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Annually on 1 January, Japan's efficient postal system circulates 2.5 billion New Year cards to arrive simultaneously in every home in the country. Based on ethnographic fieldwork around Osaka, this article investigates the continued popularity of this exchange of paper forms in an age of smartphones and fast internet connections. Extending recent anthropological scholarship about digital data, I argue that these seemingly trivial cards have transformative potential. They are active, potent participants in the cultivation, accumulation, and ongoing care of multiple networks of social, economic, and spiritual relationships. Through an analysis of the material and aesthetic qualities of the cards, I highlight how their front‐back design embodies co‐existing, but contrasting, dimensions of Japanese relations along a qualification‐quantification and personalization‐standardization axis. The cards also produce depth and scale by linking intimate, domestic concerns with larger political and economic interests, while weaving together multiple temporal dimensions. Ultimately, they exemplify how the manipulation of surfaces can have profound cosmological consequences. These cards possess a spiritual and social potency that generates an all‐encompassing, intimate closeness that yearly rejuvenates society by reconstituting individuals as part of the whole. [ABSTRACT FROM AUTHOR]

LaTeX is a very popular platform for writing papers in economics, mainly due to its superior aesthetics in print. The question is whether the aesthetic (and other) benefits of adopting LaTeX outweigh the opportunity costs of learning and using LaTeX, which can be high even for experienced users. FaKe LaTeX using Microsoft Word has a remarkably similar visual appearance to papers produced in native LaTeX and it is easy to learn and use. This low cost alternative may be appealing to many economists. [ABSTRACT FROM AUTHOR]

The author calls for articles or papers to be published in the journal on topics about the Americas like culture, aesthetics, history, and ethics.

Background: Aesthetics medicine, a controversial branch of clinical medicine known for its high degree of commercialization, faces numerous conflicts, particularly in some developing countries. The global aesthetics medicine industry requires enhancements of its legal and supervision framework and risk management systems. Aims: This paper aimed to provide a comprehensive visual analysis of academic achievements related to regulatory and legal issues in the field of aesthetic medicine and to identify its development trends and research hotspots. Methods: The Web of Science Core Collection was employed to retrieve relevant studies, resulting in a total of 602 research articles after selection. Utilizing bibliometric methods and CiteSpace, this study analyzed the primary countries, institutions, authors, journals, hotspots, frontiers, and trends in this domain. Results: The findings indicated rapid increases in the number of published papers. The United States emerged as the leading contributor with 131 research papers and the highest intermediate centrality. Eleven keyword clusters were identified, with "adolescence" and "office‐based surgery" being the most recent topics. We also analyzed the trends and frontiers of legal research in medical aesthetics. Conclusion: The importance of informed consent has been increasingly emphasized, and research in the field of medical aesthetics has been gradually expanding beyond individual cosmetic procedures. The management system has become more comprehensive, moreover, guidelines and medical laws have been continually published, with research shifting toward a holistic perspective that encompasses patients, medical aesthetic providers, and regulatory authorities in the study of medical aesthetics regulation and legislation. This paper also proposes some innovative directions for future research and applications. [ABSTRACT FROM AUTHOR]

The 6th ITI Consensus Conference was held in Amsterdam on 17–19 April 2018. In preparation for the conference, 21 systematic reviews were written. They were divided into five main topics in dental implantology—surgery, prosthodontics, patient‐reported outcomes, complications/risk and digital technologies. Based on these review papers, the working groups prepared consensus statements, clinical guidelines and recommendations for future research. [ABSTRACT FROM AUTHOR]

This paper examines the relationship between performance and diplomacy during the 1990 Cambodian National Dance Company Tour to the UK. The tour stemmed from Oxfam UK's Kampuchea Campaign, which attempted to restore bilateral aid to the State of Cambodia by pushing for international recognition and a brokered peace settlement. Contributing to geographical work on diplomacy, the paper examines the different agents involved in the tour and their response to the dancers as diplomatic actors, examining the different types of performance in operation and their relationship to diplomacy. Dance was often oriented towards geopolitical ends, but there were also moments when dancers used their artistic performances to open up new modes of subjectivity and identity. The paper attends to these experiences and to how the dancers' actions extend existing conceptions of diplomatic subjectivity by considering vulnerability. In examining these dynamics, the paper also contributes to existing work on art and geopolitics, both through its diplomatic focus and its analysis of how diplomatic and creative practices were intertwined through an aesthetic of quietness. It thus attends to how geopolitical aesthetics matter, and how, in this instance, quiet aesthetics were a mark of international disempowerment. [ABSTRACT FROM AUTHOR]

This paper examines the ethical value of artistic artifacts in challenging the unequal valuation of working bodies with a focus on the contemporary art exhibition 'Useless bodies?' by Danish artists Michael Elmgreen and Ingar Dragset. Drawing on Judith Butler's work and posthuman theory, particularly Braidotti's contributions, the paper argues that this exhibition exemplifies how art can foster an ethics of interdependency, one that both critiques dynamics of misrecognition and imagines alternative futures. Furthermore, the paper proposes that this affirmative and critical ethics provides theoretical and methodological foundations for work and organization studies, prompting new questions about the significance of embodiment, esthetics, and artifacts for conducting (ethical) research. [ABSTRACT FROM AUTHOR]

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

This paper is about the literary representation of supply chains: the political‐material pathways by which goods are produced and delivered to consumers. It considers the ethical and aesthetic problems posed by the fact that the daily lives of people living in consumer societies in the Global North are deeply dependent on material networks that sustain violent relations between people and with earth's ecologies. How can we be ethical global citizens when we are already material global subjects? The paper considers how literature confronts this ethical‐representational challenge, and asks whether literature might help us take responsibility over the material economic networks that structure our everyday lives. I examine two novels that make use of strikingly similar techniques for narrating their characters' immersion in globalized economies: Ben Lerner's 10:04 (2014) and Ling Ma's Severance (2018). Both novels strive to represent the incomprehensible global economy by calling attention to their inability to represent it. I argue that this technique—which I call the "supply chain sublime"—ultimately reflects the incapacity of current forms of collective political agency to manage our material lives. [ABSTRACT FROM AUTHOR]

In this paper, we introduce a cost‐effective and efficient approach for dressing and immobilizing the penis following the use of a split‐thickness skin graft (STSG) to treat penile paraffinoma. [ABSTRACT FROM AUTHOR]

An introduction is presented in which the author discusses various reports within the issue including topics on spiritual enlightenment, psychological individualism, and the significance of aesthetic appreciation.

Although there has been increasing international emphasis on creativity in education, many creativity training programmes have focused on enhancing students' creative thinking skills with few studies on how these skills can be integrated into the teaching of subject disciplines. As a member of a Community of Practice project that ran from spring 2021 to summer 2022 at my university, I worked with ten university teachers from multiple disciplines to develop and implement instructional strategies to foster students' creative thinking skills. The paper documented the development, implementation and evaluation of creative thinking skills teaching strategies for a higher education course in visual arts. Both the development of the teaching strategies and the measurement of the impact on student learning have undergone vigorous research procedures and made reference to the existing literature. The effectiveness of the activities was assessed using multiple methods including the Torrance Test of Creative Thinking, a self‐report inventory, and a focus group interview. The results indicated the new learning activities enhanced students' creative thinking skills. They also showed that creativity can be developed through teaching while revealing that playfulness, freedom and structure, group interactions, and problem‐solving activities are beneficial for the development of creative thinking skills. Readers may better understand the different ways in which creative thinking skills instruction materials can be developed and incorporated into teaching of visual arts by making reference to the strategies suggested and the process of development in the paper. [ABSTRACT FROM AUTHOR]

The emergence of air power as the pre‐eminent method of warfare prompted a decision, made at the highest level, to form a new arm of the British military. The Central Landing Establishment was founded as parachuting headquarters in 1940, and tasked with developing and implementing the means for training and delivering airborne forces to the ground. With woeful shortfalls in aerial knowledge, experimentation proved crucial. The paper examines the recruitment and synthetic ground training of the British Parachute Regiment at Ringway Aerodrome (1940–1946), and their experimental exchanges with "specialists" in the art of falling. More specifically, in the absence of a recognised landing technique, and with associated high injury rates, Ringway turned to movement theorist Rudolf Laban to advance its embodied aerial practice. The paper will explore how militaries have long recognised the centrality of such embodied and aesthetic regimes to the doing of geopolitics. In particular, it foregrounds the multifaceted, micro‐bodily practices – operating through complex interconnected spatialities – that comprise the waging of war. In turn, it asserts the significance of the aesthetic in understanding how geopolitics takes place and is implemented in the world. In doing so, the paper unpacks the "art" within the art of war. [ABSTRACT FROM AUTHOR]

This article introduces the term "skinnedness" as a complementary notion to what we commonly refer to as skin. The term allows for a fundamental conceptual discussion that brings together human skin, animal skin, and other types of organic or artificial skin, such as fruit skin or the soft outer layer of a doll. The dermacritical approach developed here explores the unique affordances of skin and skin‐like phenomena, including their "graphordance," that is, the implicit invitation to write on them. Through a thorough discussion of works by Oskar Kokoschka, Hermine Moos, Lester Gaba, and Herta Müller, this paper offers a philosophically and historically informed perspective on the skinnedness of skin, integrating its symptomatic, semantic, and aesthetic dimensions from a comparative literary perspective. [ABSTRACT FROM AUTHOR]

This paper develops a psychogeographical approach to our apocalyptic urban present, based on a journey down a highway on the outskirts of the city of Iquitos in the Peruvian Amazon. The intensity of psychogeographical method brings out elements of the senselessness and violence of planetary urbanization imperceptible at more abstract levels of analysis, while the subjective impact of this spatial unravelling demands a surrealist psychogeography less attuned to the oneiric and marvellous than the chaotic and absurd. These conceptual reflections are interspersed with depictions of my walk along the highway, as fragments of a psychogeography of planetary urban breakdown. Instead of seeking to explain the political ecology of the road, I aim to contribute to an aesthetic of accelerating collapse that can undermine the normalizing ideological function of our sense‐making mechanisms. [ABSTRACT FROM AUTHOR]

When one is intentionally doing something, one represents that thing as a goal to be accomplished. One represents it practically. How should we characterize this practical representation further? In this paper, I argue that when one is intentionally doing something, one's representation of it as a goal to be accomplished must also be knowledge that one is intentionally doing that thing. And I argue that this knowledge must itself be one's intentionally doing that thing. I aim to show, then, that insofar as representing practically just is knowing practically, it is equally acting intentionally. [ABSTRACT FROM AUTHOR]

This paper builds theory on theatrical cultural design in corporate venturing units, such as manifested in playful esthetics (foosball tables and beanbags), startup lingo, or youthful behavior (building with Lego bricks and informal dressing). We develop a set of propositions, illuminating how theatrical cultural design can (de)legitimize corporate venturing units, highlighting three different functions: attention‐direction function, social categorization function, and escapist function. In addition, we explain how such changes in legitimization can influence the resilience of corporate venturing units. Our framework contributes to an emergent debate on innovation theater by pointing to the possibility of innovation theater as a constructive process in contemporary innovation management practices. [ABSTRACT FROM AUTHOR]

This paper outlines the potential gains for Constructionist research and praxis in modelling that might be obtained by recognising the power of the Patch—a humble computational being in the NetLogo modelling environment that has been overshadowed by its more popular fellow agent, the Turtle. To contextualise this opportunity, I describe how Constructionist modelling has thrived by promoting forms of learning that rely on learners' identifying with agents. I argue that patches are a neglected agent type in this multi‐agent modelling tradition, and that the possibilities for learners to adopt the patch perspective in support of exploratory forms of modelling and aesthetic expression have been under‐researched. Nevertheless, I show there are a variety of powerful ways for learners––both individually and in groups––to identify with patches. I describe ongoing research showing how taking an aesthetic approach to patches has the potential to support individuals and groups in powerful forms of learning with and about multi‐agent modelling. Practitioner notesWhat is already known about this topic Turtles (movable agents in Logo and Constructionist environments descended from Logo) can be 'transitional objects' that provide learners a way to make powerful ideas their own.These agents can be powerful 'objects‐to‐think‐with' in large part because they encourage learners to identify with them in a form of learning known as 'syntonic learning'.Expressive activities that draw on learners' aesthetic interests can support their learning with and about computational representations.Multi‐agent modelling is a powerful extension of Logo‐based learning environments that provides access to powerful ideas about complex systems and their emergent properties.In the multi‐agent setting, individual learners and/or groups of learners can identify syntonically with agents to provide entry points for reasoning about complexity.What this paper adds Patches (non‐movable agents in the NetLogo modelling environment) are under‐represented in the research on multi‐agent modelling, and the potential for learners to adopt the patches' perspective has been neglected.An aesthetically driven approach to patches can ground students' understanding of their expressive value.Participatory activities in which learners play the role of patches (called 'Stadium Card' activities) can ground the patch perspective, so that learners can achieve a form of syntonicity and/or collectively adopt the perspective of patches in the aggregate.Participatory activities that blend intrinsic and extrinsic perspectives on the patch grid can further enhance learners' facility with programming for patches and their understanding of patches' collective expressive power.Implications for practice and/or policy Balancing the focus between turtles and patches can enrich the modelling toolbox of learners new to agent‐based modelling.Patches do capture important aspects of individual and collective experience, and so can be good objects‐to‐think‐with, especially when conceptualising phenomena at a larger scale.The expressive potential of the patch grid is an important topic for computer science as well (eg, through 2D cellular automata). This is a rich context for learning in itself, which can be made accessible to groups of learners through physical or virtual participatory role‐play.Moreover, physical or virtual grids of people‐patches may exhibit novel aggregate computational properties that could in turn become interesting areas for research in computer science. [ABSTRACT FROM AUTHOR]

The Musée du Quai Branly Jacques Chirac (MQBJC) in Paris includes a commissioned ceiling mural by Australian artist John Mawurndjul. Neither the identity of the artist nor the cultural meaning of the work features strongly as part of the visitor experience for this work. Such interpretation is, in general, pushed to the margins in the museum's permanent exhibits. Paradoxically, the temporary exhibits are treated differently. The paper details how the power of John Mawurndjul's art is developed in relation to social activities on his own country as well as his cross‐cultural engagements with the broader art world. Cultural meaning and strong principles of aesthetics are developed through this creativity. The paper presents these insights as interpretational possibilities for Mawurndjul's mural and questions whether an avowed museum of world arts can continue to ignore the development of a more cross‐cultural definition of aesthetics and a relational approach to develop and interpret its permanent exhibits. [ABSTRACT FROM AUTHOR]

Through a conversational form, we weave together our experiences of making curious and conscious encounters with a work of art in a gallery, while grounding our nonlinear understandings of our shared aesthetic experience on the works of Maxine Greene, Peter de Bolla and Arnold Berleant. Holding, as our conceptual framework, seeds a kind of sensibility in us towards holding space to be dynamically in relation to each other and the work of art. The embodied and textual ways of conversing in this paper become a form of invitation to critically and creatively engage with the diverse meanings of aesthetic experience; an invitation to pause with and contemplate about how our embodied togetherness in the gallery led us to unexplored potentialities for seeking alternative ways of encountering the work aesthetically and internalising the aesthetic sensibilities and qualities that we experienced together in the gallery. [ABSTRACT FROM AUTHOR]

This paper considers the professionalization of literary studies in Australian universities. It traces ways in which its interdisciplinary formations have been shaped not only by the cultural contexts of colonialism and postcolonialism, but also by institutional factors and budgetary pressures. Nevertheless, it argues this framework has also created intellectual opportunities for positively reshaping the subject so as to bring it into discursive conversation with cognate fields. It suggests that the repositioning of Australian literature and literary studies in relation to World Literature may offer the prospect of opening up the field for the benefit of scholars the world over. [ABSTRACT FROM AUTHOR]

Background: The popularity of social media appears to be increasing the acceptance of cosmetic treatments, prompting more consumers to seek cosmetic treatments. As the estimated prevalence of acne vulgaris among adult women may be as high as 54%, acne is commonly observed among patients presenting for cosmetic treatments. Concomitant treatment of acne in the aesthetic patient population will improve overall clinical outcomes. Aims: The goal of this work was to deliver a high‐quality ethical and evidence‐based educational program to physicians and adjunctive health care providers to advance patient care. Methods: This paper is based on a webcam presentation with roundtable discussion by several notable experts in their field. Results: A range of topical medications, injectable products, chemical peels, and energy‐based devices are available for treating acne vulgaris. In most instances, these are compatible with rejuvenation procedures in the aesthetic patient. Conclusion: The growth of social media is raising awareness of aesthetic procedures and appears to be increasing the number of patients seeking aesthetic treatment. Educating patients about the importance of treating acne vulgaris can improve overall treatment outcomes. In most instances, the presence of acne is not a barrier to aesthetic care. [ABSTRACT FROM AUTHOR]

This paper examines the early aesthetic writings of Joseph Margolis from the late 1950s to the mid‐1960s in order to argue for the relevance of these works in understanding Margolis's later, more well‐known views in the philosophy of art. Specifically, the paper addresses Margolis's early essays on the definition and ontology of art and aesthetic perception. These essays not only show Margolis engaged in the most significant debates in mid‐century analytic aesthetics but also provide important indications of the limitations of that approach to thinking about the arts that informs the development of Margolis's later cultural realism. [ABSTRACT FROM AUTHOR]

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This paper is an aesthetic analysis of the practice of serpent handling by Christians in the Appalachian region of the United States. The purpose of this analysis is to understand serpent handling's aesthetic relationship to the Pentecostal tradition and exposit the implications of this relationship for the practice's legal status. The first section examines the history and defining characteristics of serpent handling and introduces the controversial problem of whether the practice can be categorized within the Pentecostal movement. The second section argues that serpent handling can be understood as belonging within the broader global Pentecostal tradition through engagement with the Pentecostal aesthetics of Nimi Wariboko. The final section concludes that if serpent handling is legible according to the aesthetic norms of Pentecostalism, a now broadly tolerated religious tradition in the United States, then this necessitates a wholesale reconsideration of antiserpent handling legislation. [ABSTRACT FROM AUTHOR]

A growing literature demonstrates the significance of aesthetics within processes of world‐class city making, as decisions about who gets to live and work in the city are increasingly made on the basis of codes of appearance. However, less attention has been paid to how such codes are (re)produced and (re)directed by informal workers and their organisations in everyday practice. Drawing upon a multisided ethnography in Kampala and Delhi, this paper explores the ways in which market vendors and waste collectors have responded to the proliferation of three aesthetic technologies: the identity card, the uniform, and the code of conduct. We show that workers have appropriated these technologies in creative ways in order to defend their livelihoods against the threat of displacement. However, this act of appropriation has come at the cost of the exclusion of the more vulnerable workers, who now find their activities policed not only by the state but also by a range of non‐state organisations. These findings contribute to debates on labour organisation and world‐class city making by demonstrating the ways in which aesthetic rationalities emerge through an encounter with the tactics of everyday life. [ABSTRACT FROM AUTHOR]

In responding to the three creative interpretive discussions in the symposium on my book Philosophy and the Art of Writing, this paper explores the different styles of philosophical discourse and their role in the practice of philosophy as a way of life that extends beyond the discursive and that combines self‐cultivation with care for others in the ethical‐aesthetic pursuit of living beauty. In advocating this aesthetic model of philosophical life over a purely therapeutic model, I suggest how the former can incorporate the latter's concerns for spiritual health and liberation. In developing my response to the symposiasts while elaborating on the themes of my book, I consider issues of ineffability, creative performance, embodiment, truth, heroism, vulnerability, possession, art, spirituality, love, and liberation. [ABSTRACT FROM AUTHOR]

Human aesthetics play a significant role in video game development, emotional‐aware robot design, online recommender systems, digital human, and other domains of research focusing on human‐computer interactions. Social network user recognition based on aesthetic preferences is an emerging research domain. In this paper, a novel deep learning architecture is proposed for multi‐modal audio‐visual person identification that combines audio and visual aesthetic features. A pre‐trained ResNet architecture is utilized to extract high‐level features from a set of user‐preferred audio and image samples. A novel deep learning‐based fusion technique called residual‐aided intermediate fusion (RAIF) is introduced in order to effectively merge the audio and visual features. The proposed RAIF method achieved an accuracy of 98% and a loss of 0.01 on a proprietary multi‐modal dataset, indicating its effectiveness in fusing audio and visual information. [ABSTRACT FROM AUTHOR]

Exploring textual accumulation as a methodological practice, this paper (first presented as the 2021 Antipode American Association of Geographers Lecture on 8 April) works through how the aesthetics of black miscellanea, and the engagement with overlapping and conflicting texts that are affixed, uncovers moments of clarity that complicate typical conceptualisations of opacity. The moments of clarity unravel as lessons, with the aesthetics of black miscellanea signalling an experiment in, and the potential politics of, dynamic collaboration, diasporic literacy, and counsel. Krista Franklin's Under the Knife anchors the discussion. [ABSTRACT FROM AUTHOR]

Transparency is no longer limited to specific functions (e.g. illumination of the interior) but has become a tool of formal expression itself. Apart from the standard understanding of transparency as the use of light‐permeable materials in facade design, one can find other innovative and creative interpretations. Usually, technical solutions have priority over aesthetic considerations in many situations many purely formal trends find their origin in technology and design decisions that are governed by rational issues. The impression of depth was initially created as a by‐product of double facades, however, also other innovative techniques are used to enrich the spatial depth of the facade, multiply the observed plans and to achieve the picturesque effects of blur, stratification or movement. Elements of artificial or authentic space stratification are present in almost every analyzed case‐study, providing important insights for the formulation of formal, architectural trends. The presented paper describes and provides a simplified typology of the most recent and distinct trends regarding the introduction of the spatial depth into the facade. Many pre‐existing techniques (meaning existing before the year 2000) are still used, but new techniques also appear. The presented research indicates that the depth of the facade is what stimulates architects to search for new ways of utilizing light‐transmitting materials. Pane superposition could be one of the ways to achieve this. [ABSTRACT FROM AUTHOR]

While Kierkegaard creates characters who represent various ways of existing as lovers in the aesthetic and the ethical spheres, namely, Johannes the Seducer and Judge William, he does not have a corresponding character for love in the religious sphere. Is there truly only marginal space for romantic love in Kierkegaard's religious sphere, or did his own personal history prevent him from being able to imagine what that might look like? This paper examines a commonly overlooked discourse, "On the Occasion of a Wedding," for Kierkegaardian insights on erotic love in the religious sphere. Against understanding erotic love as a moment (in the aesthetic sphere), or a duty (in the ethical sphere), this paper explores how "On the Occasion of a Wedding" recasts erotic love as gift. Kierkegaard stages the "imagined occasion" of a wedding as a phenomenological reduction through which love presents itself with gift‐like characteristics. Respecting the gift‐status of love transforms the lover into a grateful recipient rather than a seducer or a conqueror. This paper concludes that the proper response to love as gift would be neither to refuse it in favor of nihilistic uncertainty nor to possess it through triumphalistic objectivity, but to humbly embrace both its "already" and its "not yet" dimensions. [ABSTRACT FROM AUTHOR]

This paper presents an argument for aesthetic knowledge in the arts and more specifically, for an aesthetic model of literature to be central in the curriculum. I argue that there are important distinctions to be made between the everyday experiences unique to us as individuals, and the universality of human experience. In the English Literature curriculum, this important difference is manifested in the status of the text because it is through a triadic engagement between educator, text and pupil that the meanings of experience can be evoked objectively. Through changing cultural and policy contexts in the post-war period, the text has been marginalised in the curriculum. This has contributed to two detrimental effects. The first is that direct personal responses and experience have been overvalued in the English Literature curriculum. The second is that the idea of objective knowledge in literature has been misconstrued as knowledge of its linguistic substratum. Consequently, an important form of aesthetic knowledge is largely absent in Britain's secondary curriculum. The paper is organized into three sections. Section one describes main shifts in the cultural and policy contexts. Section two provides a brief empirical example of how shifts at the macro-level have been re-contextualised within the implied curriculum found in examples of national exams. Section three elucidates the deeper significance of these changes in light of a theoretical discussion of Kantian aesthetics and implications for a social realist approach to knowledge, curriculum and pedagogy derived from Durkheim. [ABSTRACT FROM AUTHOR]

This paper is concerned with the affective power of light, darkness, and illumination and their role in exposing and obscuring processes of rapid urban change. Little academic attention has focused on how lighting informs multiple, overlapping, and intersecting urban temporalities and mediates our experience of an ever‐changing city. This paper foregrounds a walk through the illuminated city at night as an epistemic opportunity to develop an embodied account of material and temporal change in ways that disrupt the aesthetic organisation of the sensible world at night. By detailing the discontinuous experience of walking through differently lit spaces, the paper develops novel ways of conceptualising the experience of urban change that unsettle common understandings of subjectivity, temporality, and the city. The paper draws on a single night's walk from Canning Town to Canary Wharf in east London – an area that has recently undergone rapid change, including the erection of enclaves of high‐rise development. By accentuating the shared experiences of walking with light, we reveal the affective capacities of light and dark to conceal and expose wider material, embodied, and temporal urban changes but also how we might challenge the organisation of the nocturnal field of the sensible. [ABSTRACT FROM AUTHOR]

The growing scholarship on settler colonialism largely understudies aesthetics. Settler colonial logics work not only through the elimination, dispossession, and criminalization of Indigenous populations but also through the erasure of Indigenous narratives and aesthetics. Aesthetics communicate a particular system of knowledge and power that can either refute or perpetuate settler colonial projects. I use the term "settler aesthetics" to foreground an understanding of aesthetics as dynamic socio-spatial practices through which state and non-state actors assert power, construct particular visions of a city, and shape conditions of belonging. Settler aesthetics demonstrate how the logic of elimination and the work of settler memory reproduces and is reproduced through various visual modalities. I argue that as geographers, we must examine both contemporary settler colonial projects that continue codifying cities as purely settler spaces without Indigenous presence and resistance, and spaces that insist on Black, Latinx, and Indigenous presence and livingness. This paper therefore explores how scholarship on decolonizing and anti-colonial art practice and theory can inform emerging scholarship on settler colonial urbanism that centers perspectives and practices of Black and Indigenous presence and resistance. [ABSTRACT FROM AUTHOR]

Background: It is crucial to use innovative tools to gain clinical reasoning skills through experiential learning in pharmacy education, and one of the most effective tools used in this is virtual reality. However, the lack of research that empirically demonstrates the instructional principles of virtual environment design, especially in the clinical setting, has resulted in a significant gap in the current literature. Aim: In this study, it was aimed to determine the instructional design principles of a virtual environment for the clinical pharmacy. Method: The study was conducted as a design‐based research. The data of the study related to three components of the developed virtual reality environment in pharmacy education (VRPE). These components, scenario development interface‐scenario development interface, virtual environment, and scenario, were collected through interviews, observation, document review, and a system usability scale. Instructional design principles for the VRPE were determined through analysis of the collected data. Results: The prominent instructional design principles of the VRPE were revealed as immersion, interaction, diversity, flow, aesthetics‐ergonomic‐universal design, informing, and retest availability. The significance of the study was the adoption of a holistic perspective in the design of a virtual reality environment for pharmacy education. In addition, one of the most critical features of the study was eliminating the expertise barrier in virtual environment design. Thus, it was concluded that the VRPE is an extraordinary tool that can be used for pharmacy education to promote experiential learning. Lay Description: What is already known about this topic: Enrichment of pharmacy education with innovative practices and educational technologies is encouraged.Theories to guide research and application development regarding virtual environment design are lacking.Features such as immersion, interaction and flow in virtual environment design have been studied in various studies. What this paper adds: The research brings a holistic perspective on the design of virtual environments in pharmacy education.The research removes the barrier of expertise in virtual environment design with the scenario development interface.The results expand the literature by revealing instructional design principles on the issues to be considered in virtual environment design. The implications of study findings for practitioners: Further studies on context‐specific design of multi‐user virtual environments and the factors and design principles required could be conducted.Future studies should explore the skills (e.g., cognitive, and affective) that would be developed by these design principles.The impact of virtual reality on professional life or whether the design principles are valid for these domains could be determined. [ABSTRACT FROM AUTHOR]

The relationship between form and function has long been a point of debate in the design community. Particularly, the famous principle 'form follows function' has been a focal point of such discussions. Since its introduction, many studies have been undertaken by theorists and practitioners to challenge or disprove this injunction. Furthermore, from the modern perspective of sustainability which has attracted global attention over the past few decades, there is a crucial link between design and sustainability. That is, poor designs, generally, lead to poor products which contribute to environmental and economic degradation. Consequently, understanding the relationship between form and function in design could contribute to a more sustainable environment. In this paper, first, we explore the views of some influential figures of the twentieth century's industrial design on this essentially philosophical, yet practically crucial, axiom of modernism. Then, we propose a design process model for aesthetic‐sustainable industrial design drawing on a theory of design aesthetics and the principles of circular design. This model integrates a circular design module into the industrial designer's theory of aesthetics to complement the design process in terms of sustainability. The proposed design process model could help designers establish an appropriate relationship between the form and the intended function of a product to contribute to lowering its environmental impact. [ABSTRACT FROM AUTHOR]

Contemporary profit‐oriented development and consumption cultures have led to unsustainable behaviours and lifestyles and prevented our achievement of the sustainable development goals (SDGs). This article explores how arts and aesthetics could form a trend of thought to reshape current production and consumption patterns. I argue that the Arts and Crafts movement of 19th‐century Britain provides many clues for today's industries and societies to create sustainable values, including its defence of labour value, promotion of arts education, and pursuit of nature and honest aesthetics. This article analyses the movement's historical contexts and vital propositions and associates them with the United Nations' SDGs. The implications are multidimensional and interconnected. Firstly, developing small‐scale and customised products or services that meet customers' cultural and life experiences might extend product longevity. In addition, such manufacturing transformation requires incorporating craft ideas into various industries and techniques and forging cross‐sector collaboration to enable open innovation and employment equity. Finally, enterprises could work with public sectors and cultural institutions to promote community empowerment and everyday aesthetics, cultivating public awareness of responsible production and ethical consumption. This paper provides interdisciplinary discourse to turn arts and crafts values into tangible schemes for sustainable development. [ABSTRACT FROM AUTHOR]

Aesthetic quality assessment for photographs is an important research topic since it can be used for a number of applications, such as image database management or image browsing. In 2012, the aesthetic visual analysis (AVA) dataset has been proposed. It has since then been used to train the majority of computational models of aesthetics assessment. We observe that AVA is mainly composed of competitive photographs which notion of aesthetics differs from other kinds of photographs, such as professional photographs. In this paper, we evaluate whether or not recent aesthetics assessment models generalize well and perform well over professional photographs. We noticed that the different models we tested behave differently on both categories, and therefore do not generalize well. Besides, we fine‐tuned one of the tested model using professional photographs and the results show that this fine‐tuning is effectively improving the coverage of the methods. [ABSTRACT FROM AUTHOR]

According to tradition, aesthetic value is non‐contingently connected to a certain feeling of liking or pleasure. Is that true? Two answers are on offer in the field of aesthetics today: 1. The Hedonist answers: Yes, aesthetic value is non‐contingently connected to pleasure insofar as this value is constituted and explained by the power of its possessors to please (under standard conditions). 2. The Non‐Affectivist answers: No. At best, pleasure is contingently related to aesthetic value. The aim of this paper is to point to a blind spot in the dialectic between these two standard positions by defending a third neglected answer to the question above, the answer of the Value‐Meriting‐Pleasure [VMP] advocate. According to this answer, a certain kind of (cognitive and responsive) pleasure is connected to aesthetic value non‐contingently, but also non‐hedonically. VMP is the view that objects of aesthetic value are non‐contingently related to pleasure insofar as they merit a certain kind of pleasure. But, pace the hedonist, those objects are valuable (those that are to be engaged with etc.) neither on account of their capacity to give pleasure nor on account of the hedonic value of the attitude they merit. [ABSTRACT FROM AUTHOR]

Objective: To systematically review the literature in order to investigate the efficacy and safety of surgical and non‐invasive penile enhancement procedures for aesthetic and therapeutic purposes. Methods: A systematic search for papers investigating penile enhancement procedures was performed using the MEDLINE database. Articles published from January 2010 to December 2019, written in English, including >10 cases, and reporting objective length and/or girth outcomes, were included. Studies without primary data and conference abstracts were excluded. The main outcome measure was objective length and/or girth improvement. The review was conducted in accordance with the Preferred Reporting Items for Systematic Reviews and Meta‐Analyses (PRISMA) statement. Results: Out of 220 unique records, a total of 57 were reviewed. Eighteen studies assessed interventions for penile enhancement in 1764 healthy men complaining of small penis. Thirty‐nine studies investigated 2587 men with concomitant pathologies consisting mostly of Peyronie's disease and erectile dysfunction. Twenty‐five studies evaluated non‐invasive interventions and 32 studies assessed surgical interventions, for a total of 2192 and 2159 men, respectively. Non‐invasive interventions, including traction therapies and injection of fillers, were safe and mostly efficacious, whereas surgical interventions were associated with minor complications and mostly increased penile dimensions and/or corrected penile curvature. Overall, the quality of studies was low, and standardized criteria to evaluate and report efficacy and safety of procedures, as well as patient satisfaction, were missing. Conclusion: The quality of the studies on penile enhancement procedures published in the last decade is still low. This prevents us from establishing recommendations based on scientific evidence regarding the efficacy and safety of interventions that are performed to increase the penis size for aesthetic or therapeutic indications. [ABSTRACT FROM AUTHOR]

The question of racial identity in the process and outcome of aesthetic surgery is gaining increasing attention in bioethical discourse. This paper attempts an ethical examination of the racial identity issues involved in aesthetic surgery. Dominant moral values in Western culture are explored in the evaluation of aesthetic surgery. The paper argues that African values are yet to receive the universal attention they arguably deserve especially in the rethinking of values underlying aesthetic surgery as racial transformation. Through a consideration of some moral-aesthetic values in the Yorùbá-African culture, this paper further re-evaluates the ethics of aesthetic surgery. The paper contends against the propagation of aesthetic surgery as a new form of bolstering racial divides and identity in the evolving cosmopolitan age. The position defended in the paper is that some values from Yorùbá-African culture are useful in the consideration of the ethics of aesthetic surgery and more importantly, in avoiding the racial identity bias embedded in aesthetic surgery. The paper concludes that if due consideration is perhaps given to some African moral-aesthetic values in the global aesthetic surgery industry, some of the evolving moral and racial complexities would be better mediated. [ABSTRACT FROM AUTHOR]

There exist previous works in computing the visual aesthetics of 3D shapes "globally", where the term global means that shape aesthetics data are collected for whole 3D shapes and then used to compute the aesthetics of whole 3D shapes. In this paper, we introduce a novel method that takes such "global" shape aesthetics data, and learn both a "global" shape aesthetics measure that computes aesthetics scores for whole 3D shapes, and a "local" shape aesthetics measure that computes to what extent a local region on the 3D shape surface contributes to the whole shape's aesthetics. These aesthetics measures are learned, and hence do not consider existing handcrafted notions of what makes a 3D shape aesthetic. We take a dataset of global pairwise shape aesthetics, where humans compares between pairs of shapes and say which shape from each pair is more aesthetic. Our solution proposes a point‐based neural network that takes a 3D shape represented by surface patches as input and jointly outputs its global aesthetics score and a local aesthetics map. To build connections between global and local aesthetics, we embed the global and local features into the same latent space and then output scores with the weights‐shared aesthetics predictors. Furthermore, we designed three loss functions to supervise the training jointly. We demonstrate the shape aesthetics results globally and locally to show that our framework can make good global aesthetics predictions while the predicted aesthetics maps are consistent with human perception. In addition, we present several applications enabled by our local aesthetics metric. [ABSTRACT FROM AUTHOR]

We are living in the era of street art. Since Nick Riggle's pivotal work on the definition of street art, several philosophers have addressed issues in the philosophy of street art. The goal of this paper is to summarize the literature. I consider the following matters, which have been at the core of philosophical discussions on street art: demarcation, value, illegality, and the ethical foundation of intellectual property (IP) protection. In answering the question 'What is street art?,' philosophers have generally resisted skeptical approaches by developing a wide range of real and essentialist definitions of street art (Section 2). When considering street art's value, I distinguish between aesthetic and non‐aesthetic centered accounts. If the former focus on the aesthetic side of our experience of street art, the latter generally place emphasis on its activist nature and political significance (Section 3). In discussing the relationship between street art and illegality, I canvas different takes on the issue. If for some scholars illegality is either a necessary or sufficient condition for street art, philosophers tend to agree that it is neither, while not denying its relevance at the level of identity and authenticity (Section 4). Finally, I consider matters of IP protection of street art. On the one hand, copyright optimists defend the view that current IP legislations may very well have a positive impact on the promotion and preservation of street art. Pessimists, on the other hand, argue that an extension of copyright privileges to works of street art is likely to jeopardize the counter‐cultural and rebellious nature of this urban art kind (Section 5). [ABSTRACT FROM AUTHOR]

Famously, Kant describes space and time as infinite "given" magnitudes. An influential interpretative tradition reads this as a claim about phenomenological presence to the mind: in claiming that space and time are given, this reading holds, Kant means to claim that we have phenomenological access to space and time in our original intuitions of them. In this paper, I argue that we should instead understand givenness as a metaphysical notion. For Kant, space and time are "given" in virtue of three related facts: (a) they are necessary grounds for the existence of all other spatial and temporal possibilities; (b) in virtue of being such grounds, they are metaphysically linked to all other represented spatiotemporal things; and (c) as representations, space and time issue from the nature of our faculty of sensibility rather than from an arbitrary act of choice. Understanding givenness in this non‐epistemological way helps us recover what is plausible in both "intellectualist" and "anti‐intellectualist" readings of the Transcendental Aesthetic. Anti‐intellectualists are correct that space and time are given in mere sensibility, but intellectualists are correct that we depend on the understanding for consciousness of space and time. [ABSTRACT FROM AUTHOR]

J.R.R. Tolkien (1892–1973) was highly influential in shaping modern fantasy literature and popularising medievalism. Scholarship has examined various aspects of Tolkien's literary imagination in The Lord of the Rings (1954–1955); however, to date, there has been no thorough scrutiny of the significance of aesthetics in his creative works. This paper contends that Tolkien's magnum opus as part of his long‐life myth‐making project was shaped profoundly by the late 18th‐century aesthetics of the sublime. It draws on Burkean physiological sublime to argue that contrary to Kantian rationality, certain Tolkienian landscapes demonstrate the qualities of the natural sublime and generate physical experiences on the observer that accentuates the primacy of emotions over reason. The article proposes a new direction in Tolkien studies by highlighting the aesthetic overtones of Tolkien's engagement with the sublime, which played a significant role in constructing his English mythology. [ABSTRACT FROM AUTHOR]

The traditional labelling of archive documents (e.g., hand stamping) entails several limitations. It could affect the aesthetic value of the archive document and is easy to find and remove in case of the theft of the document. The use of a label that would not be easily visible by the naked eye would resolve both of these problems. One possibility in designing such label is the use of the elements that have a good response in X‐ray fluorescence (XRF) spectrum, are not disturbing in colour, and are not usually present in the archive materials themselves. This study focuses on such type of labelling, specifically, the tags based on the oxides of lanthanum, dysprosium, samarium, gadolinium, and niobium. For the material to be taken into account by the community, it has to fulfil several important characteristics, such as harmlessness to the archival documents, non‐toxicity, or long‐term stability. In the study, the long‐term stability of these tags was studied on model samples of lignocellulose materials subjected to several types of artificial ageing. The colour changes and changes in the intensity of the responses of the individual elements in the XRF spectra were evaluated. To simulate the practical use, the tags of minimal visibility to the naked eye were printed on samples of real archive materials, and their potential for detection using a handheld XRF spectrometer was studied. Both of the research parts should help bring this type of labelling closer to the field application. [ABSTRACT FROM AUTHOR]

In this paper, Andrea Fiore sketches the notion of familiarity in Dewey's thought, particularly in its relations with education, aesthetics, and art. The importance of that notion emerges in Dewey's well‐known writings such as How We Think, The School and Society, and Art as Experience, where he shows that not only does familiarity play a fundamental role in our lives, but it also constitutes a helpful tool to make our experience deeper and richer. This is particularly evident in two aspects or functions related to familiarity: recognition and interpretation. For Dewey, especially the latter has an educational value through aesthetics and art, because it allows us to activate the peculiar capacity of human beings to transform the quality of experience. [ABSTRACT FROM AUTHOR]

In this paper, we first give some historical background and trends in PV module technologies with a focus on the growing trend towards 'PV everywhere', mainly targeting improved aesthetics, dimensional freedom including curved surfaces, weight concerns and specific reliability testing. This section acts as an introductory review of the field. Then, in the following sections, we elaborate on two technological developments in this field where we are active: (i) multi‐wire interconnection and (ii) advanced encapsulation. In terms of multi‐wire interconnection, this technology offers improved aesthetics, a similar performance and dimensional freedom compared to the traditional tabbing‐stringing process, and the experiments show promising results on extended reliability testing, including thermal cycling, damp heat and humidity freeze, as well as high‐temperature storage. In terms of advanced encapsulation, we introduce our approach for curved surfaces using a double‐membrane laminator and present results on fabricating curved modules, targeting as demonstration examples on the one hand, glass–glass sunroofs, and on the other hand, lighter‐weight bonnets for automotive applications. We mix examples targeting building and automotive applications, to illustrate the variety of requirements (colours, curvature, weight, reliability, safety), although this variety within building and vehicle applications is probably as large as between them. [ABSTRACT FROM AUTHOR]

The paper offers a reading of Ivan Bunin's "The Case of Cornet Elagin" to argue that this underappreciated story affords insight into one of the central issues debated by Bunin scholars: the writer's place within realist and modernist practice. "Elagin" dramatizes Bunin's ambivalent relationship with both and reveals how his embrace of modernist aesthetics is qualified by his distaste for modernist ethics, especially for the culture of decadence. To trace how this dynamic of engagement and critique plays itself out in "Elagin," the paper explores the story's formal conception, its relationship with previously overlooked documentary sources, and its place within the tradition of courtroom narrative. [ABSTRACT FROM AUTHOR]

What is it like to give birth? Or have your first child? Or see red for the first time? Arguably, knowing how to answer these questions requires having certain experiences. Arguably you cannot get to know what it is like to give birth, for instance, by simply reading someone's birth story. If this is so, then there are certain limits on testimony as a source of knowledge. This claim is familiar: it has been argued that we cannot, or should not, rely on testimony when it comes to moral matters. And argued that we cannot, or should not, rely on testimony when it comes to aesthetic judgement. This paper aims to build an explanation of our pessimism about testimony as to what experiences are like that also covers moral and aesthetic testimony, about which we can be similarly pessimistic. And the explanation given is such that it can make good sense of the optimism we can demonstrate with respect to each of these domains. [ABSTRACT FROM AUTHOR]