Wyniki wyszukiwania - Biblioteka Nauki

1

Fear and Anxiety in the Dimensions of Art

100%

Popczyk M.

ARGUMENT: Biannual Philosophical Journal

|

2012

|

tom 2

|

nr 2

333-346

PL

Lęk i niepokój w wymiarach sztuki. W artykule zainteresowana jestem różnymi manifestacjami estetycznej trwogi i strachu, tj. trwogi i strachu wywoływanych przez dzieła sztuki, które omawiam w perspektywie zarówno estetycznej, jak i antropologicznej. Analizuję powiązanie międzt trwogą i przyjemnością w katharsis, w pojęciu wzniosłości Edmunda Burke’a j w odniesieniu do Czarnego Malarstwa Goyi oraz myśli Paula Virilio. Estetyczna trwoga i strach współistnieją wraz z innymi emocjami takimi jak litość, smutek, a szczególnie przyjemność, która pozostaje autonomiczna bądź wyrasta z fascynacji złem.

2

City/the place as a work of art. An introduction

100%

Popczyk M.

Anthropos?

|

2015

|

nr 24 Miasto i miejsce

55-64

EN

In this paper I will attempt to look at the city-place as a work of art. Such an approach will allow us to take into consideration its aesthetic, sensual and reflective qualities and, at the same time, contemplate those aspects which go beyond the philosophy of art, such as practical needs of everyday life. I am analysing the opinions expressed by Olsen, Christie Boyer and the architects, Le Corbusier and Kevin Lynch. The positive view of the place emphasizes the role played by its shape and layout, by the sense of security and beauty, by harmony, sensuality and emotions, by the sense of belonging and identity. The city, however, also means ruins, abandoned places invisible to its inhabitants. I am examining an approach adopted by Urban Explorer and I am underlining the aesthetic and artistic way of depicting the city. In the final part I am discussing the spatial-temporal dimensions of the city as a work of art.

3

The spirituality of art after Kandinsky

100%

Popczyk M.

Art Inquiry. Recherches sur les arts

|

2017

|

tom XIX (XXVIII)

89-105

EN

Wassily Kandinsky defined the character of the spirituality of modern art and outlined its territory, becoming, along with Duchamp, a patron of various trends in modern art. The notion of the spirituality of art has proved to be an important characteristic feature of works of art. It figures prominently in the writings of art historians, theologians, and aestheticians, and it seems to correspond to Charles Taylor’s conceptions of epiphanic art. Nevertheless, the very notion of the spirituality of art is far from clearly defined: it can refer to the spiritual nature of an artwork itself or to the creative process, or to the spirituality of a work of art that can be determined by its theological context. In this paper I have compared several distinct readings of the notion of the spirituality of art, with Kandinsky’s thought constituting the frame of reference for the interpretations of the works of Rothko and Viola.

PL

Celem artykułu jest konfrontacja wybranych interpretacji pojęcia „duchowość sztuki” Wasyla Kandyńskiego oraz pokazanie dwóch odmiennych podejść do duchowości sztuki: abstrakcji Rothko i video instalacji Billa Violi. W świetle myśli Charlesa Taylora można przyjąć, że pojęcie duchowości zastępuje pojęcie piękna, a duchowość abstrakcji stanowi jedną z odpowiedzi artystów awangardy na instrumentalizm stechnicyzowanej rzeczywistości. W interpretacji Kojèva, idącego za Heglem, duchowość sztuki jest tożsama z pięknem, natomiast Adorno niechętny podejściom Kandyńskiego i Hegla postuluje krytyczny model duchowości sztuki. W drugiej połowie XX wieku istnieje wiele nawiązań do Kaudyńskiego. Duchowy plan dzieł sztuki, pojęty jako kosmiczny pierwiastek rzeczywistości, staje się ich uzasadnieniem, w pewnym sensie zastępuje wartości estetyczne. Równolegle pojawiają się alternatywne podejścia, duchowość zostaje utożsamiona z procesem tworzenie (Marek Rothko) lub przynależy integralnie do przedstawienia, co zbliża sztukę świecką do religijnej (Bill Viola). Dla estetyka interesujące, w tej konfrontacji, jest wydobycie przesunięć w obrębie starych kategorii estetycznych, jak również odnotowanie ich nowych manifestacji w sztuce.

4

The image of the body-face: The case of Franz X. Messerschmidt and Bill Viola

100%

Popczyk M.

ARGUMENT: Biannual Philosophical Journal

|

2015

|

tom Tom: 5

|

nr Numer: 1

99-110

EN

In this paper, I am predominantly interested in interpretations of emotional states portrayed in images of the face. In particular, the interpretations which have grown around the series of busts by Franz Xaver Messerschmidt, as well as those which attempt to expound Bill Viola’s video works. I will refer to aspects of physiognomy, artistic practices and aesthetics, in order to show what each of these tells us about our attitude to the body and emotions and what happens to the body while a person is experiencing an emotion. My aim is to demonstrate how the act of depicting the body, regarded as a cognitive process in an artistic medium accompanied by a special kind of aesthetic experience, becomes a means of communication which is capable of conveying a universal message and of allowing us to define our attitude to the body.

5

Introduction to the issue

100%

Popczyk M.

ARGUMENT: Biannual Philosophical Journal

|

2015

|

tom Tom: 5

|

nr Numer: 2

329-335

6

The aesthetics of the city–image

100%

Popczyk M.

ARGUMENT: Biannual Philosophical Journal

|

2015

|

tom Tom: 5

|

nr Numer: 2

373-386

EN

In this paper, I will examine the aesthetic implications of the theories which regard the city as an image. Essentially, I will focus on the positions of the two practitioners, Kevin Lynch and Juhani Pallasmaa, who are an urban planner and an architect respectively, in order to confront two very different approaches to the ‘image’; namely, an empirical approach and a phenom‑ enological one. I am interested in what the city becomes when it is looked upon as an image and I will reflect on the experiences of the city image in its various aspects. The aim of this discussion is an attempt to outline certain research areas for exploring the aesthetics of the city centred on the image, with the practitioners’ theories enabling us to widen the scope of this exploration.

7

Spatial practicing museum

100%

Popczyk M.

Anthropos?

|

2010

|

nr 14-15

82-91

XX

The Essay Spatial practicing museum is a reflection about specificity border in space museum. As the Author has convinced, the museum is organized space, in which the system of works builds story about art and the operations, which consist of reading works. Moreover, their aesthetic survival or participate in them are temporary, but essentially spatial resolution, which put this place. In this project, author is trying to prove, that designed space creates a specific world art and multiple reside in it, which could be a crucial subject for an individual reflection directed outside variable everyday life. On the other hand, author thinks, that by plotting in art, borders can become familiar, which means - they enter in circulation the practice sphere in public and renew their interpretations. In this summaries the laborious work called art has making, not only through the theorists of art, but also by authority museum, which has negotiated its own work with masterpieces and creations of the main artists. In fact, every change of story is the results of demonstrated interpretation on the art’s ways, which shows effects of reorganized their space disposition. Instead, there are new interiors and new architecture, which launches nil spatial practice so far, different forms so use of the stories, as well as from the place. Therefore the museum becomes a space, which established dynamically interlocking relationship between story and the place is occupied by the works and spatial specific collection of practices, which shall take visitor. The Author has assured, that in this mutual relationship it is possible to find rationalization, which is reflecting cultural preferences. In the meaningful conclusion, works of art shall be placed in an everlasting duration through the historical exposures. However, they belong to the closed period art - as the Author has convinced. In critical art, museum shall cease to be rapacity, which has wanted to feed by context of closed gallery or has lived in the shadow expression politicians of judicial proceedings, judgments, where has activated and divided the audience. Instead, these are reasons, which set against the museum. That is why museum has to be set against more open space of the city, open to the spontaneous events. In this perspective public space does not have nature in consensus sense, communication between the different, as it wishes to Habermas, but would place dispute, fight between different content, it means - different public spheres.