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Shaftesbury’s Dictionary of Terms of Art

100%
Kern U.
Rocznik Historii Sztuki
|
2020
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issue XLV
2
Content available remote

Czytając Adorna... Rzecz o teorii estetycznej

100%
Hudzik J.
Estetyka i Krytyka
|
2017
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issue 2(45)
31-50
EN
The purpose of this article is to answer the question ‘what is aesthetc theory?’ I try to perform the way of reasoning about this topic by Theodor Adorno. Such a challenge by definition must be spontaneous, and fully loaded with idiosyncratic volatilities and factors, while being fully aware that it is impossible to perform the mode of thinking of the great Frankfurt School figure. There is no way to repeat his negative dialectics skilled argumentation, one that undermines itself and therefore it is a seductive, probably the most proximate thinking about art. It is also incomprehensible comprehensibility that is usually the most attractive feature of art to us. Its unknowable truth. I begin with reminding the modern idea for aesthetics as a place of refuge from increasing rationalization of the world. Then I write about antinomy of art and paradox of theory – the sources and mechanisms of its cognitive emptiness. The next step is about philosophy of picture – its short history associated with Adorno’s concept of picture as a ‘field of forces’. In the end of searching for a way out from the antinomical trap I defend the thesis about aesthetic theory as a performance.
3
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Playing distressed art: Adorno’s aesthetic theory in game design

100%
Hanussek B.
Replay. The Polish Journal of Game Studies
|
2021
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vol. 8
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issue 1
73-87
EN
The discussion on games as (not) art has been raging for decades without reaching a consensus. It is argued here that the ontological status of games is irrelevant for the perception and development of aesthetic experiences in videogames. Instead, game design should be regarded as ripe to convey the experience of art according  to established aesthetic theories. The essay presents Adorno’s aesthetic theory and highlights its reflections in the games Papers, Please and Observer. It then describes how they were synthesized into a  critical gameplay experience in the author’s game Distressed. The latter may be regarded as an example of a method in game studies in which the aesthetic potential of games is explored by creation rather than analysis. Arguably, this reveals the importance of epistemological approaches  towards games and art instead of the predominant ontological ones.
4
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Estetyka jako teoria krytyczna. Filozofia sztuki Theodora W. Adorna

84%
Czekaj R.
Śląskie Studia Polonistyczne
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2022
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vol. 20
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issue 2
1-12
EN
In his article, Rafał Czekaj presents Theodor W. Adorno’s aesthetic theory as an example of critical theory in the sense given to this term by the Frankfurt School. Czekaj outlines the context of the development of Adorno’s philosophy of art, which consisted of the School representatives’ insights into and diagnoses of contemporary civilization and social structures. He also names those themes of Adorno’s philosophical work which determined the conclusions of his aesthetics, i.e., chiefly the idea of instrumental rationality presented in Dialectic of Enlightenment as well as the so-called identity thinking, both being mechanisms responsible for the oppressive state of reality.
PL
W artykule teoria estetyczna Theodora W. Adorna została ukazana jako przykład teorii krytycznej – w znaczeniu, jakie temu terminowi nadała szkoła frankfurcka. Zarysowany został kontekst kształtowania się filozofii sztuki Adorna, na który złożyły się rozpoznania i diagnozy współczesnej cywilizacji i organizacji społecznej stawiane przez frankfurtczyków. Przywołane zostały również te motywy twórczości filozoficznej Adorna, które zdecydowały o konkluzjach jego estetyki – mowa o przedstawionej w Dialektyce oświecenia racjonalności instrumentalnej, a także o opisanym w Dialektyce negatywnej tak zwanym myśleniu tożsamościowym jako mechanizmach odpowiedzialnych za opresyjny stan rzeczywistości.
5
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“The Judgment of Hercules”. Shaftesbury at the Crossroads of Art Theory

84%
Jaźwierski J.
Rocznik Historii Sztuki
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2020
|
issue XLV
6
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Shaftesbury v. Richardson: a Counterfactual Exercise

84%
Mount H.
Rocznik Historii Sztuki
|
2020
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issue XLV
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