AbstractThe purpose of this paper is to describe the visual aesthetics of the third-grade students' painting based on lines, colors, shapes, and gradations, as well as to explain the type of ...painting. The method used is a qualitative type with a descriptive approach. Data collection techniques were carried out by means of observation, interviews, and document review. The results showed that based on the elements of fine art, the work of students had their beauty based on the perspective of each person who saw it, and there were various types of paintings by students. Still, the types of paintings that often appeared in the lower classes were naturalistic and transparency types. by following under the characteristics of lower-class students. Keywords: Painting, Visual Aesthetics, Children Painting Type. AbstrakTujuan penulisan ini adalah untuk mendeskripsikan estetika visual karya seni lukis peserta didik kelas III berdasarkan garis, warna, bentuk, dan gradasi serta menjelaskan tipe lukisan. Metode yang digunakan menggunakan jenis kualitatif dengan pendekatan deskriptif. Teknik pengumpulan data dilakukan dengan cara observasi, wawancara, dan telaah dokumen. Hasil penelitian menunjukkan berdasarkan unsur-unsur seni rupa, karya peserta didik memiliki keindahannya masing-masing berdasarkan sudut pandang setiap orang yang melihatnya, serta terdapat tipe lukisan peserta didik yang beragam, namun tipe lukisan yang sering muncul di kelas bawah adalah tipe naturalistik dan tipe transparansi yang sesuai dengan karakteristik peserta didik kelas bawah. Kata Kunci: Seni Lukis, Estetika, Tipe Lukisan Anak.
Pendahuluan: Maloklusi dapat menimbulkan gangguan psikologis dan sosial (psikososial) akibat susunan gigi yang tidak estetik. Gangguan psikososial tersebut dapat mengukur kebutuhan dan keberhasilan ...perawatan dari sudut pandang pasien dengan lebih akurat. Pengukuran dampak psikososial akibat maloklusi dapat dilakukan dengan kuesioner Psychosocial Impact of Dental Aesthetic Questionnaire (PIDAQ). Penelitian ini bertujuan untuk melakukan translasi dan memvalidasi kuesioner PIDAQ dalam Bahasa Indonesia. Metode: Jenis penelitian ini merupakan penelitian cross-sectional. Prosedur penelitian diadaptasi dari pedoman yang dibuat oleh International Research Diagnostic Criteria for Temporomandibular Disorders (RDC/TMD) Consortium Network. Tahap pertama adalah tahapan linguistik, yaitu penerjemahan PIDAQ yang dibuat oleh Klages, et al., ke Bahasa Indonesia, evaluasi terjemahan PIDAQ Bahasa Indonesia, penerjemahan kembali PIDAQ Bahasa Indonesia ke Bahasa Inggris, kemudian evaluasi akhir terjemahan PIDAQ Bahasa Indonesia ke Bahasa Inggris. Tahap kedua adalah tahapan uji validitas dan reliabilitas. PIDAQ dalam Bahasa Indonesia diberikan kepada 32 orang responden untuk melihat validitas dan reliabilitas PIDAQ dalam Bahasa Indonesia. Tahap ketiga adalah tahapan analisis. Hasil uji validitas dan reliabilitas dianalisis menggunakan analisis Pearson Product Moment, Intra-Class Correlation (ICC), Cronbach Alpha, dan analisis faktor menurut Kaiser-Meyer-Olkin (KMO) dan Bartlett’s Test of Sphericity. Hasil: Penelitian ini menghasilkan kuesioner PIDAQ Bahasa Indonesia yang valid dan reliabel berdasarkan analisis Pearson Product Moment, ICC, Cronbach Alpha, analisis faktor menurut KMO, dan Bartlett’s Test of Sphericity. Nilai-nilai analisis tersebut telah menyamai nilai asli pada PIDAQ. Translasi tersebut terdiri dari 23 pernyataan yang dibagi dalam empat dimensi. Simpulan: Kuesioner Psychosocial Impact of Dental Aesthetic Questionnaire mengukur dampak psikososial dari estetika gigi pada subjek di Indonesia dan setiap item dalam kuisioner valid dan reliabel. ABSTRACT Introduction: Malocclusion will lead to psychological and social (psychosocial) disorders due to unaesthetic dental arrangement. These disorders can measure the need and success of treatment from the patient’s point of view more accurately. The psychosocial impact of malocclusion can be measured using the Psychosocial Impact of Dental Aesthetic Questionnaire (PIDAQ). This study was aimed to translate and validate the PIDAQ questionnaire in Indonesian. Methods: A cross-sectional study was performed with the procedure adapted from guidelines developed by the International Research Diagnostic Criteria for Temporomandibular Disorders (RDC/TMD) Consortium Network. The first stage was the linguistic stage, which was the Indonesian translation of PIDAQ by Klages et al., evaluation of the Indonesian translation, retranslation of the Indonesian version of PIDAQ to the original version, and final evaluation of the Indonesian to English translation of PIDAQ. The second stage was the stage of validity and reliability testing. The Indonesian version of PIDAQ was given to 32 respondents to test its validity and reliability. The third stage was the analysis stage. The validity and reliability tests results were analysed using Pearson Product Moment, Intra-Class Correlation (ICC), Cronbach Alpha, and factor analysis according to Kaiser-Meyer-Olkin (KMO) and Bartlett’s Test of Sphericity. Results: A valid and reliable Indonesian version of the PIDAQ questionnaire was able to be created based on the Pearson Product Moment, ICC, Cronbach Alpha, KMO factor analysis, and Bartlett’s Test of Sphericity results. The analysis values of the Indonesian version of the PIDAQ questionnaire were close to the original version’s values. The translation consisted of 23 statements divided into four dimensions. Conclusions: The Psychosocial Impact of Dental Aesthetic Questionnaire measures the psychosocial impact of dental aesthetics on Indo-nesian subjects, and each item in the questionnaire is valid and reliable.
Unutar umjetnosti radikalnog enformela nalazimo djela izražene nepikturalnosti, nesemantičnosti i nereferencijalnosti, kao i težnju prema entropiji, raslojavanju i razjedinjavanju forme kroz ...destruktivne procese deformiranja, perforiranja, urezivanja, grebanja, gomilanja struktura i masa, fragmentacije, skidanja slojeva i spaljivanja. U ovom je radu naglasak stavljen na teoretske modele tumačenja radikalnog enformela kroz koncepte estetike ružnoće, odnosno brutalne estetike, kao što su: (1) deformacija, (2) disfiguracija, (3) neformnost, i (4) entropija – na primjerima enformelnog stvaralaštva Ive Gattina, Eugena Fellera i Marijana Jevšovara, koji su proizašli iz njihovih svjetonazora prema umjetnosti i slici. Umjetnici su intencionalno stvarali slike koje nisu »lijepe« suprotstavljajući se klasičnim vrijednostima umjetnosti i ljepote kroz opozicijski i negacijski pristup, nihilizam, destrukciju, deformiranje i poništavanje slikarske površine kao vidovima anti-estetike.
In the art of radical Informel, we encounter works with emphasised non-pictoriality, non-semantics and non-referentiality, as well as a tendency towards entropy, layering and the disintegration of form through destructive processes such as deformation, perforation, incision, scratching, the accumulation of structures and masses, fragmentation, stripping and burning. In this paper, theoretical models of interpretation for the art of radical Informel are pointed out through the concepts of the aesthetics of ugliness, i.e. brutal aesthetics, such as (1) deformation, (2) disfiguration, (3) formlessness and (4) entropy – using the example of the informal works of Croatian authors Ivo Gattin, Eugen Feller and Marijan Jevšovar, which result from their attitude towards art and painting. The artists have deliberately created paintings that are not “beautiful” by opposing the classical values of art and beauty through oppositional and negative approaches, nihilism, destruction, deformation and the abolition of the surface of the painting as forms of anti-aesthetics.
After Kant the meaning of freedom is considered not so much as inner experience, but rather as a requisite to understand the world. In this regard an act of freedom is not one among many human acts, ...but their precondition and cause. In its highest reaches freedom thus provides existence with a final possibility in which it presents itself as an aesthetic monolith. Aesthetics of freedom considers its sublimity, one that confronts the misery of suffering its deprivation. The syncope of freedom consists in itself its aesthetic feasibility as a lunge equal to reaching, but not discovering freedom, the same freedom many have viewed differently in numerous moments of aspiration through the ages, but have never discovered it in the entirety of its sublimity due to evading responsibility for it. This presentation attempts to contribute to understanding whether the philosophical concept of freedom is in fact comparable to a square circle (Arendt).
Rad prikazuje odnos estetike i pedagogije razmatrajući aspekte suda ukusa u odgojno-obrazovnom kontekstu. Usmjerava se na istraživanje mogućnosti subjektivnog i objektivnog određenja suda ukusa ...kritički razmatrajući moguće problemske implikacije koje nastaju zauzimanjem takvih pozicija u nastojanju njegova određenja. Razmatranjem koncepata suda ukusa rad donosi temeljne odrednice njegova razumijevanja u okviru estetike kao filozofske discipline oslanjajući se poglavito na Humeova i Kantova djela kao izvore i temelj za promišljanje odgojne uloge u njegovom oblikovanju. Analizom ključnih odrednica suda ukusa u njihovu mišljenju pružaju se implikacije putem kojih se iznosi povezanost, relevantnost i nužnost oblikovanja suda ukusa putem odgojno-obrazovne djelatnosti. Stoga rad ukazuje na potrebu za odgojem i obrazovanjem kao neizostavnim čimbenicima koji, osim što produbljuju razumijevanje estetskih vrijednosti, imaju utjecaj na oblikovanje njegove kvalitete i profinjenosti.
The paper presents the relationship between aesthetics and pedagogy by considering aspects of the judgement of taste in the educational context. It focuses on exploring the possibility of subjective and objective determination of the judgement of taste by critically considering the possible problematic implications that arise from taking such positions in an effort of its determination. By considering the concepts of the judgement of taste, the paper presents the fundamental concepts of its understanding within aesthetics as a philosophical discipline, relying mainly on Hume’s and Kant’s works as sources and basis for considering the educational role in its figuration. The analysis of the key determinants of the judgement of taste in their works provides the basis for implications through which the connection, relevance and necessity of shaping the judgement of taste through educational activities are presented. Therefore, the paper points to the need for upbringing and education as indispensable factors that, in addition to deepening the understanding of aesthetic values, have an impact on the formation of its quality and sophistication.
There is fast-growing awareness of the role atmospheres play in architecture. Of equal interest to contemporary architectural practice as it is to aesthetic theory, this ‘atmospheric turn’ owes much ...to the work of the German philosopher Gernot Böhme. Atmospheric Architectures: The Aesthetics of Felt Spaces brings together Böhme’s most seminal writings on the subject, through chapters selected from his classic books and articles, many of which have hitherto only been available in German. This is the only translated version authorised by Böhme himself, and is the first coherent collection deploying a consistent terminology. It is a work which will provide rich references and a theoretical framework for ongoing discussions about atmospheres and their relations to architectural and urban spaces. Combining philosophy with architecture, design, landscape design, scenography, music, art criticism, and visual arts, the essays together provide a key to the concepts that motivate the work of some of the best contemporary architects, artists, and theorists: from Peter Zumthor, Herzog & de Meuron and Juhani Pallasmaa to Olafur Eliasson and James Turrell. With a foreword by Professor Mark Dorrian (Forbes Chair in Architecture, Edinburgh College of Art) and an afterword by Professor David Leatherbarrow, (Chair of the Graduate Group in Architecture, University of Pennsylvania), the volume also includes a general introduction to the topic, including coverage of it history, development, areas of application and conceptual apparatus.
Pendahuluan: Estetika senyum seseorang merupakan faktor pendukung sangat penting dalam penampilan wajah karena saat sedang berbicara bukan hanya tertuju pada mata tetapi pada gerakan mulut. Pasien ...dengan estetika senyum yang sempurna dinilai lebih menarik dan dapat menerima hal-hal positif serta perilaku yang lebih baik.Estetika senyum yang buruk akan mengurangi kepercayaan diri pasien dan dianggap merugikan terutama dalam hal sosial dan pekerjaan. Faktor usia, jenis kelamin, dan pendidikan dalam penilaian terhadap senyum seringkali dipengaruhi oleh persepsi individu. Penelitian ini bertujuan untuk mengetahui persepsi estetika senyum pada mahasiswa yang belum dan sedang dalam perawatan ortodonti. Metode: Jenis penelitian adalah deskriptif observasional dengan desain cross-sectional. Penelitian ini menggunakan analisis lip line, smile arc, kesimetrisan senyum, dan buccal corridor mengambil sudut pandang frontal, karena saat berbicara maupun melihat ekspresi wajah lebih cenderung dipandang frontal daripada side profile. Teknik pengambilan sampel pusposive sampling, jumlah responden adalah 36 orang dari semester II dan IV yang sesuai dengan kriteria inklusi. Responden mengisi kuesioner berisi 4 pertanyaan. Masing-masing pertanyaan menampilkan foto yang diambil dari referensi sesuai dengan teori estetika senyum.Jawaban yang dipilih responden, dihitung dengan menggunakan perhitungan Landis dan Koch. Hasil: Sebanyak 72,2% responden yang belum melakukan perawatan ortodonti memiliki persepsi estetika senyum yang baik dan sangat baik, dan 88,9% responden yang sedang melakukan perawatan ortodonti memiliki persepsi estetika senyum yang baik dan sangat baik. Simpulan: Persepsi estetika senyum pada mahasiswa yang belum dan sedang dalam perawatan ortodonti mayoritas baik dan sangat baik. Kata kunci: estetika senyum; persepsi; perawatan ortodonti ABSTRACT Introduction: The smile aesthetics is an essential supporting factor in facial appearance because, in the middle of conservation, the focus will be laid on the eyes and the lips movement. Patients with perfect smile aesthetics are considered more attractive and can accept positive things and better behaviour. Poor smile aesthetics will reduce the patient’s confidence and be detrimental, especially in social and work terms. Individual perceptions often influence age, gender, and education factors in assessing a smile. This study aims to determine the perception of smile aesthetics among dental students who have not and are in orthodontic treatment. Methods: This research was descriptive observational with a cross-sectional design and used lip line analysis, smile arc, smile symmetry, and buccal corridor with a frontal point of view because when speaking or seeing facial expressions, people tend to be viewed frontally rather than side profile. The sampling technique was purposive sampling; the number of respondents was 36 people from the second and fourth semesters according to the inclusion criteria. Respondents filled out a questionnaire containing four questions. Each question displays a photo taken from a reference following the theory of smile aesthetics. The answer chosen by the respondent was calculated using Landis and Koch calculations. Results: 72.2% of respondents who have not had orthodontic treatment have a “good” and “very good” smile aesthetic perception, and 88.9% of respondents in orthodontic treatment have a “good” and “very good” smile aesthetic perception. Conclusion: The smile aesthetic perception among dental students who have not and are in orthodontic treatment are primarily “good” and “very good”. Keywords: smile aesthetics; perception; orthodontic treatment
AbstrakArtikel ini membahas tentang perempuan Bali dalam lukisan gaya Kamasan karya Mangku Muriati. Pembahasan dalam artikel ini berpijak pada dua hal yakni aspek psikobiografi dan karya-karya Mangku ...Muriati yang didalamnya terkandung konsep dan tema-tema tentang persoalan gender. Secara biografi, pengalaman Mangku Muriati yang tumbuh dan besar dalam lingkungan seni lukis Kamasan di desanya, juga latar belakang pendidikan akademis yang diperoleh di perguruan tinggi, serta profesi kepemangkuan dan kesenimanan yang Ia lakoni memberi pengaruh pada cara pandangnya dalam memahami gender yang kemudian disampaikan dalam karyanya. Selanjutnya dalam karya-karyanya, Mangku Muriati menghadirkan perluasan tema dari tema Pewayangan menjadi tema-tema keseharian khususnya tentang perempuan Bali masa kini dan peran mereka dalam kehidupan sosial. Karya-karya Mangku Muriati mengandung pernyataan ihwal sikapnya sebagai perempuan dalam memandang persoalan gender.
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