Introduction
“ Consciously without knowing, you make many aesthetic choices every day.” (pg. 3)
For example deciding what you are going to eat or how you are going to get it is apart aesthetics thinking.
“Because of vastly increased choices in digital audio and video manipulate, media aesthetics has become an indispensable tool for structuring content” (pg.3)
Does anyone know what applied media aesthetics is?
Applied Media Aesthetics: is of and abstract concept but a process in which we examine a number of media elements, such as lighting and sound, how they interact and our perceptual reactions to them. (pg. 4)
Applied Aesthetics and Art
Art is a form of expression of ones emotion
“Whatever medium you choose for your expressions and communication, art is a process that draws on life for its creation..” (pg.4)
Overall art is a form of aesthetic communication.
Art and Experience
Art and the experience for any artist is of importance.
In media communication a group of artist such as a video, film or production team.
Whit that when editing, recording or arranging visual elements on a computer screen “you are engaged in the creative act clarifying, intensifying, and interpreting some event for a particular audience.” (pg.4) A clear example of art and experience.
Applied Aesthetics and Contextual Perception
“ We perceive out world not in term of absolutes but rather as changing contextual relationships.”
When we look at events we are constantly judging and comparing.
For exampling: Driving a car
One evaluates your the position of the car, surroundings, signals and direction.
A decision is made upon perception and comparing
Selective Seeing And Selective Perception
We notice what we want to see or are use to
“In habitual ways if seeing, we generally select information that agrees with how we ant to see the world.
Also know as selective seeing
“For example, if you are talking to a friend in a streetcar, you are probably not aware of most of the other sounds surrounding you unless they start interfering with your conversation or are especially penetrating such as a police siren or a crash” (pg.6)
Your selective of seeing shield you from seeing to many varieties of shades and colors so that you can keep your environment relatively stable. (pg.7)
Example:
Part 2 of Chapter one
The Power of Context
Bottom-up Context: you have little control over it.
Top-down Context: it is based on the intentionality of your actions.
In the top-down context we have the Associative Context which consciously establishes and applies a code that dictates, at least to some extent, how you should feel about and interpret what you see.
Example of a Associative context/top-down context:
Based on the context, your mind makes it so that even though both “A” letters really make it so its an “H” and an “A”.
Aesthetic Context:
Our perceptual processes are so immediate and forceful that we respond to certain stimuli in predictable ways even when we know that we are being perceptually manipulated. Great examples: Optical illusions
The center circle in each drawing is actually the same size.
-your behavior exerts considerable influence on how a specific message is received.
Applied Media Aesthetics: Method
-is based on Leonardo da Vinci’s Notebooks where he describes the “Ten attributes of sight which all find expression in Painting”
-Deductive Abstraction: it moves from photographic realism to the essential qualities of the event.
-Inductive Abstraction: Study the formal elements of painting, or of video and film, and then arrange those elements to express the essential quality of an event.
Fundamental Image Elements
Five fundamental ad contextual image elements of video and film: Light and color, two-dimensional space, three-dimensional space, time/motion, and sound.
Content-Encoding
-presupposes a thorough knowledge of such production tools as cameras, lenses, lighting, audio, and so forth as well applied aesthetics, such as selective focus, the proper framing of a shot, the use of color, the selection of music, ad the sequencing of various parts of a scene.
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