Aesthetic Relation

Gerard Genette, The Aesthetic Relation, trans. G. M. Goshgarian (Ithaca Cornell University Press, 1999), p. 6. 

In general, textile fibers should be optically opaque so that their refractive indexes need to be significantly different from those of their most common environments, namely, air and water. Luster and color are two optical properties that relate to a fiber s aesthetic quatity and consumer acceptance. 

In Chapter 6, fugacity and activity are defined and described and related to the chemical potential. The concept of the standard state is introduced and thoroughly explored. In our view, a more aesthetically satisfying concept does not occur in all of science than that of the standard state. Unfortunately, the concept is often poorly understood by non-thermodynamicists and treated by them with suspicion and mistrust. One of the firm goals in writing this book has been to lay a foundation and describe the application of the standard state in such a way that all can understand it and appreciate its significance and usefulness. 

It was in this political and social climate that Vadim Kosmatschof began his artistic training. From 1951 to 1958 he was a student at the Moscow Secondary Art School. There he worked on the development of his first spatial concepts, which even then were conceived in relation to architecture and in contemplation of the standardized public spaces of the Stalin years. In his early sketches, Kosmatschof developed the concept of space that was to be determinative for his entire artistic development the space occupied by the sculpture is conceived as a resource and a means of organizing experience in order to develop a processual form of aesthetics. The buried tradition of Russian constructivism thus became a kind of fossil fuel which inspired and... 

The fears of car safety and pollution in the 1960s were followed by the sudden oil crisis of the early 1970s. The anti-car lobby viewed the car as a bad symbol of modern life to be attacked rather than adored but in the 1950s there was an optimism and exuberance that pushed the design of automobiles beyond aesthetic limits. The oil crisis produced a movement towards economy and utility, as manufacturers moved to make cars more functional. Style was succeeded by aero aesthetics mainly for fuel efficiency. Manufacturers found themselves working with more regulations and safety related data. 

Cellulosics are only used for aesthetic applications related to colour, gloss and feel. 

The example of the textile chain demonstrates (i) how much the techni-cal/aesthetic quality of products and chemicals-related product security are interdependent and (ii) what requirements exist for a quality management system beyond the supply chain level. Only the major brands can take this initiative on a global scale. For cosmetic, medical devices and food products, as well as technical products with high safety requirements (such as aircraft), management systems beyond supply chain level have now become a matter of survival. The same holds true for products that are subject to special waste and design regulations in Europe (such as automotive vehicles and electronic equipment). 

These two are used either separately or as a mixture. Because of the presence of the somewhat flexible ethylene oxide and related units and use of appropriate fillers, these materials give composite fillings with lower polymerization shrinkage, enhanced mechanical properties, lower solubility and water adsorption, better thermal expansion characteristics, and good biocompatibility with aesthetic properties closely matching those of the tooth itself. 

In the case of substances related to aesthetic and other considerations, the Canadian Drinking Water Guidelines (1978) recommend the MACs and objective concentrations given in Tables VI and VII. 

But we also have to take account of the relation between cognition and aesthetic experience. This raises important questions is, for example, a work of artistic landscaping as beautiful as it was at first sight when we learn it is ecologically pernicious or has been created by exploited labour Humans certainly have the ability to separate an experience into compartments by impermeable barriers or to become completely insensitive to certain aspects of it. Time and place enter into our appreciations. We do not admire a Gothic cathedral the less for knowing that it was built with safety measures so primitive that today they would be regarded as criminal. 

G. D. Birkhoff tried to give a mathematical theory of aesthetics by recognizing the complexity, C, and the order, O (i.e., its harmony and symmetry) that an object could be said to have. He then restated Hemsterhuis definition of the beautiful as that which gives us the greatest number of ideas in the shortest time as the relation aesthetic measure... 

One of the more "aesthetically pleasing" relations was put forth for the eastern and western Atlantic Ocean basins by Berger (1977). In his plots (see Figure 4.21) the R0, FL and CCD were generally widely separated and usually close to parallel. The saturation depth (SD) was close to coincident with the R0 level. However, even this picture has problems. If the R0 and SD are closely coincident, how can the 50% dissolution occur that is required to produce the R0 level (Adelseck, 1978) ... 

Distantly related plants, such as rose, jasmin, and lavender have quite independently gone down this road of complexity, based on different groups of chemical constituents. We may conclude, therefore, that complexity of odor has evolved as being the most effective way of evoking a desired response from an animal with the ability to smell and the ability to memorize odor. What is remarkable is that the particular combinations of materials that individual flowers produce to make up their fragrance have, to our own sense of smell, an identity far greater than a random mixture of as many ill-assorted chemicals. Perhaps we may infer from this, in view of the similarity of our receptor cells, that the balance of materials is as important to the olfactory mechanism of the bee as it is to our own in producing a sense of identity and aesthetic pleasure. 

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