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1

JAN JÓZEF SZCZEPANSKI'S TREATY ON ART

100%

Debska-Kossakowska A.

Przegląd Humanistyczny

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2005

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vol. 39

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issue 2(389)

1-15

EN

The authoress describes Jan Józef Szczepanski's standpoint towards the question of art. The text is a reconstruction of the theory of art written by the author of 'Rafa' (The Reef) in the works: 'Lopata archeologa' (The Shovel of an Archeologist) and 'Biskup jedzie przez morze' (The Bishop Goes over the Sea). In these essays Szczepanski presents his own critics of commercial totalitarian art. Simultaneously he writes his personal, invented for his own needs, normative theory of creation in them.

2

Auf den Spuren der richtigen Hegelschen Ästhetik

100%

Weiss J.

Estetika: The Central European Journal of Aesthetics

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2008

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vol. 45

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issue 1

41-54

EN

Heinrich Gustav Hotho (1802-1873) published the three-volume 'Ästhetik' (1835) four years after the death of Hegel. From archive research it has become clear that in the 'compilation' of his Hegelian 'Ästhetik' Hotho employed mainly his own lectures of 1823. This has led to the view that Hothos's 1823 lectures taken all together actually constitute Hegelian aesthetics. The present article seeks to challenge this notion. Hegel gave four series of lectures on aesthetics in Berlin in 1820/21, 1823, 1826, and 1828/29. Since he never wrote his own work on aesthetics, one might consider the edition of four series of lectures to be the 'real' Hegelian 'Ästhetik'. This amalgam conceals difficulties linked with the analysis of particular works of art. These difficulties are not resolved in the Hegelian 'Ästhetik', nor can they be with the edition of the lecture notes. Towards the end of the article, the author therefore comments on two other attempts at interpretation.

3

Der Plan des ersten Lehrstuhls für Schöne Wissenschaften in der Habsburger Monarchie

100%

Hlobil T., Wogerbauer M.

Estetika: The Central European Journal of Aesthetics

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2008

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vol. 45

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issue 1

65-96

EN

This article considers Karl Heinrich Seibt's (1735-1806) plan for a course in aesthetics at Prague University. First, using archive materials, it presents an historical introduction to the establishment of the chair in 1763. Michael Wogerbauer then compares the linguistic 'modernity' of the manuscript-draft of the syllabus (1763) with the printed version (1764), and Tomas Hlobil analyses the concept of the 'schoene Wissenschaften', which Seibt used in the two texts in four different ways.

4

UTOPIA IN BLACK. THE NEGATIVE AESTHETICS OF ADORNO AND THE CONTEMPORARY BLACK ART

80%

Pozo A. G.

Filozofia (Philosophy)

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2009

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vol. 64

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issue 5

481-491

EN

Black is the colour of the negative aesthetics of Adorno, and the true of our time. The aesthetics that thinks the radical art of our time, a black art, can only be a black aesthetics. The radical contemporary art is black art, and it is so because according to the aesthetic principle that constitutes the work of art as such - the spirit understood as mimesis - this one, the work of art, is writing of a blackened historical reality. What Adorno tries with black art is to return to art its right to exist after Auschwitz, in a discoloured world. But black art, as alive conscience of pain, as truth of the real, is already salvation, hope, utopia.

5

POZNÁMKY KU KLASICKEJ ESTETIKE PERCEPCIE A VKUSU

80%

Žilinek J.

Organon F. medzinárodný časopis pre analytickú filozofiu

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2012

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vol. 19

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issue 1

38 – 54

EN

The aim of this paper is to show how to perceive the art and the influence of perception of it on human’s taste in so called standard aesthetics. The author starts with discussing levels of human’s perception. Then he turns to the question what is practise and theory contributing to the (aesthetic) taste. He distinguishes between aesthetic pleasure and aesthetic experience. Next he argues that the (aesthetic) taste has subjective content. The taste is a complex or collection of aesthetic judgements (reasons).

6

KONTEXTUALIZMUS A IMANENTIZMUS V ESTETIKE MARCELA PROUSTA

80%

Huba J.

ARS

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2022

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vol. 55

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issue 1

51 - 58

EN

This article deals with the issues of immanentism and contextualism concerning the literary and critical work of Marcel Proust. First, it compares several authors’ works and notes Proust’s methods in interpreting works of art. Then, based on Proust’s thought, it problematizes the temporality of art, the relation of art to social reality, and the author’s biography. From this position, I believe I can approach the core of Proust’s aesthetics more systematically than if I had stayed with the psychology of art or analyses of memory or the aesthetic situation.

7

Joseph Addison and General Education: Moral Didactics in Early Eighteenth-Century Britain

80%

Axelsson K.

Estetika: The Central European Journal of Aesthetics

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2009

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vol. 46

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issue 2

144-166

EN

Joseph Addison's (1672-1719) essays in The Spectator occupy contradictory positions in the history of aesthetics. While they are generally considered central to the institution of aesthetics as a scholarly discipline, their reception has throughout history entailed a strong questioning of their philosophical and scholarly importance. In the following paper, the author considers this dual feature as regards reception, and set out to clarify how this has come about. A re-examination of the arguments advanced by Addison makes clear that his role is not that of a philosopher, but that of a public educator. As such he aims to raise the standard of general education of the British 'middling orders' in the early eighteenth century, and by using art for didactic purposes he seeks to contribute to the shaping of morally accomplished individuals.

8

NATURAL SIGN AND PAINTING

80%

Salwa M.

Studies in Logic, Grammar and Rhetoric

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2009

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issue 15(28)

221-232

EN

The author discusses philosophical context of arts on the example of natural sign and painting, underlying the fact that today, when aesthetics is a well grounded philosophical discipline, one tends to forget that before this discipline emerged in an explicit way, intersections between visual arts and philosophy had been rare.

9

UMENIE A UMELÁ INTELIGENCIA – VÝZVY A NEBEZPEČENSTVÁ

80%

Démuth A.

ESPES

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2020

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vol. 9

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issue 1

26 - 35

EN

The ability to create and perceive art has long been understood as an exceptional human trait, which should differentiate us from the rest of the organisms or robots. However, with the uprising of cognitive sciences and information stemming from them, as well as the evolutionary biology, even the human being began to be understood as an organism following the evolutionarily and culturally obtained algorithms and evaluation processes. Even fragile and multidimensional phenomena like beauty, aesthetic experience or the good have lately been analysed using computational aesthetics, neuro-aesthetics, and neuro-ethics, suggesting that the entire aesthetics, art or ethics can be understood as a result of a certain algorithmic data analysis. In the following article, I will attempt to think about the concept of computational aesthetics and the possibilities (pros and cons), benefits and shortcomings of artificial intelligence in the creation, as well as in perception and evaluation of artworks. I will introduce multiple models of artistic work based on AI, quality/originality evaluating computer programs, as well as mechanisms of its perception. In the end, I will attempt to present the basic aesthetic problems stemming from the development of AI and its usage in the field of art.

10

K FENOMENOLÓGII UMELECKEJ KRITIKY

80%

Lipták M.

Filozofia (Philosophy)

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2017

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vol. 72

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issue 10

813 – 824

EN

Husserlian phenomenology can analyse the art criticism in two ways: first, it can analyse its very transcendental possibilities; second, it can analyse it as a particular cultural institution. The former approach places art criticism within analyses of pure consciousness at the “crossroad” between aesthetic and natural attitude while arguing for primacy of the aesthetic experience in artistic value judgment. This analysis comes with a particular normative prescription for the art criticism. However, such prescription does not sufficiently address the multifaceted tasks the living art criticism takes upon itself. Therefore, the article investigates and outlines the latter approach, too, that is, the ways in which Husserlian phenomenology can engage with the art criticism as a cultural institution. Leads are offered by Husserl’s treatment of the ethical dimension of vocation, which could be fruitful for the art criticism as well.

11

FINAL AESTHETICS: FORTY YEARS OF RUSSIAN POST-MODERNISM

80%

Golubkov M.

Slavia Orientalis

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2005

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vol. 54

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issue 2

207-228

EN

The author presents the main trends in Russian post-modernist literature from the late 1960s to this day. He emphasises the distinctness of the ideas of Russian postmodernism from Western ones, making reference to the works of the most eminent representatives of the movement in Russia, both poets: Timur Kibirov, Dmitri Prigov, Lev Rubinstein and prose-writers: Pavel Krusanov, Viktor Pelevin, Vladimir Sorokin, and Tatiana Tolstoi.

12

Lending an Ear to the Silence Phrase: Lyotard's Aesthetics of Holocaust Memory

80%

Glowacka D.

Teksty Drugie (Second Texts)

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2007

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issue 1/2(103/4)

41-59

EN

Drawing on Jean-François Lyotard's concept of the differend, the authoress points out a radical incommensurability between different ways of 'speaking about Auschwitz'. She argues that Holocaust literature has become the site of the conflict between ethics and aesthetics, and she refers to this conflict as the differend between the aesthetic and ethical phrases. Holocaust remembrance today requires that we bear witness to this differend. In his writings on the sublime, Lyotard redefines Kant's category as the affective testimony to the happening of the event. In The Differend, he deploys the idiom of the sublime to communicate the differend's resistance to representation, which can only be signaled through a silent feeling. Lyotard relates this silence to the silence imposed on Holocaust survivors' 'phrase' by the regimen of knowledge. In Holocaust literature, however, 'silence' is also a powerful rhetorical figure, the figure of the sublime. Yet, considerations that fall under the domain of rhetoric and aesthetics are often excluded from the debates about the Shoah since they are thought to be subservient with respect to the ethics of memory. Glowacka argues against the subsuming of aesthetics by ethics within 'the Holocaust genre of discourse': on the contrary, it is the force of the tension between them that constitutes the affective force of Holocaust literature. In this way, Holocaust literature bears witness to the continuity of Holocaust memory, to the life of the memory phrase 'Remember'!

13

REMARKS UPON THE AESTHETICS OF THE NIGHT SKY

80%

Szécsényi E.

ESPES

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2021

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vol. 10

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issue 1

51 – 63

EN

This essay begins with some observations on the main features and availability of the aesthetic experience of the night sky to us. In the second part, the aesthetics of the starry sky is interpreted in terms of time experience, complementing the usual approach in terms of immense space. These remarks on this broad and abundant subject can partly be linked to the intellectual historical interpretation of the birth of modern aesthetics, and partly to the vital discourse of environmental aesthetics, which proves that these two approaches can work together and bring to the fore the aesthetic relevance and fruitfulness of this subject.

14

PERIFÉRIA KULTÚRY, PERIFÉRIA UMENIA: DUBUFFET DNES

80%

Kvokačka A.

ESPES

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2015

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vol. 4

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issue 1

21 – 25

EN

Globalization trends of culture, the idea of multiculturalism, bringing and acceptance of foreign elements into the culture, open coquetry of the "West" with culture and arts of the "East", eclecticism, but also paradoxical what happened to be the fate of modern art after postmodern deconstruction of the meaning (including also the sense of Art) and the reduction of his function to ability to serve in variable updating roles towards individual and society, is 46 years after the release of books Asphyxiating Culture repeatedly bringing me to read and review it. The topic, therefore, is to examine the validity of Dubuffet appeal, its insertion into the broader context of the forms of "dehumanization" of art, but also review of the reference just in the context of relations culture - art. New search respectively the determination of periphery in arts and culture should besides unfinished theme energizing academic debate of last years, if not decades, thus defining theme of Art (it defines itself not only its centre, but also its periphery). It can and it should briefly look at the issue of the institutionalization of art; the relationship of artistic production and its cultural context, which is not transferable; "foucaultian" power of discourse established by culture; extremely interesting affinity of art and advertising; aestheticism of culture; enforcement of discontinuity issues and pluralism as in the thought (philosophy, and culture in general) also within the artistic creation, namely for topics that Dubuffet advises and argumentations plays. Nearly half a century after his call and its final words -"therefore, our artistic production, which is not subjected to a thorough critique of culture and effectively not reveals the futility and absurdity, is not refuge for us" - we need to talk about our accountability.

15

Durdík a Hostinský: počátky darwinismu v Čechách

80%

Stibral K.

Teorie vědy (Theory of Science)

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2010

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vol. 32

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issue 3

319-339

EN

The text is focused on the acceptance and perception of Darwinism in 19th-century Bohemia, when the diffusion and interpretation of Darwin's teachings were paradoxical connected with two professors of aesthetics from Charles-Ferdinand University in Prague, Josef Durdik and Otakar Hostinsky. Although they somewhat simplified the theory of natural selection, they understood Darwin's theory to be the arrival of a new paradigm (in contrast to contemporary biologists working in the Czech lands). This text presents and compares both aestheticians' interpretations of Darwinism, mainly their stance on the theory of natural selection, the possibilities for applying this theory to aesthetics and art theory, as well as their relationship to Darwin's interpretation of aesthetic phenomena in nature. As a supplement, a short emphasis on Darwin's teaching in texts of other Czech aesteticians (Tyrs, Klacel, Volek) follows.

16

GIORGIO AGAMBEN ON AESTHETICS AND CRITICISM

80%

Darida V.

ESPES

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2021

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vol. 10

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issue 1

22 – 31

EN

Focusing on Giorgio Agamben’s early writings (The Man without Content, Stanzas, Infancy and History) this paper investigates the peculiar status of aesthetics that is disclosed by these texts, highlighting particularly the shift that emerges therein from aesthetic to ethical concerns. Agamben’s idea of a ‘destruction of aesthetics’ will bring attention to the question of the destination of aesthetics. The claim that only ruins can outline the original structure of works of art, providing a possible basis for creative criticism, will also be examined in the conclusion.

17

INTRODUCTION TO ARNOLD BERLEANT’S PERSPECTIVE

80%

Alcaraz A. L.

ESPES

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2017

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vol. 6

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issue 2

1 – 8

EN

The selection of papers in the 6th Volume of the ESPES journal focuses on the development, analyses and critique of Arnold Berleant’s ideas on aesthetic engagement, social aesthetics, negative aesthetics, and environmental aesthetics. These issues are approached by researchers from various continents showing the inspirational potential of Berleant’s perspective, inviting metaphors, opening paths for individual development in the field of art philosophy and aesthetics.

18

PROJECTIVE AESTHETICS AS A POSSIBLE WORLD

80%

Orlov B.

ESPES

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2019

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vol. 8

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issue 2

45 – 50

EN

The notion of “projective aesthetics” is considered in this paper for the first time as a variant of the recourse to praxis that characterizes contemporary aesthetics and its “aesthetic involvement” (A. Berleant). Projective aesthetics involves the use of methodologies of a new type: “schizoanalysis” (in Deleuze’s and Guattari’s terms), “conceptivism” (as devised by M. Epstein) and “projectivism”. The emphasis is put on the principle of “rhizome” and on the features of so-called “culturonics”, a way of thinking “through projects” in the cultural sphere. Projective aesthetics implies a way of philosophizing about art and aesthetics which is defined by a functional orientation in terms of a process of aestheticization and artification, and, accordingly, of projectivity. The connection between projective aesthetics and the peculiarities of modern communicative aesthetics is also examined, together with the need for creating a philosophical glossary of artistry and modern art, meant as a relevant project for aesthetics. In the text, a special place is also given to a number of projects implemented in the process of teaching philosophical aesthetics, as related to beauty as well as with the direct participation of students in filling out the contents of the above-mentioned glossary.

19

EVERYDAY AESTHETICS SOLVING SOCIAL PROBLEMS

80%

Naukkarinen O.

ESPES

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2021

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vol. 10

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issue 2

151 – 164

EN

What is the role of aesthetics, everyday aesthetics in particular, in processes of solving social problems? Many if not most social problems arise from and affect our daily lives. As far as these problems contain aesthetic aspects, these typically are also of an everyday kind. In this paper, I address the relations between social problems and everyday aesthetics in five sections. I will start by briefly describing what I mean by social problems. Second, I will outline what solving such problems means. Then, I will move on to defining aesthetics for the purposes of this article. Fourth, I will focus on the main question, the potential role of everyday aesthetics in solving social problems. Lastly, I will drill down a bit deeper into my own experiences in this matter in order to concretize the general points and give examples stemming from my working life.

20

MERLEAU-PONTYHO ESTETIKA

80%

Dufourcq A.

Filozofia (Philosophy)

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2015

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vol. 70

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issue 9

748 – 758

EN

Reality presents itself in „adumbrations“. It is not due to the subject whose perception is distorted by his/her insufficient abilities; it is due to the real itself, which is unstable and incomplete. The being of things and persons is fundamentally multiplied, dispersed among thousands of “adumbrations”. Yet these various appearances, though not representing a perfectly defined, cohesive whole closed in it, do not produce a sheer chaos. Merleau-Ponty models the reality of a thing/person on a melodic theme. If the theme does occur in the painting, there is also the thing itself in it. Paintings are components of the being of the reality itself. In them the adventures of the reality’s existence continue. The work of art represents the thing as such, nevertheless a different, transformed thing in the form of a noble, fragile, wandering spiritual body.

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JAN JÓZEF SZCZEPANSKI'S TREATY ON ART

Auf den Spuren der richtigen Hegelschen Ästhetik

Der Plan des ersten Lehrstuhls für Schöne Wissenschaften in der Habsburger Monarchie

UTOPIA IN BLACK. THE NEGATIVE AESTHETICS OF ADORNO AND THE CONTEMPORARY BLACK ART

POZNÁMKY KU KLASICKEJ ESTETIKE PERCEPCIE A VKUSU

KONTEXTUALIZMUS A IMANENTIZMUS V ESTETIKE MARCELA PROUSTA

Joseph Addison and General Education: Moral Didactics in Early Eighteenth-Century Britain

NATURAL SIGN AND PAINTING

UMENIE A UMELÁ INTELIGENCIA – VÝZVY A NEBEZPEČENSTVÁ

K FENOMENOLÓGII UMELECKEJ KRITIKY

FINAL AESTHETICS: FORTY YEARS OF RUSSIAN POST-MODERNISM

Lending an Ear to the Silence Phrase: Lyotard's Aesthetics of Holocaust Memory

REMARKS UPON THE AESTHETICS OF THE NIGHT SKY

PERIFÉRIA KULTÚRY, PERIFÉRIA UMENIA: DUBUFFET DNES

Durdík a Hostinský: počátky darwinismu v Čechách

GIORGIO AGAMBEN ON AESTHETICS AND CRITICISM

INTRODUCTION TO ARNOLD BERLEANT’S PERSPECTIVE

PROJECTIVE AESTHETICS AS A POSSIBLE WORLD

EVERYDAY AESTHETICS SOLVING SOCIAL PROBLEMS

MERLEAU-PONTYHO ESTETIKA