畔园记——一种聚落方法的探讨

论述了畔园的设计理念与方法,并探讨了一种当代的聚落方法。提出了相关设计策略,包括通过场地结构与大单元和间隙的有效结合以形成聚落;通过镶嵌术组织聚落,结合景观与建筑;通过场地建造,竖向统合场地、设施、建筑,并用中介物帮助揭示场地的质感;通过密度处理和空间开放,实现聚落的亲疏有致。畔园的设计和建造,是探讨具有文野相间、空间开放特征的聚落类型的一次尝试,并试图提出聚落中的间隙美学。     

建筑美学课程的思政教育路径探析

在新工科时代教学背景下,专业知识的教授不应是孤立的,而应与思想政治教育紧密联系。建筑美学课程应与思政教育相结合,以提升课程教学水平与质量、实现培养德才兼备的社会主义现代化人才立德树人为教学目标,为培养服务于社会主义现代化建设的高素质人才奠定基础。     

从禅宗到迷宫般的沉醉：圆明园狮子林与苏州狮子林的历史与美学交往

18世纪后期,清高宗乾隆帝在北京圆明园的长春园北侧建造狮子林和西洋楼两处园林。他的狮子林仿建了以假山迷宫闻名的苏州名园狮子林,而西洋楼包含着一个巴洛克式迷宫与错觉透视的戏台。通过对元代至清代有关2个狮子林园的诗词和园记的现象学感知分析与历史诠释学解读,揭示了苏州狮子林园从元代的禅宗空间到明代的幻境,再到清代的沉醉迷宫的美学变迁,以及其对当代精神空间塑造的历史启迪与文化含义。     

论建筑审美与艺术的共通性

建筑艺术具有书法之势、音乐之韵、绘画之境、诗词之意……建筑艺术与其他艺术之间的广泛的共通性不仅丰富了建筑艺术的美学内涵和审美属性，而且也为不同审美主体在建筑审美活动中感发审美情思、驰骋审美想像提供了多样化的条件和契机。     

旧街中的新建筑

在大规模的城市更新活动中,拆旧建新是当前普遍存在的现象,本文结合天津市“风貌建筑保护区”中的两栋新建筑探讨保持地域建筑风貌原则下的更新,以及旧街区中的新建筑做到与环境的共生,表达出当代审美意趣,创造出与地缘关系密切的现代建筑。     

动态书法墨迹的可回溯感评测

目的 可回溯感是艺术欣赏和临摹时产生的一种审美感受,即在审美过程中想象地再现原作的创作行为,是书法艺术凸显的审美心理现象。在计算机书法的研究中,鲜有研究以动画效果增强书法可回溯感,且缺少关于可回溯感的量化评估方法。因此,本文结合心理感知实验提出可回溯感的测评方法,并探究动态墨迹效果对书法作品可回溯感的影响。方法 首先将可回溯感分解为两种心理因素:顺序感和运动感。然后针对动态书法形式应用粒子动画制作7种不同墨迹效果,并设计心理感知实验对书法作品的可回溯感进行测量,即对选定标记点的运笔顺序进行排列以及对其运笔方向和相对速率进行估计。最后比较原作和动态书法可回溯感的差异,分析动态墨迹对书法作品可回溯感的影响。结果 实验结果证明测评方法是可行的,并发现恰当运用动态墨迹效果,即沿笔迹流动的墨迹动画,可以改进作品的运动感、显著增强顺序感以及提升可回溯感,反之则不能。若混入逆向流动墨迹效果,会削弱其提升顺序感的效用,但减弱的程度与正逆向墨迹的比例并非线性关系。结论 运笔顺序和笔触运动感知的评测方法可以有效量化视觉艺术品的可回溯感,为书法欣赏和临摹过程的研究提供实证方法。动态墨迹的设计也可用于增进书法...     

个性化图像美学评价的研究进展与趋势

图像美学评价方法是当前研究的热点问题。图像美学评价分为大众化和个性化两种。大众化图像美学评价主要研究大多数人对图像共同的审美感知评估,而个性化图像美学评价可以针对用户的个性化审美感知进行评估。现有的研究工作主要集中在大众化图像美学评价上,但是由于人们对图像的审美体验具有高度主观性,研究针对特定用户的个性化图像美学评价方法更加符合现实意义。目前研究人员针对个性化图像美学评价展开了相关研究,并取得了一定的研究进展。但是现有的文献中缺少对个性化图像美学评价方法的综述,本文针对个性化图像美学评价的研究进展与趋势进行概述。首先分析图像美学评价的研究现状与发展趋势;然后针对现阶段的个性化图像美学评价模型进行概述,将现有的个性化图像美学评价模型总结为基于协同过滤的模型、基于用户交互的模型和基于审美差异的模型,并分析这3类模型主要的设计思路以及优缺点;最后介绍个性化图像美学评价在精准营销、个性化推荐系统、个性化视觉增强和个性化艺术设计上的应用前景,并指出未来研究工作在主观特性分析和知识驱动建模等方面的发展方向。     

Translating visual art into tactile art to produce equivalent aesthetic experiences.

An argument is put forward to show that visual art may actually be translated into tactile objects that produce equivalent aesthetic experiences for blind or visually impaired people. This is shown by delineating the information required for such a translation in general, demonstrating that such a translation is already achievable from color vision to color vision and theoretically possible from spatial vision to spatial touch, and outlining that an analogous procedure could be applied to aesthetic experience. Limitations of such translations of visual works of art into tactile objects, and implications of such a procedure for artistic experience and education, are also mentioned. (PsycINFO Database Record (c) 2010 APA, all rights reserved)     

Image quality and the aesthetic judgment of photographs: Contrast, sharpness, and grain teased apart and put together.

We examined the individual and combined effects of contrast, sharpness, and grain degradations on the aesthetic judgments of photographs depicting natural and human-made scenes. Our systematic approach demonstrated that certain degradations, and their combinations, had more impact on aesthetic judgments than others, and that the effects varied depending on the type of scene. We also showed that the degradations were additive in that the more degradations to which an image was subjected, the less it was liked. Finally, we found evidence for a contrast effect in which the aesthetic judgments of high-quality images were more positive as the images they were presented with were more degraded. (PsycINFO Database Record (c) 2011 APA, all rights reserved)     

Mundane aesthetics.

With the publication of Zür experimentalen ?sthetik (1871) and Vorschule der ?sthetik (1876), Fechner laid the foundations for a new field termed experimental aesthetics, and provided three methods for empirical research. Of these, the method of choice has dominated subsequent research. It is argued that this method, in combination with a narrow, post-Baumgarten definition of aesthetics as pertaining mainly to the experience of art, has not served aesthetics well. In so doing it has overlooked the vast corpus of everyday objects for which people engage in aesthetic choice. Termed mundane aesthetics, this represents the low end, design, as distinct from the high end, art. The aesthetics of the mundane represents everyday reality, far removed from the rarefied pursuit of art. A study is reported into that most mundane and ubiquitous activity, selecting a paint color for the home. It eschews the laboratory and, instead, uses a retrospective method supported by qualitative data analysis (NVivo). The results indicate that aesthetic choice involves processes that are far from uniform, far from instantaneous (cf. laboratory studies), and that employ both internal and external aids reflecting cognitive, emotional, and social considerations. Selecting a wall color emerges as a surprisingly sophisticated process and, on the basis of the present study, one that women appear better equipped to perform than men. A parallel is drawn with the domain of decision research, particularly naturalistic decision-making. Mundane aesthetics involves a decision process, and not simply an affective choice. (PsycINFO Database Record (c) 2011 APA, all rights reserved)