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This article weaves together three main strands: first, the ambiguities of mirror metaphors in relation to concepts of artistic representation and expression; secondly, the double-sided and sometimes paradoxical influence of Plato in this area of aesthetics; thirdly, the need to interpret long-lasting metaphors in the history of ideas not as static figures of speech but as dynamic tropes which shift in sense and implications with changes of context. In constructing and exploring this thematic configuration of mirrors, metaphors, and Plato, the chief concern is to draw out—via a small selection of texts, including passages from Schopenhauer and Nietzsche—some underappreciated complexity in the various classical traditions that have contributed to aesthetics and philosophy of art. [ABSTRACT FROM AUTHOR]

Intelligence augmentation was one of the original goals of computing. Artificial Intelligence (AI) inherits this project and is at the leading edge of computing today. Computing can be considered an extension of brain and body, with mathematical prowess and logic fundamental to the infrastructure of computing. Multimedia computing—sensing, analyzing, and translating data to and from visual images, animation, sound and music, touch and haptics, as well as smell—is based on our human senses and is now commonplace. We use data visualization and sonification, as well as data mining and analysis, to sort through the complexity and vast volume of data coming from the world inside and around us. It helps us 'see' in new ways. We can think of this capacity as a new kind of "digital glasses". The Internet of Living Things (IOLT) is potentially an even more profound extension of ourselves to the world: a network of electronic devices embedded into objects, but now with subcutaneous, ingestible devices, and embedded sensors that include people and other living things. Like the Internet of Things (IOT), living things are connected; we call those connections "ecology". As the IOT becomes increasingly synonymous with the IOLT, the question of ethics that is at the centre of aesthetics and the arts will move to the forefront of our experience of and regard for the world in and around us. [ABSTRACT FROM AUTHOR]

Institutionally, these different ideas concerning the relationship between art and science were combined in the organization of the Academy, which consisted of three departments: a I physical-psychological i , a I sociological i , and a I philosophical i department. Behind this combination of institutional units of GAKhN and the research directions located within it was the idea of achieving a "synthesis" of theoretical disciplines, reflection on the practice of art, as well as art education and the presentation of art. In addition, efforts were also made in other artistic spheres to systematically develop art criticism on a new basis through its connection with science and the practice of art (for examples from the theater section of GAKhN, see Gudkova [8]). The study of the "Encyclopedia" as well as the practice of conceptualization at GAKhN was the subject of a research project at the Lotman Institute of Russian Culture entitled "Art Research between Shorthand and Encyclopedia. [Extracted from the article]

With this paper, from the perspective of ethics at the workplace, we problematize the taken-for-granted assumptions embedded in the use of artistic freedom in creative processes. Drawing on the notion of inequality regimes (e.g. Acker, 2006) and using empirical material from a performing arts organization in Sweden, we explore how the assumptions of artistic freedom facilitate and legitimize the emergence of inequality regimes in invisible and subtle manners. Our findings indicate that non-reflexive interpretations of the concept of artistic freedom result in ethical dilemmas that impact the organization's pursuits of equality work. The aesthetic ethics oriented around the notion of 'art for the sake of art' tends to camouflage the centralization of aesthetic authority in processes where formal hierarchical structures are missing. Consequently, asymmetrical power relations between the Directors, actors, and producers are legitimized. Ethics of quality of art and that of the social ideal of equality have been constructed as dichotomic notions indicating that aesthetic ethics of art can only be preserved at the expense of social objectives of equality. We argue that the current interpretative practices of 'artistic freedom' in some cultural organizations add little value of ethics to the freedom of expressing artistic opinions and in achieving the social ideal of equality but lead to the emergence of inequality regimes in the artistic work processes. [ABSTRACT FROM AUTHOR]

New energy landscape architecture is a new energy building integrated with aesthetics and art design, which can meet people's dual needs of low energy consumption and architectural aesthetics. In recent years, the development speed of new energy landscape architecture is increasing, and the design and research of new energy landscape architecture has become a hot spot. The new values, aesthetics, technology and design concepts will always stimulate and promote the urban landscape design to constantly enrich itself. Therefore, it is a new exploration direction to shape new urban landscape design through multimedia technology. Multimedia technology uses computer to process text, graphics, images, sound, animation, video and other information to establish logical relationship and human–computer interaction. The virtual reality technology in multimedia integrates the latest development achievements of computer graphics, multimedia, artificial intelligence, multi-sensor, network, parallel processing and other technologies. Multimedia technology makes the colour of the landscape form the most visual impact factors, it is easy to leave a deep impression on people, to achieve the visual effect of the landscape. Therefore, this paper studies soft multimedia assisted new energy productive landscape design based on the environmental analysis and edge-driven artificial intelligence. The designed framework is efficient through the comparison simulations. [ABSTRACT FROM AUTHOR]

Led by the philosophers Max Dessoir and Emil Utitz, the I Allgemeine Kunstwissenschaft i was an ambitious interdisciplinary initiative that aimed to lay the ground for a rigorous, integral and "objective" study of art. Most problematically, the I Allgemeine Kunstwissenschaft i failed to achieve the explicit objective it set itself, namely to found an autonomous discipline, a "general science of art", that would put the study of art on a scientific footing. In response to these challenges, Collenberg-Plotnikov chooses to emphasise rather than synthesise or neuter the inherent diversity, methodological openness and dialogical nature of the I Allgemeine Kunstwissenschaft i . [Extracted from the article]

In addition to being an accomplished mathematician and to being involved in the economic and philosophical circles of interwar Vienna, Karl Menger (1902–1985) had a lively interest in Modern Art. He appreciated the work of Hans Masereel, the Belgian graphic novelist; Peter Alma, the Dutchman associated with De Stijl; and the German Gerd Arntz, Otto Neurath's right-hand man and the artist behind the Isotype system of pictorial education. He particularly liked the work of De Stijl's Piet Mondrian, even making a pilgrimage to his studio in Paris in the late 1920's. Menger perceived connections between the shift towards abstraction in such artwork and the rise of abstraction in his own field of mathematics. He favoured the clarity evident in such images, but, as he was keen to point out, not necessarily their political connotations or mystical underpinnings. This paper traces Menger's involvement with art and aesthetics from his early days as a student in Vienna and the Netherlands to his arrival as an intellectual émigré in the American Midwest. [ABSTRACT FROM AUTHOR]

"An old melody in a new song: aesthetics and the art of psychology" provides comprehensive analysis of the history of 'psychological aesthetics' and considers ways of its future growth. Jovanovic (2018) and Allesch (2018) trace the process of the conception of Aesthetics by Baumgartner, who related aesthetic experiences with sensual and cognitive processes. Subsequently, studies on aesthetic experiences developed predominantly either in objectivist or subjectivist directions, rejecting systematic approaches. Reductionist views prevailed till the appearance of the theory of imagination in cultural psychology. Imagination is considered as a higher mental process. It is the process of exploration through and by means of systematically organized thinking-feeling-acting processes, beyond what is already known, available, achieved or typical. Imagination is activated occasionally, when existing conditions aren't satisfactory in some way or new challenges arise. Imagination is the synthesis of top-down and bottom up processes (Tateo 2018b) and has a transformative power for individuals and sociocultural systems. Particular case studies of the role of music (Klempe 2018), participatory art and the exploration of the meaning of pilgrimage to Ikea (Kristensen 2018) illustrate the work of imagination in terms of systematic interrelatedness of sociocultural factors with individual meaning-making and affective processes. This paper provides the review of inspirational theoretical and empirical material which could serve as a foundation for further advancement of culturally and psychologically informed theory of aesthetics and imaginative processes. It aims to contribute in building ground for moving beyond the reductionist limits and in the construction of systematic approach to human mind. [ABSTRACT FROM AUTHOR]

Rembrandt has been characterized as "the master of the passions of the soul". His painting production has always elicited the viewers' strong emotional responses. Τhese responses raise the question regarding why Rembrandt's work has been singled out as the quintessential example of the expression of emotions both during the 17th century, as well as in recent times. I will try to approach the issue through two different yet interconnected routes. First, I will explore the tools and terms through which the question of the expression of emotions in Rembrandt's oeuvre can be approached. Ancient rhetorical topoi, as well as ideas stemming from Dutch theater writers, drama and art theorists, scholars and art connoisseurs on the rendition of the emotions provide useful points of view. Secondly, I will approach the question by addressing certain stylistic and compositional solutions that Rembrandt suggested, which can be tied to current notions about lifelikeness and the beholder's empathy. Foremost among Rembrandt's aesthetic choices was his handling of light and of paint which accounts for a great deal of unfavorable criticism to his work during the 17th century. I would like to suggest that this handling of light and paint serves as Rembrandt's most important emotive vehicle and furthermore that it introduces us to the idea of wonder and the concept of the sublime in terms of which his depiction of emotions may be understood. Accordingly, I will try to establish an intellectual network in the 17th-century Netherlands for the sublime. [ABSTRACT FROM AUTHOR]

The article focuses on the aesthetics of the poems of poet and historian Catallus and the scholarly works of theologian Theodore Beza. Topics discussed include the contribution of Catullus to the Renaissance literature, the characteristics of Neo-Latin poets, the Lesbia poems, and the association of these poems with the theories of Beza.

This writing analyzes the use of symbols, art, and aesthetics in the first phase of Hong Kong's 'Occupy Central' movement. Protestors, demonstrators, and strikers appropriate symbols to put their political messages across, sometimes essentializing or reducing complicated and complex ideologies or reform initiatives to pictorial symbols and performative sessions to parsimoniously put their points across. Between the start of Hong Kong's 'Occupy Central' movement on 27 September 2014 and its temporary pause on 6 October 2014, many symbols and art forms were used to symbolize the protests including the yellow umbrella. This writing is based on the observations in Hong Kong (more than 4 years) as well as formal and informal discussions with individuals representing positions from all sides of the political divides (pro-government, pro-democracy, and pro-Beijing forces) within and outside Hong Kong. Textually, I collected media reports, downloaded digital images, and scanned and analyzed media commentaries for this writing. [ABSTRACT FROM AUTHOR]