. Across the succeeding literatures on aesthetics, arousal, and preference, the axes of this type of plot are given in many different ways. Berliner chose those from Berlyne (1960 , 1971 )—arousal potential on the horizontal axis and hedonic value, in
James E. Cutting
On Value Judgments
Laura T. Di Summa-Knoop
Murray Smith’s attempt to provide a naturalized aesthetics of film in Film, Art, and The Third Culture is both decidedly ambitious and wisely orchestrated. It is ambitious because of the criticism that has been leveled against naturalized
In Film, Art, and the Third Culture , Murray Smith advocates a naturalized aesthetics of film that is a version of what he calls cooperative naturalism—a form of naturalism in which “the knowledge and methods of the natural sciences come to
Slow Cinema and the Virtues of the Long Take in Once Upon a Time in Anatolia
cinema debate revolved around whether an aesthetic of slowness produces an active form of spectatorship or if the films consisted of a complacent aesthetics that deployed long takes and dead time in an idiomatic and mannerist fashion (for a critical
An Interdisciplinary Exploration of Intramusical and Extramusical Meaning
and innovation in generating work that is aesthetically pleasing. As discussed by Daniel Berlyne in the classic work Aesthetics and Psychobiology (1971), successful artworks often occupy a middle ground between predictability and randomness near the
Art and The Elemental Forms
William Watts Miller
A minor mystery is when Durkheim began and how he crafted and created his monumental work, Les formes élémentaires de la vie religieuse: le système totémique en Australie. The first evidence comes with lectures he started to give in 1906. They contain a sort of prototype of the eventual text, but, though important, make clear there was still a long way to go. And they were roundabout when he decided on major changes to the Année sociologique, in order, he explained, to give more time to personal research. The next evidence comes with two letters of 1908. In fact, they are where we first overhear him talk about 'my book' as a definite project. In one he is happy to do the introduction and some preliminary material as a couple of articles, which came out in 1909. In the other he is not at all happy to let a new idea just slip into the world, but wants to save it for development, with maximum impact, in 'my book' itself. Indeed, there was no further publication of bits of the book. There has been no further discovery of letters by him about its contents. And there has been no discovery of any drafts, let alone a final revised and corrected manuscript. In sum, there is a documentary blank for the three key creative years that led to the appearance, in summer 1912, of a masterpiece.
Rhinoplasty and Identity in Tehran
Tehran currently hosts one of the largest rhinoplasty markets in the world, and rhinoplasty is the most sought after cosmetic surgery in the country. This article examines whether the rhinoplasty trend reflects a shift in Iranians' attitudes towards their ethnic and cultural identity. It is argued that fashion and beauty norms in Tehran are certainly informed by globalised images, but these are mediated by Iranian moralities of prestige, image consciousness and class awareness. Thus, while many of the persons interviewed described 'Iranian noses' as aesthetically inferior to 'European noses', their statements were not necessarily coupled with a desire to negate Iranian identity.
between the dominant aesthetics of nature that drive this project and the material realities of Santa Barbara’s climate and physical geography by answering the question of how Santa Barbarans’ sense of place is impacted by citywide cultural preferences for
Although stereoscopic cinema was invented very early in the history of film, it did not become the standard for cinematic representations. With the latest digital wave of stereoscopic 3D cinema many shortcomings of earlier technologies have been eliminated, but debate remains about the aesthetic principles of stereoscopy. This article explores and evaluates basic approaches to aesthetic design in stereoscopic films.
The Aesthetics of Coaching in the Golden Age of Horse and Carriage
Drawing on the work of Alfred de Vigny and Thomas De Quincey, this article examines the aesthetic appeal of coaching, a ubiquitous but little theorized mode of transport, in the golden age of horse and carriage (c. 1805–1825). The roots of Vigny's nostalgia for the shepherd's caravan and De Quincey's thrill ride on the mail-coach lie in the sympathetic connections that coaching, unlike train travel, establishes between living beings. These connections or “inter-agencies” serve in vital ways to rupture the solipsism and self-assurance of the solitary traveler, revealing his limited role in the vast plexus of nineteenth-century transport and motion.