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Japanese aesthetics comprise a set of ancient ideals that include wabi (transient and stark beauty), sabi (the beauty of natural patina and aging), and yūgen (profound grace and subtlety). [1] These ideals, and others, underpin much of Japanese cultural and aesthetic norms on what is considered tasteful or beautiful .
The titles of Fukami's works often express poetic associations with natural phenomena, such as Landscape over the Horizon (Senjō no kei), In the Sky Far Away I (Tenkū Haruka I), and Moment of Silence (Seijaku no toki). Their compositions sometimes evoke rolling ocean waves, architectural objects, or papery curved forms in flight. [13] Influences
Inspired by the video, he made a collage on Photoshop to get a define the millennium/Y2K aesthetic and posted it to the vaporwave subreddit. The post received interest with people asking for more examples. This resulted in him finding around 900 examples and putting them in an album on Imgur in October 2014. He continued to collect examples in ...
Miyabi tried to stay away from the rustic and crude, and in doing so, prevented the traditionally trained courtiers from expressing real feelings in their works. In later years, miyabi and its aesthetic were replaced by the ideals of Higashiyama culture, such as Wabi-sabi, Yuugen, Iki and so on.
The Master of Ragnarok & Blesser of Einherjar (Japanese: 百錬の覇王と聖約の 戦乙女 （ ヴァルキュリア ）, Hepburn: Hyakuren no Haō to Seiyaku no Varukyuria, literally "Well-tempered high king and valkyrie of covenant") is a Japanese light novel series written by Seiichi Takayama and illustrated by Yukisan.
Crest of the Katsura school of rakugo. Katsura Shijaku II (2代目 桂 枝雀, Nidaime Katsura Shijaku, August 13, 1939 – April 19, 1999) was a Japanese rakugo performer of the late 20th century, who often performed in English.
The Works of art in The Aesthetics of Resistance are those included in Peter Weiss' novel The Aesthetics of Resistance. They form a kind of musée imaginaire (imagined museum) with more than a hundred named artists and just as many artworks, mainly of the visual arts and literature, but also of music and the performing arts. [ 1 ]
The aesthetic potentials of deepfakes are also beginning to be explored. Theatre historian John Fletcher notes that early demonstrations of deepfakes are presented as performances, and situates these in the context of theater, discussing "some of the more troubling paradigm shifts" that deepfakes represent as a performance genre.