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1
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Bazowa aksjosfera dzieła sztuki z empiryczno-kulturalistycznego punktu widzenia

100%
Tarnowski J.
Estetyka i Krytyka
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2011
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issue 2(21)
151-164
EN
Stanislaw Ossowski in Basics of Aesthetics formulates an empiric-cultural theory of the axiology of a work of art. He aims at clarifying concepts of values, which must be simple, and one criterion. He makes the first step: differentiation of artistic and aesthetic values. However, he does not continue his work on the axiological paradigm in his later works. Therefore, a further clarification of the axiological concepts can be undertaken. The paper introduces and analyses the following simple values: content-aesthetic, form-aesthetic, innovate-artistic, historical-artistic and craft-artistic. They are the basic axiosphere of a work of art in our culture.
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O znaczeniu sztuki (dzieła sztuki) we współczesnych modelach komunikowania

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Fiut S. I.
Estetyka i Krytyka
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2011
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issue 1(20)
65-86
EN
The paper analyses the phenomenon of the presence of art works in network communication. Works of art, understood broadly as messages, have always been exerting influence upon the development of communication. The contemporary technological breakthrough perceives art and art works in a special way, as they make all communication processes attractive. Works of art catch the attention of their recipients and interactive users on the Internet. Art works and artistic creations on the Internet catch the user‟s a ttention both by their form and contents. They trigger a scope of emotions and inner experiences related to them. All this allows the media to play an active part in forming the users‟ value systems, i.e. a determined sensitivity or sphere of experiences, by which they are governed while taking decisions and choosing a way of action. This strict historic connection between art and communication techniques technologies, as well as the results of scientific research upon which they rest, bears an enormous significance for contemporary culture creation and interaction in the social sphere. To a great degree, in all post-modern societies it shapes the state and forms of contemporary culture which takes on various forms of „the cultures of participation‟. These phenomena form the main area of interest of the present paper. The article discusses the outlook on the role of art and artistic creations on the Internet formulated by Marshall McLuhan, Derick De Kreckhove, and Lev Manovich among others, all of whom discuss the specifics of the work of art in media and multimedia communication, and particularly within the context of the development of tactileness in the perception of interactive users who both perceive and co-create artistic messages on the Internet in cooperation with art creators.
3
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Unfit to Print: Contra Mag Uidhir on the Ontology of Photographic Artworks

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Aliyev A.
Estetika: The Central European Journal of Aesthetics
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2016
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vol. 53 (New Series: 9)
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issue 1
3-13
EN
According to the orthodox view, photographic artworks are abstract objects. This view, however, has recently been challenged by Christy Mag Uidhir. In his article ‘Photographic Art: An Ontology Fit to Print’, he argues in favour of a nominalist construal of photographic artworks. My goal is to show that Mag Uidhir’s argument is unpersuasive.
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Tym razem poświęcimy własny kościół. Sacrum w sztuce młodych artystów

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Możdżyński P.
Estetyka i Krytyka
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2013
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issue 1(28)
93-115
EN
The main topic of this article is sacrum in the art of young polish artists. The first part is focused on methodology and defining such terms as sacrum, numinosum, transgression, initiation. In the second part the author explores the art of three young artist groups: Pracownia Struktur Mentalnych, Galeria “Praca” and Galeria “Dzika 6 na 79”. Some specific pieces of art are analyzed, including body art, performances, and videos.
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Cognitive interpretation of Kant’s theory of aesthetic ideas

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Kuplen M.
Estetika: The Central European Journal of Aesthetics
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2019
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vol. 56_(New_Series_12)
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issue 1
EN
The aim of my paper is to argue that Kant’s aesthetic ideas can help us to overcome cognitive limitations that we often experience in our attempts to articulate the meaning of abstract concepts. I claim that aesthetic ideas, as expressed in works of art, have a cognitive dimension in that they reveal the introspective, emotional, and affective aspects that appear to be central to the content of abstract phenomena.
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Teoria dzieła sztuki Stefana Morawskiego – próba rekonstrukcji

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Przybysz P. J.
Estetyka i Krytyka
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2013
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issue 1(28)
117-131
EN
This paper is a reconstruction of Stefan Morawski’s understanding of what a work of art is. Three fundamental aspects are taken into account, namely: the ontological status, axiological status, and hermeneutical status of a work of art. This reconstruction includes as its sources diverse papers published by Morawski invarious places – a diversity which attests to the constant modifications of his conclusions
7
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Determinanty dzieła sztuki jako continuum obrazów

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Krupiński J.
Estetyka i Krytyka
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2013
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issue 1(28)
59-82
EN
A work of art exists through images. The determinants of a work of art seen as an image are the following: vision; the carrier of the image, the object produced and/or the chosen artefact; the surroundings of the carrier, in which it is placed; the functional context of the work the “subject” of the image, i.e., what is seen, the thing portrayed in the image; the world of the “subject” of the image; the onlooker, the viewer of the image; the “ideatic” context of the image, and of its subject in particular (“the world of ideas”). Essentially, the category of “image” determines the character of a work of art. Yet on a more basic and original level, it determines the very way the human world exists, and human beings themselves. Thus art becomes significant for human beings.
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Od redakcji

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Warmiński A.
Estetyka i Krytyka
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2008
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issue 13-14
9-11
9
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Transgresywne aspekty dzieła sztuki

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Pawliszyn A.
Estetyka i Krytyka
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2009
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issue 15-16
120-131
EN
The article aims to discuss transgressive aspects of the work of art understood as a festival against the background of classical hermeneutics. The sacred and the profane domains evident in the festival emerge even as man enters that spiritual dimension of the world which is free from everyday limitations, and to which Gadamer aptly refers as the timeless now. The article proposes that it is precisely thanks to the work of art that man can gain an insight into the unremitting Heraclitean vicissitude of all things. The work of art, which crystallizes and perpetuates time, allows man to transcend change and to experience in creation an analogue of divine independence. Without festivity introduced by art, human existence would either be reduced to technical barbarity or would become routine, which, for Ricoeur, stands as the figure of damnation. The work of art is, therefore, not merely a work of art: it is the struggle for a truly human existence.
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Roland Barthes: malarska retoryka Arcimbolda

88%
Malec I. M.
Estetyka i Krytyka
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2009
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issue 15-16
240-246
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Artistic Thinking in Film Education (from Reproduction to Creation)

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Łukaszewicz J.
Estetyka i Krytyka
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2014
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issue 3(34)
77-90
EN
Making an attempt to describe the threats to the development of artistic education, one should particularly emphasise the failure of noticing the mission of art and culture in the vision of a contemporary man. Above all, the threat is posed by the depreciating attitude of the mass media turning culture into entertainment and spiritual space merely into a battlefield for trivial and ordinary goods. The problem of globalization deeply afflicts culture, particularly artistic education. But are the tasks of artistic education as defined within the humanistic approach to the Culture of Man not fundamental to the future of “thinking art”? The matter is worth of a serious and continuous debate, irrespective of the political correctness and the pragmatic attitudes “for today”. However, particular responsibility lies with the didactics in the field of art.
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Istnienie dzieła sztuki a jego tożsamość hermeneutyczna według Hansa-Georga Gadamera

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Sołtysiak M.
Logos i Ethos
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2013
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issue 2(35)
7–25
EN
The first part of the article attempts to reconstruct Gadamer’s ideas concerning auto – presentation as the ontological essence of a work of art. It also addresses the claim that relates art to the nature of truth. The second part of the article touches on the analysis of the autonomy of a work of art and connected with it – its hermeneutical identity. For Gadamer, this hermeneutical identity of the work of art is characterized by three main features: The first, and principal feature, is the consistency of a repetition of the same features of each presentation that is, the repetition of an established truth concerning reality. The second feature is the continuity of the presentation of the work of art in relation to the tradition of its interpretation. While the third feature contained within a work of art is its occasional character, that is, the specific reason for its origin and its purpose.
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Obligations to Artworks as Duties of Love

88%
Cross A.
Estetika: The Central European Journal of Aesthetics
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2017
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vol. 54 (New Series 10)
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issue 1
85-101
EN
It is uncontroversial that our engagement with artworks is constrained by obligations; most commonly, these consist in obligations to other persons, such as artists, audiences, and owners of artworks. A more controversial claim is that we have genuine obligations to artworks themselves. I defend a qualified version of this claim. However, I argue that such obligations do not derive from the supposed moral rights of artworks – for no such rights exist. Rather, I argue that these obligations are instances of duties of love: obligations that one incurs in virtue of loving some object, be it a person or, in this case, an artwork.
14
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Prawda dzieła sztuki w dobie jego technicznej reprodukcji. Próba Heideggerowskiej wykładni sztuki masowej

88%
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
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Naturalistyczna teoria dzieła sztuki na gruncie estetyki realistycznej Władysława Strzemińskiego

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Hanuszewicz S.
Estetyka i Krytyka
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2010
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issue 17-18
227-235
EN
In Theory of Vision, Władysław Strzemiński presented criticism of idealistic aesthetics and his own realist theory. Basing on the above-mentioned book, he formulated an original naturalistic theory of a work of art. The author of this paper attempts to show the essence of Strzemiński’s critique, however the article is, for the most part, about his positive theory.
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Heglowsko-platońskie inspiracje pierwszych polskich estetyków akademickich. Część druga: Henryk Struve

75%
Tarnowski J.
Estetyka i Krytyka
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2016
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issue 3(42)
167-192
EN
In his monumental work Letters from Cracow, published since 1843, Józef Kremer, the first Polish academic aesthetician, propagated Hegelian aesthetics reinterpreted in Platonic and theistic terms. The work was the first consistent lecture on aesthetics in Polish. Like Hegel, Kremer supported academic art. He significantly influenced Lucjan Siemieński, the most eminent art critic of the age, who published his reviews in Cracow’s Czas magazine, as well as Henryk Struve, a philosopher and aesthetician of the younger generation, who in the 1870s became the main authority on art and the evaluation of works of art, modern ones in particular. Unlike Kremer, who categorically expressed his opinions and who did not have to face opposing views, Struve fought disputes against Véron’s views, which were critical of academic-idealistic aesthetics. He also fought a losing battle with Stanislaw Witkiewicz. The dispute resulted in the disappearance of academic-idealistic aesthetics, which was also a factor in academic painting vanishing from Polish culture.
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Meals, Art, and Artistic Value

75%
John E.
Estetika: The Central European Journal of Aesthetics
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2014
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vol. 51
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issue 2
254-269
EN
The notion of a meal is explored in relation to questions of art status and artistic value. Meals are argued not to be works of art, but to have the capacity for artistic value. These claims are used to respond to Dominic Lopes’s arguments in Beyond Art that demote artistic value in favour of the values that emerge from specific kinds of art. A conception of artistic value that involves ‘taking reflective charge’ of the possibilities for goodness available in an activity is sketched.
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Architektoniczne notacje

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Słuchocka K.
Architectus
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2020
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issue 4(64)
23-36
PL
Artykuł podejmuje zagadnienia związane z percepcją architektury, z uwzględnieniem procesów sensorycznych, w głównej mierze służących do wyodrębniania cech obiektów (kolor, forma, wielkość, faktura, temperatura itd.) a implikujących dialog poznawczy zachodzący pomiędzy odbiorcą-użytkownikiem i przestrzenią. Uznawana za symbol podstaw oraz komfortu egzystencji przestrzeń egzystencjalna, w kontekście poznawczym, jest elementarną składową większych w skali zespołów, które poszerzając zasięg oddziaływania, anektują w swoją strukturę poszczególne części, by oscylować wokół najistotniejszych dla człowieka potrzeb i ich realizacji. Celem prowadzonych badań jest zwrócenie uwagi na istotną funkcję zobrazowanych przestrzeni, odgrywających rolę komunikatu w kodzie językowym, w którym duże znaczenie ma charakter danej przestrzeni, zwrotnie przekładając się na jakość samego obrazu. Obiekt architektoniczny, traktowany jako dzieło sztuki, warunkuje formę przedstawienia-zobrazowania, jednocześnie wzmacniając relacje pomiędzy odbiorcą a konkretną przestrzenią lub jej fragmentem. Niezależnie od stopnia nasycenia związku emocjonalnego autora kreacji z kontekstem obraz przestrzeni (przestrzeń zobrazowana) kieruje uwagę na walory, szczegóły, zjawiska przynależne ściśle do określonych miejsc. Współzależność działań plastycznych oraz technicznego charakteru pracy architekta wzbogaca ofertę możliwości sposobu prowadzenia procesów projektowych, podkreślając wagę zależności pomiędzy dziedziną nauk technicznych i sztuk plastycznych.
EN
The article presents the processes involved in the perception of architecture, including the sensory processes inherent in the differentiation of features of facilities (colour, form, size, texture, temperature, etc.) which imply a cognitive dialogue between space and its user. Existential space deemed as a designator of basic living conditions and comfort assumes another meaning in the cognitive context, where it constitutes a basic component of larger forms which expand by annexing individual components within its structure to address and meet the most vital needs of man. The research aims to highlight the important function of space represented in images. Such images then play certain roles in our verbal communication, which is predetermined with the nature of the portrayed space, and as such translates into the quality of the picture/drawing/image itself. An architectural facility perceived as a piece of art underlies the form of its representation/imaging and strengthens the relations between particular space or a part thereof and its user. Irrespectively of the degree of emotional saturation existing between the designer and the context, the image of space (space imaging) attracts the viewers’ attention to the qualities, details or phenomena closely correlated with particular places. The process of transforming independent ideas of the author into the artistic expression effectively reveals the purposefulness of the application of the cognitive approach which allows for self-corrections of the design processes. Such an approach simultaneously demonstrates correlations between engineering and fine arts. An image of an architectural facility can be a source of extensive information thereon and, in the form of design documentation, it can further, testify to individual approaches of the globally renowned leaders in the field and evidence the interdisciplinary nature of the profession of an architect. Therefore, the communicative and educative values of such images need to be particularly exposed and protected. As such they should rank higher both in the design process and collections of works classified as our national heritage. The adopted research methods consist in the observations and the analysis of hand-made drawings and pictorials combined with the heuristic approach to architectural designing. This methodology assumes that the selection of observations made in the specific conditions of perception of architecture and its designing transposed upon autonomous artistic activities in fine arts in relation to a specific goal – being the optimisation of architectural output – will define the efficiency of interdependencies and correlations between the input data and, thus, will form a logical continuum, which implies the compliance with the guidelines discussed herein.
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Wartości - lista nazw

75%
Taranczewski P.
Kwartalnik Filozoficzny
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2021
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vol. 49
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issue 1-4
43-65
EN
The concepts of value, valuing, and judging are often found to be problematic. Heidegger believes that assigning value reifies and subjectivizes that which exists. But perhaps we should differentiate between the concepts of valuing, i.e., assigning value, and judging. To note and acknowledge a value, e.g., an aesthetic value in which the artwork participates and which is given in the experience of the work of art, is not the same as to impose that value in advance, or take a relativizing or reductive approach. The article is supplemented by tables of values taken from Roman Ingarden’s aesthetics and art theory, as well as from the experience of artists – painters and architects.
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Étienne Gilson: L’idée de la beauté et sa conception de l’art

75%
Jaroszyński P.
Studia Gilsoniana
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2021
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vol. 10
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issue 3
731-747
EN
Two books of Étienne Gilson are especially important in the area of aesthetics: Painting and Reality and The Arts of the Beautiful. In my essay I discuss Gilson’s idea of beauty and his idea of art. To some degree, É. Gilson follows traditional Thomistic point of view, i.e., he claims that the beautiful is that which pleases when seen, or that which consists of integrity, proportion and clarity. He gives, however, a new interpretation of clarity which, for him, means not only physical lucidity, but also a metaphysical radiation and spiritualization of what is material. As for art, É. Gilson is of an opinion that it enjoys a strong metaphysical status, since the existence of the work of art comes from the artist himself. Finally, I explain why É. Gilson’s views are open to further discussion, both metaphysical and theological.
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