Wyniki wyszukiwania - Biblioteka Nauki

1

Bazowa aksjosfera dzieła sztuki z empiryczno-kulturalistycznego punktu widzenia

100%

Tarnowski J.

Estetyka i Krytyka

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2011

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nr 2(21)

151-164

EN

Stanislaw Ossowski in Basics of Aesthetics formulates an empiric-cultural theory of the axiology of a work of art. He aims at clarifying concepts of values, which must be simple, and one criterion. He makes the first step: differentiation of artistic and aesthetic values. However, he does not continue his work on the axiological paradigm in his later works. Therefore, a further clarification of the axiological concepts can be undertaken. The paper introduces and analyses the following simple values: content-aesthetic, form-aesthetic, innovate-artistic, historical-artistic and craft-artistic. They are the basic axiosphere of a work of art in our culture.

2

Cognitive interpretation of Kant’s theory of aesthetic ideas

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Kuplen M.

Estetika: The Central European Journal of Aesthetics

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2019

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tom 56_(New_Series_12)

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nr 1

EN

The aim of my paper is to argue that Kant’s aesthetic ideas can help us to overcome cognitive limitations that we often experience in our attempts to articulate the meaning of abstract concepts. I claim that aesthetic ideas, as expressed in works of art, have a cognitive dimension in that they reveal the introspective, emotional, and affective aspects that appear to be central to the content of abstract phenomena.

3

Pedagogical and neuropsychological aspects of prisoner creativity

100%

Gajewski M.

Acta Neuropsychologica

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2020

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tom 18(1)

97-125

EN

Detention in a prison is the isolation of an individual from society, placing him in an isolated space, where the punishment is not only the lack of contact with family or loved ones, but also being with other - often not easy in coexistence - prisoners. The reduced level of external stimuli makes internal life (experiences, emotions) a priority. Undertaking any creative activity reduces a prisoner’s concentration on the matter of isolation and any health problems and issues: real or imaginary. This process counteracts chaos and contributes to a gradual stabilization of the emotional system. Creative activity, by strengthening emotional stability, helps the regaining of balance and influences the prisoner’s adaptation to the life situation in which he finds himself. The initiation of creative activity by prisoners promotes the reintegration of the individual and social (here including cultural) self. The first part of this article will explain why introducing the arts is not only desirable, but natural given the setting, and inmates’ propensity for creative expression. The next part will present the examples of unstructured and structured programs developed for the creative revalidation of prisoners. Studies have revealed that undertaking creative activity on the part of prisoners plays an important role in the proces of revalidation. At the same time, analysis of works of art produced by prisoners gives an insight into the neuropsychological mechanisms of creation and provides important information for planning therapeutic programs.

4

Teoria dzieła sztuki Stefana Morawskiego – próba rekonstrukcji

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Przybysz P. J.

Estetyka i Krytyka

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2013

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nr 1(28)

117-131

EN

This paper is a reconstruction of Stefan Morawski’s understanding of what a work of art is. Three fundamental aspects are taken into account, namely: the ontological status, axiological status, and hermeneutical status of a work of art. This reconstruction includes as its sources diverse papers published by Morawski invarious places – a diversity which attests to the constant modifications of his conclusions

5

Unfit to Print: Contra Mag Uidhir on the Ontology of Photographic Artworks

100%

Aliyev A.

Estetika: The Central European Journal of Aesthetics

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2016

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tom 53 (New Series: 9)

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nr 1

3-13

EN

According to the orthodox view, photographic artworks are abstract objects. This view, however, has recently been challenged by Christy Mag Uidhir. In his article ‘Photographic Art: An Ontology Fit to Print’, he argues in favour of a nominalist construal of photographic artworks. My goal is to show that Mag Uidhir’s argument is unpersuasive.

6

O znaczeniu sztuki (dzieła sztuki) we współczesnych modelach komunikowania

100%

Fiut S. I.

Estetyka i Krytyka

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2011

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nr 1(20)

65-86

EN

The paper analyses the phenomenon of the presence of art works in network communication. Works of art, understood broadly as messages, have always been exerting influence upon the development of communication. The contemporary technological breakthrough perceives art and art works in a special way, as they make all communication processes attractive. Works of art catch the attention of their recipients and interactive users on the Internet. Art works and artistic creations on the Internet catch the user‟s a ttention both by their form and contents. They trigger a scope of emotions and inner experiences related to them. All this allows the media to play an active part in forming the users‟ value systems, i.e. a determined sensitivity or sphere of experiences, by which they are governed while taking decisions and choosing a way of action. This strict historic connection between art and communication techniques technologies, as well as the results of scientific research upon which they rest, bears an enormous significance for contemporary culture creation and interaction in the social sphere. To a great degree, in all post-modern societies it shapes the state and forms of contemporary culture which takes on various forms of „the cultures of participation‟. These phenomena form the main area of interest of the present paper. The article discusses the outlook on the role of art and artistic creations on the Internet formulated by Marshall McLuhan, Derick De Kreckhove, and Lev Manovich among others, all of whom discuss the specifics of the work of art in media and multimedia communication, and particularly within the context of the development of tactileness in the perception of interactive users who both perceive and co-create artistic messages on the Internet in cooperation with art creators.

7

Determinanty dzieła sztuki jako continuum obrazów

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Krupiński J.

Estetyka i Krytyka

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2013

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nr 1(28)

59-82

EN

A work of art exists through images. The determinants of a work of art seen as an image are the following: vision; the carrier of the image, the object produced and/or the chosen artefact; the surroundings of the carrier, in which it is placed; the functional context of the work the “subject” of the image, i.e., what is seen, the thing portrayed in the image; the world of the “subject” of the image; the onlooker, the viewer of the image; the “ideatic” context of the image, and of its subject in particular (“the world of ideas”). Essentially, the category of “image” determines the character of a work of art. Yet on a more basic and original level, it determines the very way the human world exists, and human beings themselves. Thus art becomes significant for human beings.

8

Tym razem poświęcimy własny kościół. Sacrum w sztuce młodych artystów

100%

Możdżyński P.

Estetyka i Krytyka

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2013

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nr 1(28)

93-115

EN

The main topic of this article is sacrum in the art of young polish artists. The first part is focused on methodology and defining such terms as sacrum, numinosum, transgression, initiation. In the second part the author explores the art of three young artist groups: Pracownia Struktur Mentalnych, Galeria “Praca” and Galeria “Dzika 6 na 79”. Some specific pieces of art are analyzed, including body art, performances, and videos.

9

Od redakcji

100%

Warmiński A.

Estetyka i Krytyka

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2008

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nr 13-14

9-11

10

Prawda dzieła sztuki w dobie jego technicznej reprodukcji. Próba Heideggerowskiej wykładni sztuki masowej

88%

Rogoziecki R.

Estetyka i Krytyka

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2013

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nr 1(28)

133-164

EN

The text attempts to find a way for Heidegger’s aesthetics, especially the concept of the truth of a work of art, to be applied to the analysis of the phenomenon of mass art. It takes as its point of departure Benjamin’s notion of mass art seen as art deprived of aura, i.e., art that is not situated in space and time. Merging Benjamin’s conceptual apparatus with Heidegger’s indicates that the notion of mass art needs major deepening. Above all, if we define high art in terms of existential truth and, in consequence, the way the work of art transcends the world in which it is rooted, then the non-auratic art will be defined by the notions of existential untruth, i.e., what will be pointed to is the way it is rooted in the world of Dasein. While the works of elite art always transcend this world, the works of mass art never do they are worldly entities; they belong to the world (within the world entities). It means that the works of mass art have to be analysed primarily in terms of the ideological structure s of the world in which they are rooted. This bears a number of ramifications for works of mass art, such as that they are not independent beings, but rather structural units, and also that their non- temporality is not just a result of the way they are produced and distributed, but also an effect of their origins in Dasein. Bearing in mind the structural character of the works of mass art, it seems necessary to outline a division into popular art, alternative art, and experimental art

11

Roland Barthes: malarska retoryka Arcimbolda

88%

Malec I. M.

Estetyka i Krytyka

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2009

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nr 15-16

240-246

12

Obligations to Artworks as Duties of Love

88%

Cross A.

Estetika: The Central European Journal of Aesthetics

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2017

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tom 54 (New Series 10)

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nr 1

85-101

EN

It is uncontroversial that our engagement with artworks is constrained by obligations; most commonly, these consist in obligations to other persons, such as artists, audiences, and owners of artworks. A more controversial claim is that we have genuine obligations to artworks themselves. I defend a qualified version of this claim. However, I argue that such obligations do not derive from the supposed moral rights of artworks – for no such rights exist. Rather, I argue that these obligations are instances of duties of love: obligations that one incurs in virtue of loving some object, be it a person or, in this case, an artwork.

13

Istnienie dzieła sztuki a jego tożsamość hermeneutyczna według Hansa-Georga Gadamera

88%

Sołtysiak M.

Logos i Ethos

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2013

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nr 2(35)

7–25

EN

The first part of the article attempts to reconstruct Gadamer’s ideas concerning auto – presentation as the ontological essence of a work of art. It also addresses the claim that relates art to the nature of truth. The second part of the article touches on the analysis of the autonomy of a work of art and connected with it – its hermeneutical identity. For Gadamer, this hermeneutical identity of the work of art is characterized by three main features: The first, and principal feature, is the consistency of a repetition of the same features of each presentation that is, the repetition of an established truth concerning reality. The second feature is the continuity of the presentation of the work of art in relation to the tradition of its interpretation. While the third feature contained within a work of art is its occasional character, that is, the specific reason for its origin and its purpose.

14

Transgresywne aspekty dzieła sztuki

88%

Pawliszyn A.

Estetyka i Krytyka

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2009

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nr 15-16

120-131

EN

The article aims to discuss transgressive aspects of the work of art understood as a festival against the background of classical hermeneutics. The sacred and the profane domains evident in the festival emerge even as man enters that spiritual dimension of the world which is free from everyday limitations, and to which Gadamer aptly refers as the timeless now. The article proposes that it is precisely thanks to the work of art that man can gain an insight into the unremitting Heraclitean vicissitude of all things. The work of art, which crystallizes and perpetuates time, allows man to transcend change and to experience in creation an analogue of divine independence. Without festivity introduced by art, human existence would either be reduced to technical barbarity or would become routine, which, for Ricoeur, stands as the figure of damnation. The work of art is, therefore, not merely a work of art: it is the struggle for a truly human existence.

15

Naturalistyczna teoria dzieła sztuki na gruncie estetyki realistycznej Władysława Strzemińskiego

88%

Hanuszewicz S.

Estetyka i Krytyka

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2010

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nr 17-18

227-235

EN

In Theory of Vision, Władysław Strzemiński presented criticism of idealistic aesthetics and his own realist theory. Basing on the above-mentioned book, he formulated an original naturalistic theory of a work of art. The author of this paper attempts to show the essence of Strzemiński’s critique, however the article is, for the most part, about his positive theory.

16

Artistic Thinking in Film Education (from Reproduction to Creation)

88%

Łukaszewicz J.

Estetyka i Krytyka

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2014

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nr 3(34)

77-90

EN

Making an attempt to describe the threats to the development of artistic education, one should particularly emphasise the failure of noticing the mission of art and culture in the vision of a contemporary man. Above all, the threat is posed by the depreciating attitude of the mass media turning culture into entertainment and spiritual space merely into a battlefield for trivial and ordinary goods. The problem of globalization deeply afflicts culture, particularly artistic education. But are the tasks of artistic education as defined within the humanistic approach to the Culture of Man not fundamental to the future of “thinking art”? The matter is worth of a serious and continuous debate, irrespective of the political correctness and the pragmatic attitudes “for today”. However, particular responsibility lies with the didactics in the field of art.

17

Fizyka we współczesnych badaniach i konserwacji dzieł sztuki

75%

Marczak J. , Koss A.

Wiadomości Konserwatorskie

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2009

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tom Nr 26

65-76

PL

W artykule przedstawiono i omówiono współczesne, nieniszczące fizyko-chemiczne i strukturalne metody analizy dzieł sztuki i obiektów zabytkowych w architekturze, wykorzystujące technikę laserową i optoelektroniczną. Omówiono również zalety i wady współczesnej technologii renowacji - czyszczenia obiektów za pomocą impulsowego promieniowania laserowego.

EN

The paper presents and discusses contemporary nondestructive physical-chemical and structural methods of the analysis of works of art and antique objects in architecture, with the use of laser and optoelectronic techniques. Advantages and disadvantages of the present technology of renovation - cleaning of objects with the help of impulse laser radiation have also been discussed.

18

Wartości - lista nazw

75%

Taranczewski P.

Kwartalnik Filozoficzny

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2021

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tom 49

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nr 1-4

43-65

EN

The concepts of value, valuing, and judging are often found to be problematic. Heidegger believes that assigning value reifies and subjectivizes that which exists. But perhaps we should differentiate between the concepts of valuing, i.e., assigning value, and judging. To note and acknowledge a value, e.g., an aesthetic value in which the artwork participates and which is given in the experience of the work of art, is not the same as to impose that value in advance, or take a relativizing or reductive approach. The article is supplemented by tables of values taken from Roman Ingarden’s aesthetics and art theory, as well as from the experience of artists – painters and architects.

19

Meals, Art, and Artistic Value

75%

John E.

Estetika: The Central European Journal of Aesthetics

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2014

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tom 51

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nr 2

254-269

EN

The notion of a meal is explored in relation to questions of art status and artistic value. Meals are argued not to be works of art, but to have the capacity for artistic value. These claims are used to respond to Dominic Lopes’s arguments in Beyond Art that demote artistic value in favour of the values that emerge from specific kinds of art. A conception of artistic value that involves ‘taking reflective charge’ of the possibilities for goodness available in an activity is sketched.

20

Étienne Gilson: L’idée de la beauté et sa conception de l’art

75%

Jaroszyński P.

Studia Gilsoniana

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2021

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tom 10

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nr 3

731-747

EN

Two books of Étienne Gilson are especially important in the area of aesthetics: Painting and Reality and The Arts of the Beautiful. In my essay I discuss Gilson’s idea of beauty and his idea of art. To some degree, É. Gilson follows traditional Thomistic point of view, i.e., he claims that the beautiful is that which pleases when seen, or that which consists of integrity, proportion and clarity. He gives, however, a new interpretation of clarity which, for him, means not only physical lucidity, but also a metaphysical radiation and spiritualization of what is material. As for art, É. Gilson is of an opinion that it enjoys a strong metaphysical status, since the existence of the work of art comes from the artist himself. Finally, I explain why É. Gilson’s views are open to further discussion, both metaphysical and theological.