Research on the Reading Comprehension and Aesthetic Experience of Poster Design Based on Gadamer’s Philosophy

Based on Gadamer’s philosophical viewpoint,the research scope starts from the domain of philosophical interpretation and extends to the field of poster design communication and aesthetics.In this paper,on the one hand,the author explains that art and beauty are basic ways of existence,and artistic experience surpasses the natural science method and is close to philosophical experience and historical experience;On the other hand,the paper clarifies and explains the understanding and being understood in poster design,as well as the understanding characteristics of aesthetic experience and artistic experience.While analyzing some hermeneutic phenomenon,this paper discusses the aesthetic function of art,and applies the combination of this function and aesthetic perception to the category of design.In consideration of the relationship between the two,this paper studies and discusses how to enhance the effect of poster design through effective methods,which would only deepen viewers’understanding of the work,but also enable viewers to enjoy the beauty of different degrees,so as to achieve the purpose of promoting information exchange and emotional communication,and further deepen the design connotation of the work.The communication function of poster design works needs to be realized in the application and appreciation,and its content expression needs to be realized in the subject understanding activities.Designers need to feel the unity of the meaning and form of the works in the poster design practice and experience,and explore the purpose and intention of the works of poster design in the aesthetic experience of art,thereupon then get the understanding of reality and the perception of the future of design,and then achieve the lofty pursuit of artistic aesthetics.

Reconfiguration of the brain during aesthetic experience on Chinese calligraphy—Using brain complex networks

Chinese calligraphy,as a well-known performing art form,occupies an important role in the intangible cultural heritage of China.Previous studies focused on the psychophysiological benefits of Chinese calligraphy.Little attention has been paid to its aesthetic attributes and effectiveness on the cognitive process.To complement our understanding of Chinese calligraphy,this study investigated the aesthetic experience of Chinese cursive-style calligraphy using brain functional network analysis.Subjects stayed on the coach and rested for several minutes.Then,they were requested to appreciate artwork of cursive-style calligraphy.Results showed that(1)changes in functional connectivity between frontooccipital,fronto-parietal,bilateral parietal,and central–occipital areas are prominent for calligraphy condition,(2)brain functional network showed an increased normalized cluster coefficient for calligraphy condition in alpha2 and gamma bands.These results demonstrate that the brain functional network undergoes a dynamic reconfiguration during the aesthetic experience of Chinese calligraphy.Providing evidence that the aesthetic experience of Chinese calligraphy has several similarities with western art while retaining its unique characters as an eastern traditional art form.

A Cross-Cultural Reflection on Shusterman＇s Suggestion of the ＂Transactional＂ Body

This short article explores the meaning of Shusterman＇s ＂transactional body,＂ derived from his statement that the will is not a purely mental affair that is independent of physical modality but is always an interaction with its environment. While he appreciates the Deweyan interaetional model, he develops the ＂transactional mode,＂ which he implies should expand the body-mind unity to the level of social and cultural conditions. Shusterman finds similar integrations and transactions among the mental, psychophysical and physical levels in Asian philosophical traditions. This article conducts a comparative study between his theory and Mencius＇ understanding of the body. Within the discussion, the analysis of aesthetic experience explicated by Dewey and Shusterman is reviewed as the link to the comparison.

The Legacy of Alois Riegl: Material Authenticity of the Monument in the Digital Age

The Austrian art historian Alois Riegl(1858-1905)revolutionised the European concept of the monu­ment and paved the way towards the codification of the historicity of artefacts at the international level.Today,conservation work and relevant terminology still build upon the principles first outlined in his work Der moderne Denkmalkultus(1903)more than a hundred years ago.And yet,modern information/communication technologies have long challenged the idea of‘age value’(Alterswert),of a monument possessing value simply because it shows‘signs of age’(Altersspuren),through their ability to digitally recreate historical architecture in its original form and thereby to transcend the boundaries of time and space.This paper discusses the challenges and opportunities for monument preservation in the 21st century in the light of Riegl’s thoughts on how to perceive(‘visualise’)the past.It investigates the validity of Riegl’s theories in the context of today’s virtual reality/ies at a theoretical level,and their potential for advancement in preservation theory,expanding on historical thoughts rooted in 18th and 19th century preservation theories.By analysing Riegl’s commemorative values,stratigraphic picturing of history’s mate­rial debris,and fear of formlessness,this paper explores digitisation as the driving force for change in attitude from traditional,restrictive thinking to a modern way of thinking which is receptive to new technological developments,including,for example,exploring augmented and virtual realities as a means of achieving the sensory aesthetic ex­perience required by age value.