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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.
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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.
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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.
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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.
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Piero della Francesca is best known as a painter but he was also a mathematician. His treatise De prospectiva pingendi is a superb example of a union between the fine arts and mathematical sciences of arithmetic and geometry. In this paper, I explain some reasons why his painting is considered as a part of perspective and, therefore, can be identified with a branch of geometry.
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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.
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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.
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The main tool of the caricature is the “line”. The line on its own, the characteristics of the line such as being horizontal, vertical, or diagonal and its figural characteristics such as being circular, curved, diagonal, or zig-zag create different associations and semantic fields in the mind. While the line in the caricature is processed with such tools as color, texture, shadow and perspective, it creates a discourse consisting of verbal and visual patterns. In this research, the following questions were sought to be answered by examining six cartoons published in England in the magazine Punch during World War I: What kind of image of the Turk do the lines in the England caricatures create? What kind of relationship is there between the visual content and the verbal content of the caricature? What are the concepts that make up the positive and negative contents of the images of the Turk?
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The aim of this review was to explore, through a systematic search of the literature, the relationship between art and well-being and the key elements involved. A relevant conclusion drawn from our findings is that participation in an artistic activity encourages personal well-being because it permits a direct and sincere connection with the individual’s emotions. Such a process implies a threedimensional strengthening: social (I am in a relationship); emotional (I am well); and cognitive (positive thinking). Another conclusion is that whilst many of the studies are relatively recent, the positive relationship between art and well-being is well supported by the literature. Further research is required, however, to provide greater validity to our findings.
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A. G. Baumgarten grounds the aesthetics of which he was the founder on widely poetic and rhetoric in his “Aestetica” (1750/58). Nevertheless, what is significant here for him is to validate the individualist right of “sensitive knowledge.” The word “aesthetics” (αíσυŋгηικόç) here is strictly attached to its basic meaning which is “related to sense and perception,” and “sensually understandable.” The aesthetics of Baumgarten is the philosophy of sensual knowledge and perception, and its sensitivity cannot be perceived as the material of outer stimulation and logic; contrarily, it sincerely sees it as a special genre of the knowledge. Hence, the aesthetics is defined as the “science of sensitive knowledge.” With this study, it has been targeted to draw a general outline of Baumgarten’s aesthetics understanding by discussing the basic chapters of “Aestetica.”
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Makale, ünlü sufi ve düşünür Celalaeddin Rumi’nin XIX yüzyıl Azerbaycan düşünürü A. Bakıxanov’la ilgili edebi konuların ilmi tahlilini konu edinir. Yazıda, Azerbaycan’dakı ilim adamları ve eleştirmenlerin konu ile ilgili düşünceler üzerinde durulmuş, A. Bakıxanov’un eserlerinde Mevlana’dan yapılmış alıntılar tespit edilmiştir. Her iki düşünürün eserlerinde konu, yapı ve didaktik amaç bakımından benzerlikler araştırılmıştır. Manevi sansür karşısında Bakıxanov’un Mevlana sanatından nasıl faydalandığı üzerinde durulmuştur.
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The aim of this study is to analyze the paintings which belong to Abidin Elderoğlu since 1950 and to render by assessing the rate of Vide Et Plein in the selected works. Abidin Elderoğlu is one of the prominent artists of Turkish Painting Art with an innovative and distinctive point of view in his period. The artist, who stands for and indicates that the primary concern of art thinking is invariably the innovation, has made many significant contributions concerning intellectual and application of Contemporary Turkish Painting Art by leading his life in bringing out works of art. In an attempt to provide abstractness in his paintings, Elderoğlu has based upon and composed the effectiveness of plastic constituents such as color, style, clear obscure, half-opasity in parallel with application according to the functions. The artist, who has been influenced by the works of art produced earlier in the places where he has lived, has come up with innovative works of art by representing the syntheses of East and West in his own painting style. The painter, notable to be influenced by the art of Far East and Asia, has put through composition in which he has made a reference to art of calligraphy and lyric abstraction resembling patterns. Adopting an abstract expression in painting art, Elderoğlu has organized the rhythmic form of music and the roles of plastic constituents according to his intellectual design. Abidin has comprised works not directly influenced by the plastic form of calligraphy but put together in novice. In this study as a method, the artist Abidin Elderoğlu will be analyzed in terms of literature. Besides, the design properties of his five works which he produced after 1950 and which represent the abstract form of calligraphy will be explained. In the other part of this study, the rates of Vide Et Pleinof the compositions in the selected works will be analyzed by means of digital photogrametri and the findings will be interpreted by way of data set concerning the aesthetics and schematic aspects.
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In this article the art criticism theory of the influential German art historian Wilhelm Worringer (1881-1965) is considered. The main attention is focussed on the origin of the concepts of abstraction and empathy and on the methodology of their application. The anti-classical attitudes and rejection of Eurocenristic stereotypes in the analysis and assessment of pieces of art are concisely presented. The relatedness of Worringer’s theory to psychological aesthetics and to A. Riegl’s and K. Fiedler’s ideas is shown. Special attention is paid to the historical classification of art into primitive, classical and Eastern.
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This article considers some problems of theoretical interpretation, structural analysis and evaluation posed by specific examples of abstract art and explores some relations and differences between figurative and abstract forms of painting. Attention is paid to the historical context from the beginning of abstract art (Kandinsky, Malevich, etc) through its development (particularly Abstract Expressionism: Pollock, Rothko, Newmann, etc) to some philosophical tendencies and art theories of the 20th century. The dominant interpretation of abstract art is based on the premise that abstraction as an artistic movement is linked to modernism. The advent of postmodernism would therefore announce the end of abstraction, and an attempt has been made to push the understanding of abstraction beyond the ontological and transcendental realm where it has often been located. The article analyses philosophical tendencies which relate the emergence of new forms of art in Europe and the USA with abstract painting. Having reviewed theories of abstract painting, a definition of abstraction appears as one of the most radical transformations of modern art in the 20th century.
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This article considers some problems of theoretical interpretation, structural analysis and evaluation posed by specific examples of abstract art and explores some relations and differences between figurative and abstract forms of painting. Attention is paid to the historical context from the beginning of abstract art (Kandinsky, Malevich, etc) through its development (particularly Abstract Expressionism: Pollock, Rothko, Newmann, etc) to some philosophical tendencies and art theories of the 20th century. The dominant interpretation of abstract art is based on the premise that abstraction as an artistic movement is linked to modernism. The advent of postmodernism would therefore announce the end of abstraction, and an attempt has been made to push the understanding of abstraction beyond the ontological and transcendental realm where it has often been located. The article analyses philosophical tendencies which relate the emergence of new forms of art in Europe and the USA with abstract painting. Having reviewed theories of abstract painting, a definition of abstraction appears as one of the most radical transformations of modern art in the 20th century.
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It seems natural to think that there are aesthetic reasons for action and that an artist must be guided by such reasons as he or she begins work on the canvas or poem or symphony or marble. This latter supposition seems at odds, however, not only with classical inspiration theory but also with the views of one of the last century’s most important philosophers of art, R. G. Collingwood. We propose an account of acting for an aesthetic reason inspired by G. E. M. Anscombe’s Intention, specifically by her concept of ‘practical knowledge’, which we believe can accommodate Collingwood’s reservations about the sort of knowledge of their ends, and of the means to those ends, which artists have as they engage in their creative activity.
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When recapitulating the career of the French writer Jean Genet, critics and biographers have gathered around the idea of a pivotal moment in the 1960s when Genet abandoned literature and turned to political activism. However, Genet continued to write and publish texts, many of which appear to be literary, up to his death in 1986. In this article, Genet’s late works are reviewed and the notion of the turn is questioned. It is argued that the construction of a political turn in Genet’s career unjustifiably reduced the weight of his late works and neglected their pioneering hybridity. Rather than abandoning literature, the late Genet enhanced his aesthetics of subversion by developing a more referential style.
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