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Prawda dzieła sztuki w dobie jego technicznej reprodukcji. Próba Heideggerowskiej wykładni sztuki masowej

100%
Rogoziecki R.
Estetyka i Krytyka
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2013
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issue 1(28)
133-164
EN
The text attempts to find a way for Heidegger’s aesthetics, especially the concept of the truth of a work of art, to be applied to the analysis of the phenomenon of mass art. It takes as its point of departure Benjamin’s notion of mass art seen as art deprived of aura, i.e., art that is not situated in space and time. Merging Benjamin’s conceptual apparatus with Heidegger’s indicates that the notion of mass art needs major deepening. Above all, if we define high art in terms of existential truth and, in consequence, the way the work of art transcends the world in which it is rooted, then the non-auratic art will be defined by the notions of existential untruth, i.e., what will be pointed to is the way it is rooted in the world of Dasein. While the works of elite art always transcend this world, the works of mass art never do they are worldly entities; they belong to the world (within the world entities). It means that the works of mass art have to be analysed primarily in terms of the ideological structure s of the world in which they are rooted. This bears a number of ramifications for works of mass art, such as that they are not independent beings, but rather structural units, and also that their non- temporality is not just a result of the way they are produced and distributed, but also an effect of their origins in Dasein. Bearing in mind the structural character of the works of mass art, it seems necessary to outline a division into popular art, alternative art, and experimental art
2
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ANTYBOHATEROWIE NEOSERIALI – GRA (Z) WARTOŚCIAMI

58%
Arcimowicz K.
Ars inter Culturas
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2016
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issue 5
35-48
EN
The article presents results of the analysis of four neo TV series: House M.D., Dexter, Breaking Bad, House of Cards. The new TV series, despite their roots in older television forms, by and large radically break up with this tradition. The fundamental objective of the research is to describe the most important values realized by the antiheroes as well as to demonstrate main discursive strategies employed in creating serial plots with their participation. The post-soap makers play a peculiar game with their viewers placing in the foreground discursive strategies referring to ethical relativism. In contrast to tradi-tional, “axiologically safe” TV series, post-soaps may be defined as “axiologically fuzzy”. Neo TV series question the established values, including family, showing that it is not an easy form of co-existence and not always provides happiness for an individual.
3
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SZTUKA WYSOKA I NISKA

58%
DZIAMSKI G.
DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu
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2017
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vol. 23
6-27
EN
Grzegorz Dziamski High an Low Art Many people believe that the division into high and low art is already a thing of the past, that postmodernity effectively eradicated it. I would like to contradict this view by putting the thesis that the division of art into high and low always existed, and postmodernism changed only the relation to low art. A modern or modernist version of division into high and low art becomes a division into elitist and mass art. In the nineteenth century, well-known opposition of the mass art, subdued to market mechanisms, and the elitist art countering these mechanisms were formed. This opposition finds its extreme expression in the writings of Jose Ortega y Gasset and Clement Greenberg – representatives of the Frankfurt School. Mass art wants to be a popular art, it’s obvious, but the thesis does not always work. Whether or not a mass-produced objects belong to popular art depends not only on the producers, but also, and perhaps mostly – on the consumer. It is high time for aesthetics to become popular, posthumously appealing to Richard Shusterman, who was an American aesthetics theoretician. What aesthetics would bring to reflection on popular art? Shusterman says that aesthetics should validate popular art, but such legitimacy is probably unnecessary, because no one refuses popular art the status of art. It is also not clear why educated elites should contribute to improvement of popular art if this art is not addressed to them and it does not even provide any entertainment to them. It would mean putting popular art under the guardianship of the elite, and that would start a returning to some version of Platonism. On the other hand, one may wonder whether popular art is not constantly being improved by the industry, experts, psychologists, sociologists, marketing specialists and public employees. Of course, they are improving popular art in the context of box office. Post-modernity has not overcome the opposition of low art / high art, it only has redefined and changed our attitude towards it. Hierarchical tolerance and hierarchical pluralism thus replaced hierarchical intolerance. The proponents of high art have ceased to demand the liquidation of low art.
4
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K fenomenologii masového umění a kultury

58%
Josl J.
Filosofický časopis (Philosophical Journal)
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2024
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vol. 72
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issue 1
55-65
EN
The study presented here stems from the interpretation of pop-art found in the work of Petr Rezek and Walter Biemel. According to these authors, we find in pop art procedures and forms linked with new types of art, such as film, the photograph, or comics, but without these works themselves being film, the photograph, or comics in the usual meaning of the word. The given form is instead reflected in these works. These authors similarly highlight that this is the case with the use of technology, which is used in pop art both on the level of content and in the form of production, and gives rise to the phenomenon of repetition. This repetition is not however the mere multiplication of things, but a reflection of technical reproduction itself. On the basis of both authors’ interpretations of pop art works, the study determines the moments that the phenomenology of mass art must explore. Specific emphasis is placed by the author on the transformation of our conception of the being of things. The solidity and impenetrability of things disappear and the medial, liquid moment of objects is accentuated. Both the thing and the work become a passage and a place of distribution. Our intentionality does not stop at the object itself, but is diverted further, to our own person in kitsch, to the human of flesh, to rational supercivilization, but alternatively to profit and commerce as well. Even though this character of mass culture is usually understood negatively in the phenomenological tradition, the author reaches the conclusion that what is presented in pop art is, instead of being a bad world, a different world.
CS
Předložená studie vychází z interpretace uměleckých děl pop-artu v pracích Petra Rezka a Waltera Biemela. Podle těchto autorů v pop-artu nacházíme postupy a formy spojené s novými druhy umění, jako jsou film, fotka, či komiks, ovšem aniž by tato díla sama byla filmem, fotkou, či komiksem v běžném slova smyslu. Daná forma je v těchto dílech spíše reflektována. Podobně, upozorňují tito autoři, je tomu s použitím techniky, která se v pop-artu uplatňuje jak na úrovni obsahu, tak i ve formě produkce a dává vyvstat fenoménu opakování. Toto opakování ovšem není pouhým zmnožením věcí, ale reflexí technické reprodukce samé. Na základě interpretací děl pop-artu u obou autorů jsou ve studii určeny momenty, které musí fenomenologie masového umění prozkoumat. Zvláštní důraz autor klade na proměnu našeho pojímání bytí věci. Pevnost a neproniknutelnost věci mizí a je zdůrazněn mediální, tekutý, moment předmětů. Věc i dílo se stávají průchodem a místem distribuce. Naše intencionalita se nezastavuje na předmětu samém, ale je přesměrována dále, k naší vlastní osobě v kýči, k člověku v mase, k racionální nadcivilizaci, ale případně i k zisku a komerci. Přestože je tento charakter masové kultury ve fenomenologické tradici obvykle chápán negativně, dospívá autor k závěru, že to, co se v pop-artu ukazuje, je spíše než špatný svět, svět odlišný.
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