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1

Responding to Aesthetic Reasons

100%

McGonigal A.

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 1

40-64

EN

What makes a certain consideration an aesthetic reason rather than a reason of some other kind? Is it a solely a matter of the kind of attitude or activity that the reason supports? How fundamental or structural are such reasons? Do they contrast in a natural way with epistemic or practical reasons? Is skilled aesthetic achievement, whether interpretative or creative, a matter of recognizing the aesthetic reasons we have for a given response, and correctly according with such reasons? In this paper, I offer a preliminary discussion of these topics. I argue that our account of aesthetic reasons should respect the fact that they play an important regulative role, over and above directly supporting aesthetic response. Such a role allows aesthetic reasons to moderate a wide range of practical and epistemic activities, but not by adding or substituting distinctively aesthetic ends or purposes for such activities. I then go on to argue against the view that skilled aesthetic achievement consists in correct recognition of and accord with aesthetic reasons, adapting a recent argument of Timothy Williamson’s.

2

Aesthetic Supererogation

88%

Archer A. , Ware L.

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 1

102-116

EN

A number of moral philosophers have accepted the need to make room for acts of supererogation, those that go beyond the call of duty. In this paper, we argue that there is also good reason to make room for acts of aesthetic supererogation.

3

Ścieżki aksjologicznych rozstrzygnięć Stefana Morawskiego (cz. I)

88%

Przybysz P. J.

Estetyka i Krytyka

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2008

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nr 13-14

109-124

EN

Stefan Morawski, one of the most prominent Polish esteticians, was exspecially interested in problems of axiology. He believed that proper axiology, based on empirical material and analysis, def ines the subject of estetic cognition. The article reconstructs the basic concepts of S. Morawski. In the f irst part of the text, presented in this current issue, the author discusses the concept of aestetic/artistic value, thee ontology of aestetic/artistic value, its objectivity, taste, aestetic experience and aestetic judgement. The author oﬀ ers a critical analysis of Morawski’s concept.

4

Obligations to Artworks as Duties of Love

88%

Cross A.

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 1

85-101

EN

It is uncontroversial that our engagement with artworks is constrained by obligations; most commonly, these consist in obligations to other persons, such as artists, audiences, and owners of artworks. A more controversial claim is that we have genuine obligations to artworks themselves. I defend a qualified version of this claim. However, I argue that such obligations do not derive from the supposed moral rights of artworks – for no such rights exist. Rather, I argue that these obligations are instances of duties of love: obligations that one incurs in virtue of loving some object, be it a person or, in this case, an artwork.

5

Visual Quality and Morphological Responses of Rosemary Plants to UV-B Radiation and Salinity Stress

88%

Hamidi-Moghaddam A. , Arouiee H. , Moshtaghi N. , Azizi M. , Shoor M. , Sefidkon F.

Journal of Ecological Engineering

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2019

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tom Vol. 20, nr 2

34--43

EN

In order to understand the effects of ultraviolet-B (UV-B) radiation and salinity stress on the visual quality and morphological parameters, one-year-old seedlings of rosemary (Rosmarinus officinalis L.) were grown under three UV-B levels (0, 4.32, 6.05 kJ m-2 d-1) and four salinity regimes (Control, 50, 100 and 150 mM NaCl) under greenhouse conditions. The results showed that enhanced UV-B radiation increased visual quality, growth index, plant biomass, shoot/root ratio, number of branches and leaves, leaf fresh and dry weight, leaf area index, specific leaf area, leaf thickness. The UV-B radiation had no significant effect on root length; however, shoot height, length of axillary shoots, length of inter node, leaf area, leaf length and width and concentration of chlorophyll b were negatively impacted by the UV-B radiation. On the other hand, salinity caused a significant decrease in plant biomass, root length, shoot height, shoot/root ratio, length of axillary shoots, length of inter node, number of branches and leaf area, leaf area index, leaf length and width, leaf fresh and dry weight, specific leaf area and concentration of Photosynthetic pigments. However, the number leaves and leaf thickness significantly increased under NaCl salinity treatments. Visual quality and growth index were hardly affected by increasing salinity until 100 mM, but declined clearly at 150 mM NaCl salinity. The interaction between UV-B irradiation and salinity showed that pre-treatment with UV-B irradiation alleviated the harmful effects of NaCl and improved the visual quality rosemary plants.

6

Czy prace Damiena Hirsta są sztuką? Wokół rozważań teoretycznych Donalda Kuspita, Jeana Baudrillarda i Arthura C. Danto

88%

Jakubowska J.

Estetyka i Krytyka

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2013

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nr 2(29)

99-113

EN

Damien Hirst is a “post-artist”; in other words, he is an artist who began his work after “the end of art.” He is a representative of the group called Young British Artists. In the article, his work becomes a pretext to take on the problem of “the end of art” and to discuss the difficulties with analysis related to it, thus defining the purpose and the aesthetic value of an art work. The author compares and critically considers the views of three art theorists: Donald Kuspit, Jean Baudrillard, and Arthur C. Danto. In the context of their theories, the author also analyses some chosen artworks of the so-called post-art.

7

Aesthetic and landscape values of forests

88%

Zarska B.

Annals of Warsaw Agricultural University. Horticulture

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2000

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tom 21

8

Greenery of residential complexes in Wroclaw – analysis of selected examples

75%

Siepietowska N. , Raszka B.

Electronic Journal of Polish Agricultural Universities. Series Environmental Development

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2020

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tom 23

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nr 4

9

Sociologická kritika filosofické estetiky

75%

Zahrádka P.

Filosofický časopis (Philosophical Journal)

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2013

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tom 61

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nr 3

349-370

EN

The aim of the text is to reconstruct and critically consider, on the basis of the findings of sociologists of culture (above all Pierre Bourdieu), the fundamental objections to philosophical aesthetics – aesthetic historicism and aesthetic scepticism. Aesthetic historicism confronts philosophical aesthetics at the methodological level by questioning the possibility of defining the concept of the aesthetic independently of a historically-conditioned aesthetic theory, or rather of normative decisions to be treated as a relevant part of aesthetic experience. Aesthetic scepticism calls into doubt the traditional conception of the autonomy of aesthetic values and of the objectivity of aesthetic evaluation. This position is elaborated in the text by reference to the example of the sociological critique of the opinions of the analytical aesthetician Frank Sibley on the logico-semantic status of aesthetic concepts. The concluding part of the text discusses the consequences that follow from the sociological critique for aesthetic axiology and for art criticism.

CS

Cílem textu je na základě poznatků a zjištění sociologů kultury (převážně Pierra Bourdieuho) rekonstruovat a kriticky promyslet základní výhrady vůči filosofické estetice: estetický historismus a estetický skepticismus. Estetický historismus konfrontuje filosofickou estetiku na metodologické rovině, protože zpochybňuje možnost vymezit pojem estetična nezávisle na historicky podmíněné estetické teorii, resp. normativních rozhodnutích, co budeme pokládat za relevantní součást estetické zkušenosti. Estetický skepticismus uvádí v pochybnost tradiční představu o autonomii estetické hodnoty a objektivitě estetického hodnocení. Tato pozice je v textu rozpracována na příkladu sociologické kritiky názorů analytického estetika Franka Sibleyho na logicko-sémantický status estetických pojmů. V závěrečné části textu jsou pojednány důsledky, jež ze sociologické kritiky vyplývají pro estetickou axiologii a uměleckou kritiku.

10

Avenue trees - esthetic preferences and safety

75%

Roslon-Szerynska E. , Wojtyna D.

Annals of Warsaw University of Life Sciences - SGGW. Horticulture and Landscape Architecture

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2014

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tom 35

11

Method of landscape value assessment elaborated for the needs of medieval landscape dominants protection

75%

Brodowska A.

Annals of Warsaw Agricultural University. Horticulture and Landscape Architecture

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2006

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tom 27

12

The ugly in fine arts. The sensory nature of terror in the tales of the Brothers Grimm

75%

Szwajkowska A.

Acta Universitatis Lodziensis. Folia Litteraria Polonica

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2017

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tom 43

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nr 5

223-240

EN

The author, inspired by philosophical aesthetic reflection, presents one of the aesthetic qualities: ugliness. Based on the assumption that “Grimms’ Fairy Tales” directly reach the realm of the unconscious, utilising towards that end not only symbolic meaning, but also a wide range of operations through imagined sensory perception, she identifies in the texts such fragments of the stories which relate to specific sensations caused in the real world using physical stimuli. The analysis constitutes only a case-based introductory study of the issue of senses in literary texts. She does not focus on the tale as an independent existential creation, which carries a multitude of interpretative references and meanings, only the possibilities offered by the analysis of a work, which consists of a transfer of a literary description to the imagination of the sensory experience occurring (hypothetically) in the receiver’s imagination.

13

The aesthetic charakter of industrial design furniture in the eclectism period

75%

Blaszczak I. , Lisiecka E. , Mielnik A.

Annals of Warsaw University of Life Sciences - SGGW. Forestry and Wood Technology

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2015

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tom 92

14

Patočka’s Interpretations of Hegel’s Thesis on the Past Character of Art

75%

Ševčík M.

Estetika: The Central European Journal of Aesthetics

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2015

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tom 52

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nr 1

78-114

EN

In his article ‘Art and Time’ (1966) Patočka argues that Hegel rightly recognized a fundamental difference between classical and contemporary art. In developing Hegel’s insight he offers a conception of two eras of art, the ‘artistic’ era and the era of ‘aesthetic culture’. Patočka supposes that artworks of both the artistic era and the aesthetic era always open up a certain ‘meaning’ that gives human existence its fundamental points of reference. The status of this world, however, radically changed from one era to the next. The art of the artistic era offered objective and binding meaning, whereas aesthetic art offers personal or individual meaning. The current article points to an important discrepancy in Patočka’s treatment of the relation between the two eras, and presents Patočka’s later reading of Hegel’s notion of the past character of art. From the perspective of this interpretation, art reveals temporality as such, that is, as the ontological basis of the revelation of meaning. The article emphasizes that such an interpretation demonstrates the ontological relevance of the artwork in greater detail. Yet Patočka continued to use the concepts of the artistic era and the aesthetic era, without sufficiently clarifying the relationship between the two eras. Finally, the author argues that the discrepancy in the concept can be resolved with the help of Patočka’s later reflections on the ‘problematic nature’ of meaning. The article argues that in classical art such a nature is concealed, whereas in modern art it is revealed again. The article includes an English translation of Patočka´s ‘Art and Time’.

15

O relativní nedůležitosti estetické hodnoty při hodnocení výtvarného umění:

75%

Kulka T.

Filosofický časopis (Philosophical Journal)

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2020

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tom 68

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nr 5

737-753

EN

In contrast to the generally accepted view that the value of a work of art lies entirely or primarily in its aesthetic value, I put forward the rather provocative assertion that the importance of aesthetic value has been overestimated and that it does not play the role that has been attributed to it up to this time. It should, however, be noted that my argument has nothing to do with programmatic attempts by advocates of so-called conceptual art to eliminate aesthetic value as a consideration, or with the effort to devalue it that has been made by followers of other postmodern tendencies. Rather, I am following up here on several of my previous articles in which I explained the need to recognize, in addition to the aesthetic value, the existence of another value – artistic value – that is no less important than aesthetic value. In this article, I want to take this argument a step further and show that artistic value is so fundamental in its importance that, in the valuation of works of art, it is the aesthetic value that plays second fiddle. I will put forward arguments that show that the huge differences in the prices of various works of art cannot be explained by the corresponding differences in their aesthetic value, but instead to the corresponding differences in their artistic value.

CS

Oproti všeobecně přijímanému názoru, podle kterého hodnota uměleckého díla spočívá výhradně či převážně v jeho hodnotě estetické, stavím poněkud provokativní tvrzení, že význam estetické hodnoty byl přeceněn a že při hodnocení výtvarných uměleckých děl zdaleka nehraje tu roli, která jí byla až dosud přisuzována. Toto mé tvrzení však nemá nic společného s programatickými pokusy o eliminaci estetické hodnoty ze strany propagátorů takzvaného konceptuálního umění ani se snahou o její devalvaci stoupenci jiných postmoderních směrů. Navazuji zde na několik předchozích publikací, ve kterých jsem vysvětloval nutnost uznat kromě hodnoty estetické i existenci další hodnoty – hodnoty umělecké, která je neméně důležitá než hodnota estetická. Zde chci tento argument posunout o krok dál a ukázat, že umělecká hodnota má zcela zásadní význam, takže při hodnocení uměleckých děl připadá estetické hodnotě role druhých houslí. Předložím argumenty, které ukazují, že obrovské rozdíly v cenách různých uměleckých děl nemohou být vysvětleny korespondujícími rozdíly v jejich hodnotě estetické, korespondují však s rozdíly v hodnotě umělecké.

16

On the Moral Psychology and Normative Force of Aesthetic Reasons

75%

Dammann G. , Schellekens E.

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 1

20-39

EN

This paper investigates the way in which we adduce reasons in support of our aesthetic judgements. We examine the seemingly question-begging nature of that process, such that any aesthetic quality we adduce as a reason can be found compelling qua reason for a particular judgement if and only if that judgement is already assented to. We then analyse this phenomenon in the parallel contexts of gustatory taste and friendship, where the differences are understood to lie primarily with differences in the normative force of reasons held in support of gustatory judgements, aesthetic judgements, and personal friendships. While some question-begging obtains in all cases, in the latter we can begin to see that friendship can be justified with reference to its contribution to the good of ourselves. This is explored further in connection with the way in which examining our reasons for being friends with people is actually productive and generative of that friendship. Our conclusion is that while the giving of reasons for aesthetic judgements is still subject to a certain question-begging, those judgements acquire a powerful normative force in cultural contexts where it can be seen that assenting to them constitutes the realization of our good as individuals.

17

American tulipwood (Liriodendron tulipifera L.) as an innovative material in CLT technology

75%

Klosinska T.

Annals of Warsaw University of Life Sciences - SGGW. Forestry and Wood Technology

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2021

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tom 115

18

Matoša problematyzacje piękna. Tropem pewnego poszukiwania

65%

Czapik-Lityńska B.

Poznańskie Studia Slawistyczne

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2014

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nr 7

EN

The article describes the transformations of the traditional category of beauty in the Croatian modernist discourse. Based on the analysis of works of Matoš, we offer a study of modernist concepts of beauty, manifested in the relations between beauty, art and life. The discourse in question simultaneously transforms and explains the sense of beauty, introduces into the world of aesthetic and artistic values central to the culture of modernism.

19

Lze falzifikovat umělecké dílo?:

63%

Kolman V.

Filosofický časopis (Philosophical Journal)

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2020

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tom 68

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nr 5

755-764

EN

The author discusses Kulka’s study on aesthetics, especially in regards to the system he presents for the quantification of the value of a work of art; the article also deals in detail with certain “positivist” features of Kulka’s approach to art. From these the author then provides a detailed critique of selected examples. At the same time, however, he appreciates the readable and intellectually stimulating nature of Kulka’s book and of his texts in general.

CS

Autor diskutuje Kulkovu estetickou studii zejména ve vztahu k předkládanému schématu kvantifikace hodnoty uměleckého díla a zabývá se podrobně také jistými „pozitivistickými“ rysy Kulkova přístupu k tématu umění. Tyto pak na vybraných příkladech podrobně kritizuje. Současně však oceňuje zejména čtivou a myšlenkově stimulující povahu Kulkovy knihy a jeho textů obecně.

20

Distribution and extent of benthic habitats in Puck Bay (Gulf of Gdansk, Southern Baltic Sea)

63%

Sokolowski A. , Jankowska E. , Balazy P. , Jedruch A.

Oceanologia

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2021

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tom 63

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nr 3