2. Sayımız Çıkarken: Gölgenin SineFilozofisi

Author(s): Serdar Öztürk / Language(s): Turkish / Issue: 2/2016

Platon’un meşhur mağara alegorisinde ihmal edilen en önemli unsurlardan birisi, “gölge”nin bir insanlık durumu olarak her daim güncelliğini korumasıdır. Bu gölge, bazen gölge tiyatrosu örneğinde olduğu gibi Karagöz olarak kendisini gösterir, bazen “demon” örneğinde olduğu gibi insanın içindeki karanlık yönlere, şer öğelere gönderme yapan unsurlara dikkat çeker. Keza, Freud ve Jung da değişik bağlamlarla da olsa gölge durumlarıyla uğraştı. Freud, benliği üçe böldüğünde en alta, aslında bilinçaltı denilen “gölge”yi, karanlık tarafı koymuştu. Jung ise her insanın sevmediği ve gizleme yoluna girdikleri yolları gölge olarak niteledi. İnsan eylemlerindeki çelişkiler aynı zamanda insanın gizlemek, örtmek, maskelemek zorunda kaldığı bu gölge yön ile aşikâr görünen eylemleri ve düşünceleri arasındaki çelişkiden kaynaklanır. Gelgelelim Jung, insanın bu gölgeyi bastırmak, yok saymak yerine onunla el sıkışmasının gerekli olduğunu savundu. Çünkü gölge, tıpkı persona yani maske yanımız gibi kişiliği oluşturan bir unsurdur.

20. YÜZYIL BAŞLARINDA BATI RESMİNDE DOĞA

Author(s): Umut Germeç / Language(s): Turkish / Issue: 32/2019

Artistic and aesthetical determination of nature have been closely related and conditioned by the living conditions (in the advantage of the dominant class/societal group in the art of the advanced societies) in every society. The relationship between the ideal and the real in the beauty of nature presents a significance in this context through the cultural history. Apart from the autonomous landscapes by Ruysdael, Hobbema, and Van Goyen in Holland in the 17th century, paintings that feature nature – from Turner to Constable - have been supported with the property indulgence of the British and French land owners. The aesthetic context of Poussin and Lorrain’s landscapes has been determined by the property indulgence of the feudal nobles. Turner’s attempt to narrate his inner by painting the conditions in nature served as a foundation for the Western art movements that occurred in the 20th century. The fact that Naturalists presented an ideological stand against industrial cities and Impressionists’ technique that fed subjectivity on plastic terms made the identity of the artist significant. Integration of the nature and human, which is a stand against the slaughter and exploitation brought about by industrialization, has been determinant on every art movement. This ideology was significant for Gauguin to escape to nature. European art entered 20th century with two approaches; one being Romantic and Expressionist, the other Classicist and coherent. Fauvs in France and Die Brücke members in Germany found their foundation in the expressionist and emotional forms of the sense of art that was influential during the fin de siècle.

20. YÜZYIL RESİM VE HEYKELLERİNİN YUNAN MİTOLOJİSİ VE İKİCİLİK KAVRAMI AÇISINDAN DEĞERLENDİRİLMESİNE YÖNELİK BİR ARAŞTIRMA

Author(s): Ecem KÜÇÜKGÜNEY,Gül Erbay Aslitürk / Language(s): Turkish / Issue: 8/2016

When considering mythology, Greek mythology is the first that comes into mind. The history of Greek mythology is written on sculptures and canvas for hundreds of years. A literature review on paintings and sculptures of Greek mythology reveals absence of mind dualism, a sub-branch of Greek phylosophy. This study concentrates on the dualism aspect of the 20th century paintings and sculptures about Greek mythology. Specifically, works of art which include heroes of Greek mythology were examined in respect to dualism. As working method; document analysis and review of the literature were conducted about dualism, mythology and Greek mythology. Greek mythology paintings and sculptures from museum and private collections were investigated and their description were gathered. An inventory of the works were made in which they were listed chronologically. As a result of this study, seventeen art works were examined: six sculptures, ten paintings and a wall fresco. These works were analyzed for the presence of dualism. This study concluded with emphasis that dualism as described in paintings and sculptures are part of human life.

28 Šventųjų Pranciškonų Observantų Atvaizdai Šv. Jurgio Kankinio Konvento Bažnyčioje

Author(s): Laima Šinkunaite / Language(s): Lithuanian / Issue: 90/2017

There is unique artifact of baroque art in the St. George the Martyr church of the Franciscan minor convent in Kaunas. There are 28 images of saint martyrs and confessors. In the archive of this convent we can find the earliest information about these images. There is a record of 1741 in which they are mentioned. Today they are in quite poor condition, but there is no equivalent to this gallery, even if in its unrestored condition. Every image reveals an individual way to holiness. In every painting there is a poetic inscription whose purpose is to describe a painted friar. This research is another opportunity to look at the way to holiness and the way to art.

4’ 33’’: MUZYCZNA UTOPIA JOHNA CAGE’A

Author(s): Michal Palmowski / Language(s): English / Issue: 2/2016

The present article examines the connection between Cage’s politics and aesthetics, demonstrating how his formal experiments are informed by his political and social views. In 4’33’’, which is probably the best illustration of Cage’s radical aesthetics, Cage wanted his listeners to appreciate the beauty of accidental noises, which, as he claims elsewhere, “had been discriminated against” (Cage 1961d: 109). His egalitarian stance is also reflected in his views on the function of the listener. He wants to empower his listeners, thus blurring the distinction between the performer and the audience. In 4’33’’ the composer forbidding the performer to impose any sounds on the audience gives the audience the freedom to rediscover the natural music of the world. I am arguing that in his experiments Cage was motivated not by the desire for formal novelty but by the utopian desire to make the world a better place to live. He described his music as “an affirmation of life – not an attempt to bring order out of chaos nor to suggest improvements in creation, but simply a way of waking up to the very life we’re living, which is so excellent once one gets one’s mind and desires out of its way and lets it act of its own accord” (Cage 1961b: 12).

5-6 YAŞ SANAT ETKİNLİKLERİNDE ÇASEY’NİN UYGULANMASINA DAYALI DURUM ÇALIŞMASI

Author(s): Kübra Özalp / Language(s): Turkish / Issue: 05/2012

Pre-school period is the first step of improving the imagination and creativity which are existed within the child by means of art education. Systematic progress of this education is also as important as giving plastic art education which effects the mental and spiritual development of the child with 5-6 aged group-that is pre-school period. In this sense, interdisciplinary in other words multi-field art education (Discipline Based Art Education) method included art criticism, art history, aesthetic except than the practice takes part in art education is necessary and vital. This study is a case study based on the determination of the changes on children caused by interdisciplinary art education method in the period of pre-school art education.

60 bananów i 127 trumien Titusa-Carmela

Author(s): Krzysztof Siatka / Language(s): Polish / Issue: 217/2016

The works of French artist Gerard Titus-Carmel in the late 1960s and 70s met with great interest in critical and philosophical thinking. Jacques Derrida devoted one of his most important essays, entitled Carthage, to one of Carmel’s works. The cycle of 127 drawings, entitled The Pocket Size Tlingit Coffin, is the documentation of an enigmatic and symbolic box which purpose is not entirely known. The artist used a variety of techniques and drawing manners to create a variation on the image of a strange object every day. In the course of the accumulation of representations, the source of the inspirational cycle has moved away. The series, conceived as a research process aimed at learning nature, could be the destination of a Pocket Coffin, resulting in narrative thickening and, in fact, budding ignorance of the paradigm that was to be resolved, clarified, and explored at the beginning. The Titus-Carmel project, located in the Parisian Pompidou Center collection, is a forgotten example of conceptual flow in visual arts and a very important model of the work that highlights the process of creation over the final physicality of the object. It is a great reflection on the meaning of gestures of repetition, multiplication or reproduction, so important for the philosophy of contemporary art. The Pocket Size Tlingit Coffin inspired Jacques Derrida to create an analogue textbook-diary that in subsequent chapters, written daily with reference to subsequent drawings, deconstructs concepts such as original and copy, the beginning and the end, or imagines possible paradoxes, such as the existence of copies without original, or secondary of the original with respect to the copy. The dialogue of the artist and philosopher is one of the most interesting interdisciplinary speculations in the art of the second half of the 20th century. Both creators have expanded the genre of dialogue and journal to deconstructive method of cognition.

A Dialectical Approach to Berleant’s Concept of Engagement

Author(s): Thomas Leddy / Language(s): English / Issue: 2/2017

Arnold Berleant shares much in common with John Dewey. His notion of aesthetic engagement, which is central to his philosophy of art, is, like Dewey’s concept of “an experience,” an attack on dualistic notions of aesthetic experience. To the extent that Berleant and I are both Deweyans, we agree that we need to turn from the art object to art experience. Art is what it does in experience. Yet appreciative experience of art cannot happen without, at some point, focusing on the art object as such, and this means bracketing context. Engagement is important, but so too are contemplation, disinterestedness and distance. Contemplation, for example, is a moment both in the creative process and in the process of appreciation. Moreover, following Brand and Gracyk, it will be argued in the present paper that only through toggling between contemplation and engagement can we obtain a full experience of art, nature, or of the everyday.

A folytatás TESZT-je

Beszámoló a 11. TESZT fesztiválról

Author(s): Nóra Ugron / Language(s): Hungarian / Issue: 2/2018

Zoltán Gálovits, whose long curatorial activity has defined the perspective of the event, resigned this year from his position as the artistic director of the TESZT Festival in Timișoara. Nóra Ugron writes about the fact that this edition continues the perspective of the festival with a more heterogeneous focus and selection of performances, devoting attention to the relation between theatre and society, as well as to experimental theatrical endeavours. In her report Ugron discusses in detail performances Our Class, Queendom, as well as Jami District and A Cloud in Trousers directed by Kokan Mladenovic.

A Forgotten Detail in the Cultural Landscape: a Ukrainian Version of Russian Formalism? National Identity, Avant-garde and Ideology in Literary Discussions in Soviet Ukraine (1920s–1930s)

Author(s): Galina Babak / Language(s): English / Issue: 32 (37)/2017

The 1920s in the Soviet Ukraine are characterised by significant variability of views on the meaning, social significance and mechanism of art and literature, however, all this theoretical and practical variety was limited by political restriction imposed by official communist ideology. Avant-garde groups and movements enriched modernist discussions by drawing attention to the fact that the revolution in arts and literature was of the same nature as political and social revolution. Numerous Soviet writers, poets, artists, philologists, etc. (including Ukrainian writers with their own national agenda) took part in these discussions; many of them were members of different literary movements, groups and organisations – and of course they had a different aesthetic orientation. One of the most important topics of Soviet theoretical discussions in the 1920s was the dualism of “form” and “content” in literature and art. Such discussions were held in Soviet Ukraine as well. Even though we cannot speak about “Ukrainian formalism” as an organised and disciplined aesthetic school, it is important to determine the “Ukrainian version” of correlation between universalist ideas of Russian formalism, internationalist Soviet ideology (in relation to the culture), and forming Ukrainian cultural identity.

A könnyűség súlya, avagy Philétas cipői

Author(s): Elvira Pataki / Language(s): Hungarian / Issue: 2/2009

Present-day knowledge about Philetas, the first poietes-grammatikos is extremely scant. According to the only information, which seems rather irrelevant, and which was transmitted by late authors, the poet was extremely thin as a result of his laborious poetical activity. In certain sources (Aelian, Athenaeus) the motif of thinness is completed by a bizarre note: the artist, a leptoteros, had to wear lead weights on his feet against the force of winds. The adjective describing his figure cannot be separated of the primordial aesthetical notion of lepton, and it may suggest a poetological interpretation. In order to support this possibility, the article sheds light on a zoological paradox of Aelien which mentions the peculiar habit of bees, light and musical animals and strenuous gleaners of flowers, who carry stones as counterweight against the winds. The implicit image of a poet as a bee is a traditional metaphor with sacral connotations in the Greek literature, which reappears in the Hellenism. The association of the Coan poet with the bees would fit well into the tradition about the poetry and the creative style of Philetas. He was known to have an ardent interest in the natural sciences (periergos), therefore among his poetical and glossographical fragments more than one item concerning hive, bougony, honey can be found. According to reconstructions, the melissa could have had an important role in his Demeter. On the other hand, the critical announcements of Callimachus and Theocritus on Philetas’ poetry employ the same metapoetical imagery of nature (see the rivalry of the locust and the frog in the 7 Idyll, the opposition of the ear and the oak in the Prologue of the Aitia). The best known work of Philetas, the poem of the alder which is considered as a selfportrait, is based on this as well. Accordingly, the representation of the poet in the anecdote has poetological allusions through the motifs of the slenderness and the counterweights.

A mainstream vége

Author(s): András Visky / Language(s): Hungarian / Issue: 1/2016

From András Visky's report, we can find out that the poetics of the mise en scène is all about ownership and control: the participants of the common creation sacrifice their individual creativity on the altar of the director's art. Nurtured on the spirituality of dictatorship, the ​mainstream theatre has exchanged its public for a virtual community of spectators. Post-mainstream theatre, however, manifests an ever-stronger need for a new intimacy, for the closeness of the other.

A művészet a kultúrán belül és kívül

Author(s): Tamás Seregi / Language(s): Hungarian / Issue: 3-4/2017

A nap árnyékában

Author(s): Zádor Tordai / Language(s): Hungarian / Publication Year: 2000

After the communist system has collapsed, the socio-political and economical situation has changed in Central and Eastern Europe. In his essays Zádor Tordai is focusing on the analyses of the socio-political results of the system change in Central and Eastern Europe and its interpretation – from the view of a philosopher.

A Naturalistic and Behavioral Theory of Aesthetics

Author(s): Fracnis Mechner / Language(s): English / Issue: 1/2019

Aesthetic reactions occur when cognitive and affective elements interact, in diverse arts.Affective elements result from past Pavlovian conditioning events and other sources.Compounding raises these effects to the level of aesthetic reactions. Properties of domains in which aesthetic reactions occur are identified. Cognitive ability is selected phylogenetically by the discernment of beauty. Aesthetic reactions help maintain competencies like language, conceptualization, and abstract thinking.

A prereflektív észlelés megnyilvánulásai a festői alkotófolyamatokban

Author(s): Henrietta Horváth / Language(s): Hungarian / Issue: 11/2014

A priori imaginace

Author(s): Mikel Dufrenne / Language(s): Czech / Issue: 2/2015

In this article, Dufrenne argues that imagination need not be only the subjective capacity to invent the unreal (dreams, fantasies), but that it is actually capable of revealing images that bring human beings closer to the hidden plenitude of Nature. Among these a priori images, such as heaven, water, blood, and earth, Dufrenne emphasizes the elementary, power, depth, and purity, which he believes are the most fundamental of them. He considers a potential classification of these images on the principle of ontological quality.

A Process Identity: The Aesthetics of the Technoself. Governing Networking Societies

Author(s): Oana ?erban / Language(s): English / Issue: 2/2016

The main aim of this article is to analyse the relationship between two innovative concepts—the technoself and process identity—from a perspective inspired by process ontology. The working hypothesis is that industrialized and mass societies entered into a post-industrial or informational sphere of capitalism, becoming networking societies—also known as knowledge-based societies—which closely followed their role in approaching the plural identity of the digital Subject and the surveillance practices exercised in its governance as correspondent models for the changes of the current reality. The first section of the article is devoted to research on the technoself, a concept recently introduced by Luppicini in 2013. Criticizing the technoself in terms of process ontology and as a result of digitalization, subjectivity, and technical rationality, I will argue that the constitution of digital subjects, as well as their interactions, should be defined in terms of processes. Therefore, I introduce the concept of process identity—which includes the technoself—and explain how this approach contributes to the development of different research fields (such as speculative realism and object-oriented ontology) and how it affects Floridi’s distinction between digital ontology and informational ontology. The second section focuses on the effects of the digital environment on self-constitution practices and techniques, virtual worlds experiencing what Foucault recognizes as the aesthetics of existence. In the final part, I confront Bentham’s and Foucault’s panopticism, arguing that based on what is accomplished by process identities, networking societies represent societies of control, not disciplinary ones, and consequently this distinction should be applied in governing virtual communities. In the end, I will explain why notions such as digital personae or databased selves are insufficient, and should be replaced by the concepts of process identity and technoself, respectively, in order to improve the models of governing networking societies.

A Revisionary View of Texts, Textual Meaning, and Fictional Characters

Author(s): Anders Pettersson / Language(s): English / Issue: 3/2017

Using ideas from John Searle, Roy Harris, Michael Reddy, and Nelson Goodman, I argue that texts, such as they are commonly conceived, lack brute existence. The common idea of texts is a conceptual construction which is useful in practical everyday contexts but not in serious theorizing, where it creates illusions and contradictions. One of these illusions is the idea of an objective textual meaning, a meaning which is “in the text”: what we actually have in the way of textual meaning are the ideas of various persons – authors, readers, and commentators -- about the meaning of the text. When applied to fictional characters, this way of viewing things explains why it makes sense to regard fictional characters as being created and as lacking brute existence.

A SEMIOTIC-AESTHETIC APPROACH TO THE ANALYSIS OF THE PRACTICE OF VERNACULAR ARCHITECTURE IN HUNGARY

Author(s): Imre Gráfik / Language(s): English / Issue: 2/2014

The spatial frame of the investigation is the Carpathian Basin and especially its Great Plain areas inhabited by Hungarian-speaking people; and the period it covers, which can be documented with buildings, is the 150–200 years from the second half of the 18th century to the first half of the 20th century. Examining all the elements of form which played a role in shaping the architectural image of the market town, it can be found that some of them are only barely, while others are very definitely expressions of the semiosis of market town architecture. The criteria of form are suitable for the simultaneous realisation of the following triadic relations: 1) the architectural functions archived through the technical-technological and structural solutions of building practice; 2) meanings related to the communicative nature of architecture; 3) representation of the architectural solutions of aesthetic content accepted by the taste of the community, artistic aesthetics (of architecture). As a final conclusion it can thus be said that a relative and absolute horizontal and vertical dynamics – realised with architectural signs and visually codable – operate in shaping the architectural image of the market town.