Farzad Parsayi
Biographic Data
| ID | 113371 |
|---|---|
| NAME | Farzad Parsayi |
| GIVEN NAMES | Farzad |
| FAMILY NAME | Parsayi |
| SIGNATURE | PARSAYI F |
| AFFILIATIONS | Monash University |
| ORCID | 0000-0002-0389-1684 |
| VERIFIED | Yes |
| TOTAL WORKS | 2 |
| TOTAL CITATIONS | 0 |
| WORKS AS AUTHOR | 2 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2021 |
| LATEST PUBLICATION YEAR | 2024 |
| H-INDEX | 0 |
Institutionalized Aesthetics
The art museum or gallery is not a neutral space for housing works. As much as it accepts new types of media, they have to adapt to suit the context of viewing and the conventions of an art-historical discourse. This type of institutionalized aesthetic underpins the evaluation of art objects and even imposes a definition on what art is. Working critically through this discourse, this article examines the limitations of art museums and galleries i…
Video Games and Aesthetic Contemplation
Video games present incredibly rich visual environments that can be studied from a variety of perspectives including those germane to the visual arts. The medium has evolved to such a degree that evaluation should not rest on whether an individual game can be considered art, but what types of aesthetic engagement the medium affords. A key figure in the study of the visual arts is aesthetic contemplation, in which extended attention reveals aesthe…
No prominent works on this page.
Video Games and Aesthetic Contemplation
Video games present incredibly rich visual environments that can be studied from a variety of perspectives including those germane to the visual arts. The medium has evolved to such a degree that evaluation should not rest on whether an individual game can be considered art, but what types of aesthetic engagement the medium affords. A key figure in the study of the visual arts is aesthetic contemplation, in which extended attention reveals aesthe…
Institutionalized Aesthetics
The art museum or gallery is not a neutral space for housing works. As much as it accepts new types of media, they have to adapt to suit the context of viewing and the conventions of an art-historical discourse. This type of institutionalized aesthetic underpins the evaluation of art objects and even imposes a definition on what art is. Working critically through this discourse, this article examines the limitations of art museums and galleries i…
Aesthetics (2 works) · Art (2 works) · Computer Science (2 works) · Contemplation (2 works) · Digital Games and Media (2 works) · Epistemology (2 works) · The arts (2 works) · Visual arts (2 works) · Architecture (1 work) · Art gallery (1 work)