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A new art form struggling for acceptance is digital art, a by-product of computer programming that raises new questions about what truly constitutes art.Although paralleling many of the aesthetics in traditional media, digital art can additionally draw upon the aesthetic qualities of cross-media tactile relationships; interactivity; autonomous generativity; complexity and interdependence of ...
The design aesthetics is employed in two ways: it may refer to the objective features of a stimulus or to the subjective reaction to the specific product features. [10] A study between two functionally identical mobile phones with highly appealing visual appearance not appealing visual appearance to determine the influence of appearance on ...
The design process is plan-driven. The design process is understood in terms of a discrete sequence of stages. The rational model is based on a rationalist philosophy [12] and underlies the waterfall model, [19] systems development life cycle, [20] and much of the engineering design literature. [21]
Dewey's theory is an attempt to shift the understandings of what is essential and characteristic about the art process from its physical manifestations in the ‘expressive object’ to the process in its entirety, a process whose fundamental element is no longer the material ‘work of art’ but rather the development of an ‘experience’.
The field, which is mostly a sub-discipline of aesthetics, is defined by an interest in a set of problems, or an interest in central or foundational concerns in design. In addition to these central problems for design as a whole, many philosophers of design consider these problems as they apply to particular disciplines (e.g. philosophy of art).
As seen, emotions are conformed to 'cultural' reactions, therefore aesthetics is always characterized by 'regional responses', as Francis Grose was the first to affirm in his Rules for Drawing Caricaturas: With an Essay on Comic Painting (1788), published in W. Hogarth, The Analysis of Beauty, Bagster, London s.d. (1791? [1753]), pp. 1–24.
With a broad definition, the contexts of design history include the social, the cultural, the economic, the political, the technical and the aesthetic. Design history has as its objects of study all designed objects including those of architecture, fashion, crafts, interiors, textiles, graphic design, industrial design and product design ...
Neoplasticism would not only change the face of the world, but it would also usher in a new way of thinking. With the understanding of the aesthetics of the material, a life-changing experience results in the development of knowledge and wisdom. [78]