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W otulinie zapachów. Próba ujęcia zapachu i zmysłu węchu z perspektywy estetyki krajobrazu

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Frydryczak B.
Estetyka i Krytyka
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2017
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issue 2(45)
87-102
EN
The smell and the sense of smell is one of the most undervalued senses which define our relationship with the outside world. As the sense of “contact” it confirms the materiality and the reality of the world; as a “practical” sense, it gives us the basic orientation in the world. The sense of smell plays a key role in the evaluation of the environment and the way we situate themselves in it and experience it multi-sensory. Everything that surrounds us give out a smell that we perceive as pleasant or unpleasant, arousing pleasant associations or disgust. We react to it by the power of first impressions. Its cultural validity confirms two-step process of deodorisation – i.e. elimination unpleasant odours from the public and private space and aromatisation – introducing artificially produced pleasant smells. Smell surround us and affect the evaluation of the environment. In this sense, the smell identifies a place. The association of ephemeral smell with atmospheric of a place indicates that the smell should be recognized as an important element of the atmosphere introduced by G. Böhme.
2

Hope in the Garden of Melancholy

100%
Frydryczak B.
Dialogue and Universalism
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2018
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issue 1
205-216
EN
Garden and melancholy have been analysed by Alicja Kuczyńska from the standpoint of Renaissance Neoplatonism. I try to work out a common denominator for them, and attempt to compare Renaissance and Romantic melancholy—in the garden space. I see a positive moment in the notions developed by Kuczyńska, namely in that melancholy, as an expectation, acquires a positive dimension, approaching hope.
3
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Zmysły w krajobrazie

100%
Frydryczak B.
Estetyka i Krytyka
|
2016
|
issue 3(42)
9-22
EN
In the article I take the problem of the role of the senses in the experience of the landscape. I suggest a leaving the classical interpretation and aesthetics of the picturesque, which recognizes the landscape in the visual experience as a picture, to see how the understanding and perception of the landscape change, when we try to interpret it by means of the sublime. The redefinition of the sublime, conducted by Adorno and Berleant, allows to restore its anthropological dimension and relate it with the idea of survival. In this respect, the sublime refers to the understanding of the landscape, which is based on the idea of participation, “being in the landscape”. Participation requires the involvement of the senses, which open up the multiplicity of the landscapes of senses: sound, smell, haptic. Multi-sensory experience in the landscape – the synesthesia of senses – opens up a new sensation, in which an approximate picture becomes a space of experience of senses.
4

Landscape Garden as a Paradigmatic Model of Relationships Between Human and Nature

100%
Frydryczak B.
Dialogue and Universalism
|
2014
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issue 4
103-114
EN
Following the suggestion expressed in the title of this essay, I deal with the idea which allows for considering landscape garden as a paradigmatic indicator of our rela-tionship with nature. Focusing on the idea of landscape garden and its aesthetics I ana-lyze two aesthetic notions: the picturesque and sublime, which are the background of the kind of experience accompanying a perception and participation of and in the land-scape and environment. I analyse the kind of experience, which captures all the aspects that situate the human in the environment instead of opposing it. The analysis will be conducted within the framework of aesthetics.
5
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Theodor W. Adorno: pojęcie pięknej natury

100%
Frydryczak B., Zielonogórski U.
Acta Universitatis Lodziensis. Folia Philosophica. Ethica – Aesthetica – Practica
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2005
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vol. 17
EN
Theodor W. Adorno aesthetics is considered as the last and the most important theory, which is formulated from a perspective of the aesthetics of art. It established an understanding of the contemporary art and its mechanisms. In spite of its wide reception, the interpretations of Adorno's conception often overlook his notion of beautiful nature. The notion is the main subject of my article. I want to show that it is not only vividly present in "Ästhetische Theorie", but also takes an important part in Adorno's aesthetic theory and in his understanding of art and of aesthetic experience. Such an attitude allows me to interpret Adorno's theory from a perspective of the "extended aesthetics", which consider the aesthetics of nature as an important part of the field. Since Hegel, who rejected the concept of nature from the field of aesthetic, Adorno is the first aesthetician who re-entries the model of aesthetics understood as domain of both nature and art. Adorno admitted the notion of beautiful nature an important place in his aesthetics. For him, the acknowledgement of the beauty of nature is a condition of art and aesthetics experience. At the same time, the natural beauty is a medium of some utopian values. The involuntary perception characteristic of beautiful nature and a kind of memento "imprinted" in it are some archaic rudiments that do not correspond with the rationality of cultural industry.
6
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Theodor W. Adorno: pojęcie krajobrazu kulturowego

100%
Frydryczak B.
Estetyka i Krytyka
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2013
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issue 3(30)
43-54
EN
In the article I take into consideration the concept of cultural landscape in the reflection of Theodor W. Adorno. I assume that in the notion of landscape there is possible to distinguish two meanings: the aesthetic one, which follows the history of aesthetics and artistic representation of the world. Georg Simmel in the article “The philosophy of Landscape” put its formula perfectly. The second meaning of landscape: a cultural one, is subordinated to the reread aesthetics of the sublime. It rejects the aesthetic distance for the benefit of engagement and process. In it there is expressed spatially conceived environment, historically and socially shaped by both the man and the forces of nature. Adorno combine landscape with history and its the products, and social processes. In this sense, the landscape bears the traces of human activity. As such it undergoes to the processes of industrialization, which create its postindustrial or tourist variations.
7
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Is the city a cultural landscape? An attempt to analyze the city from the perspective of landscape aesthetics

100%
Frydryczak B.
ARGUMENT: Biannual Philosophical Journal
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2015
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vol. Tom: 5
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issue Numer: 2
359-371
EN
This paper sets out to interpret the phrase ‘the city landscape’. Beginning with landscape aesthetics based on two categories — the picturesque and the sublime — the author attempts to demonstrate that a city can be interpreted in terms of a cultural landscape. This necessitates a re‑interpretation of the category of the sublime, whereby, through references to Edmund Burke, Theodor W. Adorno and Arnold Berleant, the sublime assumes the nature of a category which determines the existential situation of a person in the world. Here, the sublime provides people with an impulse to undertake efforts to fashion their surroundings and forge the essence of the living world. As such, the sublime also becomes a category that promotes social activities aimed at improving the quality of life in a city, such as the activities of ‘urban gardeners’.
8
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Estetyka przyrody: nowe pojmowanie natury

100%
Frydryczak B.
Estetyka i Krytyka
|
2009
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issue 15-16
41-55
EN
The impulse to aestheticize nature, firmly rooted in the modern drive to conquer it, laid the foundations for a panoramic theoretical perspective.Any new aesthetics, in turn, must take into account the change of circumstances in which nature currently develops, its changing socio-historical conception, as well as the process of cultural transmission, whereby an idealized image of nature is passed on from generation to generation. It is to be assumed that alongside the aestheticized understanding of nature as a landscape, there exists a ‘micrological’ view, which hails in a new type of aesthetic sensitivity. This new sensitivity takes the ideal of harmonious coexistence as the basis of a renewed relationship between man and nature, and the expanded aesthetics of nature is its proper custodian.
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