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1

ESEJ O ANTROPOLÓGII VIZUALITY. M. MERLEAU-PONTY A H. JONAS

100%
Escoubas É.
Filozofia (Philosophy)
|
2008
|
vol. 63
|
issue 6
480-487
EN
After having considered of several relevant problems of the visual the paper gives an outline of the anthropology of the visual, which draws from M. Merlau-Ponty and H. Jonas. In its first part the subject-object model is replaced by the conception of intertwining (entre-appartenance) of the viewer and the viewed. Then the load of things is taken off the viewed by separating forms from the reality. This gesture is performed by our sight.
2

POZNÁMKY K VIZUÁLNEJ TOPIKE STREDOVEKÝCH OBRAZOV MARTÝRII NA SLOVENSKU

86%
Gerát I.
ARS
|
2011
|
vol. 44
|
issue 2
159-181
EN
The article offers a brief review of the ideas associated in older and more recent literature with the repeated compositions and motifs of martyrdom, the original understanding of them and their historical functions. The first part considers general ideas, while the second part is more directly concerned with visual analysis of the medieval pictures from selected locations in Slovakia.
3
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OD OBRAZOV K MENTÁLNYM OBRAZOM V TEÓRII FIKČNÝCH SVETOV

86%
Jurčák R.
Slovenské divadlo (Slovak Theatre)
|
2012
|
vol. 60
|
issue 1
34 – 48
EN
The text is primarily based on Lubomír Doležel’s conception of fictional semantics. When viewers think about the majority of audio visual works as well as when they recall or watch them, they do not perceive only the real (physical) pictures. They perceive mainly mental images that are inferred from real pictures. The text presents a theoretical model of the „process“ by which a viewer reconstructs a fictional world from the fictional text structure. It shows also that in a similar way we can explain the process of transformation of the real pictures into mental images as well. The introduction of the text briefly introduces the theory of fictional worlds and also the basic properties of the fictional worlds. The core of the study is an analysis of mental transformation of pictures itself. This analysis is not complex; it seeks rather to clearly show the basic principles of picture transformation. The focus is not put on the description of the basic cognitive processes since they are beyond the scope of fictional semantics.
4

Wiecznie w drodze. Dziennik namalowany

86%
Kramm A.
Sensus Historiae. Studia interdyscyplinarne
|
2011
|
issue 2(3)
167-181
EN
This excerpt comes from the paper Lapili. Stepping beyond the threshold of artistic innovation in the dialog between tradition and novelty. It’s a kind of study that takes on different forms, just like a picture, sculpture or any other form in fine arts is a space for artistic expression of its creator. This space contains ambiguous references to culture and history. It’s become a rule that journey is used as a metaphor for human life and traveling is about being on the move, learning, seeing, getting closer. And it’s not numerous destinations but curiosity that drives us to the end of our journey while the source of this powerful curiosity lies in motivation. It should be noted that the instinct of curiosity, of searching for novelty, and the fascination with the unknown make for the lifestyle that implies a certain worldview or philosophy. It implies that the world we live in and that we experience is worth something. I have opened myself up to the idea of remaining forever on the road, of journeying, learning about the world, getting to know myself better, growing up and changing who I am, while the knowledge and experience of the world gained through traveling have changed the way I view the world. This is the title I’ve given to the first part, which is a painted diary. It’s an attempt to describe that which has already been organized in my memory. An artist travels unlike a tourist. Travelling is for him a journey in search of an inspiration and intellectual stimulation. Travelling can be seen as a way of learning. Knowledge stems from observation, which is studying, and being on the move becomes a method of scientific moving about in the world, the world in which observation is a paradigm of learning, for which it is necessary to ‘be there’. My journey has one aim — to discover and see a new, to make new associations and memorize: ‘[…] hope that something amazing will happen there… otherwise we only shelve our ambitions because we know very well what we’d like to discover and be enchanted by’. Travelling, searching for new places, learning about the world in the process and taming new territories facilitate creative perception and give inspiration; however our memory remains enclosed in our private and subjective experience of the world. From the perspective of journey, learning is a structure of my paintings.
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