...Table of Contents: An introduction: What does “product quality” really mean? 2 Understanding consumers’ perspective 2 * a) Intrinsic cues 4 * b) Extrinsic cues 4 * c) Appearance cues 4 * d) Performance cues 4 The role of aesthetics in apparel products 5 * 3.1 The sensory dimension of the aesthetic experience 5 * 3.2 The emotional dimension of the aesthetic experience 5 * 3.3 The cognitive dimension of the aesthetic experience 5 Conclusion 6 References 7 1. An introduction: What does “product quality” really mean? The Oxford Dictionary defines quality as “The standard of something as measured against other things of a similar kind; the degree of excellence of something; General excellence of standard or level. Many manufacturers use quality as a way to extinguish themselves from their competitors’ products.” It is very important to differentiate between intrinsic- and extrinsic properties of clothes. Intrinsic properties are the fit and feel of the clothing item and the ability to use it for multiple wearing. It also includes the chemical and physical properties of the clothing (Kincade & Gibson; 2010:78). The extrinsic properties are how the product appears to the consumer end their feeling of wealth, luxury and status. Most of the time this includes the brand names, price and store where the items are bought (Kincade & Gibson; 2010:78). 2. Understanding consumers’ perspective: Consumers have different ways of interpreting...
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...and promote his or her own individuality and subjective understanding of reality in a fancy way that has nothing to do with the psyche of aesthetic. Art is becoming much of a personal media of artist instead of representation of seeking beauty in physical or philosophical terms. For example, Pollock promotes a sense of recklessness in a world with massive wars; his personal understanding of world is valuable but not the art works. However, Vitruvian Man of Da Vinci bears its own value independent of the man who made it. Beside, art or being and artists includes a certain amount of privliage; it is true that barriers of participation to art is high but communicating that everybody is great and special and eventually reproducing the idea that real art is beyond human is a structural hypocrisy. Hence, performance arts went down from ballet or theatre to Marina Abramovic who does not perform but processes experience and creates participation to art. Moreover, established system crushes people just the right amount so that some of the artistic people use their capabilities to rebel and nothing more. Regardless of individual effort art as we know it will cease to exist. Though reasons can create a remarkable list, they can be categorized in under three major titles; loss of aesthetics, loss of craft and economy of rewards in arts. Loss of aesthetics is a necessary evil that post-modernism and liberal societies bring along. First and utmost cause of...
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...situati2on of the scientific landscape followed by how these landscape was then being interpreted as symbol or metaphor. In the early-nineteenth-century, outwardly, geographers adopted landscape photography as a mean to produce and reflect scientific precision geography images of the objective world. It was when people started accepting photographs as the only authentic reproduction of visible reality, a sustainable visual appropriation that could be disseminated among a population far broader than an aesthetic landscape painting could have addressed. Nevertheless, these images had later become more about social and cultural meaning than simply describing numerical geography or demographics within thin geographical literature. In the late-twentieth-century, for the arising topographic photography, related photographers like Joe Deal, John Schott, Stephen Shore etc., had conveyed substantial amounts of visual information through their works, which claimed to be produced by aesthetic arrangement intentionally instead of any cultural meaning. Nonetheless, the surface details of these captured landscape form, though captioned according to a laconic place-and-date titling formula, these topographic landscape could still be charged with meanings that derive from those photographers’ gender, class, race and personal histories, that transmitted to the audiences with their own social and psychic predispositions even without any superfluous referencing or statement. The development of these...
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...way to prove my thesis. My greatest problem was being unsure of how writing a paper based on a research problem in The Picture of Dorian Gray constituted a researchable argument and not just a literary analysis. Hoping to gain a different perspective on the assignment, I met with fellow classmates to talk out my problem. It turned out that they were having the same issue with their essays, and through discussing my paper with them, I realized that my topic was too narrow to be easily supported by sources; the idea of Dorian growing older without growing up was interesting but could not easily be supported with sources outside the novel itself. With this in mind, I modified my thesis, claiming that though Dorian Gray demonstrates aesthetic behavior in The Picture of Dorian Gray, his fascination with artistic things serves less to pursue aestheticism and more to evade his dark past. In this manner, I argued, Dorian could be considered more of an escapist than an aesthete. At last I had an argument that could easily be supported by sources on aestheticism (e.g. Talia Schaffer’s and Walter Houghton’s work); this made writing my first draft much easier than before and allowed me to focus on the essay’s flow and style. Writing “Dorian Gray the Escape Artist” was no easy task, and I often felt...
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...THE RULES OF THE GAME: NOUVELLE EDITION FRANCAISE/THE KOBAL COLLECTION DEEP FOCUS CANON FODDER As the sun finally sets on the century of cinema, by what criteria do we determine its masterworks? BY PAU L SC H RA D E R Top guns (and dogs): the #1 The Rules of the Game September-October 2006 FILM COMMENT 33 Sunrise PREFACE THE BOOK I DIDN’T WRITE I n march 2003 i was having dinner in london with Faber and Faber’s editor of film books, Walter Donohue, and several others when the conversation turned to the current state of film criticism and lack of knowledge of film history in general. I remarked on a former assistant who, when told to look up Montgomery Clift, returned some minutes later asking, “Where is that?” I replied that I thought it was in the Hollywood Hills, and he returned to his search engine. Yes, we agreed, there are too many films, too much history, for today’s student to master. “Someone should write a film version of Harold Bloom’s The Western Canon,” a writer from The Independent suggested, and “the person who should write it,” he said, looking at me, “is you.” I looked to Walter, who replied, “If you write it, I’ll publish it.” And the die was cast. Faber offered a contract, and I set to work. Following the Bloom model I decided it should be an elitist canon, not populist, raising the bar so high that only a handful of films would pass over. I proceeded to compile a list of essential films, attempting, as best I could, to...
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...diverse range of human activities and the products of those activities, but here refers to the visual arts, which cover the creation of images or objects in fields including painting, sculpture, printmaking, photography, and other visual media. -art in terms of mimesis, expression, communication of emotion, or other values. During the Romantic period, art came to be seen as "a special faculty of the human mind to be classified with religion and science". -"the use of skill and imagination in the creation of aesthetic objects, environments, or experiences that can be shared with others". 2. destinction of an art as aesthetic - Art aesthetics is the philosophy of art, and naturally tries to arrive at statements about representation, coherent form, emotive expression and social purpose that are universally true, independent of context and speaker. Unfortunately, that very generality means that aesthetics can often be used to justify a very doubtful piece of work. Aesthetics is for the artist as Ornithology is for the birds.— Barnett Newman 3. The different Kinds of Art • Fine arts –Beaux arts- and it include painting, drawing,sculpture, and graphic design. • The plastic arts. The plastic arts are the art form that involves moulding or making models. Clay, metal and wax are examples of the plastic arts. • The applied arts. This kind of art implies everything that can be useful, artistic, and beautiful. As when an artist forms a vase using clay in an artistic design. The Applied...
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... One reason is that it can harm the environment. This is because the chemicals can seep into the soil. For example, when oil is dumped, then it affects the plant life. Critics argue that it doesn’t harm the environment, but they are wrong because dumped oil really does affect plant life. That it can harm the environment is one reason, but there are many more. Another reason is that it can deplete the aesthetic value of property. This is because trash makes property look less appealing. For example, when trash covers a state park, then less people would want to go there. Critics argue that littering does not deplete the aesthetic value of property, but they are wrong because littering does make a property look less appealing. That littering can deplete the aesthetic value of property is another reason, but there are still many more. A final reason is that it can cost people money. This is because sanitation workers work for the government which pays them with our tax money. For example, when the highway is covered with trash, sanitation workers are called to clean it up. Then they are paid with our tax money. Another example is that when a property is for sale and is covered with litter, then buyers won’t pay as much for it. Critics argue that littering does not cost money, but they are wrong because a dirty property will not cost as much as a clean property. Therefore, people should not litter. Littering can destroy the environment making it unhealthy. It can also make...
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...Aldo Leopold, in “The Land Ethic”, elucidates the title of this chapter by stating: “A thing is right when it tends to preserve the integrity, stability, and beauty of the biotic community. It is wrong when it tends otherwise.”1 This implies that no matter what instrumental value a biotic community may have to human beings, it is also of paramount importance to preserve biotic communities based on our “obligations to land”2. This concept of a prima facie responsibility to protect our environment and the communities within it is known as the preservationist intuition3. We certainly attribute this value to our fellow man, putting laws in place to prevent harm and maltreatment in our communities, and breaking these laws would indeed render the culprit to be considered morally wrong. We attribute value (be it intrinsic or instrumental) to sentient animals, even plant-life. But what of ecosystems? Can we consider ecosystems to be morally considerable, and therefore attribute any value to them? It is a question that has many variables, and in this essay I will be evaluating various arguments for and against the premise that ecosystems command any value with regards to an environmental ethic. First we must consider what it means for something to be morally considerable. It would appear that this definition would depend on what moral determinant we deem appropriate in pursuing an environmental ethic. Many philosophers, including K.E.Goodpaster adopt Joel Feinberg’s view that a thing...
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...In Colombia where he grew up, there were no museums. He was only exposed to Colombian baroque art in the interiors and exteriors of the churches and chapels in his native town. Baroque art in Latin America expressed religious and political power in images that were dramatic, rich, and convincing. The Spanish colonial regime used the message of the Roman Catholic Church as a means to convert and influence the indigenous people of Latin America. Religious art in Latin America was rarely just an attempt to display ideal beauty. The drama of the baroque style was not aimed at aesthetic enjoyment, but at a religious experience that would have a lasting impact on the beholder (Sillevis...
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...The Branches of Philosophy Joe Bess AIU Online Abstract There are six branches of philosophy, they are Metaphysics, Epistemology, Ethics, Aesthetics, Political, and Social. Each one of these branches asks a particular question that we seek the knowledge of ourselves, unknown to us probably every day of our lives. The Branches of Philosophy The six branches of philosophy are metaphysics, epistemology, ethics, aesthetics, political, and social. In dealing with each branch they ask certain types of questions that we no doubt ask ourselves each and every day. Metaphysics asks the question, what is real? In our earliest childhood we are taught by our parents that we should believe. Once we got older either one continued to believe or questioned our belief. As in heaven and earth, though we live in a physical world, do we still believe in the spiritual world? This would depend on ones beliefs. The soul is what makes us what we are inside, this I believe is where our conscious comes from, and in other words the soul makes up what we are in the physical and spiritual world. People were born to have freewill and the consequences that come along with it. But as fate may have it, it can be taken. The branch Epistemology ask the question how do we know. We know because we were taught by parents, siblings, in laws, teachers, Sunday school, and church. We learned by opening books, magazines our experiences going through life. These experience and lessons learned...
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...regarded as Art today may not have been perceived as such when it was first made, nor was the person who made it necessarily regarded as an artist. Both the notion of "art" and the idea of the "artist" are relatively modern terms. Many of the objects we identify as art today -- Greek painted pottery, medieval manuscript illuminations, and so on -- were made in times and places when people had no concept of "art" as we understand the term. These objects may have been appreciated in various ways and often admired, but not as "art" in the current sense. ART lacks a satisfactory definition. It is easier to describe it as the way something is done -- "the use of skill and imagination in the creation of aesthetic objects, environments, or experiences that can be shared with others" (Britannica Online) -- rather than what it is. The idea of an object being a "work of art" emerges, together with the concept of the Artist, in the 15th and 16th centuries in Italy. During the Renaissance, the word Art emerges as a collective term encompassing Painting, Sculpture, and Architecture, a grouping given currency by the Italian artist and biographer Giorgio Vasari in the 16th century. Subsequently, this grouping was expanded to include Music and Poetry which became known in the 18th century as the 'Fine Arts'. These five Arts have formed an irreducible nucleus from which have been generally excluded the 'decorative arts' and 'crafts', such...
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...Art: Many philosophers have argued that art serves no function, that it exists for its own sake. Some have asserted that the essence of art transcends the human occupation with usefulness. Others have held that in trying to analyze art too closely, one loses sight of its beauty and wonderment. Understanding and appreciating art… The questions to ask… • “Why was this created?” • “What is its purpose?” What Are the Purposes of Art? ART AND BEAUTY • Art adds beauty to our lives by looking to nature • Art depicts both Western & Non-Western concepts of beauty “A Closer Look” A Portrait in the Flesh Sometimes artists try to improve on nature – thereby creating an alternative standard ART AND OUR ENVIRONMENT Used to create pleasing environments. Used as Decoration. Used to transport to another place. ART AND TRUTH Truth in art is subjective. True to nature? True to human experience? True to materials? Art can be used to • Replicate nature • Show reality • Express an artist’s own experiences. ART AND...
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...to: Mr. Rogelio Ramos Guce English Department Institute of Arts and Sciences by Alimorong, Aislin Nika Alterado, Charles Caga-anan, Mark Nathaniel Elpedes, Jhune-Marx Nuñez, Domnilourd Pangilinan, Shem Salvador, Mikaela Valdez, Judah Yatco, Ma. Barbara FT0933 First Semester S.Y. 2011 - 2012 CHAPTER I THE PROBLEM AND ITS BACKGROUND Introduction In the early days, great masters like da Vinci, Michaelangelo and Botticelli had been using nude models as references in their artworks for religious purposes. Up until now, this idea is still being implemented by artists but it is now more about aesthetics. Nude art generally refers to the artists’ depiction of artistic elements of nudity instead of actually showing the naked form of humans. Different cultures react differently on the use of nude models in art. It is through the aesthetic view of nude art that most countries accept this kind of art (Changing Depictions of Art Nudes, 2011). Art schools including Far Eastern University also accept the use of nude models in art such as paintings, sculpture, photography, and the like. In the curriculum of the Fine Arts Department, there are subjects like Anatomy, Life Drawing and Life Painting wherein nude models are used as references in depicting the human figures. Fine Arts students in Far Eastern University have been exposed to nude art since their first year in school and it is rather important to know their perceptions on the use of nude models...
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...Case ANALYSIS to: DR. tommy jamieson from: TEAM 7: Vijay Periasamy, Anjana RAMAn, KATHAN SHAH, SURAJ SHESHADRI, Pooja Soman subject: managing the new PRODUCT DEVELOPMENT process ------------------------------------------------- date: 11/19/2013 Introduction Frog is a global design firm located around the world. They specialize in designing of products and work with clients in a range of industries including retail, entertainment, finance, medical and fashion. They have a very strong client list including Dell, GE, HP, Microsoft and Yahoo. The company is well known for its techno hip style and creating products with an aesthetic appeal. Frog is engaged in three kinds of activities; Evolving i.e. reinvigorating a company's existing asset, Expanding i.e. identifying new products and services for existing and new markets and lastly, Envision i.e. rethinking of the brand. Frog offers a multidisciplinary team for any project including visual designers, business strategists, mechanical and software engineers. Their process is organized in three phases: discover, design and deliver. The problem We have identified few problems. Firstly, frog relies heavily on the potential consumers for design suggestions. It was observed that the consumers are constrained to suggest for modification of the potential product that were more elaborate and detailed models. This can lead to incorrect conclusion of the usability of the products and in turn lead...
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...[pic] Discover the Eternal Principles The Bible doesn’t have a theology of beauty or an aesthetic (a theory about the beautiful) of beauty. However, many things in the Bible are described as beautiful. And there is much about beauty that can be inferred from the Bible. Some of the teaching points below will deal with Scripture texts in which the Bible directly talks about beauty, but most will deal with texts that provide a theological foundation for how we, as Christians, should think of beauty. Teaching point one: God’s creation is beautiful and meant for our enjoyment. Read Ecclesiastes 3:11–14. The book of Ecclesiastes is best known for its ode to time: “For everything there is a season and a time for every matter under heaven: a time to be born, and a time to die…” (NRSV). Alongside this theme, there is the well-known theme about life being vain, “a vanity of vanities,” a mere chasing after the wind. Missed, sometimes, in the midst of this gloomy, almost despairing perspective is another motif: that life is a gift from God and that the good things of life—food, drink, work, play, and love—are to be enjoyed. Beauty is part of them. [Q] What does this text teach us about beauty? ➢ How should we live in relation to the beauty of God’s creation? In the article, Stackhouse says that evangelicals generally don’t see the need for aesthetically pleasing church buildings because, they argue, the money could be better spent on evangelism...
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