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Review of: Вenedeto Кrоčе, »Estetika«. preveo: Dr. Dinko Vitezica, Beograd. »Kosmos«, 1934.
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Review of: Вenedeto Кrоčе, »Estetika«. preveo: Dr. Dinko Vitezica, Beograd. »Kosmos«, 1934.
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Decembra 1930 navršilo se je sto godina od smrti Benžamena Konstana, ≫oca parlamentarnog liberalizma i psihološkog romana ≪, kako ga nazva jedan njegov skorašnji biograf.
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Много се говорило и писало о Хегелу поводом стогодишњице његове смрти. Ријетки су филозофи изазвали толико удивљења и обожавања, али и толико презира и директне мржње, колико Хегел. Па и сами његови сљедбеници кренули су двама потпуно опречним правцима; како је по- знато, десница је отишла идеалистичким смјером, док је љевица запала чак у материјализам и натурализам.
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Diskusije i polemike o književnim pitanjima potrebnije su kod nas nego igdje, i zato sam uvijek bio za njih; ali uz jedan uslov: da se diskutuje i polemiše lojalno i s poznavanjem problema. Ove odlike nikako ne pokazuje članak G. Kerubina Šegvića: ≫Je li Preradović bio pjesnik?≪ (≫Hrvatska revija≪, broj 1. za godinu 1932)*).
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Part of a more extended study on kitsch, the present article investigates the (anti)aesthetic features of kitsch, as portrayed by various theoreticians (Clement Greenberg, Matei Călinescu, Thomas Kulka, Hermann Broch, etc.). Thus, the patterns of imitation and repetition of clichés, the producer’s mercantilism, the failed artistic dialogue with the consumer, the predilection for edulcorated themes are a few of these traits. As opposed to Art, Kitsch generates a surrogate for aesthetic experience, consolidating, but not enriching user’s perspectives on reality. Moreover, a sign of kitsch’s aesthetic deficiencies is its anesthetic effects on a public trained to consume fake art.
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Posthuman aesthetics leads to a decentering of the human and shows aspects of existence that are no longer contained in the categories and dichotomies that define the essence of the human being. But because all aesthetic involves human experience, a posthuman conception also needs to develop its own idea of the human being. The essay shows that the posthuman human can emerge along the lines of three categorical distinctions to the traditional idea of the human. It can emerge in the animal, which is similar to, but also fundamentally different from the human being; in the angelic which transcends the ordinary human in a powerful and joyful way; and in the demonic which overcomes human experience in a transgressive and potentially terrifying way. The essay follows Nietzsche’s Thus Spoke Zarathustra in which these dimensions of existence are described as a new, alien and ecstatic way of being human.
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In this analysis, Donika Dabishevci’s poetry is discussed, which communicates with the reader through primordial signs of love. This kind of communication is not only defiant but scandalous for two reasons: first, because of the extreme erotism; second, the gynocentric articulation. So, not only for what and how the poet says it, but even because it is said by a female, by a woman. While the motives and style are artistic and cultural choices, the positioning of the speaker’s voice is constructed on biological and natural grounds. Through the structure of oneiric signage, the poet disturbs, experiments, and rejects schemes and standards in language, literature, and society.
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Ledia Dushi is one of female poets who had started poetry early, when she was still quite young. For the sake of the truth, and the results by general reflections on this group and particularly on Ledia, we distinguish that the latter is guided by another literary and aesthetically object, driven by lesser socially and family matters, lesser demands of freedom, and does not demonstrate revolt that comes from an inferior condition. Ledia seems to have the freedom, too, that she has finished within herself in the most discreet and personal way that gender revolution, started historically from the Albanian women since 1940.
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This article follows from the previously published paper and pertains to a distinctive phenomenological analysis of the structure/form and the production of the modality of miniature/illumination/pictorial representation, namely the productive-reflective orientation of homo islamicus with a separate analysis of his profanely-aestheticized discourse of action/arrangement/design.. A particular attention is paid to the paradigm of reduction, i.e. to a possible transformation of the cognitive and productive-reflective orientation by means of denaturalization/ stylization, as well as to the analysis of the status of homo islamicus's paradigmatic and predefined position within both the profane-cognitive and recognitive-sacral production. The characterization of his work and his fulfillment of religious life within the aesteticized discourse of qadar/ṣināʿat was also used to discuss the opposition to the occidental academic approach/understanding, imposed by the inappropriate need to reduce any form of creative action to common Western denominators. Substance of the emergence of creative action is theoretically elaborated by means of the cognitive discourse of qadar/ṣināʿat, together with activating figurality on the idea of the closed concept of the collaborative-cognitive practice. The expansion of theoretical discourse allowed the presence of a new view on the religious-aesthetic philosophy and associated terms, respecting the specifics deriving from the basic traditional interpretations of the Islamic forms of aestheticized orientation. This brief analysis is intended to initiate a discussion on the issues of theoretical and historical other part of the „history of arts“ and „artistic production“ in the critical framework of both occidental and Islamic attitudes/views. This brief analysis is intended to initiate a discussion on the issues of theoretical and historical other part of the „history of arts“ and „artistic production“ in the critical framework of both occidental and Islamic attitudes/views. At the same time, it will contribute to a possible fundamental discourse for defining the expression homo islamicus's Islamic creative action' as an academic field within a broader discipline entitled as the „history of arts“.
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This text deals with the relationships between the phenomenalizations of hand and engraving art, especially against the background of Gaston Bachelard’s philosophical commentaries on the works of Albert Flocon. Special space is devoted to the interpretation of Flocon’s engraving of two hands in connection with Escher’s similar lithography. Another thematic field is the role of the tool and the hand equipped with the tool. However, the central axis of this thinking is the interconnection or intertwining of body and matter, the interactive relationship between human being and matter, between visual observation and dynamic haptics, which require a certain force and thus also experience the back pressure of matter. The conclusion of the text draws attention to a specific engraving, such as writing, especially the writing of a philosophical text, as we read about it in Bachelard’s book The Flame of a Candle, the last word of which is—surprisingly—engraving.
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The article presents a phenomenological investigation of body and music, with particular emphasis on electronic music. The investigation builds on theoretical framework developed in phenomenological investigations in art by Edmund Husserl, Mikel Dufrenne and Roman Ingarden. It is guided beyond these analyses by investigations of particular musical examples in avant-garde acoustic and electronic music. In the former case it tackles music from which body is being consciously erased. In the latter case, the erasure occurs instantly. This negative approach elucidates the function of body in music. In case of electronic music, the article focuses on writings and music of pioneer of musique concrète, Pierre Schaeffer. Central argument is that electronic music always has been and still is defined by absence of body, here phenomenologically considered as Leib. As a consequence of the phenomenological elucidation, it is ultimately shown that erasure of body has been one of the avant-garde music’s crucial techniques, and that this avant-garde residue remains in electronic music as such, both experimental and mainstream.
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Nous nous intéresserons, dans cet article, à la question du vide qui structure l'ensemble de l’œuvre de Sofia Coppola. Thématique centrale des films de la réalisatrice de Lost in translation, le vide est aussi un élément esthétique important. Nous aborderons, dans un premier temps, cette problématique sous un angle essentiellement thématique avant de nous intéresser au traitement de l'espace comme métaphore des troubles émotionnels des personnages. Il s'agira ici de montrer qu'il y a, chez la cinéaste, une véritable forme-sens, que la représentation des états d'âme des individus ou de la vacuité du monde est intrinsèquement liée à l'espace.
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Review of: Berin Bajrić, Mnemopoetika sufijskog pjesnika: Intertekstualnost i kulturno pamćenje u poeziji šejha Salahija Uššakija Bošnjaka, Orijentalni institut, Sarajevo 2019, 207 pgs. Reviewed by: Mirza Sarajkić.
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I formulate style as “compensatory triangles,” describing how naïve depictions get rebalanced by “pictorial techniques” to compensate for information loss and interference from their medium. I also formulate the information lost, perhaps because of interference, when translating between styles. The formulations may be helpful in teaching. They, and proposals for further mathematisation related to deep-learning style transfer, are inspired by category theory and a relational view of art.
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Pseudo-profound language is a stylistic means in many different contexts, like advertising, politics, economics, or even science. Contemporary visual art is notoriously known for its variant: artspeak. We develop a syntactical analysis and show how artspeak is constructed. We point out that it is “evocative” bullshit in that it aims at contextualizing art with traditional art myths (i.e., artists are, among other adjectives, autonomous, critical, or free). Furthermore, we argue that artspeak should be regarded as a particular type of bullshit as it features a unique relation to truth.
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The NFT art world is a mixture of late capitalism and populist aesthetics in which any idea of an “adequate artistic expression” has become increasingly difficult. Beeple’s digital artwork “Everydays: The First 5,000 Days” sold for $69.3. Twobadour, one of the two buyers of the work, thinks that work “is going to be a billion-dollar piece someday.” Until recently, “art” as a vague institution could still provide some landmarks about the ‘how’ of art and the discourse attached to it. Galleries and museums played a role in promotion, which sparked debates, both public and elitist. Curators, who are generally excluded from the financial craze, functioned as gatekeepers. Once NFTs are introduced into a highly speculative art market, any notion of aesthetic “truth” becomes dysfunctional. Authenticity emerges from the Enlightenment tradition for which being authentic meant to be free and autonomous. In the twenty-first century, authenticity needed to be installed in nonmateriality, and NFTs are the latest result of this process. Dematerialization means despatialization. The digitized version of a work is authentic, but authentic has here a meaning different from what it was before. The shift goes hand in hand with the reissuing of authenticity as a highly abstract category that is common in the twenty-first century.
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Moral grandstanding contravenes the aims of ethics in the same way that kitch contravenes the aims of art and bullshit violates the aims of justifiable assertion. Using the work of Harry Frankfurt on bullshit, Tomas Kulka on kitsch, and Justin Tosi and Brandon Warke on grandstanding, this paper will explore the parallels among these transgressions.
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This paper discusses the problem of knowledge’s indeterminacy with an account of the sophists and bullshit artists. I analyze bullshit as a default, after which I look at the sophists and bullshit artists to subsequently discuss caring about mystery, art, and bullshit (nonsense and madness). The analysis mostly looks at Plato’s account of sophistry while supplementing it with others. I use Bernard Stiegler’s phenomenology to explore the different modes and applications of the term bullshit (nonsense, madness, etc.), understood existentially as a default of being, rather than propositional truth, to show the specific relation between bullshit, techne qua abstraction, and the living experience of indemonstrability, i.e., mystery. The specific relation between aletheia and bullshit artists and sophists will turn out to be their complex ability to appeal to emotion abstractly through concealment and disclosure. Bullshit and art inherently share an ontological unprovability. They can transform the mysterious into mystification through formulae, a lack of care for meaningful critique. We can be initiated into a practice that disregards usefulness, such as art, via mystagogy.
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In this paper, I use the work of Harry Frankfurt and Jason Stanley to explain why bullshit works so effectively, especially in politics. I use Stanley's conceptions of knowledge-how to posit a theory of communication, as well as the roles of communication and how communication is received. I elaborate on bullshit as concept, and how it is communicated in a way to garner the trust of the listener through convincing performance and aesthetic.
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This article analyzes the constructive and speculative forms of bullshitting in the art field through the etchings of G. B. Piranesi. In reviewing the historical context and the allegorical and technical aspects of his etchings compared to H. Frankfurt’s definition of bullshit, the study contends these artworks’ propositional and unique rhetorical languages. Consequently, it explores a potential form of bullshit art that is manipulative and fictional but also constructively critical.
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