Finding Buried Treasures: Aesthetic Scanning with Children

Hewett, Gloria Jean.; Rush, Jean C.

doi:10.2307/3193033

Cited by 9 publications

(3 citation statements)

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“…For instance, "aesthetic scanning" or the procedure and "aesthetic response" or the outcome are quite common in the literature review [18]. The former is defined as what is seen when closely looking at an artwork [19], while the latter is a broader interpretation focusing on the object's attributes, meaning, and artistic purposes [20]. A broader definition is given as the aesthetic response is a distinct kind of response that deals with feelings and talks about feelings [21].…”

Section: Aesthetics Contextmentioning

confidence: 99%

Aesthetic Preference of Timber Joints in Architectural Products

Kuys,

Mridha

2023

Sustainability

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This study investigates how Australian consumers’ aesthetic preferences for timber joints in architectural products are influenced by their sociodemographic characteristics and the visual appearance of the joints. Visual appearance in architecture and product design is a vital factor in consumer response and success of a product; however, designed items are often created without aesthetic research rigour to better understand user acceptance. We see this as an opportunity for greater penetration of aesthetics for designed products and, in this instance, contemporary architecture. We provide extensive literature defining aesthetics and outline the theoretical framework for experimental computer-generated visual stimuli. An online survey was conducted with 114 participants, who rated five timber joints on seven visual appearance attributes. The findings reveal that Joint 1 (angular) and Joint 5 (curved) were the most preferred joints. Employment status was the only sociodemographic factor that significantly affected the aesthetic preference. The findings of the study were used to inform design decisions for building a pagoda in a cemetery in Melbourne. The study contributes to the literature on aesthetics and design by providing empirical evidence on consumer preferences for architectural products. The study also suggests an opportunity to bridge aesthetics with sustainability, as timber is a sustainable material that can be designed to resonate with consumers’ aesthetic sensibilities while adhering to environmental principles.

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Section: Aesthetics Contextmentioning

confidence: 99%

Aesthetic Preference of Timber Joints in Architectural Products

Kuys,

Mridha

2023

Sustainability

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“…[11] In all classes, I introduced the art criticism experience as 'a treasure hunt'. [12] My intention was to model the art criticism method for teachers as well as to document results. I told students that we needed their help to interpret clues and find treasure hidden in the carpet.…”

Section: Descriptive Findingsmentioning

confidence: 99%

Children's Ethno‐Aesthetic Responses to a Turkish carpet: A Cross‐Cultural Study in Three Cultures

Stokrocki

2001

Journal of Art & Design Education

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“…Visual concepts are the lines, colors, shapes, textures, and other discrete features that combine by means of balance, rhythm, contrast, emphasis, and other compositional devices to express moods, dynamic states, or ideas through an art medium. These elements and principles of art are the foundation of form and content; discipline-based teachers using Broudy's system of aesthetic scanning call these features of artworks sensory, formal, expressive, and technical aesthetic properties (Hewett & Rush, 1987).…”

Section: Interlocking Imagesmentioning

confidence: 99%

Interlocking Images: The Conceptual Core of a Discipline-Based Art Lesson

Rush¹

1987

Studies in Art Education

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Discipline-based art education teaches children to understand a language of visual imagery in order to expand their expressive options when they use art materials. Putting imagic literacy at the center of studio art instruction departs from traditional practice, which encourages media manipulation but which discourages systematic image manipulation. Children's tutored images display visual concepts (aesthetic properties) acquired as a result of instruction. A discipline-based art lesson has three components: visual analysis, art production, and critical/historical analysis. Consistency of visual concepts (interlocking images) throughout all three components constitutes systematic studio art instruction that introduces children both to media and to the dimensions of artistic imagery. Discipline-based instruction in the visual arts incorporates concepts and skills from four branches of knowledge: aesthetics, art criticism, art history, and art production (Greer, 1984). Most art educators appear to sanction this broad content foundation of discipline-based art education (DBAE). Yet DBAE, as practiced by the Getty Institute for Educators on the Visual Arts, differs profoundly from the approach taken by most art educators with respect to studio art instruction. When children manipulate art materials in response to discipline-based instruction they parallel the processes used by adult artists, who create images that express to others certain ideas, moods, and dynamic states. The aesthetic value of art rests on the capability of imagery to transmit meaning of human import; imagery is central to thought and culture. Broudy (1972, 1979, in press a,b) presents, in this issue of Studies and elsewhere, an eloquent rationale for the uses of imagery within general education that underlies DBAE. Images express meaning through a particular configuration of aesthetic properties or visual concepts.' Discipline-based art education teaches children to understand a language of visual imagery that is common to many styles of adult art made in a variety of media. Learning to read artistic images, like learning to read stories, expands even young children's expressive options '"A concept exists whenever two or more distinguishable objects or events have been grouped or classified together and set apart from other objects [or events] on the basis of some common feature or property characteristic of each. Consider the class of 'things' called dogs. Not all dogs are alike. We can easily tell our favorite Basset from the neighbor's Great Dane. Still all dogs have certain features in common, and these serve as the basis for a conceptual grouping .... so familiar and so well defined that few of us have any difficulty calling a dog (even an unfamiliar dog) by that name when we encounter one .... But empirical studies clearly demonstrate that even the simplest of groupings are often difficult for the young or naive organism" (Bourne, 1966, pp. 1-2).

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Finding Buried Treasures: Aesthetic Scanning with Children

Cited by 9 publications

References 0 publications

Aesthetic Preference of Timber Joints in Architectural Products

Aesthetic Preference of Timber Joints in Architectural Products

Children's Ethno‐Aesthetic Responses to a Turkish carpet: A Cross‐Cultural Study in Three Cultures

Interlocking Images: The Conceptual Core of a Discipline-Based Art Lesson

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