(Re)construction, (Re)evaluation, or (Re)interpretation of the Past: What Happens When the Past Meets with the Present?

Author(s): Lukáš Makky / Language(s): English Issue: 4/2020

The image of the ancient past represents just a fragment. When we stand in front of such an image, we are standing in front of time. This text reflects the possibilities of aesthetic evaluation of ancient artifacts with the emphasis on the contextual perception of received phenomena. The defining concept of context is based on Jan Mukařovsky’s approach. The aim of the paper is also to present aesthetic interpretation as a regular method of verifying prehistoric artifacts.

(Re)kategorizacija institucije muzeja umetnosti: umetnik za ili protiv muzeja?

Author(s): Milena Jokanović / Language(s): Serbian Issue: 3/2021

Stvaralaštvo predsavremene akcije i postmoderne reakcije, videli smo i na istoimenoj izložbi kustosa Neve Lukić i Vanje Babića, ne može se razdvojiti od same institucije muzeja moderne odnosno savremene umetnosti, dok se osvrti umetnika na svoje prethodnike, svesno ili nenamerno načinjeni, mogu prepoznavati u njihovim delima. Stoga, polazeći od muzeološke teorije zasnovane na epistemološkim premisama s jedne, te od institucionalne i interpretativne teorije umetnosti s druge strane, možemo preispitati nastanak i razvoj muzeja namenjenog izlaganju moderne i savremene umetnosti, ograničenja koje isti nosi, te odgovore umetnika na ovu instituciju. Pitanje stvaranja dela za muzej ili protiv istog, te moguće (re)kategorizacije institucije muzeja umetnosti, okosnica su ovog teksta, koji može biti inspiracija za znatno opsežnija istraživanja.

(Trans-)Gendered Metaphors: On Transitioning in Nietzsche’s Aesthetics

Author(s): Danielle Verena KOLLIG / Language(s): English Issue: 2/2010

Hostility towards transsexualism has not only persisted in nonacademic communities, but also in academic scholarships, based not only on identifications of gender with sexuality and sexual identity, but also on the linguistic conventions of dichotomies of matter and ideas. Nietzsche’s aesthetics not only challenges this tradition of linguistically constructed dichotomies, but also the exclusive separation between genders and sexual identities. Referring to The Birth of Tragedy and Thus Spoke Zarathustra, the article examines how Nietzsche’s ideas of language as a system of metaphors contributes to an understanding of transgender respectively transsexual issues as non-regressive expressions of selfhood, challenging rather than confirming gender dichotomies.

(Write it!) Like Disaster: Precarious Futures in North American Poetry

Author(s): Sascha Pöhlmann / Language(s): English Issue: 1/2022

My article describes disaster poetry as a particular mode of engagement with a perceived, negative rupture between present and future. Understanding “disaster” in such abstract and open terms, I argue that this poetry stages a tension of continuity and discontinuity in which the poetic act itself works against the very sundering it still posits. In making this larger point, I contrast two exemplary poems, Walt Whitman’s Civil-War poem “The Dresser” (1865) and Stephen Collis’s “Future Imperfect” (2021). Addressing war and environmental destruction in their social and personal ramifications, both these poems confront a present in which the future itself is precarious or even unimaginable, and they all act in their present to bridge that conceptual gap again in various ways without denying its existence or profound relevance. As such, they provide aesthetic models for a more wide-ranging assessment of how we imagine, speak about, and respond to disaster as a temporal crisis in which the relation between present and future is in question, as they engage with corresponding tropes of fatalism, determinism, uncertainty, agency, knowledge, hope, finality, and beginnings.

,,The Icon” as a Revelation of the Divine

Author(s): Viorel Cernica / Language(s): English Issue: 1/2006

This paper is about the connection of the divine whit some human work such poetry, painting andpolitics. The main concept for us is icon because it shows this connection. It is exhibited in thisshort essay the sense of art in clearing the inside of those who are creating it. “The products” of artare named the icons because they constitute the proof of man’s link with the divine.

,,Vietos Dvasia“ Christiano Norberg-Schulzo Architektūros Fenomenologijoje

Author(s): Almantas Samalavičius / Language(s): Lithuanian Issue: 71/2012

During recent decades there have been attempts in urban theory and urban discourse at large to revisit and reconsider a number of concepts that have been marginalized or even suspended because of the rise of scientist ideology in academic research. The concept of spirit of place, known since Roman era as genius loci, is one of the key catogories that had been lost and regained in the history of urban planning and its theoretical reflections. Architectural historian and theorist Christian Norberg-Schulz has made the most significant contribution to the revival of this old Latin idea of spirit of place in urban and environmental studies. The article focuses on the impact of Norberg-Schulz in developing the interest in the spirit of place as an intellectual endeavor of his phenomenology of architecture and place. The author of the article notes that the concept of genius loci or „spirit of place“ remains a useful analytical tool in advancing the discourse on contemporary urbanism so that material and non-material elements that make the true character of urban place in contemporary urbanity can be adequately evaluated in urban research. Norberg-Schulz later reconsidered his attitude about modernist dogmas (as professed by Le Corbusier, Sigfried Giedion et al.) of the limitless capacity to transform spaces. He became a spokesman for the symbiotic relationship between the human being and the natural/urban space humans and reconsidered the archaic idea of genius loci as imperative for contemporary city-building. His theoretical insights might be of use in developing theoretical study of the development of urban structures in contemporary Lithuania.

14. Yüzyıl Mesnevisinde İlim ve Ahlaka Verilen Önem

Author(s): Ahmet Özhan Sucu / Language(s): Turkish Issue: 2/2014

Masnavis in Turkish literature has an important role in enabling independent rhyme and long narrating articles. Masnavis writers have not only written concerns of aesthetics but also on behalf of the community development process some messages are also in the works. Given the conditions of in the 14th century period it can be seen in many of the masnavis contain “scientific” and “moral” values. Masnavi, is the verse form in the literature of each couplet rhyming each other and it ranges two couplets to thousands of couplets. Being the rhyming couplets of Masnavi are independent it is suitable for writing a verse form long stories.

16-bit dissensus: post-retro aesthetics, hauntology, and the emergency in video games

Author(s): Patrick R. Dolan / Language(s): English Issue: 1/2021

Santiago Zabala reveals a crisis in modern society that perceives a world dominated by oppressive neoliberal ideology as acceptable and unproblematic. He claims that today’s greatest emergency is that we fail to notice other emergencies in society. To break out of this state, we need an aesthetic force to shock individuals into a new awareness. Unfortunately, while many social and global issues have recently come to widespread attention, the emergency still prevails in many forms of media. For example, the emergency in AAA video games appears in their continual push for higher resolution graphics, hyper-detail, verisimilitude, and intricate gameplay, perpetuating a hegemonic ideology. Exploitative labor practices, lack of representation beyond hetero-sexual, cis-gendered and neurotypical, and capitalist ideals are perpetuated in popular games in service of a hyper-real, high-fidelity aesthetic. One force that combats this emergency is pixel graphics and simplified gameplay, or post-retro aesthetics. While tied to the past, these aesthetics are not nostalgic but transgressively hauntological. To explore this claim, I discuss Dys4ia and Undertale as key post-retro games and reach beyond commercial indie gaming to point to hauntological work being done through DIY game making platformers such as Bitsy.

1914 И КРАЯТ НА БЪЛГАРСКОТО ВЪЗРАЖДАНЕ:

ЯВОРОВ КАТО КОЛЕКТИВНА МЕТАФОРА

Author(s): Plamen Antov / Language(s): English,Bulgarian Issue: 1/2016

This article, which may conventionally be classified under the genre philosophy of history, develops two metaphors of high symbolic value. The first is the year 1914, as the start of World War I, the third and last in a se-ries of wars at the start of the 20th century in which Bulgaria was involved. It led teleologically to the year 1919 (Neuilly) which marked the symbolic – therefore absolute – end of the Bulgarian National Revival. The second metaphor is the figure of Yavorov in its his mytho-biographical projection – the poet’s suicide in October 1914 can be seen as a collective metaphor, as a metaphor of a collective ontological loss; but also as an attainment of a qualitatively new state; as the loss of the Revival’s monolithic national aspect and the acquiring of the tragic experience of Modernity and its social fragmentariness.

1960 SONRASI KAVRAMSAL SANATININ GÜNÜMÜZ RESİM SANATINA ETKİLERİ

Author(s): Bahar Artan Oskay / Language(s): Turkish Issue: 47/2018

In this study, the formation of Conceptual Art after 1960 and the historical process of the studies produced by the conceptual artists have been studied and what kind of awareness and evolution has been caused by these factors in contemporary art. 20th century was a period in which painting art developed and changed rapidly. In this period, when avant-garde artistic concepts have follow each other in quick succession, the questioning of aesthetic values and object has become inevitable. The breakaway of the Conceptual Art from understanding, aesthetics, and style of the traditional art has caused the process of change on the meaning and concept of the traditional art. Examples of post-1960 artists’ works have been given while the present-day reflections of the transformation of post-1960 painting art into an object by means of Conceptual Art in an intellectual sense, has been researched.

1990’lardan 2020’lere Genç Etkinlik Sergileri

Author(s): Hülya Küpçüoğlu / Language(s): Turkish Issue: 66/2020

Opening of contemporary art venues such as Aksanat, Borusan Sanat, Karşı Sanat in the 1990s supported the development of the Turkish contemporary art field. The biggest organization of the art environment in these years is undoubtedly Young Events. In 1995, President of the International Plastic Arts Association, Hüsamettin Koçan brings up a new project for the young artists of the period. This project will be open to all young artists and they will be able to exhibit their work as desired. The period is also the years in which subjects such as identity or ethnic identity, borders are examined. In this framework, the Association organized “Borders and Beyond” as the concept of Young Event 1, “Deterritorialization” in Young Event 2, “Chaos” in Young Event 3 and Young Event 4 without concepts. After a quiet break from 1998 to 2011, Young Events started again in 2011. However, this time it is not open to the participation of every artist. The artists will be determined by a jury. Young Event 8 was last done in 2019 under the name “Homo Historicus-Homo Projectus”. Young Events in the 1990s were made to provide an environment for the young artists of the period, who had difficulties in finding a gallery to open an exhibition, to encourage production freely because it was unselected, and to make them visible. As a result, many artists who opened exhibitions at the Young Events in the 1990s became visible. It has been observed that the artists participating in the Young Events in 2010 in terms of changing socio-cultural conditions and technology did not activate a mechanism of influence as in the 1990s. In this article, Young Events held in different years will be examined and their dynamics over the years will be given comparatively.

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.

2. Проблема сходства искусства и жизни в свете структурального подхода

Author(s): Yuri M. Lotman / Language(s): Russian Issue: 1/1964

Искусство - средство познания жизни. Однако, средство специфическое. Искусство познает жизнь, воссоздавая ее. Из некоего материала художник воссоздает образ жизни в соответствии со структурой, по его мнению, свойственной данному явлению действительности. Окружающие художника явления - не бесформенная масса, они представляют собой определенную материальную структуру, систему отношений, которую художник воспроизводит конструкцией своего произведения. Создание художника выполняет свою познавательную роль, если его структура адэкватно раскрывает структуру действительности в меру возможностей наиболее передового сознания данной эпохи. Таким образом, в само понятие искусства входит проблема адэкватности, сопоставления изображаемого и изображения, - то, что в обычном словоупотреблении определяется как сходство : сходство человека и его портрета, события и его описания или изображения и т. д.

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 Aslıtürk / 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.

21. YÜZYIL SERAMİK SANATINDA SUALTI DOĞASINDAN İZLENİMLER

Author(s): Senem Aker Ensari / Language(s): Turkish Issue: 95/2022

In many sources including the history of art, it is stated that the first artistic act of man, originating from nature, was the pictures he drew on the cave walls. The starting point of these paintings and many works of art produced in later ages; Greek philosophers explain it with the theory of imitation (mimesis). Man's attitudes and approaches to nature have varied positively and negatively in the historical process up to the present century. This variability is also reflected in the productions of artists who reflect the lives of societies. In the artistic creation process; The image of nature turns into plastic structures with the blending of individuals' intuition, perception, cultural, psychological and intellectual factors. Nature; It is a source for the imaginary worlds of artists with its different ecosystems on our planet. Underwater life and formations, which are one of these ecosystems, can be classified in two categories: In the first category, fauna and flora, which are the creatures living underwater, and the other underwater geological formations. Underwater nature; In addition to its unique biological and geological diversity, it has become one of the popular expression areas of today's contemporary ceramic art together with other art disciplines with its mysterious world that is not always visible to the naked eye. The artistic productions of the ceramic artists, which are included in the article, based on the underwater nature; conceptual, intellectual and formal approaches to the subject were evaluated with the technical structuring processes of the works.

21. Yüzyılda Biyosanat

Author(s): Ayşe Azamet,Çağatay İnam Karahan / Language(s): Turkish Issue: 63/2019

In this study, the paradigm of art, which changes according to the scientific structure, is examined within the scope of bioart; In the 21st century, the examples of bioart applications in the arts have been discussed and explained. Nowadays, it is necessary to accept the current facts as to where art is on, what processes and parameters it is going on, and which reflections it will present on its journey. At the point where these human-centered changes in the biosphere have reached an unstoppable pace, art also needs to bring up the current scenarios, including interventions. In the paradigm of art, the depiction of extinction or re-existence in the anthropocene age we are in is depicted as the beginning of its most primitive form, and the ability to represent will continue to be reflected to humanity with the services of the artist in the context of the existing systems. Despite the developments in art in the global context, it is seen that interdisciplinary practices are not widespread in art education in our country today. Based on the necessity of updating the content of art education and integrating it with the data of the age; It was concluded with the opinion that the lack of bioart applications and the beginning of the researches will be started. In the documentary research, the biotechnological applications included in the field of bioart were explained with the artist and his creation. In the light of the data obtained, it was concluded that interdisciplinary studies in this field of design contribute to art.

28 Šventųjų Pranciškonų Observantų Atvaizdai Šv. Jurgio Kankinio Konvento Bažnyčioje

Author(s): Laima Šinkūnaitė / 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): Michał 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.