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1

NESTRUKTURNÍ VERZE VARIAČNÍ METODY – EXPLANAČNÍ SLABOST GESTALTU, MEZE IMAGINACE A ODMÍTNUTÍ JINÉHO

100%

Zuska V.

ESPES

|

2019

|

vol. 8

|

issue 2

28 – 32

EN

The article attempts to critically reconsider some of the central motives of Tomáš Kulka’s aesthetics, especially his use of the term Gestalt and his concept of versions and alterations. In addition to his own objections, the author focuses on criticism of the above-mentioned parts of Kulka’s theory from the perspective of Czech structuralism (Mukařovský) and phenomenology (Husserl).

2

KITSCH HAPPENS. ON THE KITSCH EXPERIENCE OF NATURE (HOMMAGE À TOMÁŠ KULKA)

88%

Ryynänen M.

ESPES

|

2019

|

vol. 8

|

issue 2

10 – 16

EN

Tomáš Kulka notes in Kitsch and Art, that natural landscape cannot be called kitsch. The kitsch needs to be produced by a human being, he says. I agree with that. Experience-wise it is more complicated, though. Sometimes kitsch affects our experience of landscapes. It is not just that our overwhelming culture of images affects how we see nature, but that also sugared, sentimental and stereotypical kitsch images of nature, that we see in postcards and social media, affect our experience of e.g. sunsets and picturesque landscapes. We might desire to fight back, but at least we need to understand and to some extent accept our situation. The kitsch is in our experience even when there is no kitsch around, and our experiences of nature prove that.

3

FROM TOMÁŠ KULKA ON KITSCH AND ART TO ART AS A SINGULAR RULE

88%

Avital D., Dolanská K.

ESPES

|

2019

|

vol. 8

|

issue 2

17 – 27

EN

The article takes as its starting point the work of Tomáš Kulka on Kitsch and Art to further philosophical move aiming at the very logical core of the question of art. In conclusion, the idea of singular rule is offered as a capturing the defining logic of art. In so doing, the logical structure of a singular rule is uncovered and in that also the sense in which the idea of singular rule both explains and justifies the role that art plays in our life. In his Kitsch and Art Tomáš Kulka extends Karl Popper's refutation principle in science to the arts. An admissible alteration according to Kulka is a change or a modification of the work that does not “shatter its basic perceptual gestalt. Kulka offers us a rational reconstruction of key aesthetics concepts such as unity, complexity and intensity. His reconstruction will show that a work of kitsch does not qualify as art in direct analogy to a proposition that cannot qualify as scientific if it is not (potentially) refutable. Kitsch cannot be “refuted” by any of its possible alterations as they are all of equal aesthetic value. This explains the aura of empty perfectionism that accompanies the experience of kitsch since the work of kitsch does not carry any promise for improvement nor does it show itself superior to any of its possible alterations. Notwithstanding Kulka’s novel analysis, its premise we must note is grounded in the work of art impression on us a single basic perceptual gestalt with respect to which an alteration can qualify as admissible. But in acknowledging the possibility of a gestalt-switch or the fact that the work of art can impress on us a variety of mutually-exclusive perceptual gestalts, Kulka's analysis loses the logical anchor necessary for it to work. However, in what might look at first sight as an unrecoverable logical deficiency, we find an anchor to a novel analysis to the question of art. This is our analysis to the idea of art as a singular rule. Indeed, the concept of a singular rule - a rule onto itself which has exclusively itself as its own argument - must strike us as paradoxical. But in offering to reconstruct the work of art through the complementary concepts of background and figure we are able to provide a structural resolution to the idea of singular rule as what defines art. In this we believe we deliver a definitive answer to the question of art.

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3 ESPES

3 2019

1 Avital D.

1 Dolanská K.

1 Ryynänen M.

1 Zuska V.

NESTRUKTURNÍ VERZE VARIAČNÍ METODY – EXPLANAČNÍ SLABOST GESTALTU, MEZE IMAGINACE A ODMÍTNUTÍ JINÉHO

KITSCH HAPPENS. ON THE KITSCH EXPERIENCE OF NATURE (HOMMAGE À TOMÁŠ KULKA)

FROM TOMÁŠ KULKA ON KITSCH AND ART TO ART AS A SINGULAR RULE