"Ünnepélyes, pogány szertartás..."

Author(s): István Angi / Language(s): Hungarian Issue: 07/2013

The study analyses from the viewpoint of Gefühlsästhetik the ballet’s creation, premiere and reception. It is well known that the premiere, which took place exactly one hundred years ago, has been the greatest musical scandal of our times. The accentuated dynamics of the conflicts of feelings, which generated the scandal, lead to an almost traumatic shock experience during the creation, interpretation and reception of this work. Just like the Allegro Barbaro by Béla Bartók, among other notable works, the music of the Sacre du Printemps is strong and shocking. The study discovers the object of its aesthetical message in the general circular usage of shocking effects. The author explains that this shock experience includes an awakening. That is, he urges us to wake up to the reality of the self, and to discontinue merely staring at ourselves and our entourage. According to Stravinsky, we should change ourselves and the world which surrounds us in the name of our right to awareness. Maybe we should take up again the Sacre de Printemps’s opportunity in this awakening to the consciousness of reality.

Bibliniai įvaizdžiai režisieriaus O. Koršunovo spektaklyje „Kankinys“

Author(s): Asta Valiukaitė / Language(s): Lithuanian Issue: 57/2016

Straipsnyje siekiama atskleisti biblinių įvaizdžių „veikimo“ principus lietuvių režisieriaus Oskaro Koršunovo spek¬taklyje „Kankinys“. Spektaklis, sukurtas pagal šiuolaikinio vokiečių dramaturgo Mariuso von Mayenburgo pjesę, pasirinktas dėl tinkamumo biblinių įvaizdžių tyrimui – jame išryškėja vienas esminių krikščionybės vaizdinių – kankinio „paveikslas“. Spektaklis tiriamas pasitelkiant postmodernistinės estetikos principus, kurie ryškūs reži¬sieriaus O. Koršunovo spektaklyje. Šis tekstas – vienas pirmųjų bandymų kalbėti apie biblinių įvaizdžių „veikimą“ šiuolaikiniame Lietuvos teatre siekiant nužymėti tolimesnes tokios analizės galimybes, ypatingai kalbant apie reli¬ginius, biblinius vaizdinius, kurie pasitelkiami kuriant spektaklius, priskiriamus postmodernizmo estetikai. The main objective of this article is to detect the principles of the effect of Biblical images in the play “Kankinys” (“Martyr”) of Oskaras Koršunovas. The play mentioned (based on the play of modern German dramatist Marius von Mayenburg) was chosen as a suitable one to examine Biblical images: it reflects one of the main images of Christianity – the image of Martyr. The play analysis includes the principles of postmodernistic aesthetics applied by director O. Koršunovas. This is almost the first attempt to discuss the effect of Biblical images in Lithuanian contemporary theatre in order to mark future possibilities to work in this direction, especially relating to religious or Biblical images used in plays defined as a part of postmodernistic aesthetics.

Miasto/miejsce jako dzieło sztuki. Wprowadzenie

Author(s): Maria Popczyk / Language(s): Polish Issue: 24/2015

In this paper I will attempt to look at the city-place as a work of art. Such an approach will allow us to take into consideration its aesthetic, sensual and reflective qualities and, at the same time, contemplate those aspects which go beyond the philosophy of art, such as practical needs of everyday life. I am analysing the opinions expressed by Olsen, Christie Boyer and the architects, Le Corbusier and Kevin Lynch. The positive view of the place emphasizes the role played by its shape and layout, by the sense of security and beauty, by harmony, sensuality and emotions, by the sense of belonging and identity. The city, however, also means ruins, abandoned places invisible to its inhabitants. I am examining an approach adopted by Urban Explorer and I am underlining the aesthetic and artistic way of depicting the city. In the final part I am discussing the spatial-temporal dimensions of the city as a work of art.

Patočkova raná filosofie umění

Author(s): Jan Josl / Language(s): Czech Issue: 2/2015

This essay analyses Patočka’s philosophy of art in the period before and during the Second World War. Since the philosophy of art in Patočka’s thinking is part of a broader philosophical debate, the first section of this essay introduces the main philosophical problems that Patočka was dealing with at this time. The second part of the essay introduces the place that art has in this broader philosophical context, from the point of view both of the artist and of the viewer. In any case, art for Patočka represents a historical force of spirit, that is, a reflection of a certain form of the lived world. The last two parts of this essay describe specific differences between art and other kinds of spiritual activity like philosophy, science, and religion, as well as the pre-reflexive form of these spiritual forces as represented in mythology. The author concludes that Patočka’s early philosophical thinking creates quite a coherent system in which art plays an important role.

A priori imaginace

Author(s): Mikel Dufrenne / Language(s): Czech Issue: 2/2015

In this article, Dufrenne argues that imagination need not be only the subjective capacity to invent the unreal (dreams, fantasies), but that it is actually capable of revealing images that bring human beings closer to the hidden plenitude of Nature. Among these a priori images, such as heaven, water, blood, and earth, Dufrenne emphasizes the elementary, power, depth, and purity, which he believes are the most fundamental of them. He considers a potential classification of these images on the principle of ontological quality.

Hauser Arnold könyvtára Pécsen

Author(s): Deodáth Zuh / Language(s): Hungarian Issue: 10/2014

Könyvismertetés

Author(s): Béla Hamvas,László Baránszky-Jób / Language(s): Hungarian Issue: 2/1936

REVIEWS of: Benedek Marcell: Irodalom-esztétika. Budapest, 1936. Franklin Társulat. Kultúra és Tudomány (by Baránszky-Jób László) Riezler, Kurt: Traktat vom Schönen. Frankfurt a. M.: Klostermann. 1935 (Béla Hamvas)

Preface

Author(s): Valery Vinogradovs / Language(s): English Issue: 1/2023

Preface of the ESPES.The Slovak Journal of Aesthetics symposium on Aesthetics and Ageing.

Ageing, Aura, and Vanitas in Art: Greek Laughter and Death

Author(s): Babette Babich / Language(s): English Issue: 1/2023

Beginning with the representation of age in extremis in the nature morte or still life, a depiction of aged artifacts and representations of vanitas, artistic representations particularly in painting associate woman and death. Looking at artistic allegories for age and ageing, raising the question of aura for Walter Benjamin along with Ivan Illich and David Hume, this essay reflects on Heidegger on history together with reflections on the ‘death of art’ as well as Arakawa and Gins and Bazon Brock, both as artists ‘at your service,’ as Brock would say, contra death, and including a brief discussion of wabi sabi and kintsugi. The ‘ageing’ of art includes a review of the (ongoing) debate concerning Michelangelo’s forging of the Laocoon as well as ancient views of age together with contemporary philosophic reflections (Simone de Beauvoir and Michel de Certeau). The figure of Baubô in ancient Greek sculpture and cultic context can make it plain, as Nietzsche shows (as Sarah Kofman follows him on this), that laughter and death are connected (along with fertility cults in antiquity). Satire preserves the Greek tradition of laughing at death and the essay closes with Swinburne.

Nomadic Models of Postmodern Aesthetics: Soteriological Choice of the Teacher

Author(s): Ludmyla Kondratska,Liudmila Ivanivna Romanovska,Tetiana Kravchyna,Svitlana Kozachenko,Mykola Novak / Language(s): English Issue: 1/2023

Aim. The aim of the article is to define the concept of aesthetic competence of the nomad teacher of postmodern era based on a comparative analysis of two aesthetic models (metis paraesthetics and soteriological aesthetics). Methods. The subject of study is anthropotemporal methodology of acquiring aesthetic competence as an act of spiritual transformation (approaches, paradigm, priorities, criteria of effectiveness). The analysis of the stages of nomad’s dianoic choice in the process of understanding beauty as a boon was carried out using the method of epistemological design, according to which emotions function cognitively in aesthetic experience. The technology of spiritual self-coaching was chosen to activate all the structural components of aesthetic competence – the intention to correct aesthetic apperception and the competencies of emotional-reflective, value-semantic, aesthetic and worldview revaluation. Results. The implementation of the chosen technology opened up the possibility of reorientation for the nomad teacher: from the drive of the performer-trickster to a humble and grateful anticipation of the beauty as transcendent – to overcoming the power of inertia of previous dependence, responses to the calls of a pure (still “adventurous”) mind. A cluster analysis of the results of the completed tasks was carried out for the regression description of the efficiency of the technology. Conclusion. The soteriological concept of the aesthetic competence of the nomad teacher focuses attention on the essential coexistence of the teacher with students throughout the entire process of his self-determination. The practical experience of its implementation can make a positive contribution to reforming postmodern aesthetic education.

The Antique Sources of Charles Maurras’s and Étienne Gilson’s Conceptions of Beauty

Author(s): Kamil Golec / Language(s): English Issue: 2/2023

The article contains the analysis of Charles Maurras’s and Étienne Gilson’s reflections on beauty in the light of the antique reflections on this ground which are present in the philosophical thought of the French thinkers either directly or through thinkers who inspired them. The article also analyzed the question of art from the point of view of reflections on beauty that they both made. This made it possible to show both the similar points and distinctions between them in light of classical tradition in its reflection on beauty, especially from the metaphysical point of view, which shows that both Gilson’s and Maurras’s reflections on beauty grew on classical grounds. It explains why the thought of Maurras and Gilson in this area is important also from the perspective of contemporary discussions.

Estetica țapului ispășitor. 'El Akelarre' de Goya între sabatul vrăjitoarelor și mania baccantelor

Author(s): Maria Amarinei,Ștefan Bârzu / Language(s): Romanian Issue: 6/2022

Starting from the aesthetical grounds of Francisco Goya’s 1798 'El Akelarre' (known as the 'Sabbath of the Witches') this article attempts an eclectic exploration of primarily two hermeneutical horizons: the archaic Greek horizon and the late XVIIIth century Christian horizon. The point of convergence between these two is the marginal, occult feminine, the magical and demonologically-charged region of collective human experience. These marginalized groups of women are defined and redefined through their more or less hidden devastating force and also by their unnatural access to the demonic dark corners of human experience. In this sense, we have concomitantly worked in three directions. First, through the analysis of 'El Akelarre' we established the existence of a common collective representation of two marginalized groups embodied by the bacchae of the Greek archaic times and the witches of the Christian modernity. At a second level, we mapped out the possible origins and the role of this historical and religious juxtaposition of female witchcraft. At the third and last level we tried to re-establish Goya’s work in its historical context, a space in which a case could be made for a phenomenon that runs through most of western European culture – bacchomania.

Alvilági anzix. Az Én megteremtése és legitimálása Siska Finuccsi Út a pokolba címû hiphopzeneszámában. Egy metafora (trópus) esztétikai-antropológiai vizsgálata

Author(s): Gábor Hannos / Language(s): Hungarian Issue: 01/2024

This paper seeks to answer the question of how individuals create themselves through metaphorical narratives (here one particular metaphor, the inferno). First, I briefly review the general, cultural and terrestrial features of the inferno. In a second step, I outline the relevant metaphor theories, mainly belonging to the domain of analytic philosophy. In the second half of the paper, I analyse the track Út a pokolba by the artist Siska Finuccsi, using the metaphor theses reviewed earlier. I conclude that the metaphorical narrative of self and world creates the possibility for the individual to view him/herself in a unique, authentic and nuanced way.

Artificial Aesthetics and Aesthetic Machine Attention

Author(s): Jaana Okulov / Language(s): English Issue: 29/2022

The aesthetics of artificial intelligence is often viewed in relation to the qualitiesof their generated expressions. However, aesthetics could have a broader role in developingmachine perception. One of the main areas of expertise in aesthetics is the understanding offeature-based information, which involves how the aesthetics of sensory features can causeaffective changes in the perceiver, and the other way around – how affective states can give riseto certain kinds of aesthetic features. This two-way link between aesthetic features and affectsis not yet well-established in the interdisciplinary discussion; however, according to perceptualpsychology, it fundamentally constructs the human experience.Machine attention is an emerging technique in machine learning that is most often used intasks like object detection, visual question answering, and language translation. Modern useof technology most often focuses on creating object-based attention through linguistic categories,although the models could also be utilized for nonverbal attention. This paper proposesthe following perceptual conditions for aesthetic machine attention: 1) acknowledging thatsomething appears (aesthetic detection); 2) suspension of judgment (aesthetic recognition);and 3) making the incident explicit with expression (aesthetic identification and amplification).These aspects are developed through an interdisciplinary reflection of literature fromthe fields of aesthetics, perceptual psychology, and machine learning. The paper does not aimto give a general account of aesthetic perception but to expand the interdisciplinary theory ofaesthetics and specify the role of aesthetics among other disciplines at the heart of the technologicaldevelopment of the human future.

Self-Care: Seeking Queer Liberation from the Medical Gaze and Genetic Fatalism

Author(s): Lyndsey Walsh / Language(s): English Issue: 32/2023

Genetic diagnostics are radically and rapidly changing perceptions of health. Individuals with identifiable pathogenic genetic differences are now being made into culturalmutants. Unlike other forms of embodied difference, these diagnostics rely on a high statistical probability of developing a disease, known as genetic risk. As such, individuals with a mutation are often subjected to perform the same clinical labor as those who are already sick with a disease, which can involve invasive medical surveillance, preventative surgeries, and familyplanning. Self-Care is my artistic attempt to reckon with these biotechnological ruptures inidentity caused by the rising use of genetic diagnostics in medicine. Using my body, Self-Careweaves a narrative about health, gender, and identity that seeks to resist the confines of themedical gaze. The work features a specially designed chest binder housing living BRCA1 mutantbreast cancer cells, which allows the artist to take on the caring responsibilities of theircancer before it emerges in their body. Building off the artwork, this paper explores contemporaryissues surrounding Hereditary Breast and Ovarian Cancer Syndrome in global healthcaresystems. Traversing the boundaries between sick and healthy, male and female, and parentand child, this paper sets out to both present the scholarly research surrounding Self-Care andprovide a platform of critical self-reflection for the artwork to question how best we can carefor ourselves and others.

Notes on the origins and symbology of the conical dome in Armenian church architecture

Author(s): Avedis Hadjian / Language(s): English Issue: 1/2024

Soon after Armenia became the first state to adopt Christianity in 301, its architects developed a new sacral architecture to accommodate the liturgical requirements of the new faith, with a liturgy that made larger indoor spaces necessary, unlike the pagan temples, which essentially functioned as repositories of the sculptures of gods. In medieval Armenian church architecture, the most characteristically outstanding feature became the conical dome. There is uncertainty about the origins of the dome, which Armenian architecture historian Toros Toramanyan traces back to Persian architecture. In the early literature, we find an indistinct use of khoran (canopy) and gmbet (dome) in early literature. While the terminological ambiguity may be confusing, the semiotics are the same: the church, a meeting place of the faithful, is a symbol of the kingdom of heaven. This is represented by the dome, the absence of which by the 6th-7th centuries had become almost inconceivable in Armenian church architecture. Toramanyan has indicated that the conical dome represents the summit of Mt. Ararat, later also mimicked by the cowl (veghar) worn since at least the 11th century by the celibate priests of the Armenian Apostolic Church, yet there is no evidence to corroborate this hypothesis. As Armenian studies scholar Robert S.Thomson has noted, ancient Armenian authors did not dwellmuch on the symbology of art and architecture other thangeneralities.

Reframing Beauty: Body, Environment, Art – An Introduction

Author(s): Lukáš Makky,Andrej Démuth / Language(s): English Issue: 2/2023

This paper is an introduction to the block of articles in this issue called "Reframing Beauty: Body, Environment, Art " It explores the enduring question of what constitutes beauty, highlighting the lack of a universally accepted definition despite centuries of aesthetic research. It discusses the resurgence of interest in beauty following the decline of modernism and postmodernism, emphasizing the need to reframe and reassess beauty in contemporary contexts. The paper examines various perspectives on beauty, including its role in everyday life, environmental aesthetics, and empirical research. It also addresses the ambiguity and complexity of the concept, questioning whether beauty is an objective quality or a subjective experience. The authors argue for a pragmatic approach to understanding beauty, considering its linguistic, aesthetic, and experiential dimensions. The issue includes contributions that explore the aesthetic properties of objects, the indeterminacy of beauty, and the influence of cultural and social factors. The paper concludes by suggesting that beauty remains a significant and evolving concept, central to human experience and artistic expression.

What Is and Could Become Olfactory Aesthetics?

Author(s): Mădălina Diaconu / Language(s): English Issue: 1/2024

Introduction to thematic symposium on olfactory aesthetics in ESPES. The Slovak Journal of Aesthetics, Vol. 13, No. 1 (2024)

Van-e jó tömegművészet?

Author(s): Deodáth Zuh / Language(s): Hungarian Issue: 08/2024

Could mass art be qualitative? The answer to this question is clearly yes. However, even in clear cases, we need to be able to justify them and define the criteria that guarantee the supposed quality of mass art. If this is done, we are still left in a difficult condition. As we shall see, the situation proves to be challenging from a moral point of view, but it would not pose any particular problems from either a theoretical or a functional standpoint. The hardest part is always accepting that something, even though we mostly trade negative taste judgments about it, should be evaluated by essentially the same criteria as something we definitely like. It makes almost no difference to the quality of art whether we create high, popular, or mass forms of it. The complexity of the content is a secondary issue. What matters is always the quality of the relationship between the content expressed and the means of its expression. First, I will try to prove this by alluding to some basic notions introduced by Noël Carroll in the assessment of mass art. Second, I will provide two examples to corroborate the main thesis that high and mass art could be good or bad based on the very same criteria.

THE ROLE OF SPIRITUAL AND FORMAL EFFECTS IN THE PERCEPTION OF EMOTIONAL STATES CONSTITUTING A WORK OF ART

Author(s): Seyhan MERCAN KALAYCI / Language(s): English Issue: 45/2024

The emotional states that constitute a work of art are formed through the effects of a series of rules and regularities that explain the organization of various systems and also form the foundation of a field of study. Emotions, formal pleasures, and spiritual approaches are among the phenomena that develop a theory defining the general definition of art, delineating its boundaries, and identifying the qualities that allow us to label something as a "work of art." Additionally, art is related with the aesthetics of nature and human subjective realities. The emotional sentiments, characterized as reality for the artist and manifested through seeing and understanding, are dependent on the subjects to be addressed in art. Art, an inherent human capability, is essentially a representation of existence. The tangible qualities of natural objects, considered reality for the artist, assist in perceiving and grasping these emotional feelings in art. Furthermore, individually arising emotional states give rise to aesthetic judgment based on both objective and subjective evaluations. The essential qualities inherent in the essence of the artwork are the foundation of artistic existence. The form that aids in the emergence of artistic presence appears as the perceptible reality of any object through our senses. For the artist, the material characteristics in nature bring forth perceptions. Artistic works produced for aesthetic purposes help bring forth the existing emotional states. The artist reflects their artistic expression through a perspective developed from their perception of the dynamics of art, attempting to create artistic forms based on the interaction between everyday objects and the senses. Objects that transport perceived forms into reality and everyday items, in interaction with the senses, aid in creating artworks as a synthesis of spiritual approaches. Cultural, sociopolitical, and economic factors influencing society are among the primary factors affecting the creation of artworks. Additionally, variables related to the artist’s psychological state and societal structure play a role in this transformative process in the production of artworks. Thus, objects that inherently lack artistic meaning interact with each other in the journey of being transformed into artworks by artists. Our research is conducted by examining qualitative data related to the emotional states that constitute a work of art and their perceptual, spiritual, and formal effects. It is believed that this study will contribute to the field of art.