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Pojęcie wartości estetycznej w pracach Władysława Tatarkiewicza

100%
Horecka A.
Filo-Sofija
|
2011
|
vol. 11
|
issue 2-3(13-14)
601-615
EN
The purpose of this paper is to report and analyse the main theses of Tatarkiewicz’s theory of aesthetic value. We concentrate on ontological problems – what is aesthetical value and what is the ontological category of valuable object. Tatarkiewicz claims, that: “The term ‘value’ refers to an abstract: property of thing, or to a concrete: to thing endowed with this property”. Many types of aesthetic value (aesthetic value in narrow sense, literary value and poetical value) exist. The only difference between using concept of aesthetic value only in positive sense and using concept of aesthetic value both – in positive and negative sense – is formal. Concerning thesis (1) we claim, that expression “thing” in Tatarkiewicz’s theory is the synonym for “physical object”; not only material objects, but also physical events and processes are Tatarkiewicz’s things as well. In our opinion the concept of aesthetic value proposed by Tatarkiewicz is objective, therefore formulation of thesis of aesthetic subjectivity, which Tatarkiewicz also did, is problematical. Using Tatarkiewicz’s terminology, we construct concept of value as a state of affairs (that some object is endowed with value-property) and we accept monocathegoriality of values (value is a property, a thing endowed with this property or a state of affairs). Concerning thesis (2) we divide all objects into semantic and asemantic and we claim, that in Tatarkiewicz’s theory, only asemantic objects or semantic but semantically uninterpreted object could be endowed with aesthetic value in narrow sense. The aesthetic value in narrow sense is its property considering its appearance or structure. As to the literary and poetical values – they are ascribed to semantic object in consideration of represented object. Concerning thesis (3) we argue, that it is significant whether we use concept of value only in positive sense or both – in positive and negative sense. Only in language with both expressions (“positive aesthetic value” and “negative aesthetic value”) we can formulate the theses about aesthetically neutral objects.
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THE EXPERIENCE OF ART - THE EMPIRIA OR EXPERIMENT? (Doswiadczenie sztuki - empiria czy eksperyment)

88%
Chmielowski F.
Studia Humanistyczne AGH
|
2010
|
vol. 9
63-72
EN
In contemporary aesthetics exists an belief, that the experience of art is the primary fact, which initiates and leads theoretical reflection, as also is the state basis of creating, valuing and the opinion on art. Present text is the test of philosophical recognition of relationship between fi eld of products of new art as well as with context formative it experiences. Author motivates thesis, that radical changes in present art have their source in of meanings consisting on primary notion of experience changes. The present artistic practice goes away from aesthetical experience as empiria and the contemplation and used the notion of experience as experiment and investigation, which dismisses art from her proper functions and brings it rather to aggressive ideology of scientism. The recognition of this progressive change of meanings in founding the art notion of experience has the important consequences both for understanding of present art and for describing it theory.
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