tailieunhanh - SCIENCE AND BEAUTY: AESTHETIC STRUCTURING OF KNOELEDGE

The concept of aesthetic labour is partly seen from the perspective of ethics. There may be strictly applied selection criteria for the recruitment and selection of new employees. For an appointments panel such a situation could cause conflict between organisational requirements and personal private views on what is moral or fair. The ethical problem concerns the Human Resource manager, who wishes to appoint someone, but who needs professional reasons for appointing a less attractive person. There may be legal or at least professional implications about meeting quotas for under represented groups in the organisation. There is an ethical. | THEORETICAL PERSPECTIVES Science and Beauty Aesthetic Structuring of Knowledge Mihai Nadin ABSTRACT Human activity art oriented or not implies an aesthetic com- ponent Intelligence participates in this activity by helping to define goals in knowledged-based selection from among many options while the aesthetic component structures outcomes endows them The painter who draws by practice and judgment of the eye without the use of reason is like the mirror that reproduces within itself all the objects which are set opposite to it without knowledge of the same. -Leonardo da Vinci 1 The rise and fall of the concept of beauty has come about against the background of a rationalistic approach in aesthetics. Max Bense whose foundational work in information aesthetics is still relatively ignored outside Germany distinguished between Hegelian speculative and Galilean descriptive aesthetics 2 . His work inspired not so much by the attempt to model works of art mathematically as by the rational component of the artist s work extended the Kantian line of rationalistic explanation of aesthetics. There is no doubt that our attempt to use technology for generating images musical works texts sculpture film installations video compositions etc. was encouraged by the Galilean approach making us more aware of the relationship of technology to art-in particular how and why artists choose materials and then apply processing techniques that can be aesthetically relevant in themselves. MEDIUM AS Constraint Today we know that it is indeed naive to think of the medium as only the material means of embodying the work of art. Actually in the process of making the work the artist does not simply accommodate an idea or an emotion in some mate- with expressive power and facilitates communication. Artifacts quali- fying as works of art embody human intelligence and sensibility as well as the experience of aesthetically applied technology. lmitation of past artistic paradigms even when new .

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