ruling principle of gothic architecture was that its structures should resemble those of an organic being.39 In which ever way we look at it, De Quincey's use of organic imagery to figure the revolutionaries imbues them with an inspirational power that obscures the political contempt he feels for them.

‘swarming with human life’ (C, 73), threaten his sanity. The overabundance of organic growth, such as that represented by a forest, was a familiar theme in gothic imagery, as the immense and unknowable power that produced it became an object of sublime terror.

MDA, a theory of how game design works. MDA is a theory about the emergent nature of game play. It says when you combine game MECHANICS (shoot something, collect coins, jump over something, open a locked door, etc) the combination becomes DYNAMICS (sidescroller, boss battle, etc) which then is experienced by a player as a type of fun, or AESTHETICS (Fellowship, Challenge, Fantasy etc.

Groove Aesthetics in Afro-Cuban Jazz

psychology of aesthetics that aren't in the museum

Art is often focused on aesthetic, but more importantly, it is avisual embodiment of knowledge.

the aesthetics of wabi-sabi, the Japanese artistic appreciation of blemishes and imperfections, which themselves become the very aspects that define an object's beauty.

Black holes are extraordinarily dense objects possessing gravitational pulls so powerful even light cannot escape them. Supermassive black holes, which reside at the centre of many galaxies, including our own, are the largest of them

places at the centres of many large galaxies that have tremendous luminosity – sometimes outshining all of a galaxy's billions of stars combined – and produce the universe's most energetic outbursts seen since the Big Bang event 13.8 billion years ago. The energy arises from gas violently falling into a supermassive black hole that is surrounded by a cloud of tiny particles of rock and soot along with mostly hydrogen gas.

incredible art style and intriguing combat. While I was not wrong about the aesthetic

the aesthetics in this are very dull

It just reads better sometimes. Think @honda.kind_of? Car and @person.is_a? Administrator, Ruby's all about the aesthetics.

System architects: equivalents to architecture and planning for a world of knowledge and data Both government and business need new skills to do this work well. At present the capabilities described in this paper are divided up. Parts sit within data teams; others in knowledge management, product development, research, policy analysis or strategy teams, or in the various professions dotted around government, from economists to statisticians. In governments, for example, the main emphasis of digital teams in recent years has been very much on service design and delivery, not intelligence. This may be one reason why some aspects of government intelligence appear to have declined in recent years – notably the organisation of memory.57 What we need is a skill set analogous to architects. Good architects learn to think in multiple ways – combining engineering, aesthetics, attention to place and politics. Their work necessitates linking awareness of building materials, planning contexts, psychology and design. Architecture sits alongside urban planning which was also created as an integrative discipline, combining awareness of physical design with finance, strategy and law. So we have two very well-developed integrative skills for the material world. But there is very little comparable for the intangibles of data, knowledge and intelligence. What’s needed now is a profession with skills straddling engineering, data and social science – who are adept at understanding, designing and improving intelligent systems that are transparent and self-aware58. Some should also specialise in processes that engage stakeholders in the task of systems mapping and design, and make the most of collective intelligence. As with architecture and urban planning supply and demand need to evolve in tandem, with governments and other funders seeking to recruit ‘systems architects’ or ‘intelligence architects’ while universities put in place new courses to develop them.

supports ideas that promote quality journalism, advance media innovation, engage communities and foster the arts

Making UIs with Svelte is a pleasure. Svelte’s aesthetics feel like a warm cozy blanket on the stormy web. This impacts everything — features, documentation, syntax, semantics, performance, framework internals, npm install size, the welcoming and helpful community attitude, and its collegial open development and RFCs — it all oozes good taste. Its API is tight, powerful, and good looking — I’d point to actions and stores to support this praise, but really, the whole is what feels so good. The aesthetics of underlying technologies have a way of leaking into the end user experience.

Personally, I rather like the idea of typing into a field, backspacing to undo what you just typed, and having the field (and form) go back to being pristine. Aside from that aesthetic difference, my definition has the practical implication that it lets you know if you need to save the record or not.

Metamodernism, as we see, it is not a philosophy. In the same vein, it is not a movement, a programme, an aesthetic register, a visual strategy, or a literary technique or trope. To say that something is a philosophy is to suggest that it is a system of thought. This implies that it is closed, that it has boundaries. It also implies that there is a logic to it. To say that something is a movement, or indeed a programme, suggests that there is a politics to it, a belief as to how our environment should be organised. To propose any one “–ism” as an aesthetic – register, strategy or trope – is to suggest that it is a figure that can be pinned down and picked up from a text or painting and inserted elsewhere. The notion of metamodernism we have proposed is neither of these. It is not a system of thought, nor is it a movement or a trope. For us, it is a structure of feeling.

the study of beauty and taste

Our eyes decide our focus of attention and therefore our thoughts and our cognitive load.

wonderful and sublime

esthetics as we know it

CORRESPOONDENCE

The desire for understanding is driven by something more human. It is peoples’ nature to seek connections - connections to others, to the earth, and to ideas. This sense of connectedness is not only at the level of individual cognition, it comes from a desire to know with one's heart and mind, emotions and cognitions, imagination and reason. People pursue understanding to feel connected in ways that tell them they are human. As Feynman suggests, people strive to understand for aesthetic reasons.

To develope the reasoning faculties of our youth, enlarge their minds cultivate their morals, & instil into them the precepts of virtue & order

The tender age at which this part of education commences, generaly about the tenth year, would weigh heavily with parents in sending their sons to a school so distant as the Central establishment would be from most of them

I defy any painter to move and elevate me without my own consent and assistance

Having succeeded in imprisoning the frisky creature in marble, he makes it seem contented, too, ignorant of his own restraints. The union of man’s art and sylvan delight, of youth and animal, human skill and natural beauty, is a friendly one, and trapped within that discoloured marble surface uncovered by Praxiteles.⁠

a conceptualisation relevant to all cultural endeavours

inevitably, to academics working as part of a team

The confrontation with technology at the level of creation is what distinguishes electronic literature from, for example, e-books, digitized versions of print works, and other products of print authors “going digital.” Electronic literature often intersects with conceptual and sound arts, but reading and writing remain central to the literary arts. These activities, unbound by pages and the printed book, now move freely through galleries, performance spaces, and museums. Electronic literature does not reside in any single medium or institution.

No joke is funny unless you see the point of it, and sometimes a point has to be explained.

“ An aesthetic rhetoric counts on, attends to, and takes into account the body and its senses; an epistemic rhetoric tries to bypass them but cannot.