Different people,different wild:Comparing and mapping wilderness representation in Wuyishan National Park,China

It is essential to better integrate wilderness representations of different stakeholders into wilderness conservation.The way in which local residents and other stakeholders frame the construction of wilderness of protected areas in developing countries are poorly understood.In these areas,land use policy and decision may lead to conflicts.This study aims to explore existing public wilderness representations using a questionnaire survey(n=514)administered amongst tourists and other stakeholders in the Wuyishan National Park,in southeast China.The spatial differences in public representations of wilderness across different stakeholder groups were compared against expert knowledge.We found that integrated wilderness representation maps of different stakeholder groups were consistent,namely'area where wild animals live','area with no human influence','a barren and lonely area'.However,three sub-representations of the individual stakeholders varied significantly.Moreover,expert-based wilderness mapping did not reflect public representations accurately,and an integrated wilder-ness quality map considering wilderness representations across both stakeholders and experts can better identify detailed wilderness areas.Our study provides new insights and technical support for future exploration of wilder-ness conservation and mapping in China and other countries with insufficient awareness of wilderness values and investigations in a regional scale.

On the Praxis-Oriented Semiotic Aesthetics in Eastern European Marxism

Eastern European Marxism,taking a critical stance towards structuralism,gave rise to a unique paradigm of praxis-oriented semiotic aesthetics.This novel approach posits that signs emerge from humans’social praxis and also function as a means of praxis.It further delves into the principle governing the generation and usage of signs,i.e.,the Economy Principle,the homogenization of signs,the situatedness or contextual constraints,as well as their aesthetic features and transcendental attributes.As a result,the praxis-oriented semiotic aesthetics within Eastern European Marxism exhibits distinct theoretical value.

Innovation and Practice of the Cultivation Mode of Application-Oriented Undergraduate Talents in Agricultural and Forestry Colleges under the Guidance of the Spirit of the Great Northern Wilderness

Heilongjiang reclamation area has made great progress since its development and construction, among which the agricultural and forestry colleges in China have played a key role in the input of talents for the production of reclamation area, and the spirit of the Great Wilderness has important strategic significance for the cultivation of agricultural and forestry talents. Taking Heilongjiang Bayi Agricultural University as an example, this paper analyzes the ways of the Great Northern Wilderness Spirit for cultivating application-oriented undergraduate talents in agricultural and forestry colleges, improving the curriculum system of undergraduate talents through innovation, strengthening the cultivation of students’ innovative ability, leading students’ scientific research and academic level, and enhancing students’ practical ability. To innovate the cultivation mode of application-oriented undergraduate talents in agricultural and forestry colleges under the guidance of the spirit of the Great Northern Wilderness, and to provide a reference mode for the cultivation of undergraduate talents in agricultural and forestry colleges in China.

The Study of “Imitation” Aesthetics in Ancient Painting Theory-Taking the Chinese and Western Sources as an Example

The theory of“imitation”in painting occupies a leading position in western art,which originated from the theory of“imitation”in ancient Greece,and has become one of the art theories affecting the world through the continuous development of later generations.Through the exploration of the source of“imitation”in China and the West,there are some comments on the meaning of“imitation”in Chinese classical painting theory,such as“transfer model writing”and“image form”,which is obvious differences from the west.Traditional Chinese painting is a combination of careful observation of natural things and subjective emotions to express their own aesthetic feelings,and ultimately form a vivid artistic conception.Modern imitation is borrowed from Western imitation.In fact,imitation in traditional painting has its own meaning,which contains Chinese aesthetic thought.“Imitation”aesthetics is unique in traditional Chinese painting and is the most important form of painting art.

Chan Buddhism in Wilderness and the Buddhist Tourism

The culture of landscape constitutes one of the vital characteristics of Chinese culture,in which,Chan Buddhism is a typical kind of Buddhist culture expressed by the natural objects.Chinese Buddhism,represented by Chan School,is interpreted by the beautiful natural scenery,therefore it is closely related to the tourism from the ancient time.However,this link is to defend Buddhist tourism,which is inevitably criticized,since the secularization of sacred Buddhism,though Buddhist tourism is beneficial for life,society,economy,and Buddhism itself.But this sort of criticism is a misunderstanding of Chinese Buddhism since that Chinese Buddhism absorbs Zhuang Zi’s thought that“the ultimate truth(道)is in shit(屎尿)”1,so that it purports to the sacred dimension which is overlapped by the secular aspect.For example,the short poems composed by masters in Chan School“The Buddhist dharma is in this world,so that the enlightenment could not be realized outside of the human world”,“where there is bamboo and flower,there is dharma and prajna”,are the best way to express this kind of divine concept,moreover,Buddhist tourism is an effective practice to allocate this divine connotation.

Translation of Culture-loaded Words in The Golden Cangue under the Perspective of Reception Aesthetics

Good translations play a very important role in cultural exchange.The idea of reception aesthetics think the reader as the center in translation process.This paper will study the translation of culture-loaded words from the perspective of reception aesthetics.It is divided into five parts.The first part mainly introduces the background and theoretical foundation of this paper,the second part introduces the writer’s works,the third part gives examples to analyze the culture-loaded words appearing in The Golden Cangue,the fourth part gives examples of the translation methods,and the fifth part is the conclusion.It aims to provide a reference for the English translation of culture-loaded words.

On Translation of Children’s Literature Based on Reception Aesthetics:A Case Study of The Secret Garden

Grounded in reader-centered theories,Reception Aesthetics prioritizes the active engagement and acceptance of target readers.This study examines the translation of children’s literature through the lens of Reception Aesthetics,using Li Wenjun’s rendition of The Secret Garden as a case study.The objective is to scrutinize various aspects of the translation-including vocabulary,syntax,rhetorical devices,and cultural nuances-and to discern how the adaptation and application of diverse translation strategies cater to the aesthetic expectations.

Research on the Cultivation of Aesthetics among Art Students under the New Era Background

Through understanding the history and current situation of aesthetic education in China,this paper explains some misunderstandings in the aesthetics of contemporary university art students,such as the insufficiency of aesthetic value and ability,as well as the inadequacy of students’creativity due to traditional art education.It is also pointed out that the cultivation of core literacy of art students is a multidimensional and comprehensive process,and these problems need to be solved by schools,teachers,and students,so as to strengthen the inner aesthetic education of students and improve their aesthetic awareness and ability.Aesthetic education is not only an important part of the art classroom but also a key part of fostering students’all-round development and enhancing their humanistic literacy.It is necessary to cultivate students’observation,imagination,image-thinking ability,and creativity,so that they can become artistic talents with independent thinking and innovation.

The Silent Curriculum:Classical Aesthetics as a Catalyst for Emotional and Social Skills in Higher Vocational Education

This study examines the integration of classical aesthetics into the silent curriculum of higher vocational education,emphasizing its potential to significantly enhance emotional and social skills.Incorporating aesthetic principles into education emphasizes the importance of nurturing emotional intelligence,creativity,and cultural awareness in students-skills that go beyond the classroom and are essential for their growth,adaptability,and future careers.It explores theoretical foundations and practical implementations and addresses challenges such as the need for specialized educator training,overcoming institutional resistance,and securing adequate resources.Advocating for empirical research and strategic cultural partnerships,the paper proposes a transformative approach to vocational education,aligning it with contemporary societal and labor market demands,and underscores the vital role of classical aesthetics in enriching vocational training and enhancing student outcomes.

Research on the Path of Integrating Party Construction Aesthetics into Ideological and Political Education in Colleges and Universities

Party construction aesthetics is a valuable aesthetic resource formed in the practical exploration of rural revitalization,and it has logical compatibility with ideological and political education in terms of concepts,goals,tasks,etc.At present,comprehensive deepening reform has entered a deep-water zone,and some erroneous value orientations such as utilitarianism,emptiness,and liberalization are common in colleges and universities,and ideological and political education is caught in a new round of difficulties.As the main position of ideological and political education,colleges and universities should further use party construction aesthetics to strengthen and improve ideological and political education,adhere to the carrier of aesthetic education,carry out diversified integrated education,broaden the ideological and political practical teaching system,build a long-term mechanism for collaborative education of ideological and political education and party construction aesthetics,and fully integrate party construction aesthetics into ideological and political education in colleges and universities.

The Past and Future of Aesthetics in Mathematics

This paper explores the connotations of mathematical aesthetics and its connections with art,facilitated by collaboration with Ester,an individual with an artistic professional background.It begins by tracing the historical evolution of aesthetics from the classical pursuit of authenticity to the modern shift toward self-expression in art.The discussion then highlights the similarities in the pursuit of truth between mathematics and art,despite their methodological differences.Through an analysis of aesthetic elements in mathematics,such as lines and function graphs,the article illustrates that the beauty of mathematics is not only manifested in cognitive processes but can also be intuitively expressed through visual arts.The paper further examines the influence of mathematics on the development of art,particularly how Leonardo da Vinci applied mathematical principles to his artworks.Additionally,the article addresses art students’perceptions of mathematics,proposes the customization of math courses for art students,and discusses future trends in the integration of mathematics and art,emphasizing the significance of art therapy and the altruistic direction of art.Lastly,the authors use a poster to visually convey the idea that the beauty of mathematics can be experienced through the senses.

Perception of dental appearance and aesthetic analysis among patients,laypersons and dentists

BACKGROUND Current concepts of beauty are increasingly subjective,influenced by the viewpoints of others.The aim of the study was to evaluate divergences in the perception of dental appearance and smile esthetics among patients,laypersons and dental practitioners.The study goals were to evaluate the influence of age,sex,education and dental specialty on the participants’judgment and to identify the values of different esthetic criteria.Patients sample included 50 patients who responded to a dental appearance questionnaire(DAQ).Two frontal photographs were taken,one during a smile and one with retracted lips.Laypersons and dentists were asked to evaluate both photographs using a Linear Scale from(0-10),where 0 represent(absolutely unaesthetic)and 10 represent(absolutely aesthetic).One-way analysis of variance(ANOVA)and t-test analysis were measured for each group.Most patients in the sample expressed satisfaction with most aspects of their smiles and dental appearance.Among laypersons(including 488 participants),47 pictures“with lips”out of 50 had higher mean aesthetic scores compared to pictures“without lips”.Among the dentist sample,90 dentists’perception towards the esthetic smile and dental appearance for photos“with lips”and“without lips”were the same for 23 out of 50 patients.Perception of smile aesthetics differed between patients,laypersons and dentists.Several factors can contribute to shape the perception of smile aesthetic.AIM To compare the perception of dental aesthetic among patients,laypersons,and professional dentists,to evaluate the impact of age,sex,educational background,and income on the judgments made by laypersons,to assess the variations in experience,specialty,age,and sex on professional dentists’judgment,and to evaluate the role of lips,skin shade and tooth shade in different participants’judgments.METHODS Patients sample included 50 patients who responded to DAQ.Two frontal photographs were taken:one during a smile and one with retracted lips.Laypersons and dentists were asked to evaluate both photographs using a Linear Scale from(0-10),where 0 represent(absolutely unaesthetic)and 10 represent(absolutely aesthetic).One-way ANOVA and t-test analysis were measured for each group.RESULTS Most patients in the sample expressed satisfaction with most aspects of their smiles and dental appearance.Among laypersons(including 488 participants),47 pictures“with lips”out of 50 had higher mean aesthetic scores compared to pictures“without lips”.Whereas among the dentist sample,90 dentists’perception towards the esthetic smile and dental appearance for photos“with lips”and“without lips”were the same for 23 out of 50 patients.Perception of smile aesthetics differed between patients,laypersons and dentists.CONCLUSION Several factors can contribute to shape the perception of smile aesthetic.

Myth and Digital Fantasy from the Perspective of Technical Aesthetics

The surreal space of digital technology development has created an unprecedented utopian mythological world.The virtual reality research started in the 1960s has gradually become a reality with the support of hardware technology.The media mode of observing the world by simulating human eyes with cameras is being replaced by computer simulation technology.The metaverse global vision based on virtual space and sense of time obscures the traditional perspective,and a novel progressive aesthetic category gradual y emerges.Starting with the aesthetic experience of myth brought by digital technology,this paper reviews the history of myth and analyzes the mental image of myth and religion to push the origin of life to a more profound realm.The contemporary“myth”following technological development changes the situation of human cognition of the world,separates the myth from the historical frame and relates it to the contemporary ongoing.

The Ecological Aesthetics of Funeral Architecture towards Death:A Case Study of Tomba Brion Family Cemetery

This paper discusses the design of funeral architecture with ecological aesthetics as the entry point,and makes a poetic interpretation of the gardening techniques and spiritual connotation of Tomba Brion Family Cemetery,a funeral architecture,in combination with architecture,ecological design aesthetics,landscape ecology,oriental aesthetics and other disciplines to explore the unique charm of the architectural field related to death for life,trying to provide the reference value of ecological aesthetics for the development of funeral architecture.

Flavor Amidst Plainness:An Examination of the Subjectivity of the“People’s Films”From the Perspective of Classical Aesthetics

The“People’s Films,”when examined from the perspective of classical aesthetics,present a unique visual style that creates artistic conceptions through sparse filming and deliver a scenery-based ideology through background shots,contributing to the overall aesthetic taste dominated by plainness.Chinese national aesthetic tastes,distinguished by implicitness,symbolism,and ethereality,have the magical power to present charming conceptions via plain and simple scenes,thus endowing the“People’s Films”with natural,plain,and harmonious frames that are unique to China.Behind the silent and plain scenes are representations of personal cultivation and essential values cherished by the Chinese people,which are achieved via the momentary presence and entirety of scenes photographed in the films,delivering an internal transcendence of people’s consciousness.

The Constructed Image:“China”in Gertrude Stein’s Composite Matrix of Aesthetics and Politics

As a representative modernist writer of the early 20th century,Gertrude Stein creatively established a unique experimental writing style to support her modernist expression.This paper attempts to analyze the Oriental elements,especially elements and images related to“China”in her works.Stein’s uses these elements to construct a systematic and complex matrix of aesthetics and politics.“China”in Stein’s matrix is an essential source of her so-called“the oriental peaceful penetration”and a significant lens for her ideological expression and political thoughts.Although Stein emphasizes her Oriental components in the source of identity,she always places herself in a Western position,ignoring cultural and political expressions in the real Chinese context and turning“China”into a useful tool in the collective fantasies of the West.

An Exploration of Translation Strategies of Global Cosmetics Brands Based on Reception Aesthetics

With the advancement of economic globalization,the flow of commodities from one country to another has become closer and closer.Especially in recent years,the logistics industry has been developing rapidly,overseas purchasing agents and cross-border online shopping have been enormously prevailing,and accordingly more and more British and American cosmetics expect to occupy a place in the huge market of China.Therefore,it is particularly important to explore the Chinese translation strategies for British and American cosmetic brands.Based on the theory of reception aesthetics,this thesis takes the corpus Estee Lauder,La mer,and other famous cosmetics brands.The thesis proposes several methods for translating cosmetic brands:transliteration for proper names like person or geography names;free translation to recreate brand aesthetics;creative translation for new brands;and adapted translation for divergence in language habits.Therefore,this thesis is of theoretical and practical significance as far as the field of cosmetics is concerned.

Cross-Modal Consistency with Aesthetic Similarity for Multimodal False Information Detection

With the explosive growth of false information on social media platforms, the automatic detection of multimodalfalse information has received increasing attention. Recent research has significantly contributed to multimodalinformation exchange and fusion, with many methods attempting to integrate unimodal features to generatemultimodal news representations. However, they still need to fully explore the hierarchical and complex semanticcorrelations between different modal contents, severely limiting their performance detecting multimodal falseinformation. This work proposes a two-stage detection framework for multimodal false information detection,called ASMFD, which is based on image aesthetic similarity to segment and explores the consistency andinconsistency features of images and texts. Specifically, we first use the Contrastive Language-Image Pre-training(CLIP) model to learn the relationship between text and images through label awareness and train an imageaesthetic attribute scorer using an aesthetic attribute dataset. Then, we calculate the aesthetic similarity betweenthe image and related images and use this similarity as a threshold to divide the multimodal correlation matrixinto consistency and inconsistencymatrices. Finally, the fusionmodule is designed to identify essential features fordetectingmultimodal false information. In extensive experiments on four datasets, the performance of the ASMFDis superior to state-of-the-art baseline methods.

A Preliminary Exploration of Zong Baihua’s Aesthetic Character and the Creative Philosophy of Small Poems

Zong Baihua’s aesthetic character and the creative philosophy of small poems are integrated and intertwined with each other,with distinctive aesthetic characteristics and unique artistic concepts.Whether it is his“rounded and integrated aesthetics centered on Chinese art”,“vivid and charming natural cosmology”,or“personality aesthetics that mutually mirrors with the nature universe”,they all have extraordinary inspirations and guidance for us today to explore the reform of new literature and art,the reform of new poems,and even the contemplation of the cosmos,society,and life,with positive and profound significance.

The Implantation Application of Traditional Chinese Calligraphy in Book Cover Design under Contemporary Aesthetic Trend

In the information age, the public’s aesthetic consciousness of art has changed dramatically, showing a new trend of pursuing abstraction and personalisation of art works. In this context, Chinese traditional calligraphy, which carries deep oriental cultural heritage and artistic taste, and is highly flexible and adaptable in terms of artistic form, has great application value in the field of book cover design. This paper first analyzes the trend characteristics of the development and transformation of public artistic aesthetic consciousness from the industrial era to the information age, and then explores the artistic form characteristics of traditional Chinese calligraphy, and proposes that traditional calligraphy has great application value in book cover design. Finally, several innovative and clever cases of incorporating traditional calligraphy into book cover design were highlighted, providing inspiration for design ideas and methods.