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Two Notions of Vulnerable and Intensely Affected Body: Gilles Deleuze and Alphonso Lingis

Author(s): Laura Galvanauskienė / Language(s): English Issue: 4/2017

Two different approaches towards Francis Bacon’s painting are analysed in the article: postmodern and phenomenological. The problematic and multiple status of such concepts as sensitive body, intensive sensation and the affect common for both Gilles Deleuze’s and Alphonso Lingis’ philosophy become most visible in regard to Bacon’s painting that displays the reality of the vulnerable and intensely affected body as his main subject. The article follows the main intrigue which inspires their studies, i.e. the article aims to explain what determines the suggestibility of Bacon’s canvas: is there the violence of line and colour, which negates the role of figuration (Deleuze) or the violence of life, that on the contrary, affirms representation (Lingis)? The author maintains that such different interpretations are determined by different notions of experience. Lingis emphasizes actual experience which allows to find the link between creation, lived body and life world, while Deleuze stresses virtual experience, impersonal life, body without organs and creation of new perspectives.

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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.

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Tuvaldeki Korku: Rembrandt ve İbrahimin Kurbanı

Author(s): Serhat Soyşekerci / Language(s): Turkish Issue: 66/2020

Rembrandt, the golden-haired Dutch painter who had his golden age in the seventeenth century, brings together religious and non-religious objects and figures in Sacrifice of Abraham, an indirectly depicted anatomy picture. Isaac's naked body is a cadaver, and Abraham's knife is a scalpel used in the picture. There are divine and non-divine beings on stage. Abraham's eyes highlight his complex desires and the intense light in his eyes draws attention to the tension and a fear of existence that also blends with Rembrandt's own complex desires. These complex desires in the artist represents the fear that the story of the sacrifice described in the Old Testament turned into a completely different form in the New Testament; fear on the canvas.

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TÜRK RESİM SANATINDA GÖRSEL ALGI ÜZERİNE BİR DEĞERLENDİRME

Author(s): Fatih Başbuğ / Language(s): Turkish Issue: 15/2019

In Turkey, after the proclamation of the republic, along with the developments in education, culture and industry. Innovation in art took effect with fast development. Foreign art educators who came to Turkey, set up the basics of our modern day sense of art by having duties in academical staff in this process, the artists that graduated from the academy went to every part of the country and worked a lot for developing the Turkish art education. They had the role as educators in educating new young artists. In the 19th century, along with the industrialization, interrogating and probing sense of thought, developed different statements in aesthetical idea and set ground for interrogating the art based on ideology. The artists who turned the ideas of philosophers into a manifesto, made changes in forms and compositions and tried to reshape art. Along with this change in the west, there were some changes in Turkish art, too. New terms, statements, constactive changes in compositions pened nwee doors from academic language to different tendencies. The works that artists created in a free atmosphere turned into events as group exhibitons at first. But later leaving its place to personal style characteristics and individual exhibitions, a new understanding came out where artists stated their free ideas.

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Behram Beyzayi Sinemasında Kadın İmgesine Bir Bakış: “Başu, Küçük Yabancı” Örneği

Author(s): Mehmet Aytekin / Language(s): Turkish Issue: 9/2020

When the social dynamics of pre-revolution and post-revolution era are examined, the existence of transition process is remarkable and it is seen that there is an uncertainty. In the ongoing process, this situation is reflected in the cinema, it is understood that “male gaze” and the efforts of patriarchal ideology to shape the cinema have a negative effect the representation of woman. Pre-revolution era, in the process of representation, the woman who put up a good fight against to exhibitionism, at postrevolution era was forced to veil oneself by the effects of Islamization movement, and thus the cinematic representation is adversely affected. In Bahram Beizai’s cinema, a oppostional reading is developed for the mainstream female myth that patriarchal ideology deals with in both periods, and this form of reading becomes continuous both pre-revolution and post-revolution era. In order to makes the claim, Bahram Beizai’s Bashu, Gharibeye Koochak (Bashu, Little Stranger - 1989) movie is taken as a sample and cinematographic analysis method is adopted through feminist literature. In this context, the counter-myths created by Beizai are embodied by the sequences supporting the narrative and the theoretical background of feminist critical discourse analysis is utilized in the process.

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Kryzys wartości duchowych i jego społeczne następstwa

Author(s): Halina Rarot / Language(s): Polish Issue: 26/2018

The article outlines the problems of the contemporary crisis of spiritual values and its social consequences. The main thesis is that the cause of the crisis, as diagnosed in the ongoing critical discourse, is the subject’s abandonment of the concept of multidimensional existence in favour of immersing oneself in one-dimensionality defined by the pragmatic, hedonistic and partially vitalistic perspective. The conclusion is that the previously described way of perceiving the crisis is merely one of ways available to the intellectual participants of the segmented postmodern culture. The culture of post-modernity as such generates an inherent axiological diversity which also creates the risk that the diagnosis of the crisis of values may be perceived by other subjects as exaggerated or unfair. It is therefore only viable as an intellectual warning against the lack of due prudence in taking advantage of the various advances made in our postmodern world.

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Muzyka bez nośnika? Powietrze, chmury i strumienie oraz cyfry, taśmy i winyle w walce o pierwosłuch lub zapomnienie

Author(s): Marek Okólski,Szymon Nożyński / Language(s): Polish Issue: 1/2019

In the article the authors try to build a research reflection by means of a logical description of the result of self and technology – sound carriers/media, up to the extreme form, that is their disappearance, or distance from the listener/user. The authors show the influence of media on the organization of musical expression in the field of semiotics, technology and aesthetics. The starting point of the article is a reflection on a fragment of the lyrics, which suggests a return of music to the air. The authors reconstruct the evolutionary path of sound carriers and reach the place where the air was the primary carrier. At the same time they analyze the contemporary face of technologically entangled air (as a carrier), which is no longer the air from the pre-industrial era, but rather a symbolic place where one can find wireless communication, the Internet or Bluetooth.

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Über den »Hohen Schmerz« Überlegungen im Blick auf die Dialoge Platons

Author(s): Dietmar Koch / Language(s): German Issue: 1/2020

The “higher pain” means being able to suffer for the highest goal, the outmost that actually gives our lives a determination. In the German phrase “Leidenschaft für etwas” (passion for something), one can always hear the suffering, the being afflicted with something. This talk focuses on Plato’s sentence from Phaedrus (274b) and interprets it in a certain relation between “paschein and poiein” (274b): „Someone who wants to fulfill or explicate the (idea of) beauty daringly, also suffers in a beautiful way, whatever one has to suffer from”. This sentence, however, has one premise: The single person who accepts the pain of carrying something out needs to be amazed by something beautiful, needs to make an experience as being befallen by something. The “pain of carrying something out “grounds in an initial “joyful pain”. This initial joyful pain in turn gives birth to a pleasure that is able to suffer from carrying something out. The latter grounds in this pleasure aiming at suffering for the thing itself and is upheld by it. The higher pain as a pain for the grand itself requires a metabolé tes psyches to the (idea of) beauty itself respectively the (idea of the) good itself. This metabolé alone grants the access to the outmost. The difference between the Doxophilia and Philosophia in the Republic V (476b and 479d – 480a) is in our context decisive and explicates the overall context. Doxophilia – referring to something beautiful and also being able to undergo pain for something – remains in the picture without knowing or recognizing that it is a picture of the (idea of) beauty itself. Philosophy alone is capable of answering to the entireness of that something.

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„Süße des Lebens“, „Schmecken des Schönen“ und höchstes Gelingen. Hêdonê und Eudaimonia bei Aristoteles

Author(s): Ralf Elm / Language(s): German Issue: 1/2020

The topic of the phenomena joy, lust or pleasure (hêdonê) is repeatedly astonishing and at the same time a quite ambivalent field for Aristotle. His numerous statements about the hedônê made throughout the work, his basic definitions and systematic analyzes, in particular the two so-called pleasure treatises in the 7th and 10th book of Nicomachean Ethics and their consideration in the examination of emotions in the second book of Rhetoric are very stimulating. In my lecture, I would first like to (I) visualize some of the phenomenal diversity that Aristotle had in mind. In a second step (II) I will briefly introduce Aristotle’s engagement with anti-hedonism in his first treatise (EN VII 12-15) and introduce his understanding of pleasure as “unhindered activity”. This is then deepened in the third section (III) with Aristotle’s second treatise on pleasure (in EN X 1-5) and his second suggestion of pleasure as a “perfection that comes to perfection”. That self-referential relationships always play a role in lust and displeasure, for which the elementary corporeality is just as important as the intersubjectivity of friendships (for example, in the context of Aristotle’s political philosophy) is addressed in the final section (IV).

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Über den Schmerz: Heidegger – Jünger – Lenz

Author(s): Alina Noveanu / Language(s): German Issue: 1/2020

Physical pain is by definition not a matter of sharing. The only way to pass the solipsism of the own body is by getting to the source of the original phenomenon (Urphänomen) pain, before it has locked itself inside a mute and tortured singularity. The paper proposes a few examples of collective experiences which can lead to what could be called a “tragic” community. Within such a community, pain can be put into a discourse and be this way open for a simultaneous reception. Humans meet over their helplessness and finitude, their thinking about death and also the experience of art, in their worries about technics and the functioning of their work. These are also ways to overcome nihilism, a dangerous threshold (or “line”, with Jünger) whose passing results in existential pain. The way pain can be brought to speech in all these different contexts is shown here by a phenomenological analysis with means offered by Heidegger’s philosophy and is put into a dialogue with Siegfried Lenz’ essay Über den Schmerz and Ernst Jüngers homonymous work.

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Schulzowska „teoria obrazu” w interpretacji Anny Juraschek

Author(s): Katarzyna Lukas / Language(s): Polish Issue: 15/2020

The article is a review of and a discussion with the recent monograph by Anna Juraschek, Die Rettung des Bildes im Wort. Bruno Schulz’ Bild-Idee in seinem prosaischen und bildnerischen Werk, Göttingen 2016. Juraschek has put forward the following thesis: alongside his own specific philosophy of language expressed in his narrative works and essays, Bruno Schulz also suggests a particular philosophy of image/picture, which he develops in his visual art. This “program” is not specified and may be reconstructed only by interpreting his graphic works; it is, however, corroborated by the poetics of Schulz’ stories. Juraschek regards the “word” and the “image” in Schulz as artistic entities, and emphasizes the visual nature of his fiction and the narrative qualities of his graphic works. She points at Schulz’s crossing of the boundaries between different arts and claims that the writer criticizes the very notion of mimesis (a statement that, according to the reviewer, may be questioned). Juraschek tries to reconstruct the main sources inspiring Schulz’s idea of image/picture: the classic European painting, German literature (i.e. Leopold von Sacher-Masoch and Joseph von Eichendorff), as well as German philosophers and cultural critics such as Walter Benjamin. According to the reviewer, there are three points that Juraschek’s study can contribute to Schulz studies. First, the German scholar succeeds in systematizing different kinds of verbo-visual relations and interactions in Schulz’s oeuvre. Second, she fully appreciates his graphic work which thus far seems to have been undervalued, especially by Polish scholars. Last but not least, Juraschek brings to the fore some striking affinities between the ideas of Schulz and those of Walter Benjamin. As a possible background of interpreting Schulz, the philosophical writings of Benjamin are a context which certainly deserves more investigation.

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GRAFİK TASARIM ve SANATIN BİRLİKTELİĞİ

Author(s): Nuri Sezer / Language(s): Turkish Issue: 47/2020

We have to try to understand the position, the value and the purpose of arts and designs in our daily lives. The main purpose behind the birth of arts is the need of humanity to communicate. If we take a look at the history and go through the hieroglyphes and murals we can easily see that they are all there for to communicate. We have to know the fact that if we do not value art, our lives will be meaningless. Arts and design can be considered as an exposition of our emotions, feelings and experiences. Illustrations in graphic design is a form of art and like all graphic arts its main purpose is to deliver a specific message or messages to a society. Illustration is a branch of graphic design which has a strong correlation with the culture phenomenon. An illustration which can bond with many cultures and manages to become inter-cultural can be considered as successful and effective. We can say that graphic design is a fundamental fact and form of art in which we shape through our senses and experiences in daily life.

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O szczególnych powinowactwach literatury i kina w refleksji Stefanii Zahorskiej

Author(s): Małgorzata Hendrykowska / Language(s): Polish Issue: 32/2019

The author provides an in-depth analysis of and original essay written by the Polish film critic Stefania Zahorska in the middle of the 1930s. The essay deals with socio-cultural and aesthetic theory regarding the mutual connections between cinema and literature.

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АПАВЯДАЛЬНІЦКІЯ СТРАТЭГІІ УУ РАМАНАХ «ЗАХОДНІКІ» ГЕНРЫХА ДАЛІДОВІЧА І «АХВЯРЫ» ТАІСЫ БОНДАР

Author(s): Hanna Nawasielcawa / Language(s): Belarusian Issue: 11/2019

Belarusian literature witnessed artistic renewal of a novel between 1990–1995. “I” as a dominant aesthetic strategy was used by Heinrich Dalidovich and Taisa Bondar. “Westerners” – the novel with one character and “Victims” – the novel with many characters discuss many questions, present the authors’ increased interest in an individual in difficult historical circumstances. Writers explore the past and the present of their characters in moral and social conditions, emphasize national content of philosophical context.

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Of Flesh and Steel: Computational Creativity in Music and the Body Issue

Author(s): Mattia Merlini,Stefano Maria Nicoletti / Language(s): English Issue: 4/2020

Could machines ever take our place in the creation of art, and particularly music? The outstanding results of some well-known AIs (e.g.EMI, Flow Machines) might make us believe that this is the case. However,despite this evidence it seems that machines present some intrinsic limits both in creative and non-creative contexts (already highlighted by John Searle and the debate around mechanism). The arguments of this paper are centered around this very belief: we are convinced that the utopian claims regarding all-round machine intelligence are not plausible and that our attention should be directed towards more relevant issues in the field of computational creativity. In particular, we focus our attention on what we call the “body issue”, i.e. the role of the body in the experience and creation of music, that we consider problematic for the idea of a truly creative machine (even if we take into consideration weaker renditions of artificial intelligence). Our argument is based on contemporary findings in neuroscience (especially on embodied cognition) and on the theories of Maurice Merleau-Ponty and Roland Barthes.

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Rani britanski pank: Žanr popularne kulture ili oblik političkog aktivizma?

Author(s): Boris Ilić / Language(s): Serbian Issue: 19/2020

The article deals with the possibilities of early British punk perception, primarily as an outgrowth of popular culture. It is considered that it emerges under its auspices and that it follows its basic guidelines. However, punk appears as its criticism as well, especially of some popular culture genres that preceded punk. In that way, punk establishes as a form of musical subculture. In Yugoslavia, this genre of music appeared, following the lead of British role model, enriching it with classical and avant-garde artistic interventions. The author tries, based on the sketching of socio-cultural context in which punk rises, to understand and interpret the actual presence of politics and its position within the phenomenon of punk rock.

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Early British punk: A genre of popular culture or a form of political activism?

Author(s): Boris Ilić / Language(s): English Issue: 19/2020

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Патина в часових трансформаціях творів мистецтва як матеріальна ознака минулого

Author(s): Oleg Rishnyak / Language(s): Ukrainian Issue: 3/2020

The purpose of the article is to define the term "patina" in its material and immaterial dimensions, as well as to study the genesis of this concept in a wide range of its interpretations in the context of the values of authenticity and value of works of art. Methodology. The study includes general scientific methods of analysis, comparison, and explanation. The method of discourse analysis contributed to the understanding of the meaning of the term "patina" in different periods of formation of the restoration theory. The method of comparative analysis was used to compare different interpretations of the concept by researchers of one chronological period. The use of context analysis is due to the function of intertemporal communication of works of art and their social dependence. System method - to identify the general principles of building a structure, the natural relationships between its various criteria. Scientific novelty. The scientific novelty of the work lies in the study of contradictions in the interpretations of the meaning of patina and in the combination of theoretical developments of scientists of the post-Soviet space with modern world restoration science. Conclusions. The study of various models of relationships between the initial state of the work and its temporal changes, analysis of a wide range of patina values, consideration of the restoration interpretation of an art object allow us to recognize patina as one of the criteria of the authenticity of a work of art. Scientific research and study of the concept of "patina" are of great importance for practical restoration, as they form the basis of specific restoration projects, methods, and recommendations.

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Методологічні засади експертної діяльності в Україні

Author(s): Svitlana Shman / Language(s): Ukrainian Issue: 1/2020

The purpose of the article. To reveal the methodological principles of the functioning of the examination in the field of culture and art, to systematize and analyze the various branches of these studies. Clarification of the purpose and content of the concept of "examination of cultural values", taking into account the specifics of its tasks and methods of such research. The problems of the development of domestic expert activity in the field of culture and art are highlighted. Methodology. In order to achieve the goal, analytical, historical, epistemological-axiological and method of theoretical generalization were used to specify the problem of expert activity. The scientific novelty of the results obtained is the need to formulate the main methodological foundations for the study of works of art as a component of preservation and study of material and spiritual heritage; trace the purpose, tasks, and functions of expert studies of works of art; understanding of the principles and methods of studying cultural values, while conducting art criticism, judicial, commodity research, and state expertise. Conclusions. State, legal, commodity research of works of art, bringing together different experts, gives rise to a special reality, fixed by the concept of "expert activity". The methodological principles of expertise in the field of culture and the arts are considered as a general expert system, where the formulation of the purpose of the research and the specification of the tasks determine the principles and methods of work of the expert with similar objects of research. Nowadays, experts in various fields and fields of activity are actively involved in the study of cultural values, which led to the emergence and formation of a powerful national school of culture expertise. In order to understand the place of expertise in the system of protection and popularization of cultural property, it is necessary to clarify and systematize existing basic concepts concerning cultural objects.

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Émile Zola i estetika naturalizma

Author(s): Dina Šehić / Language(s): Bosnian Issue: 14/2018

Posljednja trećina 19. st. je doba kada je strast za naukom zahvatila cijeli svijet; to je razdoblje znanstvenih, privrednih, industrijskih i društvenih mijena. Znanost je postala svemoguća, sposobna riješiti sve probleme. Zahvaljujući djelu Émilea Zole možemo bolje upoznati taj period. Mladi romantičar koji vjeruje u znanost svoga doba, postat će osnivač i vođa naturalističke škole u književnosti smatrajući da je zadaća pisca da osvoji mase i iskaže prodornost svog vremena.

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