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Human being transcending itself: Creative process in art as a model of our relation to the ultimate reality

100%

Mistrík E.

Human Affairs

2011

tom 21

nr 2

119-128

The paper reviews some of the links between the notion of “ultimate reality” and everyday life, mainly art, beauty, the creative processes in art, and citizenship. If, according to M. Heidegger, art reveals the truth of being (i.e., also of ultimate reality), then we may find some historical descriptions of creative processes that are very close to descriptions of ultimate reality. Three examples of these kinds of descriptions are discussed (Abhinavagupta, St. Augustine, F. Engels). The final aim is to show how the interpretation of ultimate reality can contribute to a better understanding of the creative process in art. These considerations can also throw light on one particular aspect of civil life-the relations between everyday life and its final goals. If we are to gain an understanding of the relations between ultimate reality, art and civil life, then the disciplines of aesthetics, philosophy, history and anthropology, and cultural history should all contribute together.

MARIAN VÁROSS O UMELECKEJ FUNKCII

100%

Mistrík E.

Filozofia (Philosophy)

2014

tom 69

nr 2

164 – 172

The nature of an artwork is one of the basic topics in aesthetics. In Slovak aesthetics authors such as M. Kusý, J. Volek and S. Štúr defined an artwork only through its relation to reality, i.e. as derived from reality. M. Váross tried to define it via category “artistic function.” From 1949 to 1970 he saw the aesthetic function as dominating the creative process in art. In the 1980s he described creative process in art as the highest stage of aesthetic activity. The aesthetic function was not dominating any more, but the artefact was enriched with artistic function. The reason for introducing artistic function was to make the artefact an ontologically independent reality. Similar solutions could be find within the axiological tradition of Slovak aesthetics (B. Brožík, T. Kuklinková, I. Hrušovský), brought to life by M. Váross. Still, M. Váross was the only one, who did not see an artwork as derived from reality, but rather as an autonomous reality. No matter how Europocentric his solution was, it was an original theoretical accomplishment of Slovak aesthetics of that time.

Pseudo-Concrete Ideals of a Good Life

100%

Mistrík E.

Human Affairs

2008

tom 18

nr 2

151-160

What has happened in the late and concluding stages of postmodern culture is that concrete ideas of a good life have been reduced to pseudo-concrete ideals. With the aid of simulacra, the experience of everyday life is turning into a show, into narcissistic emptiness and single bodily pleasures.