The purpose of this study is to provide a detailed description of the aesthetic experience as it is encountered in music, and, in so doing, to develop an operational definition of aesthetic experience as it is understood and experienced by practitioners in relation to the phenomenon as it is found in the canon of literature. The following specific questions are addressed: first, how do philosophers and practitioners view aesthetic experience; what commonalities or differences do these views have; and what understandings can be gained through an examination of these theories? Second, when the views of practicing music teachers, philosophers and pedagogues are compared and analyzed, how do these align with Csikszentmihalyi's Flow State Theory? Finally, does Csikszentmihalyi's Flow State Theory provide a functional framework for aesthetic experience; how does the employment of this resolve the issues of communication; and does this allow for a clearer understanding of aesthetic experience?

OLIVEIRA JUNIOR, Francisco Cardoso de. A função política da arte como elemento da efetividade da liberdade na dimensão estética de Herbert Marcuse. 2016. 151f. – Dissertação (Mestrado) – Universidade Federal do Ceará, Programa de Pós-Graduação em Filosofia, Fortaleza (CE), 2016. / Submitted by Gustavo Daher (gdaherufc@hotmail.com) on 2017-06-05T16:46:34Z No. of bitstreams: 1 2016_dis_jcslacerda.pdf: 698702 bytes, checksum: e332c8465649bd9b86ce7f7e029bf280 (MD5) / Approved for entry into archive by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2017-06-07T12:45:40Z (GMT) No. of bitstreams: 1 2016_dis_jcslacerda.pdf: 698702 bytes, checksum: e332c8465649bd9b86ce7f7e029bf280 (MD5) / Made available in DSpace on 2017-06-07T12:45:40Z (GMT). No. of bitstreams: 1 2016_dis_jcslacerda.pdf: 698702 bytes, checksum: e332c8465649bd9b86ce7f7e029bf280 (MD5) Previous issue date: 2016 / O objetivo deste trabalho é expor o caráter emancipatório e revolucionário da arte na filosofia crítica de Herbert Marcuse. Pelos textos do filósofo fica claro o papel da arte como elemento determinante na criação de condições para o surgimento de uma sociedade emancipada, justa e boa. No tempo em que se destacam as dificuldades de comunicação do discurso lógico, a arte surge como um instrumento mais complexo para a percepção da ligação entre as apreensões do presente e a esperança para o futuro. A forma como a arte pode contribuir no processo de emancipação do homem não está dissociada de seu momento histórico, por isso a abordagem do tema pelo filósofo, apresenta uma diversidade de caracterizações. Apesar dessa aparente oscilação nas formas de ver a arte e de como esta se relaciona com a sociedade e o homem, percebe-se na verdade que as diversas características não se anulam umas às outras, mas formam uma arquitetura que vai sendo progressivamente construída. Para uma real compreensão do caráter emancipatório e revolucionário da arte na filosofia de Herbert Marcuse foi necessário construir uma totalidade significativa a partir da relação de vários de seus escritos em diferentes épocas sobre estética

In this dissertation, I make a serious philosophic application of several aesthetic theories to the emerging medium of video games. I look at concepts such as the play of art, psychical distancing, and an experience, and apply each of these to a representative video game. Hence, I use a variety of aesthetic works, but apply these in a pluralistic manner. The thesis I defend is that a number of specific video games offer possibilities for aesthetic experience that can be comprehended through these traditional aesthetic theories. The purpose of my project is not a comparative one among these theories: I do not argue that any one of these is definitive in application to all video games. Instead, I hold these theories in tension by showing that each has practical merit in being applied to different games I use a variety of aesthetic approaches to argue that a specific game exemplifies the aesthetic value which is at the core of a particular theory. I apply John Dewey's notion of an experience as a single, distinctive whole consisting of parts in unity to the music-based game Rock Band. To consider the distance between the player of a video game and the game's content, I discuss Edward Bullough's theory of psychical distance and apply this concept to a violent game such as Grand Theft Auto IV. Finally, I consider Hans-Georg Gadamer's thoughts on the play of art and the connection of play to seriousness and apply these thoughts to a game which integrates a sense of playfulness with serious themes: Braid.

This dissertation examines how writers helped scientists and engineers transform “efficiency” from a mathematical tool for assessing machine performance to an organizing principle for society. Historians and literary critics have helpfully sketched this transformation. They have paid particular attention to manifestations of Taylorism and Fordism in modernism, especially in the “kinetic” poetics of Ezra Pound, William Carlos Williams, and John Dos Passos. But while scholars have illustrated how modernism pushed efficiency into contexts like labor and politics, they have only begun to consider efficiency’s role in Gilded Age fiction, particularly in the works of utopian thinkers—such as Edward Bellamy and Charlotte Perkins Gilman—and technological cynics—including Mark Twain, Edith Wharton, Frank Norris, and María Amparo Ruiz de Burton. I argue that efficiency was a decidedly aesthetic concern in the novels of the Gilded Age, an idea so exciting and anxiety producing that writers felt compelled to scrutinize it in terms of literary form. Indeed, the writers examined in this dissertation developed nuanced rhetorical and narratological programs to explore efficiency’s conceptual possibilities outside the factory, specifically in the domestic sphere, the pastoral places of California, and the writer’s study. Moreover, these writers struggled to make sense of efficiency’s conceptual expansion. Thus, their novels reflect the difficulties of realizing different kinds of social efficiency. The texts I analyze either try but fail to represent the promises of a machine-made society, or they use self-destructive literary forms that call attention to the wastes of industrial capitalism. By attending to the poetics and competing definitions of efficiency advanced by these writers, my dissertation explores how Americans adapted traditional literary structures to promote or challenge the idea of technological progress. This dissertation includes previously published material.

O objetivo deste trabalho foi avaliar, in vitro, a influência de diferentes preparos dentais e dois diferentes tipos de cerâmica, sobre a resistência à fratura e o vedamento marginal de dentes restaurados com facetas laminadas. Foram utilizados 56 incisivos centrais, divididos em 7 grupos (incluindo grupo controle de dentes hígidos), diferenciados pelo preparo: preparos tipo janela, preparos com término em bordo reto e preparos com término em bordo envelopado e cerâmica utilizada: feldspática (Vita VM7 – Vita) e à base de dissilicato de lítio (IPS Empress II – Ivoclar Vivadent). Os dentes foram preparados com pontas diamantadas de forma padronizada, conforme os grupos acima, após foram moldados com silicona de adição para confecção dos laminados com os materiais citados. Após a cimentação dos laminados com cimento resinoso, os espécimes foram termociclados e moldados novamente para obtenção de réplicas em resina epóxi que foram avaliadas quanto à presença de fenda marginal em microscopia eletrônica de varredura (MEV). Os espécimes (dentes restaurados) foram submetidos ao teste de resistência à fratura em máquina de ensaio universal com velocidade de 1 mm/min. Os resultados foram tabulados e analisados estatisticamente pelos testes ANOVA e Qui², com nível de significância de 5%. O grupo controle apresentou a maior resistência à fratura. A resistência dos dentes restaurados com laminados foi influenciada significativamente pelo tipo de preparo (p=0,03) e pelo tipo de cerâmica (p=0,011) empregados. Quando comparados os dois tipos de cerâmica empregados, o desempenho superior foi para o sistema cerâmico à base de dissilicato de lítio, quando da presença de bordos reto e envelope. Com relação aos preparos, houve diferença para as cerâmicas feldspáticas, sendo superior o preparo janela. Para a avaliação de vedamento marginal, os grupos com preparo em bordo reto e envelopado associados à cerâmica à base de dissilicato de lítio não apresentaram fendas marginais. Porém, o grupo com preparo do tipo janela e cerâmica à base de dissilicato de lítio e o grupo com preparo em bordo reto e cerâmica feldspática apresentaram 75% de fendas presentes. Conclui-se que quando a cerâmica utilizada for feldspática, o preparo janela apresentou melhor resistência à fratura. Por outro lado, se a cerâmica utilizada for à base de dissilicato de lítio, o tipo de preparo não influenciou na resistência. Os laminados confeccionados com a cerâmica à base de dissilicato de lítio associados ao tipo de preparo reto ou envelopado apresentaram ausência de fenda (100%) e melhores resultados em relação à resistência à fratura para estes tipos de preparo. / The aim of this study was to evaluate in vitro the influence of different dental tooth preparations and two different types of ceramics on the fracture resistance and marginal sealing of teeth restored with veneers. 56 central incisors were divided into 7 groups (including the control group of sound teeth), by preparation: according to window, ending in straight edge and ending in overlap and ceramic used: feldspathic (Vita VM7 – Vita) and lithium disilicate (IPS Empress II – Ivoclar Vivadent). Teeth were prepared with diamond burs in a standardized manner, according above groups and were impressed with vinyl polysiloxane for the fabrication of veneers with the materials cited. After cementation of veneers with resin cement, specimens were thermocycled and molded again to obtain replicas in epoxy resin that were evaluated for the presence of marginal gap in scanning electron microscopy (SEM). The specimens (restored teeth) were tested for resistance to fracture in a universal testing machine with a crosshead speed of 1 mm / min. The results were statistically analyzed by ANOVA and Chi square test, with a significance level of 5%. The control group showed the highest fracture resistance. Restored teeth resistance was significantly influenced by the type of preparation (p = 0.03) and the ceramic type (p = 0.011). When comparing the two ceramic types, the superior performance was optained with lithium disilicate ceramic, associated with straight edges and overlap preparations. Regarding preparations showed differences within the feldspathic ceramics, being higher for the window preparation. Regarding marginal sealing, groups with board preparation in straight and overlap associated with lithium disilicate ceramic showed no marginal gaps. However, the group with window preparation and lithium disilicate ceramic and group preparation on board straight and feldspathic ceramic showed 75% of gap presence. It is concluded that when the ceramic used was felsdpathic the window preparation showed better fracture resistance. On the other hand, if the ceramic used was lithium disilicate, the type of preparation didn’t influence the fracture resistance. Laminates made with lithium disilicate ceramic associated with in straight or overlap preparation showed no gap formation (100%), presented the best results in relation to fracture resistance.

The paper strives to highlight the common points between philosophy, theology and aesthetics, it is trying to demonstrate where and how these disciplines overlap, based on the view of Anglo-American authors. It consists of four main thematic sections. The first section is called The Relationship Between Philosophy, Theology and Aesthetics, the second one is The Debate in Anglo-American Aesthetics, the third section is titled The Debate in Anglo-American Philosophy, Religion and Art, and the fourth section is called The Debate in Anglo-American Theology. The author puts the greatest emphasis on the artistic, aesthetic area, as it is closest to us. Art is for the author the foundation and inspiration, the key to the link between the earthly and the divine nature, the cultural and religious areas, as Paul Tillich says.

Made available in DSpace on 2014-06-11T19:22:30Z (GMT). No. of bitstreams: 0 Previous issue date: 2012-07-02Bitstream added on 2014-06-13T19:27:53Z : No. of bitstreams: 1 lunardelli_t_me_ia.pdf: 6688141 bytes, checksum: b6ea5f2bf8f514ac07f1f93db1a14548 (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Universidade Estadual Paulista (UNESP) / Esta dissertação analisa a gastronomia como objeto estético. Assim, considerando a mesma como um campo da estética, recorri da memória gustativa, de fotos de pratos desenvolvidos pelos chefs brasileiros Henrique Fogaça, Rafael Despirite e Helena Rizzo e da linguagem visual de cada um dos restaurantes para construir o que entendo por estética do gosto. Essa pesquisa fundamentou-se na concepção de que o belo não está presente no objeto em si, mas é uma construção do observador, ou do degustador: o fato sensível fundamental para a experiência estética é a vivência pessoal de cada um. A comida une o chef e o degustador através da estética do gosto, do despertar do paladar. Trata da arte de produzir sabores e da recepção desses e suas extensões. Quer pontuar aspectos do papel da alimentação, desde o achamento do Brasil e do desenrolar desse processo no ritual alimentar, que acompanha as mudanças comportamentais ocorridas principalmente na Europa e no Brasil: da necessidade ao requinte, até atingir um mundo de delícia, que chegou a ser aproximado dos pecados da gula e da luxúria. É feita uma narrativa histórica da alimentação desde a Antiguidade clássica até o início da Era moderna, e enfoca o Brasil, com seu sincretismo, e as influências primeiras dos portugueses, dos negros e dos índios, que compõem a nossa originalidade. A argumentação se funda no trabalho dos chefs nominados e na forma como desenvolvem sua linguagem. Do preparo dos ingredientes à apresentação dos pratos, até o ambien- te do restaurante. Considerou-se como ponto de partida a percepção para a apreciação de diversos aspectos dos pratos desses chefs, tais como cor, forma, textura, cheiro, gradações de calor que, aliados às evocações da memória – enfim, a experiência de quem prepara e de quem come – desencadeia o que se considera a estética do gosto / Thus, considering it a field of aesthetic, utilizing dishes created by Brazilian chefs Henrique Fogaça, Rafael Despirite and Helena Rizzo and the visual language of their restaurants to make up what I understand as the aesthetic of taste. This research was based on the concept that beauty is not present in the subject itself, but it is a construction of the observer (beauty lies in the eyes of the beholder) or the taster in this case, the most critical and sensitive fact to the aesthetic experience is one’s own experience. Food unifies the chef and the taster through the aesthetics of taste, the awakening of the palate. It is about the art of producing flavors and the response to these flavors and their extensions. This will point out some aspects of the role of food since the discovery of Brazil and the unfolding of this process in the eating ritual that follow the behavioral changes, mainly in Europe and Brazil: from the necessity to the exquisiteness, to the point of reaching a world of delight that was very close to the sins of gluttony and luxury. The author makes a historical narrative of food from the ancient world to the early modern age and focusses in Brazil with its syncretism, and the first influences of the Portugueses, africans and native Indians which make up our originality. The argument is based on the work of renown chefs and how they develop their language. From the preparation of the ingredientes and the presentation of the dishes to the ambiance of the restaurant. It was considered as a starting point the perception of the appreciation of various aspects of the dishes such as color, shape, texture, smell, temperature variation, allied to the evocation of memory – in short, the experience of those who cook and those who eat – initiates what is considered the aesthetic of taste

Thesis (Masters Diploma (Technology))--Cape Technikon, Cape Town,1989 / In iniustrialised societies which are !:JecoIninJ increasingly reliant on ca:rprter te::hnology the proliferation of han::lcraft would seem to be an anachramism. 'Ihis phenomenon has been explored from the viewpoint of the discipline of design and !OClre specifically in the areas relating to interiors and furniture. Against the background of a survey of contemporary activity in South Africa the historical evolution of craft has been examined in an attenpt to trace the relevance of this recent occurrence. The quality of idealism has been identified in that category of craft which emerged fram the Arts and Crafts Movement of last century. 'Ihis idealism in concert with the crafts emanating from the earlier material cultures of southern Africa has been proposed as a possible influence on design. A practical component has been included in the study in the form of experiments in han:icrafting pieces of furniture. The intention has been to gain urrlerstanding of the process and assist in furtherirrJ this particular craft.

Thesis (BTech (Surface Design))--Cape Peninsula University of Technology, 2010 / A personal. phenomenological expression and discovery has been conducted. through being immersed in the four elements of nature. namely water, air, earth and fire. Each series represents one of the four elements. The established, Westem interpretations of the four elements have been contrasted with my personal embodied interpretation. The result of this was a concept based on the discovery of my context within the environment, manifested into an artistic reflection of my appreciation of creation. Embodiment. therefore. provides the theoretical framework as it is the merging of the body and mind in our interactions with the outer world, as a way of gaining knowledge and experience (Hocking. Haskell & Unds (eds.). 2001: xviii). Phenomenology of perception, according to Langer (1989: 158). is the study of structures of perception. and as a supporting theory, it ties in with embodiment and how our thoughts and feelings are a result of our physical body's conversation and interaction with the outer world. Embodiment is a tool used to rediscover that dialogue. and is one I have applied in order to design and create subjective and conceptual fabric sculptures. I have embodied my sculptures. shaping and installing a meaning, dictated by my experiential body perception. These two theories were important for my research in order to engage with and interpret my body's experiences within the elements of nature Inspiration for my product was derived from Deepa Panchamia. for her structured yet organic. pleated structures and Annalisa Vobis for her use of organic inspiration and the resulting conceptual interpretations. Andy Goldsworthy was also inspiration to me for the emphasis he puts on the raw and natural aspects of experience and process. This is evident in the nonpermanent characteristic of his land art. An important factor of this range is the display and exhibition of the Sculptures. by recording each series within the context of each element it represents, it grounds and highlights the strong inspiration of nature and process. evident within each sculpture. The entire range is created from polyester organza that has been permanently pleated and then hand manipulated to create 3-Dimensional. abstract sculptures. The use of this fabric creates a transparent, ethereal atmosphere. where the inner and outer layers of the sculptures seem to merge and interact. reflecting and indicating a fleeting moment of ghostlike embodied expression. Apart from the sculptures being the result of a self-expressive. introspective process, they are also aesthetically based conceptual art pieces with great potential to being translated into a variety of applications.

Dans la présente recherche, on à cherché de décrypter la fructueuse présence de ces sources, à la fois théoriques, mais aussi visuelles, et même techniques, dans la complexe et multiforme œuvre de Marcel Duchamp. En particulier, on c’est efforcé de reconsidérer l’itinéraire duchampien dans son entièreté, en s’arrêtant sur ses collaboration cinématographiques et ses participation télévisuelles des années ’50 et ’60, au fin de relire à rebours toute son œuvre comme un exemple de « image mouvement » - donc une image étroitement liée aux expériences menées dans les laboratoires de physiologie et de psychologie appliqué entre la fin du XIXe et début du XXe siècle, et aux corrélatives réflexions philosophiques. / In this research, we tried to decipher the fruitful presence of these sources, both on the theoretical, but also on the visual, and even technical level, in the complex and multifaceted work of Marcel Duchamp. In particular, efforts have been made to reconsider the entire duchampian artistic itinerary, focusing on his cinematographic collaborations and his television contributions of the 1950s and 1960s, with the aim of revising all his work as an example of an « Image movement » (in the deluezian sense) - an image closely related to the experiments carried out in the laboratories of physiology and psychology applied between the end of the nineteenth and the beginning of the twentieth century and to the correlative philosophical reflections.