Home  - Basic_A - Aesthetics & Creativity

Books Baby Camera Phones Computers Games DVD Electronics Kitchen Magazines Music Garden Software Tools Toys Video Apparel & Accessories Jewelry & Watches Musical Instruments Health & Personal Care Beauty Sports & Outdoors Office Products

e99.com Bookstore

Images

Newsgroups

21-40 of 98    Back | 1  | 2  | 3  | 4  | 5  | Next 20

A  B  C  D  E  F  G  H  I  J  K  L  M  N  O  P  Q  R  S  T  U  V  W  X  Y  Z

Aesthetics & Creativity:     more books (53)

Phenomenology of Life - From the Animal Soul to the Human Mind: Book I. In Search of Experience (Analecta Husserliana) (Bk. 1) Concerning Creativity: A Comparison of Chu Hsi, Whitehead, and Neville (S U N Y Series in Religious Studies) by John H. Berthrong, 1998-11 Plug into a great outlet for creativity.(seeing the beauty of wall sockets): An article from: Arts & Activities by Karen Skophammer, 2009-03-01 Phenomenology of Life - From the Animal Soul to the Human Mind: Book I. In Search of Experience (Analecta Husserliana) Creativity and Art: Three Roads to Surprise by Margaret A. Boden, 2010-11-16 Creativity in Art and Science, 1860-1960 by Edward B. Henning, 1988-12 Creativity and Spirituality: Bonds Between Art and Religion by Earle Jerome Coleman, 1998-04 Life - Truth in its Various Perspectives: Cognition, Self-Knowledge, Creativity, Scientific Research, Sharing-in-Life, Economics (Analecta Husserliana) The Artist's Quest of Inspiration (Aesthetics Today) by Peggy Hadden, 2004-07-01 Genius and creativity: An essay in the history of ideas (Harper Torchbooks) by Milton Charles Nahm, 1965 The Way of the Artist: Reflections on Creativity and the Life, Home, Art,and Collections of Richard Marquis by M.D. Behrstock Barry, 2007-08-30 Movement and Meaning: Creativity and Interpretation in Ballet and Mime by Anya Peterson Royce, 1984-07 Where Is That Music Coming from: A Path to Creativity by Jeannine W. Hamburg, 1989-12 Imagery & Creativity: Ethnoaesthetics and Art Worlds in the Americas by Dorothea S. Whitten, 1993-04

lists with details

21. The Division Also Offers A Program Leading To A PhD In Humanities
    AREAS OF CONCENTRATIONS Total credit hours 18. 1. aesthetics and creativity.Hum. 681 Topics in aesthetics and creativity. 2) Studies in Culture. Hum.  
    http://www.louisville.edu/a-s/humanities/PHD/curr.htm
    
    Extractions: PH.D. Curriculum All doctoral students are expected to complete a minimum of 48 hours beyond the Masters degree distributed as follows. CORE REQUIRED COURSES Total credit hours: 21 CHRONOLOGICAL SEQUENCE: Total credit hours: 6 *Hum 661: Humanistic Studies I *Hum 662: Humanistic Studies II THEORY AND METHODS: Credit hours: 3 *Hum 609: Interdisciplinary Theory: Arts and Humanities INTERDISCIPLINARY TOPICS SEMINARS: Total credit hours: *Hum 671: Interdisciplinary Seminar *Hum 672: Interdisciplinary Seminar INTERNSHIP Credit hours: *Hum 690: Doctoral Internship CAPSTONE COURSE: Credit hours: *Hum 699: Interdisciplinary Symposium Total Core credit hours: 21 AREAS OF CONCENTRATIONS Total credit hours: 18 Aesthetics and Creativity Hum. Topics in Aesthetics and Creativity Studies in Culture Hum. 682 Topics in Studies in Culture Graduate courses housed within departments in the Humanities Division meet the area concentration requirements in the primary and secondary areas of concentration: Aesthetics and Creativity; and 2) Studies in Culture. A student in consultation with his/her Supervisory Committee will select courses appropriate to his/her course of study.

22. ESCOM 10th Anniversary Conf_e
    the University of Maine. His research has been focused primarilyon psychological aesthetics and creativity. He is award winner  
    http://musicweb.hmt-hannover.de/escom/conf02/call02an_e.htm
    
    Extractions: - Centre de Recherches et de Formation Musicales de Wallonie it is quite natural that we wished to focus the 10 th anniversary meeting on that topic. We think that conference as an interdisciplinary event, and we invite researchers working on musical creativity but also on other types of creativity to present and discuss their ideas, their results, etc. The programme will involve four types of contributions: keynote lectures approaching the topic of creativity according to different perspectives symposiums illustrating these main axes by empirical papers spoken papers posters

23. Aesthetics And Motivation In Arts And Science - Content
    Chandrasekhar s dictionary Top. MUSICAL creativity MOTIVATIONS ANDAESTHETICS A COMPARISON WITH SCIENCE. Prem Lata Sharma. ENQUIRY INTO  
    http://ignca.nic.in/ks_30_cn.htm

24. IM-BOOT Creativity, Innovation Circle & Innovation Management - Aesthetics, Bran
    CreativityThe article from Jonathan E. Schroeder was prepared for theEIASM Workshop on aesthetics, Art and Management, July 2003.  
    http://innovation.im-boot.org/modules.php?name=News&file=article&sid=293

25. IM-BOOT Creativity, Innovation Circle & Innovation Management - Aesthetics, Bran
    aesthetics, Brands and Consumption Date Tuesday, July 29 @ 000000CEST Topic creativity. The article from Jonathan E. Schroeder  
    http://innovation.im-boot.org/modules.php?name=News&file=print&sid=293

26. Edu1.com , Education First
    Carmelo Genovese, and Albert Wellek, the association is open to all who are interestedin empirical studies of creativity, aesthetics, arts, literature, and  
    http://www.edu1.com/edu1/directory/cat.asp?id=5936&u=A

27. The Aesthetics Of Generative Code
    on subjective sense perception, but with particular reference to aesthetics andbeauty generally associated with the broad field of art and human creativity.  
    http://www.generative.net/papers/aesthetics/
    
    Extractions: ade@sidestream.org http://www.generative.net I See a Voice: A Philosophical History (1999), this paper suggests that it might be useful to revisit the troubled relationship between art and aesthetics for the purpose of discussing the value of generative code. Our argument is that, like poetry, the aesthetic value of code lies in its execution, not simply its written form. However, to appreciate generative code fully we need to 'sense' the code to fully grasp what it is we are experiencing and to build an understanding of the code's actions. To separate the code and the resultant actions would simply limit the aesthetic experience, and ultimately limit the study of these forms - as a form of criticism - and what in this context might better be called a 'poetics' of generative code. 'The taste of the apple... lies in the contact of the fruit with the palate, not in the fruit itself; in a similar way... poetry lies in the meeting of poem and reader, not in the lines of symbols printed on the pages of a book. What is essential is the aesthetic act...' [

28. International Congress On Aesthetics, Creativity And Psychology Of
    International Congress on aesthetics, creativity and Psychology of the Arts,  
    http://www.conferencealerts.com/seeconf.mv?q=ca1hxhax

29. AESTHETICS......the Digital Creativity
    http://www.brain.net.pk/~designer/

30. Evolution
    The purpose of the seminar is to discuss different theories related toaudio and visual aesthetics and to creativity in audiovisual media.  
    http://www.hum.ku.dk/fmkj/Kurser/evolution_creativity.htm
    
    Extractions: Njalsgade 80, Room 13.1.59 The purpose of the seminar is to discuss different theories related to audio and visual aesthetics and to creativity in audiovisual media. The seminar will thus deal with analysis of and theories about the relation between audiovisual works and their makers, theories about general and specific aesthetic functions, and the relationship between audiovisual works and the general human cognitive architecture. The seminar will also deal with the evolution of aesthetic experiences and discuss the relations between universal/global types of experience and time-place-people-specific experiences. Program Thursday 13 May Welcome Creative agencies or discursive pipelines? by Torben Grodal Coffe break Project presentation by Christian Andersen Break Project presentation by Mette Kramer Lunch Minimal, Distributed Auteurism: Cognition, Creativity, and the Case of Guru Dutt by Patrick Colm Hogan Coffe break Chado – Tea and Tradition Against Occupation Reforms in Ozu´s Late Spring paper presentation by Lars-Martin Sørensen Break Genre and creativity: in case of comedy paper presentation by Niels Henrik Hartvigson

31. Creaholic S.A. - Creativity, Concept, Technique, Aesthetics - Home Page
    http://www.creaholic.com/

32. Creaholic S.A. - Creativity, Concept, Technique, Aesthetics - Projects, Clients
    http://www.creaholic.com/project1.html

33. Dental Aesthetics: A Continuing Revolution
    aesthetics. Artistic concepts such as aesthetics require creativity andperseverance, not simply application of dogmatic principles. Using  
    http://bdhf.atalink.co.uk/articles/article-60.phtml
    
    Extractions: Practice Management ... Credits Figure 1. A tulip showing that the anther and filaments of the stamen are in the Golden Proportion. Whether one sees the world through the eyes of a scientist or artist, the important point is that there needs to be balance. Essentially, aesthetics is a principle which can not be taught; it is discovered from individual experience. The purpose of this article is to put forward a few aesthetic guidelines that will place the reader on the path of discovery and creativity. Aesthetics is neither new, nor a scientific discipline. In fact, aesthetics, which is predominantly concerned with Divine (or Golden) Proportion and dynamic symmetry, was conceived not by scientists but by artists who wished to achieve pleasing results in their paintings. The cosmos can be allegorically visualised as a coin, scientists view it from one side, and artists from the other. In fact, both professions are seeing the same object, but from different perspectives.

34. Oxford Scholarship Online: Critical Aesthetics And Postmodernism
    11. creativity, Contemporary Art, and Critical aesthetics.  
    http://www.oxfordscholarship.com/oso/public/content/philosophy/0198236239/toc.ht
    
    Extractions: Keywords: aesthetics Benjamin creativity consumerism ... the sublime Table of Contents Preface Full Text Introduction Full Text Abstract Part One. Full Text ... Abstract 2. Merleau-Ponty Full Text Abstract 3. Beyond Formalism Full Text Abstract 4. The Producer as Artist Full Text Abstract 5. Violence in Painting Full Text Abstract Part Two. 6. The Existential Sublime Full Text Abstract 7. Moral Insight and Aesthetic Experience Full Text Abstract 8. The Kantian Sublime, the Postmodern, and the Avant-Garde Full Text Abstract 9. Sublimity and Postmodern Culture Full Text Abstract Part Three. 10. Postmodernism in the Visual Arts Full Text Abstract 11. Creativity, Contemporary Art, and Critical Aesthetics Full Text Abstract Index Full Text doi: Quick Search search entire site

35. Creativity, The Arts, Artists' Process, Aesthetics
    SAM s Main Book List. creativity, the arts, artists process, aesthetics.Artists Communities a directory of residencies in the United  
    http://www.sam-arts.demon.co.uk/booklists/bkl_crea.htm
    
    Extractions: A classic study of image-making. First published in the 1960s, the text applies the findings of experimental science to the understanding of art and in tackling complex ideas and theoretical issues, Gombrich is rigorous; yet he always retains a sense of wonder at the inexhaustible capacity of the human brain, and at the subtlety of the relationships involved in seeing the world and in making and seeing art. Art Worlds A neat little format ' six essays each taking an individual swipe at big issues ' arts for art's sake, or art as an accountable social activity, artists as other or engaged with the real world, conceptual art v traditional art. Interpretation v arts speaks for itself. All focus on the visual arts and its relationship to the contemporary world ' a must read if you are engaged in the management of art now. Review But is it Art?

36. Creativity And Aesthetics By Noel Tyl
    creativity and aesthetics by Noel Tyl For many years now testing my own measurementmanagement technique and gathering research- I have made a decision during  
    http://www.widgetsworld.co.uk/search/go.php?art_id=713

37. MTU Undergraduate Catalog
    2. aesthetics and creativity (UN 1002 prerequisite). aesthetics and creativity(Prerequisite UN1002) Distribution Requirements Top.  
    http://www.mtu.edu/catalog/gened_dist.html
    
    Extractions: General Education Distribution Courses and Co-Curricular Course Distribution Courses World Cultures and Institutions serve as prerequisites for the 15-credit distribution requirement. The distribution courses are divided among five lists. They are Students must take six credits each from two different lists, one that has World Cultures as a prerequisite and one that has Institutions as a prerequisite. The final three credits can come from any list. A number of 2000-level distribution courses, marked with an asterisk, are designated as courses that can be taken during the first year in the same term as Perspectives and/or World Cultures. Note the following restrictions: A maximum of six credits of 2000-level courses may be used to meet the distribution requirement. Incoming transfer students' credits are evaluated individually for distribution credit. International study abroad for Distribution Courses General Education International transfer credit for study abroad students (students with transfer credit from institutions outside of the U.S.) will be assigned by the Center for International Education (CIE) without regard to specific distribution list requirements. It is understood that the CIE will apply non-MTU courses to distribution based on their being equivalent or congruent with existing general education distribution courses. MTU courses taken as study-abroad will be applied to distribution list requirements based upon the distribution list the course is on

38. Feminist Aesthetics
    According to some theories of creativity, this emotionality and sensitivity canbe inspirational virtues, and so the field of aesthetics has been more  
    http://plato.stanford.edu/entries/feminism-aesthetics/
    
    Extractions: MAY Feminist perspectives in aesthetics first arose in the 1970s from a combination of political activism in the contemporary art world and critiques of the historical traditions of philosophy and of the arts. They have developed in conjunction with the postmodern debates about culture and society that take place in many fields in the social sciences and humanities. These debates often begin with an assessment of the western philosophical legacy, a legacy that is nowhere more challenged than in the art world itself. Therefore, the significance of many contemporary art movements, including feminist and postfeminist work, is dramatized and clarified by understanding the traditional values and theories that they address and challenge. techne techne Probably the earliest philosophical discussion of art in the Greek tradition occurs in Plato's Republic . Unlike most of his contemporaries, Plato regarded mimesis as dangerous.

39. "Creativity" - IO Internet Magazine Of Applied Aesthetics
    creativity IO Internet Magazine of Applied aesthetics Location Finland. APPLICATIONSOF creativity IO, The Internet Magazine of Applied aesthetics 1/2002.  
    http://www.h-net.org/announce/show.cgi?ID=128903

40. INTRODUCTION - PSYCHOANALYTIC AESTHETICS: THE BRITISH SCHOOL BY NICOLA GLOVER
    School. Chapter Six. aesthetics, creativity, and the Potential Space.1. The sagacity of the body Milner s account of creativity. 2  
    http://human-nature.com/free-associations/glover/
    
    Extractions: PSYCHOANALYTIC AESTHETICS: THE BRITISH SCHOOL by Nicola Glover Home Contents Rationale Search ... Bibliography NICOLA GLOVER Psychoanalytic Aesthetics: The British School Abstract The impact of British Psychoanalytic theory on our aesthetics and criticism has not been explored in any systematic way. This study aims to examine important theoretical developments within the British School of Psychoanalysis, and the contribution of these to psychoanalytic aesthetics - both within in the clinical and non-clinical domain. A critical overview of the classical Freudian aesthetics will form the background against which these subsequent developments in British psychoanalysis shall be viewed. This study aims to show that the dialogue between those clinicians such as Melanie Klein, Hannah Segal, Wilfred Bion, Donald Meltzer, Donald Winnicott and Marion Milner, and non-practitioners such as Adrian Stokes, Anton Ehrenzweig, Peter Fuller, and Richard Wollheim, has been extraordinarily fruitful in addressing the nature of artistic creativity, aesthetics, and has significantly influenced critical writing, particularly in the domain of the visual arts. It will be argued that taken as a whole, their contributions represent the development of a uniquely

A  B  C  D  E  F  G  H  I  J  K  L  M  N  O  P  Q  R  S  T  U  V  W  X  Y  Z

21-40 of 98    Back | 1  | 2  | 3  | 4  | 5  | Next 20