The dissertation explains the internet as an aesthetic medium, authorship in the medium and platforms’ influence on the medium’s aesthetic function. This is achieved by analysing the actual art that uses the internet as an aesthetic medium. The aesthetic function of the internet as a medium is different from its informative and communicative function. It entails manipulation of the medium defined by the permanent and instant interconnectedness of the digitalised instances or representations of people, things, artificial intelligence and information to achieve a specific aesthetic aim. Internet as a medium, similarly to comics and film, allows for different kinds of authorship. A typical example of art that uses the internet as a medium is a meme. This is because memes involve meta-level discussions and group authorship, elements that are most easily facilitated by the internet as a medium. Art that uses the internet as an aesthetic medium can be single-authored if the sole author manipulates digital interconnectedness in an aesthetically significant way. Besides this general level of how the internet is characterised as a medium, there is a practical level that includes platforms on which artwork is made. These two levels are necessarily connected. Even though platforms also manipulate digitalised interconnectedness, they do not erase the internet’s potential as an aesthetic medium because artists manipulate this already manipulated content.

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Thesis (Ph.D.)--Boston University / PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis or dissertation. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you. / A philosophical elaboration of Theodor Adorno's conception of aesthetic form. Adorno's aesthetic theory is presented through a reconstruction of the major concepts in his Aesthetic Theory and via the projects of Dialectic of Enlightenment and Negative Dialectics. / 2031-01-01

This paper defends the claim that videogame playing interaction (VGI) is a distinctive kind of interaction compared with other interactive practices. This claim is not grounded in the fact that videogame playing is a digital experience, nor the claim that videogame playing is a video example of gameplay, but rather in two unique characteristics of videogame playing experiences: the controlled identity of players and the temporal continuity. In my view, both Aaron Smuts (2009) and Dominic Lopes (2001)’s theories on interactivity have omitted to discuss these issues sufficiently. By distinguishing between three kinds of interactions according to involved participants and ranking them in the order from weakest to strongest we find: i) interactions between humans and interactive objects, ii) interactions between humans, iii) videogame playing interactions (VGI). In this paper I reflect on the theoretical framework of interactivity and forecast that the strongest form of interaction should be the interaction between human and artificial intelligence supported by technical devices in which human interactors lose overall authority of the continuous interaction.

The art of nursing is discussed throughout nursing literature but research on the topic is lacking. The purpose of this research was to reveal experiences of the art of nursing. Nurses were asked to describe experiences about the art of nursing from their own nursing practice. This study was qualitative in nature and used a phenomenological approach to answer the research question, “What is the experience of the art of nursing in nursing practice?” The study was guided by the philosophical stance of Merleau-Ponty and the research strategies of Thomas and Pollio. Participants included nurses who had experience using the art of nursing to provide patient care and a willingness to articulate these experiences. With IRB approval, eleven nurses participated in the interview process. Participants had between twenty-one and over thirty years of nursing experience and a range of clinical experiences that included hospice, acute care, nurse management, pediatrics, labor and delivery, medical/surgical, mother/baby, intensive care, progressive care, outpatient day surgery, free standing clinic, cardiac surgical step down, outpatient hemodialysis, nursing instructor, neonatal intensive care, prison nurse, telemetry, school nursing, emergency room, hospital nursing education, orthopedics, post-op, chemotherapy, behavioral health, long term care, code team, and one had been a family nurse practitioner in a rural setting. Results demonstrate the art of nursing in nursing practice includes showing up, staying, and helping patients, connecting to patients, intuitive caring, and making a difference in the lives of both patients and nurses. Findings from this study confirm the art of nursing as an essence of nursing with implications for nursing practice, nursing education, and future research.

Thesis (Ph.D.)--Boston University / It is the hypothesis of this dissertation that interpersonal empathetic ability and aesthetic empathic ability constitute one factor or ability. A secondary purpose of the dissertation is to explore and evaluate all possible methods of measuring empathic ability, and to develop a good pencil and paper test of empathic ability. "Empathy" is understood here as "pathic perception" -- the perception or cognition of feeling emotion. The methodology of the dissertation involves a theoretical review and synthesis, and an experiment. A review of the literature reveals four basic types of empathy theories: (1) self-theories; (2) associationist theories; (3) Gestalt theories; (4) motor theories. Though the theorists representing these four positions argue among themselves as to how the process of empathy operates, almost without exception they agree that it operates in the same manner in the perception of persons as it does in the perception of objects of art. The weight of theoretical opinion is overwhelming on this point. Inerpersonal empathy and aesthetic empathy are held by all of the major empathy theorists to be one and the same process [TRUNCATED]

<p> "It is only as an aesthetic phenomenon that existence and the world are eternally justified." This sentence, repeated twice in The Birth of Tragedy, and standing as it does as the essential purpose and motivation of the book, seems to be an intentional turning about of the Lutheran doctrine of sole fide. Here art appropriates to itself what is essentially a religious function; art is the realm of human activity where experiences are ordered and intensified, and subsequently, where redemption is to be gained. In formulating his ideas on art and on Greek tragedy Nietzsche was influenced by Wagner. It was Wagner's music, above all else, that opened up to Nietzsche new problems for art and religion. The musical dissonance of Tristan opened up to Nietzsche the secret key to Greek tragedy. It was the recognition of the Dionysian origin of tragedy, of its origin out of the spirit of music, that enabled Nietzsche to discover the essence of tragedy free from the conventional aesthetics, which expected tragedy to answer the criterion of the plastic arts, that is, of beauty. The Birth of Tragedy announced to the world, as Nietzsche wrote to Wagner, that "practically nothing remains of traditional theories of 'AEsthetics'." In what follows an interpretation of the religious significance of this new aesthetics will be offered by way of a study of the role of Wagner's Tristan and Isolde in The Birth of Tragedy.</p> / Thesis / Master of Arts (MA)

Chaucer's fabliaux, particularly The Miller's Tale, The Merchant's Tale, and The Summoner's Tale, combine the crude humor associated with the genre with features of ?higher? genres, most notably the courtly romance tradition (for the first two tales), and the homiletic and scholarly debate traditions (for the last tale). The marriage of the scatology present in fabliaux with the characteristics of literary art is Chaucer's unique achievement and differentiates his tales from their analogues. This marriage occurs when characters of one class arrogate the types of discourse usually associated with another class. As a result of this discourse switching, the balancing of art and scatology in these three tales blurs the distinction between crudity and sophistication and makes the tales scatological art.

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No / This is a reply to Sue Mitchell and Francisco J. Eiroa-Orosa’s ‘Love your enemy.’ The latter seeks to explore the self-transcending potential of altruistic behaviour through a dialogical paradigm. It not only initiates fresh discussion on the subject of altruism, but also advances new discussion on Bakhtinian aesthetics. For the continuation of this forward momentum, we suggest a more nuanced approach to the placement of the ‘researcher’ within the applied methodological matrix. Similarly, we also advocate for the synthesising of research tools, often appropriated by theological studies, into said methodological matrix. This is a reply to: Mitchell, Sue and Eiroa-Orosa, Francisco J. 2018. “Love your enemy? An aesthetic discourse analysis of self-transcendence in values-motivated altruism.” Global Discourse https://doi.org/10.1080/23269995.2018. 1511766