Wyniki wyszukiwania - Biblioteka Nauki

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Malarstwo jako specyficzna forma poznania na przykładzie obrazu Michelangela Merisi da Caravaggio Powołanie świętego Mateusza

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Konik R.

Studia Philosophica Wratislaviensia

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2016

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tom 11

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nr 3

143-154

EN

The article analyzes the feelings which the subject experiences in contact with Caravaggio’s painting The Calling of St. Matthew. The viewed picture is an intentional product which is endowed with a specific mode of existence, and the reception image is based both on the basis of onthological as well as aesthetic experience that causes my emotional stir. In the picture I see a specific form of being, endowed with a unique ability to show something in the current world of sensuality which is invisible. The image will be recognized in such a perspective as an attempt to introduce into the iconography something which is conceived and imagined. The two main streams of image analysis seem to underlie most of the litigation about the nature of the image of disputes which resulted in judgments of a normative, aesthetic and axiological nature. In order for me as a knowing subject to became the interpreter of the image I must meet the basic cognitive conditions: see the image, select it as an act of art, and only then the picture may become a form of mediation between what I have seen and my sphere of imagery that will arise in my aesthetic experience. Reception image requires me to act in perception of the active set, the visual information contained in the image is then paired with “images storage”, which I keep in my visual memory.

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Czy nowe media są faktycznie nowe? Kilka uwag na marginesie sporu o definicję nowych mediów

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Konik R.

DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu

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2011

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tom 12

296-315

EN

The communication scene of the XXth century has been dominated by new media. But the use of new communication forms has not been restricted only to the sphere of communication, new media decomposed also the world of artistic creations. Along with the explosion of simulating structures the terms such as virtuality, immersion, non-linearity, telepresence, interactivity or hipertextuality entered into the philosophical diary of aesthetics. The term ‘virtuality’, by its use in common speech, has additionally gained the quality of polysemy and thus ambiguity. The use of term ‘virtuality’ in a philosophical context requires some analysis both on ontological level as well as on epistemological and aesthetical levels. New media also cause many questions within the context of philosophical anthropology as the systems of relation of man to machine changed. The virtual structures changed the concept of simulation and illusion and they also blurred the borders to real and pretended world.

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Immersyjny plac zabaw. Gra jako dromenon

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Konik R.

DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu

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2012

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tom 13-14

326-340

EN

The current analyses of games is conducted in games studies at the sociological, aesthetical and economic level. The computer implied as new medium gathering previous forms of entertainment has become the tool of new forms of game. The historical conditions putting homo faber in opposition to homo ludens have vastly excluded games out of rightfull part of culture as the unproductive activity which does not generate certain goods. The current philosophical discourse has not only pointed out the enormous social commitment to new forms of game but also observed the grand market and culture-forming potential related to computer games. The electronic forms of entertainent have currently become not only a grand segment of economy but also the important communication element, they are the form of new pronouncement, new behaviour strategies, relations and playing. Moreover the electronic form of entertainment discontinous the previous division into the creator and receiver, now the recievers can influence what they consume in games, the receiver becomes more the initiator of certain strategies creating the electronic platform for his own expression forms, it allows the profound interference into the structure of a game, both on the modification and narration level. To paraphrase Marshall MacLuhal – we can definitelly state that the era cof computer games is the return of a man to his ludical roots, to collective plays, to something alike the permanent carnival.

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Estetyka jako nauka ﬁlozoﬁczna. Uwagi o obecnym stanie dyskusji

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Konik R.

Studia Philosophica Wratislaviensia

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2006

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tom 1

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nr 1

47-56

EN

Among the issues discussed in the debate concerning the theoretical status of aesthetics is, for example, the ambiguity of the concepts fundamental to the discipline. This is especially true in the case of the essence of beauty, ontological status of art, the nature of aesthetic and artistic experience, social and individual impact of art, the rules for verification of aesthetic propositions, etc. A multitude of divergent, often mutually exclusive understanding of these concepts makes very difficult to determine the status of the discipline itself. Aesthetics has also been accused of the lack of terminological precision of its concepts, incoherence of its theoretical assumptions, and bad methodology. Another objection is that aesthetics it is rather a cluster of reflections coming from ontology, epistemology, semiotics, theory of culture, anthropology, sociology, psychology or linguistics, rather than an independent discipline on its own. The fact that art has now entered virtual worlds has further diminished the aestheticians' desire to form normative propositions concerning the art. With the above in view, I sketch a possible definition of subject of aesthetic reflection as an independent philosophical discipline.

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Fotografia jako próba odrealnienia przedmiotu przedstawienia

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Konik R.

DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu

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2013

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tom 15

122-146

EN

Photography, by its nature, possesses a strong documentary paradigm. The challenge for photographers to transform photography into image of art was very ambitious, they had to cause the documentary character of photography to direct the viewer not only to the object being presented but also to the specific ideas, to cause certain associations, establish new semantic codes, present the object in unusual, highly semantic way. In such perspective the photographic image, similar to modern painting, refers to over-phenomenal meanings, becomes a visual sign by the fact that it proposes particular way of viewing the object or event, refers beyond the photographed object, possesses dual referential-narrative power . On one hand it is the document confirming the real photographed object but on the other hand the photographs seem unreal, excluded from the world available for visual perception. Such visual-cognitive polarization is undoubtedly the value of photographic image and places it in the art context. These means of presentation refer mostly to perceptive uncertainty of the viewer. The sense of visual articulation is based on knowledge dialectics on existing object and impression of unreality of the photograph being viewed. Such quest of photographers was on one hand the escape from simple reference of object appearance in photography, and on the other hand it was rooted in a strong confidence of documentary character of photographs.