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ENVIRONMENTÁLNE ANGAŽOVANÉ UMENIE AKO VÝZVA PRE CARLSONOVU KOGNITÍVNU ENVIRONMENTÁLNU ESTETIKU

100%
Bakošová B.
ESPES
|
2013
|
vol. 2
|
issue 2
23 – 29
EN
In this paper I would like to deal with the question how environmentally engaged art can infirm Carlson ́s dualism between art and nature in his cognitive environmental aesthetics. I understand environmentally engaged art as a part of new tendencies in the second half of the 20th century, when we can observe shift towards more conceptual and engaged art forms that leave the insides of galleries. This type of art projects are in opposition to Carlson ́s art-nature dichotomy. Equally, I would like to show that science is in Carlson ́s theory limiting and can blocade aesthetic experience in many cases. Eventhough it may appear that science can diminish aesthetic experience, environmentally engaged artists, who often use scientific knowledge in their projects, show, that science can be also beneficial in creating aesthetic ́s intention.
2
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ARCHITECTURE OF MOVEMENT

100%
Nawrocka K.
ESPES
|
2017
|
vol. 6
|
issue 2
50 – 61
EN
This paper describes the general concepts of Arnold Berleant's urban metaphors (garden city, forest city, asphalt jungle, wilderness) in order to use them as a background for presenting a different perspective on the aesthetics of engagement through the prism of contemporary dance strategies and design practices in architecture and urban planning.
3
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APPROACHING AESTHETICS OR: INSTALLATION ART AND ENVIRONMENTAL AESTHETICS AS AN INVESTIGATIVE ACTIVITY

100%
Hinkes B.
ESPES
|
2017
|
vol. 6
|
issue 2
62 – 71
EN
The article discusses installation art and its potential contribution to a transdisciplinary research practice, in which not only artistic, but also aesthetic theoretical approaches could play a central role. However, as the article shows, this firstly requires a change in perspective concerning the way we approach art. Secondly, it entails changes to a common understanding of aesthetic theory and, thereby, philosophy. A term of central significance in this context is the notion of aesthesis. The article will illustrate these thoughts through the examples of Bruce Nauman, Ilya Kabakov, and Arnold Berleant.
4
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More Than a Story: The Two-dimensional Aesthetics of the Forest

63%
Dadejik O., Zuska V.
Estetika: The Central European Journal of Aesthetics
|
2010
|
vol. 47
|
issue 1
27-50
EN
This article presents a general conception of aesthetic experience built on an analysis of the relationship between the narrative and the ambient dimensions of the aesthetic value of a natural environment, the forest. First of all, the two dimensions are presented with respect to the possibilities and problems raised by distinguishing between them. Next, the possibilities of their relationship are analysed and it is argued that they are strongly complementary. This complementarity becomes the core of the proposed conception of aesthetic experience, which can explain the difference between the aesthetic and the non-aesthetic, and can also provide an answer to the question of the non-reductive differentiation between the aesthetic experience of nature and the experience of a work of art. The conclusion of the article is mainly concerned to eliminate one of the problems localized in presenting the ambient dimension (the ambience paradox), by means of Ricoeur's conception of the relationship between time and narrative.
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