавнем исследовании ученые Мошаген и Тильш нашли четыре основных аспекта эстетики веб-сайта ^[3] :

1. Simplicity
2. Разнообразие
3. Colors
4. Мастерство

Простота и разнообразие неоднократно рассматривались как формальные параметры эстетических объектов на протяжении всей истории эмпирической эстетики. Цвета - очень критическое свойство эстетических объектов. Мастерство рассматривает умелую и последовательную интеграцию соответствующих проектных размеров. Хотя простота сильно коррелирует с классической эстетикой, как упоминают Лави и Трактинский, другие три фактора можно трактовать как более глубокую дифференциацию выразительной эстетики. Дизайн сайта влияет на восприятие пользователями достоверности сайта. Одним из факторов, влияющих на то, остаются или остаются пользователи на веб-странице, является эстетика страницы. Другая причина может заключаться в том, что пользователь оценивает достоверность сайта. Результаты показывают, что, когда один и тот же контент представлен с использованием различных уровней эстетического содержания. Содержание с более высоким эстетическим лечением оценивалось как более высокое доверие. Это называется мелиоративным эффектом визуального дизайна и эстетики на достоверность контента. Холмс предполагает, что этот эффект работает в течение первых нескольких секунд, когда пользователь просматривает веб-страницу. Учитывая тот же контент, более высокое эстетическое лечение увеличит воспринимаемую достоверность.

Architecture

• Lee/Stroik: Christian Architecture
• Salingaros: Life and Complexity in Architecture
• Ciudades del anonimato; Architecture

Кулинарная эстетика

• Susheela Uhl: Ethnic Entrees
• Leslie English: To Eat is Human

Информационные технологии

• Software Aesthetics
• Aesthetic Computing
• Hackers and Painters
• The Pleasure of the Playable Text: Towards an Aesthetic Theory of Computer Games (pdf)
• Aesthetics in User Interfaces Design
• Charles Connell, " Most Software Stinks: The Relationship Between Software Aesthetics and Quality ," 2002

Music

• Applied Aesthetics -- Exact Music Theory
• Applied Aesthetics - Music Skills Analysis Test (MSAT®)
• Norton: Musical Materials
• Malloy: Music Outline

Исполнительское искусство

• Poddubiuk: Costume Design
• Sardo: Theatrical Costume

Изобразительное искусство

• How Form Functions: On Esthetics and Gestalt Theory
• Try to investigate and define aesthetics

1. ↑ Preface to the First Edition (неопр.) .
2. ↑ Lavie, T., & Tractinsky, N. (2004). Assessing Dimensions of Perceived Visual Aesthetics of Websites. International Journal of Human Computer Studies
3. ↑ Moshagen, M. & Thielsch, MT Facets of visual aesthetics. // International Journal of Human-Computer Studies. — 2010. — № 68 (10) . — С. 386-399 .