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Docieranie do rdzenia rzeczy. Współzależność form życia i sztuki w esejach Debory Vogel

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Misiak A. M.

Acta Universitatis Lodziensis. Folia Philosophica. Ethica – Aesthetica – Practica

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2020

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issue 36

13-27

EN

In this article, Debora Vogel (1900–1942) is depicted as one of the most important art critics and theorists of the 1930s. In Polish as well as in Yiddish she designed a set of ideas both elitist and, at the same time, most tightly related to everyday-life in which art was considered essential to life and „life” itself – in the sense of a banal and eternal ballad. Behind this thought we see, quite substantially, the art of Marc Chagall. His paintings served Vogel as proof of the main thesis of avant-gardism that content equals form. The equal status of life and art is researched by Vogel through the lens of up-to-dateness – something she comprehended as a construction of reality in her work, not as an art manifesto or an expression of political views. Starting from Hegel’s aesthetics, the Lemberg-based intellectual moved on to materialist dialectics and became a follower of Lu Märten, the pioneer of Marxist aesthetics. Vogel’s poetics of life and her conceptions of art were versatile, rooted in philosophy, i.a. in Jakob von Uexküll’s theory of subjective perception. The latter’s conception of a functional circle contributing to a turn in the perception of the avant-garde, is reviewed in the article. Finally, several questions are put forth referring to the relevance of Henri Bergson’s and Georg Simmel’s thoughts for Vogel’s comprehension of art.

PL

Artykuł przedstawia Deborę Vogel (1900–1942) jako jedną z najważniejszych krytyczek i teoretyczek sztuki lat trzydziestych XX wieku. Po polsku oraz w jidysz stworzyła ona system, w którym sztuka jawi się jako poetycko-programowa reakcja na rzeczywistość. Jest ona elitarna, ale też ściśle związana z codziennością. Jest niezbędna dla życia, ale też jest „samym życiem”, w sensie banalnej i wiecznej ballady. Za tą konstrukcją myślową kryje się malarstwo Marca Chagalla. To na przykładzie jego obrazów Vogel dowodzi głównej tezy awangardy o jedności formy i treści. Na tożsamość życia i sztuki Vogel spogląda przez pryzmat aktualności rozumianej nie jako manifestowanie poglądów politycznych, lecz jako konstruowanie rzeczywistości w dziele sztuki. Punktem wyjścia jest dla lwowskiej intelektualistki estetyka Hegla, od której stopniowo przesuwa się ku dialektyce materialistycznej, rozwijając m. in. tezy Lu Märten, pionierki estetyki marksistowskiej. Poetyka życia oraz koncepcje sztuki były u Vogel szeroko zakorzenione w filozofii, m.in. w teorii subiektywnego postrzegania Jakoba von Uexkülla. W artykule omówiona zostaje jego koncepcja koła funkcjonalnego, jak i mająca duży wpływ na artystów awangardowych teza, iż rzeczywistość stanowi dla indywiduum wyłącznie konstrukcję własnych doznań zmysłowych. Na koniec stawiane są pytania dotyczące znaczenia myśli Bergsona i Simmla dla rozumienia sztuki w ujęciu proponowanym przez Deborę Vogel.

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Catastrophic aftermath: the loss of sight as a process of becoming posthuman in contemporary audiovisual culture

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Charvát M.

Filosofický časopis (Philosophical Journal)

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2023

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vol. 71

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issue Special_issue_1

141-155

EN

In contemporary audiovisual production (mainly the Apple TV series See), the theme of the loss of sight due to (environmental) catastrophe becomes a symptom for the analysis of the disintegration and revival of a world that has deterritorialized due to the exploitative demands of postmodern capitalism, thus de facto marking the end of the so-called Anthropocene era. If Western philosophy traditionally defines man as an animal possessing reason and at the same time an animal in which the different senses are in balance, the loss of sight and the respective post-apocalyptic environment in which survivors exist without the possibility of seeing, on the one hand, outlines a process that could seemingly be considered degenerative or decadent: without sight, man is not man and approaches the animal. On the other hand, however, the loss of this sense also articulates the hints of the renewal of a world that will be a posthuman world, in which the new norm and normative of life becomes life without sight as a new form of social, economic, habitual arrangement, in which sight is understood as something regressive, as something responsible for the almost complete destruction of humanity. This in itself brings about a transformation of the relationship between human and non-human actors, transformations in the flows of belief and desire, and ways of articulating life, which, following Deleuze, is actualized from virtual modulations and temporal variants of events. My perspective is therefore based on the philosophy of G. Deleuze and vitalism in general, and I intend to read the figure of the loss of sight as a kind of counter-actualization of the event: as an effort to negate the effects of catastrophe and at the same time to establish a new (life) form.

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The role of biosemiosis and semiotic scaffolding in the processes of developing intelligent behaviour

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Sarosiek A.

Zagadnienia Filozoficzne w Nauce

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2021

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issue 70

9-44

EN

Biosemiotics deals with the processes of signs in all dimensions of nature. Semiosis is the primary form of intelligence. Intelligent behaviour becomes immediately understandable in this approach because semiosis combines causality with the triadic structure of the semiotic sign. Intelligence is a process created in a given context. In the course of evolution organisms have learned to create increasingly sophisticated internal representations of external state. Semiosis is the precursor of the emergence of a feature we consider intelligence. Biosemiotics also draws attention to the distributed intelligence, which relies on external semiotic scaffoldings as much as on the subject’s abilities and knowledge.

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1 Acta Universitatis Lodziensis. Folia Philosophica. Ethica – Aesthetica – Practica

1 Filosofický časopis (Philosophical Journal)

1 Zagadnienia Filozoficzne w Nauce

1 Charvát M.

1 Misiak A. M.

1 Sarosiek A.

1 2023

1 2021

1 2020

Docieranie do rdzenia rzeczy. Współzależność form życia i sztuki w esejach Debory Vogel

Catastrophic aftermath: the loss of sight as a process of becoming posthuman in contemporary audiovisual culture

The role of biosemiosis and semiotic scaffolding in the processes of developing intelligent behaviour