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Aksjologiczny wymiar współczesnej rekonfiguracji aisthesis

100%

Misiak T.

Estetyka i Krytyka

2012

nr 1(24)

57-76

The traditional idea of aesthetics was connected to the sphere of art. Exclusively. Radical ideas of the avant-garde of the 20th century together with the expanding role of media and technology in contemporary culture led to broadening research of aesthetics. Contemporary aesthetics is interested in “aesthetic” in the broadest sense of this word. Thus, it is focused not only on art but also it is interested in everyday reality which is the very object of aesthetic processes. Most of all, however, it is focused on the relationship between art and various spheres of reality. One of the consequences of this changes is questioning the traditional hierarchy of senses with the sense of sight as prior. In my research I point at reasons for such hierarchy and I suggest some alternative ideas. According to the critics of the contemporary culture I mention in this work that balance to the hegemony of the sense of sight and vision may lie in the sense of hearing and sound as such. That is why I describe the metaphor connected to seeing and hearing and the vision of the world associated with it.

Narodziny mindfulness z ducha (an)estetyki

63%

Mojsak K.

2020

tom 110

nr 3

108-121

This article analyses mindfulness as an ascetic and aisthetic practice – a form of perception training largely shaped by strictly Western cultural processes dating back to the late 19th century: modern patterns of perception and habitual regimes, including forms of aesthetic contemplation, which permeate our everyday life – as well as the anaesthetic response to the hypertrophy of the aesthetic. Understood as a training of senses, stemming from the need to experience the sense (meaning) at its fundamental psychophysical level, mindfulness is discussed here as a response to the entire constellation of needs and deficits, overlapping with and specific to Western modernity, including the sense of disembodiment (desomatisation), communication overload, and hyperaestheticisation. From this point of view, mindfulness practices might be recognised both as a refinement of aisthetic experience and a form of sensory asceticism. Without disregarding its Buddhist origins, the text draws attention to the elements of mindfulness ideas and practices that seem to be closely related to the Western cultural context, with a particular focus on (broadly understood) aesthetic ideas of the 20th-century modernism.