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Rytmus a událost krásy

Author(s): Vlastimil Zuska / Language(s): Czech Issue: 1/2018

This article starts with an exposition of Whitehead’s conception of beauty in his Adventures of Ideas as a quality exemplified in an actual event. On the basis of his distinction between lower and higher forms of beauty we may reasonably infer that beauty, more precisely an experience of beauty, is formed by several nexuses of events, and eventually by a society of events in the special meaning of ‘society’ in Whitehead’s metaphysics – that is, a multiple interconnection of structured contrasts. Comparison of the phases of the constitution of an actual entity, the rhythm in the process of education, and the role of reason in human cognition and behaviour results in the notion of rhythmical interconnection between the ‘horizontal’ and the ‘vertical’ dimensions of the aesthetic experience, in which the vertical means the realized relationship between the affective and the ‘intellectual’ strata of human consciousness, so that the rhythmical interconnection or rhythm of rhythms forms an inherent component of every aesthetic experience, including an event of beauty.

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Odhalování, harmonizace a rytmus bezprostřednosti ve Whiteheadových a Bergsonových úvahách o roli uměleckého díla a povaze estetické zkušenosti

Author(s): Miloš Ševčík / Language(s): Czech Issue: 1/2018

In this essay, the author seeks to demonstrate the remarkable resemblance between the ideas of Alfred North Whitehead and those of Henri Bergson concerning the role of art and aesthetic experience generally in revealing the appearance of immediate experience. The two philosophers agree that this reality is usually concealed from human considerations about practical possibilities of using reality, including considerations about the communicability of the nature of reality. Both men also agree that this revealing has the form of the harmonization of the usual unfocused experience of things and feelings. Nevertheless, in this article the author seeks to demonstrate that harmonization assumes the form of rhythmic arrangement, and art and aesthetic experience therefore generally show immediate reality as rhythm. The fact that immediate experience is rhythm appears, when seen from the standpoint of the conception of Whitehead and Bergson, to be natural, because all reality has the nature of a spectrum of rhythmic movements. By comparing the ideas of the two philosophers, the author aims not only to provide a more precise outline of their thinking on this subject, but also to point out that the similarities of their views enable us to explain them, make them more precise, and to develop them.

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Překonávání dualismu života a umění ve filosofii Johna Deweyho a A. N. Whiteheada

Author(s): Ondřej Dadejík / Language(s): Czech Issue: 1/2018

In this essay the author argues that there is a close compatibility between John Dewey’s social philosophy of art and Alfred North Whitehead’s thinking about the relationship between art and life. First, the author outlines the opposition between isolationism and contextualism as two main tendencies in the field of aesthetic theory. He draws on Melvin Rader’s explanation of the chief difference between the two: an isolationist theory insists that art is distinct or even separate from the rest of life, whereas a contextualist theory maintains the integrality of art and life. The author then argues that both tendencies are implausible if considered separately, and that – despite the manifest conflict between these tendencies – both Dewey and Whitehead were able to use them to good purpose in their theories. In the second part of the essay, the author points out the similarities between Dewey’s and Whitehead’s ideas about the rootedness of art in everyday life, revealing the usually not so apparent contextualist, or social, side of Whitehead’s conception of art. Finally, in the third part, the author argues that we can usefully trace these similarities and convergences to more fundamental parts of the thinking of both philosophers, especially to their critiques of the dualisms inherent in the constitution of modern thought in general.

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Whitehead versus Dewey: O filosofii, rytmu a estetické zkušenosti

Author(s): Martin Kaplický / Language(s): Czech Issue: 1/2018

In their philosophical works Alfred North Whitehead and John Dewey criticize philosophical conceptions that consider the stability of the outer world to be a basic characteristic of reality and conceive of change only as its secondary feature. Both Dewey and Whitehead emphasize that different kinds of process underlie the existence of seemingly stable and unchanging objects. Consequently, both men are considered to be process philosophers. Their philosophical systems harmonize in many respects. It is surprising, then, that in their philosophical writings they rarely mention each other. This article has three main aims. Its first part is a discussion of how and where the two philosophers do in fact refer to each other, and it seeks to show how they reflect on their similarities and differences. We see their strong mutual respect but also criticism. Whitehead claims that Dewey’s philosophy plays it too safe, is not metaphysically bold enough. Dewey has reservations about Whitehead’s ‘eternal object’, which, he argues, seems to bring static idealism into Whitehead’s philosophy. The second part deals with the concept of rhythm as the main ontological principle for both philosophers, and seeks to show that their treatment of this concept is strongly analogical, expressing not the repetition of the same element, but the fusion of order and novelty. The third part of the article seeks to demonstrate that for both philosophers rhythm is not only an ontological principle, but also the basic characteristic of aesthetic experience. This fact gives a strong aesthetic tinge to the philosophical systems of both Whitehead and Dewey.

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Merleau-Ponty jako milník Dufrennova myšlení

Author(s): Felix Borecký / Language(s): Czech Issue: 1/2018

The aim of this article is to outline the relationship between the ideas of Mikel Dufrenne and those of Maurice Merleau-Ponty. Unlike Dufrenne’s work on this distinguished thinker, a Czech translation of which follows in this issue, the author tries to bring out not only the connections (such as their philosophies of perception and their gradual inclination to the philosophy of nature), but differences as well. Considering Dufrenne’s work as a whole, the author focuses on concepts that are exclusively Dufrenne’s, irreducible to the philosophy of Merleau-Ponty, in particular Dufrenne’s three-level theory of knowledge, conception of the a priori, and the superior status of aesthetic experience over other kinds of experience.

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Maurice Merleau-Ponty

Author(s): Mikel Dufrenne / Language(s): Czech Issue: 1/2018

In this essay, Mikel Dufrenne seeks to provide an overall appreciation of the philosophy of Maurice Merleau-Ponty. In particular, he selects the aspects with which he himself works, such as the primacy of perception, corporeality, the endeavour to overcome dualism by means of monism, the philosophy of nature. Nevertheless, the essay casts an interesting light not only on the Merleau-Ponty’s thought (especially his reflections on nature), but also on that of Dufrenne himself.

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W horyzoncie prawdy i piękna – rzeczywistość człowieka w stadium estetycznym w myśli S. Kierkegaarda

Author(s): Kamil Szpilka / Language(s): Polish Issue: 1/2017

Celem artykułu jest próba zaprezentowania najważniejszych cech człowieka w este-tycznym stadium życia w myśli S. Kierkegaarda. Zostały ujawnione trzy osobliwe kwestie wraz z niezbędnym kontekstem dla zrozumienia oryginalności przesłania duńskiego filo-zofa. Esteta kieruje się ku prawdzie, którą Kierkegaard przyjmuje jako prawdę subiektyw-ną, prawdę osoby w sensie egzystencjalnym, trudną do wyrażenia i przekazania drugiemu. Głównym celem estety jest piękno, któremu Kierkegaard nadał wymiar dialektyczny. Ostatnim akcentem tego artykułu jest wskazanie na dialogową strukturę zmysłowego i duchowego uwodzenia, któremu poddawany jest esteta.

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YAŞAMDAN SANATA, SANATTAN YAŞAMA AKIMLAR

Author(s): Şule Altay,A. Feyza Özgündoğdu / Language(s): Turkish Issue: 16/2017

Today, where scientific and technological developments push yesterday's imaginary boundaries in terms of their qualities; and where they have reached an unfollowable speed and diversity in terms of quantity, quality of life of the individual and the society are shaped as well, design and art formations create themselves in the frame of various quests. Innovations continue their existence by mutually interacting with the theoretical, philosophical, aesthetic approaches of the age and intellectual accumulation. Therefore, these objects which form an organic unity are far famed by the conclusions, findings and products which are presented in these implementation and sharing fields. In this article entitled "Currents from life to art and from art to life", the new form of search, production and expression has been described as an alternative to the production culture of the century in which we have lived in today's concept of art and design. Within the subject; Minimalism, which can be described as a defense against the modern taste of industrialized technology reflected in the artistry, but that is based on the philosophy of Zen and Zero Waste Life, which can be described as a defense to the lifestyle and consequences that the consumer culturally makes at every economic and social level the "fast consumer", Art&Crafts Movement, which is evidenced by the argument that "design and life are corrupted in life", and Do It Yourself and Maker Movements which are the appearance of this understanding in today's parallel are handled by means of supporting by sociological, design and artistic determination and evidences.

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The Aesthetic Idea as the Essence of the Aesthetic

Author(s): James Kirwan / Language(s): English Issue: 1/2018

This paper suggests that Kant’s concept of the ‘aesthetic idea’ is a useful starting point for understanding the nature of aesthetic experience once we reject the formalist interpretation that Kant gives to the relationship between those ideas and that experience.

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The Incongruity of Incongruity Theories of Humor

Author(s): Tomáš Kulka / Language(s): English Issue: 3/2007

The article critically reviews the Incongruity Theory of Humor reaching the conclusion that it has to be essentially restructured. Leaving aside the question of scope, it is shown that the theory is inadequate even for those cases for which it is thought to be especially well suited – that it cannot account either for the pleasurable effect of jokes or for aesthetic pleasure. I argue that it is the resolution of the incongruity rather than its mere apprehension, which is that source of the amusement or aesthetic delight. Once the theory is thus restructured, the Superiority Theory of Humor and the Relief Theory can be seen as supplementary to it.

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What is at Stake in Everyday Aesthetics? Looking for a New Perspective on Aesthetic Experience

Author(s): Margus Vihalem / Language(s): English Issue: 03+04/2016

In this article, I intend to examine the concept of aesthetic experience. More specifically, the concept of aesthetic experience is examined from the viewpoint of everyday aesthetics. In order to evaluate the concept of aesthetic experience in this regard, I will first turn to John Dewey, who offers an inspiring but certainly not conclusive examination of aesthetic experience. Next, I will consider some more recent approaches in order to see how the concept of aesthetic experience has been taken into account in the context of everyday aesthetics. However, by avoiding reducing aesthetic experience to what has been traditionally considered aesthetic appreciation, i.e. to a set of established aesthetic values, I intend to show that aesthetic experience is not so much about appreciating and judging as about living through, both actively and passively, certain processes of our everyday life-world. By including multiple aesthetic experiences, irreducible to any universally acknowledged faculty or transcending set of values, everyday aesthetics contributes to examining life from the aesthetic point of view.

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Mis on kaalul argiesteetikas? Otsides uut vaateviisi esteetilisele kogemusele

Author(s): Margus Vihalem / Language(s): Estonian Issue: 03+04/2016

Artikkel käsitleb esteetilise kogemuse mõistet argiesteetika vaatepunktist. Kas esteetilise kogemuse mõiste rakendamine argiesteetika kontekstis võiks aidata paremini mõista seda, mis on kaalul argiesteetikas? Esteetilise kogemuse rakendatavuse hindamiseks pöördume esmalt John Dewey poole, kes pakub huvitava, kuigi kindlasti mitte põhjaliku käsitluse esteetilise kogemuse loomusest ja selle seostest argikogemusega.

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Kunstiteose tõlgendamine ja hindamine: filosoofiline suhteanalüüs

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Kunstiteose tõlgendamine ja hindamine: filosoofiline suhteanalüüs

Author(s): Marek Volt,Kristiina Reidolv / Language(s): Estonian Issue: 03+04/2017

Artikkel käsitleb kunsti tõlgendamise ja hindamise seost. Esmalt analüüsitakse tõlgenduse instrumentaalset rolli hindamise suhtes ning tõlgendust hinnangu kvaliteedi näitajana, seejärel tõlgenduskeskseid väärtusmarkerid ja tõlgenduskategooria staatuse mõju kunstiteose hindamisele. Teiseks analüüsitakse hinnangu rolli tõlgendamise suhtes, mis avaldab eelkõige tõlgendusobjekti ja väärtust maksimeeriva tõlgenduse valimises.

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Interpretation and Evaluation of a Work of Art: A Philosophical Analysis

Author(s): Marek Volt,Kristiina Reidolv / Language(s): English Issue: 03+04/2017

The focal point of this article is the relation between ‘interpretation’ and ‘evaluation’. Firstly, the relation between interpretation and evaluation is analysed in terms of interpretation (how the interpretation of a work of art defines the evaluation of a work of art), and then the relation is considered from the viewpoint of evaluation. Origin is differentiated as semantic and categorical interpretation, evaluation as determining/ascertaining value and evaluation as esteeming.

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Koncept filozofie umenia a estetiky umenia S. K. Langerovej

Author(s): Jana Sošková / Language(s): Slovak Issue: 2/2015

Based on the analyze of S. K. Langer ́s work, the author points out to her philosophical thinking principles that became the basis of her art concept. This American woman philosopher forms one of the American aesthetics posts. The author is going to depict the connections between Langer ́s philosophy of art and her „aesthetics of art“ , being conceptually completed by her students, e. g. N. Goodman, A. C. Danto and others. The author is also going to pay a special attention to Langer ́s understanding of meaning in comparison with E. Cassirer, L. Wittgenstein, Ch. S. Peirce and A. N. Whitehead, who formed the theoretical background of her considerations. Towards the end itself, the author is going to show the possibilities of Langer ́s aesthetics applied on the 20th century art.

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K Schopenhauerovej teórii génia a morálky v kontexte s učením Jaroslava Duška

Author(s): Štefan Haško / Language(s): Slovak Issue: 1/2014

The aim of the submitted paper is the naming of some (potential) connotations among Schopenhauer’s model of disinterestedness, draught in his aesthetical and ethical theory and predominantly Toltec teaching of Jaroslav Dušek. Schopenhauer’s concept of art or his explanation of purposeless and non-utilitarian production of the genius that corresponds with Dušek’s perception (but even practical realization) of so-called synchronicity that satisfies thematic background of the introductory part. I focus my attention on the common reasoning of the reflections of both thinkers in ethical questions in the second part. I put the context of Toltec compliment and persuasion “You are my other I” (“In Lak’ech”) explained by Dušek into the context with Schopenhauer’s arguments for the elimination of the egoism, thus, with the topic of identity of inner essence of all the living.

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Životaschopnosť jedného prístupu. Poznámky ku kantovskej línii interpretácie kategórie vznešeného (pokračovanie)

Author(s): Adrián Kvokačka / Language(s): Slovak Issue: 1/2013

To elaborate the intention of previous contribution, this paper opens again the problem of reception of Kant's definition of the category sublime. Variations which perform Schopenhauer, Nietzsche and Adorno represent some innovative approaches. Bridging the history of this aesthetic category in the 20th century in theirs thinking, represents functionality of the sublime, which we observe through the transformations in artistic and aesthetic discourse and which encourages us to an contemporary revaluation of this concept.

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Estetické myslenie na Slovensku v rokoch 1890 – 1949 v kontexte európskej a stredoeurópskej estetiky (správa z konferencie)

Author(s): Lenka Bandurová / Language(s): Slovak Issue: 1/2013

Aesthetic Thinking in Slovakia in the Years 1890-1949 in the Context of European and Central European Aesthetics (conference report)

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Špecifiká kultúrneho a spoločenského vývoja východného Slovenska (správa z konferencie)

Author(s): Adrian Džugan / Language(s): Slovak Issue: 1/2013

Specifics of Cultural and Social Development of Eastern Slovakia (conference report)

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РУКОПИСЬ. ПРОБЛЕМА ДУХОВНОЙ КРАСОТЫ (1950-1955)

Author(s): VASILY SESEMANN / Language(s): Russian Issue: 2/2018

The text of The Problem of Spiritual Beauty belongs to Sesemann’s manuscript collection, located at the Vilnius University (F122-85). The text was written by Sesemann during the time of his imprisonment in the Gulag labor camp in Taishet (Irkutsk region). Being in the camp, Sesemann used to teach western philosophy and aesthetics to other prisoners. Sesemann devotes the manuscript of The Problem of Spiritual Beauty to reflection on the circumstances which make the aesthetic contemplation of the moral qualities possible. According to Sesemann, spiritual beauty is possible not only in the ethical field, but it also manifests itself in intellectual constructions. Ethical actions and products of human thinking are not the same, but both of them can be of the aesthetic value. All of them require the conditions for sensual presentation and realization in the specific situations. Ideas must be sensually expressed in order to acquire aesthetic value. Sesemann emphasizes two following points with respect to the aesthetics of ethical behavior. First of all, the reference is made not to general judgments about beauty, but to individual experiencing of a particular situation. Secondly, aesthetic experiencing is provoked by the actions, which astonish by their spontaneity, clarity and timeliness in a concrete situation.

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