Wyniki wyszukiwania - Biblioteka Nauki

1

Dramaturgia współtworzenia znaczeń wypowiedzi scenicznej. Na marginesie lektury Tekstów dla (Starego) Teatru Pawła Demirskiego

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Popczyk-Szczęsna B.

Przestrzenie Teorii

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2021

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nr 36

163-175

EN

The article deals with dramaturgy in the broad sense of the term – as a written creative work and the characteristic feature of human activities: artistic and social. The starting point for these discussions is the publication of an anthology of Paweł Demirski’s theatrical texts commissioned by the National Stary Theatre in Krakow. The book is an excellent testimony to stage creativity because it contains conversations with the author and actors about the stages of work in the performance. The article presents reflections on the dramaturgy of the process of creating a text and a theatrical performance, the characteristics of Paweł Demirski’s writing and the content arrangement in the anthology. Reading this book is a peculiar aesthetic experience and a challenge for the reader. The dramaturgy of the message leads to the dramaturgy of its reception: the reader updates and co-creates meanings of theatrical texts, according to individual knowledge and sensitivity. Aesthetic experience is shaped by combining different mental spaces: it is reading a text / seeing a performance.

2

Practical Aesthetic Knowledge: Goodman and Husserl on the Possibilities of Learning by Aesthetic Practices

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Laner I.

Estetika: The Central European Journal of Aesthetics

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2015

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tom 52

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nr 2

164-190

EN

In this article I aim to shed light on the question of whether aesthetic experience can constitute practical knowledge and, if so, how it achieves this. I will compare the approaches of Nelson Goodman and Edmund Husserl. Both authors treat the question of which benefits aesthetic experience can bring to certain basic skills. Though one could argue together with Goodman that repeated aesthetic experience allows for a trained and discriminating approach to artworks, Husserl argues that by viewing aesthetic objects we can learn to perceive in a more undiluted fashion and to qualify our own perceptions against the backdrop of the conceptual framework that shapes our everyday experience. As a consequence, aesthetic experience is not to be regarded as something that only contributes to a normatively loaded involvement in the distinct field of the ‘aesthetic’. Reading Goodman with Husserl and vice versa, I will argue in support of a practical aesthetic knowledge account that mediates cognitivist-constructivist and phenomenological concerns and can thus overcome some of their respective shortcomings. The account I present is useful for understanding the practical value of aesthetic experience in and beyond the confined field of the arts.

3

Aesthetic Experience, Aesthetic Value

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Forsey J.

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 2

175-188

EN

This paper offers a critical analysis of Robert Stecker’s account of aesthetic experience and its relation to aesthetic and artistic values. The analysis will demonstrate that Stecker’s formulation of aesthetic experience as it stands is incompatible with his arguments for nonaesthetic artistic values. Rather than multiplying the values associated with aesthetic experience, a deeper understanding of that experience will best serve to clarify problems at the core of the discipline.

4

Musical Phenomenology: Artistic Traditions and Everyday Experience

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Szyszkowska M.

Avant

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2018

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tom 9

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nr 2

141-155

EN

The work begins by asking the questions of how contemporary phenomenology is concerned with music, and how phenomenological descriptions of music and musical experiences are helpful in grasping the concreteness of these experiences. I then proceed with minor findings from phenomenological authorities, who seem to somehow need music to explain their phenomenology. From Maurice Merleau-Ponty to Jean-Luc Nancy and back to Edmund Husserl and Martin Heidegger, there are musical findings to be asserted. I propose to look at phenomenological studies of the musical aspects of existence as they appear in various philosophical works bringing together different accounts of music and aesthetics and pointing towards phenomenological study as a methodology for everyday aesthetics. While there are many different areas of music phenomenology such as studies of sound and listening, studies in perception of musical works, in experience of artistic creation, in singing and playing musical instruments, and phenomenology of transcendent or religious horizons of the experience of music, it is most promising-I suggest-to look at phenomenological studies of music from the perspective of everyday happenings and discoveries of musical aspects of life. Thus, I attempt to display the uses of phenomenology in finding musical aspects of everyday existence as well as in describing and illuminating the art of music. A look at Roman Ingarden’s and Mikel Dufrenne’s most intuitive and promising ideas will be broadened with a perspective from Don Ihde and Arnold Berleant.

5

Doświadczenie znaku. Ku poetyce dzieła hybrydycznego

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Chawrlilska I.

Zagadnienia Rodzajów Literackich

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2013

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tom 56/111 z. 1

79-96

XX

This article proposes to focus on the hybrid work of art from the perspective of aesthetic experience. The category of aesthetic experience is helpful in creating the poetics which focuses on the role of the recipient. From the perspective of this article, it is important to analyze how the recipient constructs the meaning of the hybrid work of art (if this is possible), and to look at the process of its interpretation. Although the reception of each hybrid work of art should be considered as unique (as has been postulated by Rüdiger Bubner), the category of aesthetic experience turns out to be helpful and can be regarded as a kind of poetics of the hybrid work of art. The article distinguishes four stages of the aesthetic experience: sensory perception of the hybrid work of art, an emotional response, an attempt at interpretation, and the final completion.

6

Krakow Book Forum: Stephen Davies’s The Artful Species

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Davies S. , van Damme W. , Dissanayake E. , Mellmann K. , Luty J.

Estetika: The Central European Journal of Aesthetics

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2014

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tom 51

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nr 1

85-127

EN

Except for Katja Mellmann’s and Ellen Dissanayake’s contributions, all the presented essays began as presentations given at a panel discussion on Stephen Davies’s The Artful Species at the 19th International Congress of Aesthetics in Krakow, Poland (July 21–27, 2013).

7

Doświadczenie estetyczne w świecie późnej nowoczesności. W horyzoncie hermeneutyki Gianniego Vattimo

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Ziółkowska-Juś A.

Estetyka i Krytyka

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2017

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nr 2(45)

155-174

EN

The article contains an analysis of the concept of aesthetic experience of Gianni Vattimo in the horizon of his hermeneutics. It refers to the views of Friedrich Nietzsche, Martin Heidegger and Walter Benjamin, from which Vattimo drew his inspirations. These considerations focus on the thesis that the aesthetic experience of contemporary art, which causes confusion and alienation, “weakens” the metaphysical way of thinking and also “reality” and human identity which are based on it. However, the impact of contemporary art seems to be positive because it gives an opportunity to develop a new kind of vulnerability that is associated with openness to all that is various, different, variables, fragile, incomplete and transient. Aesthetic experience is considered in relation to the trends that are characteristic for late modernity. In the article there is also analyzed the problem of the ambivalence of technology and the mass media in the process of “weakening” the fictional reality.

8

Pictorial Aesthetics and Two Kinds of Inflected Seeing-In

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Martina G.

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

74-92

EN

Inflected seeing-in is a special experience of the vehicle and subject of a picture, which are experienced as related to each other. Bence Nanay recently defended the idea that inflected picture perception is central to the aesthetic appreciation of pictures. Here I critically discuss his characterization of inflection, and advance a new one, that better accounts for the structure and content of inflected experience in terms of properties of the pictures themselves and also clarifies the distinctive contribution of inflection to pictorial aesthetics. Two kinds of inflected seeing-in are distinguished in terms of two functions the design properties of a picture can realize. One kind of inflected seeing-in allows us to experience how the picture design sustains what is seen in the picture and is responsible for the representation of the picture subject. The second kind, which is only supported by some pictures, also captures how properties of the vehicle alter or enrich the picture content so as to elicit an experience of the depicted subject as having properties it could not be seen as having in face-to-face experience. This inflected experience is distinctively associated with our visual experience of the aesthetically valuable relations between vehicle and content which are unique to pictorial representation.

9

Painterly Quest for Values

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Taranczewski P.

Estetyka i Krytyka

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2014

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nr 3(34)

121-131

EN

The painter is trying to realize a certain value in the canvas, the value which he feels, he is looking for and he can see in his imagination. Nevertheless, that value is not given to him, it is undefined and unclear. For this reason, painting a picture is both creating and looking for a fully perceptible value. The emerging image shows the painter the form of that value, it is controlled by the artist, but the artist is also controlled by the image which, in a way, leads him. The demanded and achieved value is not a label which appraises the image, stuck on it by the painter, but it is like a light that per- meates and illuminates the painting.

10

Jakościowe wymiary sztuki w koncepcji Nicolaia Hartmanna

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Rymar D.

Estetyka i Krytyka

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2012

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nr 4(26)

77-96

XX

At the beginning of the article, the basic epistemological assumptions, on which Nicolai Hartmann’s Ästhetik is based, are discussed. The author cites main arguments of Kant’s critical epistemology, first of all – allegations against the formal recognition of categories and criticism of description of the relationship between the experience and the object itself. On this basis, Hartmann’s allegations against subjective aesthetics are explained, relating to both creative genius and aesthetic experience. The article also recalls the argumentation indicating the aporethics of empirical descriptions of aesthetic experience. Basing on Hartmann’s ontological assumptions, a mature personality, which enables correct aesthetic experience reception, is characterized. The article approximates the phenomenon of i n v e r s i o n in aesthetic experience, and on this basis, the main argumentation of Hartmann’s Ästhetik is described, which characterizes the inner work of art structure and the way of its recognition. The article is concluded with indication of the limitations of Hartmann’s aesthetic conception and the possibility of its modification, as a result of taking history and sociology of art research into account..

11

Twofoldness and Three-Layeredness in Pictorial Representation

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Voltolini A.

Estetika: The Central European Journal of Aesthetics

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2018

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tom 55 (New Series 11)

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nr 1

EN

In this essay, I defend a Wollheimian account of a twofold picture perception. While I agree with Wollheim’s objectors that a picture involves three layers that qualify a picture in its complexity – its vehicle, what is seen in it, and its subject –, I argue that the third layer does not involve perception, even indirectly: what is seen in a picture constrains its subject to be a subject of a certain kind, yet it does not force the latter to be pictorially perceived, not even indirectly. So, even if a picture is three-layered, pictorial experience remains a twofold experience, as Wollheim claimed. Neither the proponents of threefoldness nor Wollheim himself, however, have convincingly explained how the experience really is a perceptual experience. My Wollheimian account thus aims to reconceive the pictorial experience in properly perceptual terms.

12

Ku światu uwidaczniającemu się

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Czubała H.

Estetyka i Krytyka

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2010

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nr 17-18

161-178

EN

The article suggests the ontological categories of “becoming visible” and “world becoming visible” as the extension of epistemological categories of presentation and presented world in the literary work. “Becoming visible” is described as the consequence of the strategy to break the coherence and the logics of presentation. Caused by the aesthetic experience and cognition “becoming visible” appears in the Heidegger’s flashing of being.

13

Narrative moment. Musical performance according to Lawrence Kramer and James Baldwin

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Szyszkowska M. A.

Interdisciplinary Studies in Musicology

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2020

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nr 20

21-32

EN

My aims are to investigate how the concept of narrative moment may be helpful in capturing the role of music in creating profound communication on the level of performing as well as listening to musical performance. I aim to show how sharing a culminating moment in a musical experience may lead to inducing a state of self awareness and confidence in place of critical separation and distrust. I discuss Lawrence Kramer’s idea of the narrative moment explained in original in reference to a literary example and an improvised music. It is presented as an example of communicative potential in music performance, which as I argue, is worth exploring and explaining further. Suggesting a possibility of narrative moment in the experience of musical performances offers a comprehensible and applicable vision of communicative potential of music that is far reaching even if rarely achieved; a possibility of communication that is direct and intuitive, flexible and affective. Defining musical meaning in terms of its music’s communicative power and far reaching social consequences suggests deep connections between the social/intersubjective, individual/subjective and aesthetic aspects of life. The proper explanation of the meaning of music requires drawing from different domains, including metaphors and highly persuasive literary and musical examples.

14

Art and emotion: the variety of aesthetic emotions and their internal dynamics

88%

Przybysz P.

Interdisciplinary Studies in Musicology

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2020

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nr 20

51-63

EN

The aim of this paper is to propose an interpretation of aesthetic emotions in which they are treated as various affective reactions to a work of art. I present arguments that there are three different types of such aesthetic emotional responses to art, i.e., embodied emotions, epistemic emotions and contextual-associative emotions. I then argue that aesthetic emotions understood in this way are dynamic wholes that need to be explained by capturing and describing their internal temporal dynamics as well as by analyzing the relationships with the other components of aesthetic experience.

15

O pewnych jakościach doświadczenia estetycznego

88%

Bromboszcz R.

Estetyka i Krytyka

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2012

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nr 1(24)

9-23

XX

How could we define aesthetic experience of new media? Which part of new media occupies computer-based art? I try to answer these questions with giving a stress on fundamentals. I make a presentation of five qualities which serves in a description of aesthetic experience of computer based art. Amongst of them there are textuality, limitlessness, tactility (proprioception), errorness and analetheia. The qualities mentioned above define aesthetic experience of art. In my approach art is limited to certain borders. These borders are established because of necessary condition which states that computer-based art is only there where creation and presentation of artifact is based on programming specific procedures.

16

Reclaiming Time Aesthetically: Hadot, Spiritual Exercises and Gardening

88%

Favara-Kurkowski M.

Eidos. A Journal for Philosophy of Culture

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2021

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tom 5

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nr 2

7-21

EN

Pierre Hadot’s legacy is a vision of ancient philosophy not only as a system of abstract concepts and logical procedures but as a practical philosophical methodology. A key element of this interpretation is consideration of ancient philosophical practice as a series of spiritual exercises to improve one’s own life. The present paper aims to show, more humbly, that by highlighting the aesthetic dimension of the practice of gardening we can consider it part of the set of philosophically charged spiritual exercises. Gardening supports the improvement of one’s own experience of the world through the meeting of different temporal experiences. The appropriation of such different temporal nuances in stark contrast to the accelerated pace of modern life, or periods of tiresome repetition, makes it possible to question one’s own rhythm in the world. In other words, I defend the thesis that horticulture can be considered therapeutic also from a philosophical perspective.

17

Inspiracja artystyczna, forma znacząca i zaangażowanie

88%

Obidzińska B. J.

Kultura-Społeczeństwo-Edukacja

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2015

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tom 8

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nr 2

47-58

PL

Contemporary aesthetic thought, especially that rooted in the pragmatist tradition and apologetic for the environmental experience, tends to situate form oriented aesthetics in juxtaposition to the concept of the aesthetic engagement. In particular the notion of disinterestedness is often brought to the forefront as connected to the concept of psychic distance and disdain for the surrounding reality. This essay attempts to revise two theories strongly promoting the importance of the physical form of the objects inspiring the aesthetic experience of the artist, namely that of Clive Bell and that of Maurice Merleau-Ponty, in order to respond to the aforementioned criticisms of formalism. In particular, the concept of the perception of the form as an end-in-itself rather than as a means to a heterogenous end is analyzed with reference to its engaging character.

18

Pojęcie idealnej granicy w estetyce dzieła muzycznego Romana Ingardena

88%

Szyszkowska M. A.

Aspekty Muzyki

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2011

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tom 1

203-225

EN

In this paper, the author maintains that the term “ideal border”, used by Roman Ingarden several times in his writing on musical perception, has more to offer than its face value suggests. The notion can have multiple meanings and at fi rst it may seem that it only underlines incoherence of the philosopher’s concept. However, the author of this paper thinks that the notion of “ideal border” points towards diffi culties impossible to overcome in defi ning a musical work — provided that the notion is taken seriously, i.e. as a vital element of Ingarden’s theory, and not as a fi tting metaphor. The notion of “ideal border” in relation to a musical work and its perception, as the author believes, refl ects an ambiguous state of the ontological grounding of a musical work, while confi rming the proposed character of Ingarden’s overall theory in an inspiring way.

19

Novels in the everyday : an aesthetic investigation

88%

Puolakka K.

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 2

206-222

EN

Everyday aestheticians have had relatively little to say about literature. Inspired by Peter Kivy’s philosophy of literature as laid out in his books The Performance of Reading and Once-Told Tales, I examine reading literature as a part of everyday life. I argue that not only do Kivy’s views help explain the value that avid readers place on their daily silent engagement with a book, but that his philosophy of literature also shows how literary works can have an aesthetic presence in our everyday lives even during periods in-between reading a book. In light of the paper, literary reading turns out to be an artistic routine that fills avid readers’ everyday lives in a very literal sense.

20

The Audience’s Response to Plato’s Eschatological Myths: Aesthetic Experience at the Service of Morality

88%

Collobert C.

Organon

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2015

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tom 47

5-22

EN

This paper explores the audience’s response to the eschatological myths in the Gorgias, the Phaedo, and the Republic by reconstructing a concept of aesthetic experience in the light of Plato’s ideas on pleasure. I argue for a kind of pleasure that has emotional and intellectual components, which make it a combination of pure and mixed pleasures. This kind of pleasure, which these myths produce, is meant to strengthen virtue because feeling pleasure from listening to a story provides a model for our character and shapes it accordingly. These myths thus provide an incentive for choosing a virtuous life.