Да поиграем на хетеротопии.

Author(s): Silvia Borisova / Language(s): English,Bulgarian Issue: 3/2016

The article aims to present Rancière’s conception of aesthetic heterotopia as a „place of the indeterminate“ in its aesthetical basis, as well as in its relation to the ethical and the political orders; in this context, the author discusses 1) the phenomena of horizontality and plurality in which heterotopias and utopias can be distinguished; 2) the contemporary „revaluation of all values“ (Nietzsche) preceding that horizontality and plurality in acommon typology of the axiological need of heterotopias. This discussion ultimately aims to answer the final question: Does the creation and play with (aesthetic) heterotopias make the world a game?

Карнавалната игра (Лосев versus Бахтин)

Author(s): Galin Penev / Language(s): English,Bulgarian Issue: 3/2016

The article deals with controversial issues of aesthetics of the grotesque in Bakhtinian reception of Rabelaisean carnival culture. The claims regarding vitality and revival in Bakhtinian theory of carnival are argued from the viewpoint of Losev`s aesthetics of the Renaissance. The author highlights the post-Christian consequences of carnival materialism.

Homo ludens като homo futuristicus

Author(s): Ivan Kolev / Language(s): English,Bulgarian Issue: 3/2016

The article deals with specific features of the play elements in the theories and practice of Italian Futurism. Three main topics are discussed: the use of manifestos in art, the nature of Futuristic performances, the idea of futuristic theater. The Futurists break away from classical art. To demonstrate this more clearly, the article presents the primary biblical act of man as a primary artistic act and discusses the Kantian idea of play in contemplation of beauty.

Легитимността на правилата в изкуството

Author(s): Ivan Popov / Language(s): English,Bulgarian Issue: 3/2016

The text takes into consideration the application of the notion of game to the processes and mental attitudes in the world of art, as well the benefits of adopting such an explanatory strategy for the purposes of philosophical aesthetics. The conceptual contradiction between the freedom of self-expression and the compelling nature of rule-following is what makes it fruitful to talk of art as a game and enables a comparison between those two cultural activities. By directing the focus of the discussion to the sociology of art and Pierre Bourdieu’s reasoning, the article explicates the methodological conflict between historicism and essentialism in theorizing on art, revealing some non-obvious parallels with attempts in philosophy and history of art to provide an ontological type of definition, derived from certain traditions in the humanities that have been developing independently from one another. The discussion on the adequate way to talk about art in terms of game proceeds to analyze the source of legitimacy of the rules in art, i.e., the source of their normative validity for the participants in the processes of creation and reception of works of art. The text concludes with an ontological interpretation of the reasons for the legitimacy of rules in art.

ЛИТЕРАТУРНАТА ИГРА, или как играе юношеско-приключенската литература

Author(s): Plamen Antov / Language(s): English,Bulgarian Issue: 3/2016

The first basic these which the study launches (and from which starts) is about the play as heterotopia. This characteristic draws closer it to the ethos of the adventure, resp. to the juvenile-adventure novel. The play is determined as a specific machine for production of quasi-reality. The important role of the language in the fictional literature for moulding of the inner mental space of the play as a heterotopia is investigates.Other accent is namely the inner modus of the play, its imitative essence: the playing child usually imitates a book (film): (…lets we play of Mayne Reid). The substantial duality of this “inner” heterotopic space (of the playing child) is considered: it is unconflicting divided between reality and fancy. – This feature allied it deeply to basic characteristics of the mythical, “wild” (Lévi-Strauss) conscious. …Further the article as a “hermeneutic of the play” starts to investigate some common essential characteristics to infantile and primitive conscious in ethno-cultural and psychological aspect. Lots of examples from juvenile-adventure literature are given and paralleled with the experience of the “terrain” and academic anthropology, as well as with the child psychology. This second chapter of the study aims to trace out the large-scale logic of an identity (marked in the heading) through the key role of the play sharing commonly pedagogical treatment of the play 1) as a specific role activity and 2) as a social system. And besides proceeding from an essence bimodality of the play – its dividing between “exterior”, social, and “interior”, psychological aspect. Namely, here, in relations between social and psychological aspects, the deep descent of the play as a socio-cultural phenomenon leading far back and deep down into the pre-cultural, biological heritage of the man, are discussed. The stadial identical figures of the philogenetic savage and ontogenetic child are interpreted as a most direct bridge between the social and biological spheres, between culture and nature. And the play is that action, simultaneously “interior”, psychical, and exteriored in social sphere, which makes the specific zone of identity-and-difference between the two spheres especially visible.

Игра за двама (по „Шахматна новела“ от Стефан Цвайг)

Author(s): Nonka Bogomilova / Language(s): English,Bulgarian Issue: 3/2016

Focusing on Stefan Zweig’ novel Chess Story/Royal Game (in German – Schachnovelle), this essaydescribes some anthropological and social features that transform the chess game into a struggle against others and against the self.

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

Author(s): Oana Șerban / 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.

Какво значи да се обича – Фуко в автобиографичното. Разговор на Антоанета Колева с Матийо Линдон

Author(s): Mathieu Lindon,Antoaneta Koleva / Language(s): Bulgarian Issue: 3-4/2016

ВІЗУАЛЬНА СЕМАНТИКА І ХУДОЖНЯ ОБРАЗНІСТЬ ПЛАКАТА

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

The purpose of the article is to reveal the art-stylistic features of the Poster, depending on culture-historical, political, and economic events. This study contributes to the history of the poster, considering it as an object of Graphic Design in the context of cross-cultural interaction, cultural integration, and national identification. Methodology. The socio-cultural, system-structural, comparative methods and the method of stylistic analysis were chosen for the stated topic. The scientific novelty is to substantiate the relationship between the functionality, content, and style of the Рoster. Communicative and aesthetic aspects of pictorial are presented in the socio-cultural dynamics in accordance with certain stages of social development. The Poster actively forms the mass consciousness, is included in the social sign system, has a powerful influence on public opinion, represents past and present creative experience. It is proved that the semantic space of the Poster is a visualization of a significant idea, a generalized reproduction of object or phenomenon in form and color. Conclusions. Contemporary poster as a product of Culture must have emphasized aesthetics, non-standard, graphic variability, retain symbolic meanings, and be interesting to the target audience.

АФЕКТ В ТЕОРІЇ ТА ВИКОНАВСЬКІЙ ПРАКТИЦІ «STYLUS PHANTASTICUS» (НА ПРИКЛАДІ «ХРОМАТИЧНОЇ ФАНТАЗІЇ» Й. С. БАХА)

Author(s): Natalia Fomenko / Language(s): Ukrainian Issue: 2/2019

The purpose of the article is to discover the means of expressive and stylistically correct performing of Baroque pieces in "Fantasy style." Methodology: historical-stylistic, interpretative analysis, semantic, and etymological analysis of the musical text. Scientific novelty covered with current research views on the problems and features of musical rhetoric and the category of affect in particular. Conclusions. As a systemic category of Baroque aesthetics and musical thinking, affect determines not only the compositional and stylistic features of musical text but also the ways and means of its performing embodiment. The disclosure of the affect inherent in the composer in the sound idea of the work should not be based solely on the intuition of the interpreter; For the correct and artistically authentic embodiment of the affect, specific knowledge is needed that will provide the relevant choice of articulation, fingering, agogics and more. And for the correct articulation of musical-rhetorical figures, besides their own identification, "reading" by the performer in the musical text, it is essential to form each intonational figure independently, and therefore to convey to the listener the relation of motives between themselves and the place of each in a universal symbolic-sound continuum.

Purgation or Purification. Violence in Post-Apocalyptic Television as Aristotle’s Catharsis

Author(s): Christine M. Ratzlaff / Language(s): English Issue: 2/2020

Aristotle offers us a way to deal with potential tragedy in our lives by viewing it through the process of catharsis, which releases our fears through either purgation or purification. After a detailed account of Aristotle’s catharsis, I demonstrate both functions by applying the theory to three post-apocalyptic television programs: The Walking Dead, The 100, and Zoo, evaluating catharsis in the face of physical dangers, social threats, fear of the “other,” and fear of advancing technology, among other concerns. I also evaluate whether these programs simply normalize violence for the viewing audience.

Recenzija: Marko Uršič, O renesansnoj ljepoti

Author(s): Filip Martin Svibovec / Language(s): Croatian Issue: 03/155/2019

Review of: Marko Uršič, O renesansnoj ljepoti, Naklada Lara, Zagreb 2016., prevela Ksenija Premur

Znanost i poezija - Pojam nove mitologije u Schellingovoj filozofiji

Author(s): Denis Novko / Language(s): Croatian Issue: 01/157/2020

The necessary relation of philosophy and poetry in Schellingʼs philosophy is most clearly visible in the way he attributes the aesthetic function to philosophy in his work System of transcendental idealism. For Schelling, poetry is what precedes science, which, in terms of the system of science, must in its circular motion return at its completion to what it came from. What leads science to the return to poetry can be found, according to Schelling, in nature and in the way that it is organised. The organisation in nature was in ancient philosophy portrayed through poetic expression in the form of stories. For Schelling, the mythological form is therefore the middle ground, which leads to the return of science to poetry.

Umjetničko stvaranje: od Kantova genija do suvremenih kognitivnih znanosti i umjetničkih praksi

Author(s): Iris Vidmar Jovanović / Language(s): Croatian Issue: 04/156/2019

Kant’s claim that a genius does not know where his ideas come from and that he cannot explain his creative process has left a permanent impact on our notions of art and artistic creation. Kant claimed that artistic creation is a unique act grounded in the nature’s gift to the artist – his geniality – found only in domain of fine art, not in the sciences. Although such a view has been discarded, many of Kant’s postulates regarding artistic creation have been confirmed by contemporary developments within cognitive sciences and artistic practices. In this paper I analyze Kant’s theory of fine art and artistic creation from the perspective of recent research regarding creativity and talent, showing along the way the richness and explanatory power of Kant’s theory, primarily for the way we think about artistic creation, reception and artistic practices.

Kontemplacija i stvaralaštvo u tomističkim promišljanjima

Author(s): Maja Poljak,Ivana Knežić / Language(s): Croatian Issue: 04/156/2019

The subject of the article is the relationship between contemplation and creation seen through the lens of Thomistic philosophy. For our research, we used not just the original works of Thomas Aquinas, but also the works of Thomistic philosophers, primarily of J. Pieper, but also of classic contemporary Thomistic philosophers – É. Gilson and J. Maritain. Alongside these authors, we also used the works and ideas of Plato and Aristotle who represent the very peak of Greek thought and invaluable inspiration for Aquinas himself. This paper has three chapters: the first focuses on contemplation, and the second focuses on creation bringing it into comparison with creation understood as an act proper of God. The third chapter focuses on the relationship between contemplation and creation. Between these two activities, there is a double connection: on the one hand, creation has its inception in the contemplative act of the creator, and on the other, it also has its outcome in the contemplative act of the one encountering the work of creation.

Probiti spektakl: o nekim paradoksima filmske slike

Author(s): Adrian Pelc / Language(s): Croatian Issue: 03/159/2020

In this paper, confronted are two radical currents of thought about the film image. In a first step, demonstrated is how some Marxist theorists (Beller, Debord, Baudrillard) define the film image as ontologically grounded in alienation and the destruction of non-mediated presence due to its technical origin, as well as its effects. In a second step, I try to show how André Bazin, influenced by phenomenology and taking up identical premises as the Marxists, came to diametrically opposite conclusions: it isn’t but the film image that discloses the real. Drawing on the work of Jacques Rancière, Jean-Luc Nancy and Giorgio Agamben, in a third step I establish a certain synthesis between these two currents and examine how spectacle is guarded, but also re-evaluated within the regime of film images. Through this re-evaluation, one gets a glimpse at the contours of an exigent aesthetic program that in some respects conforms to, while also deviating from eminent ideas on cinematic postmodernism.

Što je to trubadurska radost?

Author(s): Dragan Prole / Language(s): Croatian Issue: 02/158/2020

In the first part of the paper, the author tackles the question of troubadour subjectivity. The subject of the poem announces the losing of oneself, abandonment of the existing state of affairs and self-surrender, but sees no tragedy in it, for a source of genuine joy. Love deserves sacrifice, it is worthy of all human desire, but it is not a conventional love, neither marital nor family love, rather, it is an ethereal and poetic love for Our Lady. For everything that may be related to such love, we believe that a far more appropriate translation of gaya scienza is a joyful lesson, for it signifies far more to mark the troubadour point than the usual [Croatian/Serbian] translation cheerful doctrine. What is notably striking about the inherited solution is the complete misapprehension of the troubadour point, as the word science can only be associated with the troubadour wisdom if it is previously put in quotes (which Nietzsche explicitly does). In short, the author concludes that a democratic scientist is happy and optimistic, while Nietzsche’s »joyful« scientist does not hesitate to show his anguished face publicly. The troubadour’s anguish for distant and unrealizable love is peculiarly close to Nietzsche’s suffering in a modern world that seems unable to live in a world of a distant and absent God.

The Eternal Return of the Real? Or, concerning Different Forms of Realism in 20th Century Art

Author(s): Katarína Ihringová / Language(s): English Issue: 2/2020

In discourses about the Fine Arts, both theoretical but mainly artistic, there is a tendency to refer to realism, realist depiction, reality and imitation in some periods. Such a tendency can also be seen in 20th century art and art theory. The key problem in the submitted text will be the question: to what extent can the Platonic term mimesis also be applied to modern realist art and how the current interpretations of mimesis enrich the view of realist art with respect to creativity and cognition.

Revisiting Ingarden’s Theoretical Biological Account of the Literary Work of Art: is the Computer Game an "Organism"?

Author(s): Matthew E. Gladden / Language(s): English Issue: 2/2020

From his earliest published writings to his last, Roman Ingarden displayed an interest in theoretical biology and its efforts to clarify what distinguishes living organisms from other types of entities. However,many of his explorations of such issues are easily overlooked, because they don’t appear in works that are primarily ontological, metaphysical, or anthropological in nature but are “hidden” within his works on literary aesthetics, where Ingarden sought to define the nature of living organisms in order tocompare literary works to such entities. This article undertakes a historical textual analysis that traces the evolution of Ingarden’s thought regarding the nature of the literary work of art as an organism-like entity and uncovers its links with the simultaneous development of his systems theory and its central concept of the “relatively isolated system”: for Ingarden, a literary work and an organism are each a systematically transforming, “living,” functional-structural whole that comprises a system of hierarchically arranged and partially isolated (yet interdependent) elements whose harmonious interaction allows the literary work or organism to fulfill its chief function. Having completed that historical analysis, we test Ingarden’s assessment of works of art as organism-like entities in a novel context by investigating the organism-like qualities of the contemporary computer game; insofar as their AI-driven behavior displays a form of agency, such games might appear to be even more “alive” than traditional works of art. We show that Ingarden’s conceptual framework provides a useful tool for understanding the“organicity” of such games as works of art, despite the fact that they differ qualitatively from those art forms with which Ingarden was directly familiar.

Priča ili story kao instrument ili mašna (de)humanizacije ili…

Author(s): Igor Gajin / Language(s): Croatian Issue: 2/2020

In science and humanistic teaching, the precedence of quantification, measurability, bureaucratic content organization, and neopositivism – neo in terms of statistical data processing – is increasingly visible. It evidently follows the logic of a computerized presentation of information (instead of knowledge), and thus the capitalist disciplining and controlling of Gorz’s “intangible labor.” With the Internet, network philosophy, hypertext, and hyperinformation overload, a fragmented, dispersed, and decontextualized digital culture invokes in both theory and practice an oppositional reaction towards reaffirming the classic story or storytelling as an archetypal form of humanizing, organizing, and conceiving human experience and knowledge. However, when Amazon announces that the author will be paid an amount corresponding to the amount of pages of his text that are read through apps for tracking such results, when Christian Salmon discovers storytelling as a new instrument of corporate business, when storytelling becomes an imperative of commercial literature and a means of industrialized standardization of literature, all facilitated by the trend of creative writing workshops, the question is to whom and to what purpose the story serves today. Was the last century’s (post)modernist deconstruction of the text and the disintegration of its ideologized meaning not as humane as it was unreadable, as opposed to today’s seduction of the consumerist object through fabrications from the pen of “content providers”?