Neke zablude i istine o slici u starim i novim medijima
U ovom tekstu htio bih objasniti značenje aspekata koncepta slike Jean-Paula Sartrea za shvaćanje slike u mnogim područjima, uključivši digitalno, te područje novih medija.
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U ovom tekstu htio bih objasniti značenje aspekata koncepta slike Jean-Paula Sartrea za shvaćanje slike u mnogim područjima, uključivši digitalno, te područje novih medija.
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U postojećoj literaturi vrlo je malo tekstova o slikovnim reprezentacijama. Postoji tendencija da se slike svedu na izvore o vizualnim informacijama i da se istakne ono što je sadržano u njiho vom shvaćanju, na račun opisivanja što je postignu to u njihovom stvaranju.
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Svi prijepori oko ontološke prirode slika proizlaze iz dva temeljna, dijametralno suprotna gledišta: esencijalističkog i subjektivističkog. Uvijek kada želimo govoriti o tome što nam neka slika predstavlja, na koji je način razumijemo ili zašto je ne razumijemo – bez obzira namjeravamo li filozofski raspravljati o ontološkim pitanjima konstituci je slika ili se, što je mnogo češće, tek kritički referirati na neke sasvim konkretne primjere slika iz širokog područja vizualne kulture – uvijek se pitamo posjeduje li slikovni objekt koji analiziramo vrijednost po sebi ili je ta vrijednost po nama.
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Već neko vrijeme unutar i izvan filozofije, žustro se raspravlja o slici i s njom povezanim fenomenima (njihova veza sa slikom kao takvom i dalje nije objašnjena): film, video klipovi, »interaktivno« korištenje slike, kompjuterski dizajn i cyber-prostor. Jedan od razloga za zanimanje za tu temu je ubrzana promjena u slikovnom svijetu u kojem živimo.
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How might polyphony operate across the collective, communal, and participatory dimensions of sonic practices? What aesthetic and political observations can be gleaned from listening and sound making that attend to the simultaneous affects of shared sonic experiences? This essay reflects on the possibility of plurality in collective and participatory listening and sound making in relation to the project Points of Listening (PoL), an ongoing series of workshops and discussions, co-convened by the authors, in association with Creative Research into Sound Arts Practice, CRiSAP, University of the Arts London.
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This paper proposes a model to understand the voice in cinema, constructed via psychoanalysis and classical cinematic sound theory. The voice as an object (as it is for psychoanalysis) supposes a hole in the Other, an object that slips meaning. Kaufman and Johnson’s 2015 film Anomalisa is commented on along these lines. This movie renders visible the way the cinematic language sutures the subject (a character in the film) and the Other (the diegetic reality).
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The text discusses the painting-performative art of Piotr Jargusz and the polysensory and immersive way of its reception and interpretation planned by the artist to be formed as a tale. The art and the tale are presented as a two-voice whole with a standard polyphonic set of aesthetically valuable qualities (according to Roman Ingarden’s terminology). Such a whole goes beyond the division into areas of perception determined by the senses and domains of arts, ultimately revealing the essential sense of reality. It is discovered by the mythos of art (represented by the artist’s actions) and the mythos of art science (represented by the tale-interpretation). The concept of mythos is introduced by the philosophy of Władysław Stróżewski, Ingarden’s student and associate. The paper offers a proposal to classify several planes of polyphonicity based on the described situation.
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Listening and polyphony lead us directly to reflection on the musical form of the fugue. Starting with M. Heidegger’s considerations about the juncture of beyng, we will phenomenologically ask about the essence of the fugue, and the musical work put under analysis will be The Art of Fugue by J.S. Bach. The article aims to show the convergence between Heidegger’s philosophy and the essence of the musical form of fugue as an artistic mode of the essential occurrence of beyng as an event.
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This article reconstructs Deleuze and Guattari’s history of music in relation to their notion of stratification and defends the view that music is an organization of sounds. Tracing a history of becoming music, this article demonstrates how social conditions impact the organization of sound into music and how music transforms those same social formations. Deleuze and Guattari’s notion of double articulation, a regime of content and a level of expression, provides a rubric to understand how sonic material is organized into determinate musical elements, notes, tones, rhythms, and so on. This article argues that as the articulation of expression grows independent of content, there is a commensurate increase in what can become musical.
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In the present study, I focus on the diverse manifestations and aesthetic consequences of travel in the work of some artists that may nevertheless represent a vast variety of where such artistic results, connected to the experience of travel, may point to. Therefore, I am interested in what artists can “do” with the various experiences collected in a journey and how they influence their pieces and their approach to art and its working.
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Exploring the arrangements and interactions that space reveals in its expressions, such as cities, forests, parks, and their hybridizations, I search for ways of living in the art that reveal ancestral paths, which I present in self-referential narratives. Through travels and driftings, I experienced the transition between the visible and invisible, and then I sought to create performances as an expanded field, which involves the body’s energy states, exploring symbolic layers.
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This article deals with the theme of a road tour in the context of American counterculture and the environment of the music created by Bob Dylan, sometimes characterized as politicized folk music, sometimes as rock & roll. The primary reference is the film Rolling Thunder Revue (2019), directed by Martin Scorsese, resulting from a tour in the 1970s. The reference to the novel On the Road by Jack Kerouac is notable, and the presence of poet Allen Ginsberg in the troupe reinforces the context of a generation and an era. The article aims to reflect on the relationship between the original tour, the editing of the new film by Scorsese, and the construction of heroism that oscillates between truth and falsehood. In this construction, we consider, on the one hand, the playful and provocative game between fiction, reality, and authenticity; on the other, the political emphasis that raises ethnic and racial issues as the main components of critical and cultural reminiscence in the tour footage as recomposed in the film.
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The article tries to answer the question of what the specificity of Morawski’s aesthetics is. I indicate that Morawski is in favour of historical-cultural relationalism, where aesthetics is practised as a philosophical discipline, whose object of cognition is aesthetic qualities and values, and in art they are reduced to artistic qualities and values which it ultimately replaces with a set of aesthetic invariants. In the concluding part I undertake a polemic with Morawski’s standpoint on reducing artistic qualities and values in art to aesthetic qualities and values and with his diagnosis of the end of art.
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Review of: Biometria w sztuce nowych mediów (Ewelina Twardoch-Raś, Sztuka biometryczna w perspektywie filozofii post- i transhumanizmu. W stronę estetyki postafektywnej, Wydawnictwo Uniwersytetu Jagiellońskiego, Kraków 2021, ss. 640)
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The article is an attempt to describe autothematicism [autotematyzm] – a term coined in Poland by Artur Sandauer in the mid-20th century, referring to the quality of radically meta-reflexive works – from seven complementary perspectives. The Sandauerian understanding of the concept of metareflection was slightly different from the Western visions of mise-en-abyme or metafiction; it was described in the context of German idealistic philosophy and aesthetics. Sandauer defined the artistic “theme” as an objectivization of content (an author’s perceptions and experiences); therefore “autothematicism” is not synonymous with the other terms mentioned above, which can provide interesting interpretations of self-referential works. The present paper shows that the Sandauerian concept of self-referentiality can be seen as an end product of various transformations (conversions): literature’s (or the subject’s) retreat from all kinds of transcendence and reality, self-reflection of the creative “I,” or the text’s orientation to its own ontology. However, this understanding can be reversed. Autothematicism (as an operative concept) can also be seen as a mechanism that enables the autonomous positioning of art in relation to the “reality” it co-constructs, which enables literature to take active participation in the rebuilding of the world.
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Thé aim of this articlé is to présént a concisé summary and réviéw about thé thésés of Déléuzé on thé rélations bétwéén painting and photography but also about his account of Bacon through thé prism of this quéstion in his book Francis Bacon : Logique de la sensation. This articlé could only bé séén as an introduction and pérhaps an invitation to réad déépér studiés about thé important and numérous links bétwéén Déléuzé's philosophy and art.
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Unatoč tome što je estetika ili ontologija umjetnosti Ivana Fochta prožeta filozofijsko-estetičkim uvidima Nicolaia Hartmanna i Romana Ingardena, i to osobito u pogledu slojevite struture te načina bitka umjetničkog djela, valja naglasiti da je ključni moment Fochtova »razilaženja« sa spomenutim filozofima umjetnosti ponajprije pitanje statusa onoga metafizičkog u umjetnosti.
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The paper aims to analyse and understand tensions and meanings in the notion of mimesis in the perspective of philosophical anthropology. Classical mimesis theories, which stretch from classical antiquity to modern works by E. Auerbach or P. Ricoeur, are often associated with poetics, narratology or other literature theory studies. V. Podoroga talks about anthropological and phenomenological mimesis, not only about ‘external’, Aristotelian version, but also about internal mimesis. He focuses on the experience of the body as the basis of mimesis. The author explains how mimesis in Podoroga’s version acquires new meanings and demonstrates how Podoroga’s matrixes of anthropograms complement, discuss and transgress hermeneutical models of Ricoeur. The author claims that the method of Podoroga brings us to some kind of a unique ‘system’, that could be compared to the ideas of ‘the death of the author’ (R. Barthes) or ‘the open work’ (U. Eco). Podoroga shows us an alternative, non-semiotic and mimetic approach in contemporary thought, that has not been widely discussed yet in both Russian and English sources.
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This article deals with the genesis of Yi’an style (易安體), the poetic style of the outstanding Chinese female poet of the Song dynasty Li Qingzhao (李清照, 1084–1155?). The empirical material for this research is her extant early 22 ci (1098–1108). The first part of the article briefly discusses the specific features of ci genre, which reached its heyday during the Song dynasty (宋朝, 960–1279). The second part examines the peculiar features of Li Qingzhao’s early ci, which indicate her pushing the limits of writing traditional Chinese poetry. These features are 1) modification of the classical themes and images; 2) introduction of love and erotic ci from a female perspective; 3) experiments with the composition of ci and their rhythmic and melodic structure. She introduced the lyric element into conventional ci, composing the poems with strong personal engagement. Her genre innovations lie in overcoming the limits and conventions of the genre, legitimating the Self of a poet in her distinctive personal style – Yi’an style.
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The article posits that the Biblical code is one of the most important pillars in the interpreting the literary works by Lesya Ukrainka, one of Ukraine’s renowned writers. Her verse dramas foreground Biblical intertextuality, which becomes a starting point for intellectual debates in the Ukrainian ‘fin de siècle’ on such essential problems as freedom and love, social and mental slavery, and the mission of art. The problems of (mis)treating the essence of God’s Kingdom and the human relationship with God are also centrepieces of Lesya Ukrainka’s dialogicality with the Bible. In the writer’s verse dramas, the explicit and implicit Biblical intertexts specify the active double-voiced discourse, which exhibits an interaction of the different consciousnesses. Following this, the text of the Scriptures provides the background for the dominant symbols (harp, stone and light) that can be actualized by the informed reader both through the allusions and via the reminiscences in Lesya Ukrainka’s dramatum.
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