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The specifics of suburban architecture

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Winskowski P.

ARGUMENT: Biannual Philosophical Journal

2015

vol. Tom: 5

issue Numer: 2

337-358

The fundamental differences between the suburbs and the city centre that I would like to point out concern the pace of life and the intensity of urban development. Certainly, these differences are not absolute but are rather relative, as they are defined in relation to the surrounding neighbourhood that serves as a reference for self-determination. A suburb has some small‑ ‑town traits, but its close location to the city prevents it from becoming a local centre. The same concerns the architecture whose intensity is, after all, a consequence of the increasing intensity in other aspects of life, the differentiation of sources of people’s income, the demand for services, trade contacts, etc. Its incompleteness, imperfection, slower pace and focus on an unattained and unattainable ideal can make one see in the suburb as a theoretically extremely promising area. Indeed, its promise lies in this aspect of failure, incompleteness and fragmentation — which is long lasting and relatively permanent. Many traits of suburban architecture are conservative; whereas others, such as its impermanence and improvisational qualities, are experimental and are characterised by an almost guerrilla ‑like aspect. However, present day advanced postmodern thinking at times achieves an ability to take contradictory spatial, visual, artistic and functional characteristics and, through a theoretical analysis, make them into a complex ‘difficult whole’. Here, the combination itself is probably not so much harmonious but rather contains certain internal tensions, imbalances and longings of one opposite towards another. Anyway, this combination does take place and — in line with the direction of many diagnoses of contemporaneity — instead of creating abstract constructs, we must register the facts and try to conceptualise them.

Trwanie plamy i migotanie linii. Przestrzeń i czas w grafikach Arthura C. Danto

100%

Winskowski P.

Estetyka i Krytyka

2016

issue 3(42)

193-218

The woodcuts of Arthur C. Danto remain overshadowed by his work as a philosopher, aesthetician and art critic. The present article addresses several formal aspects of these woodcuts, beginning with an analysis of the graphic line and the way in which these lines are composed of stains, the suggestion of space appearing at the edge of the line, the relationship between the amount of time invested in the making of a woodcut and the time taken up by its perception as well as the aesthetic motifs of the Far East, especially in terms of the spontaneity of the artistic act set against the time-consuming and disciplined production of a woodcut block. The text refrains from analysing the relationship between Danto’s philosophical theorising and his artistic work and instead identifies particular technical characteristics of his work that may constitute a starting point for a general aesthetic reflection on his woodcuts and, subsequently, on the relationship between the act of creating and the act of philosophising.

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1 ARGUMENT: Biannual Philosophical Journal

1 Estetyka i Krytyka

1 2016

1 2015

2 Winskowski P.

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The specifics of suburban architecture

Trwanie plamy i migotanie linii. Przestrzeń i czas w grafikach Arthura C. Danto