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Communication Aesthetics is a theory devised by Mario Costa and Fred Forest at Mercato San Severino in Italy in 1983. [1] It is a theory of aesthetics calling for artistic practice engaging with and working through the developments, evolutions and paradigms of late twentieth century communications technologies.
The aesthetic–usability effect describes a paradox that people perceive more aesthetic designs as much more intuitive than those considered to be less aesthetically pleasing. The effect has been observed in several experiments and has significant implications regarding the acceptance, use, and performance of a design.
Imageability is a measure of how easily a physical object, word or environment will evoke a clear mental image in the mind of any person observing it. [1] [2] It is used in architecture and city planning, in psycholinguistics, [3] and in automated computer vision research. [4]
Aesthetics examines the philosophy of aesthetic value, which is determined by critical judgments of artistic taste; [2] thus, the function of aesthetics is the "critical reflection on art, culture and nature". [3] [4] Aesthetics studies natural and artificial sources of experiences and how people form a judgment about those sources of experience.
Communication designers translate ideas and information through a variety of media. In order to establish credibility and influence audiences through the communication, communication designers use both traditional tangible skills and the ability to think strategically in design and marketing terms.
There are so many views in the planner: yearly pages, quarterly planning pages, monthly overviews, a dated page for each day, and blank pages. Two special details about this planner set it apart.
The concept of the design cycle is understood as a circular time structure, [31] which may start with the thinking of an idea, then expressing it by the use of visual or verbal means of communication (design tools), the sharing and perceiving of the expressed idea, and finally starting a new cycle with the critical rethinking of the perceived ...
It is suggested that aesthetic experience is a function of the interaction between top-down, intentional orientation of attention and the bottom-up perceptual facilitation of image construction. [23] In other words, because untrained persons automatically apply the object-identification habit to viewing artworks, top-down control to reduce this ...