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In regard to the truth-claim of art, Kant’s theory takes a strong stance. He declares outright that the aesthetic judgment is not cognitive and that, there- fore, matters of art and matters of knowledge must not be confused. This is one of the legacies of Kant’s aesthetics that turned out to be one of the greatest Gadamer’s objects of contention in the tradition of philosophical thought on art from then on.
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The search for mathematical relationships in musical compositions are often studied. There are many musical compositions, in which the composer consciously used mathematical knowledge during their composing. The search for mathematical dependence in music could be called “mathematization of music”. Can we use math to music illustration of mathematical objects? The problem of using music to math illustration is analyzed in this article and the aim of the article is to present some mathematical structures consciously used in the compositions by Iannis Xenakis. His work is an excellent example of the connection of mathematics with music. There are described stochastic processes and probability theory, group theory, game theory, and Brownian motion and Markov chains. Music of Xenakis opposed any tradition in music by using mathematical modeling in it. It was unpredictable, but not accidental. There is also about the creative process when composing music and about mathematical order in musical works, as well as aesthetic and artistic values. This article facilitates the perception of Xenakis music and enables to understand his work better.
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My work is an analysis of temporality in the cinematographic art of the 20-th century Hong Kong. More precisely it reflects on some of the movies made by Wong Kar Wai, in which the time plays a special, or main part. I try to grab the concept of temporality trough the time-image philosophy of Gilles Deleuze in the Wong films, which appears mainly as interruptions, decelerations, or images held on screen for longer periods of time.
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»U svakoj epohi mora se pokušati predaju iznova preoteti konformizmu, koji je pokušava nadvladati.«i Konformizam je fenomen bogat facetama. U području odnošenja spram tradicije on se prije svega sastoji u predodžbi da nam je cjelokupnost predaje u svakom trenutku neograničeno dostupna. Predodžba koja u doba interneta kao da zadobiva gotovo već neosporivu plauzibilnost. Svejedno, pratimo li Benjaminovu tezu O pojmu povijesti, ona je zabluda, jer promašuje ono što bavljenje prošlošću čini značajnim za dotičnu sadašnjost: mogućnost da se prepoznamo u njoj. Konformizam ima mnogo lica, jedno od njih je pozitivizam. U literaturi o avangardi neko vrijeme već se može pratiti tendencija da se pojmovno-strateškim zahvatima stvar 0 kojoj se radi dovede do iščezavanja. Postupak se sastoji u tome da se posebnost avangarde neprepoznatljivom učini time da se razlika između djelatno-orijentirane moderne i jednog pokreta koji instituciju umjetnosti radikalno stavlja u pitanje poravna uz pomoć formule »avant-gardes and/or modernism«. No, oduvijek je postojao neodređen pojam koji avangardu izjednačuje s najnovijim razvojem umjetničke moderne. Ali uz to od Teorije avangarde iz 1974. postoji specifičan pojam, koji, naravno, možemo odbiti; ali to bi se moralo dogoditi argumentirano. Formula avantgarde/modernism na njeno mjesto, međutim, stavlja samo semantičko pražnjenje pojma. [...]
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Što je filozofija filma? Filozofija filma pojavljuje se s pokretnim zvučnim slikama. Za definiciju ove teme nije dovoljno akademsko i mehaničko iskustvo. Pokretna slika stvara forme na ekranu i kinematografske uvjete za stvari koje postoje izvan ovih formi. Forme temeljene na ekranu omogućavaju svakodnevni medij za učitavanje informacija, komunikaciju, razonodu i zabavu. Film, televizija, internetske platforme, pohranjivanje podataka, ekrani za igre, mobilni ekrani te umjetničke i nekomercijalne forme povezane s ekranima materijaliziraju pitanja i zamisli sadržaja proizvedenog u njihovom vlastitom mediju te u posredovanju sadržaja koje one proizvode: globalne vijesti, sportski događaji, svijet prirode, izmišljeni svjetovi i tako dalje. Bilo da su komercijalne ili alternativne, sve ove forme prolaze kroz posredničke distribucijske mreže (svakojake zajednice, ljudske i neljudske) i proizvode razne vrste oblika znanja. Nadalje, sadržaj temeljen za ekranu - ideje, povijesti, empirijski podaci - stvaraju drugačije vrste kinematografskih uvjeta. Bavljenje s ovim žargonom ekrana u akademskom kontekstu od praktičara filozofije filma zahtijeva ne samo iskustvo, govorenje i pisanje o formama ekrana kao pasivnih promatrača, već i svijest o njihovom sudjelovanju u kulturama ekrana i posredovanju ovih kultura putem distribucijskih mreža. Ono što je dostupno praktičarima odredit će vrstu konceptualizacije koju imaju o nekom pitanju. Forme ekrana stoga su problematični i složeni mediji koji formatiraju i postavljaju izazove percepcijskim sposobnostima sudionika. U ovoj su knjizi predstavljeni tekstovi mislioca angažiranih u procesu i koncipiranju kinematografskih vrijednosti i diskursa, kako oni shvaćaju i razvijaju filozofske i teorijske koncepcije. [...]
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Na jednom mjestu Walter Benjamin (2005) u vezi Franza Kafke rekao je da se »nijedan pisac nije tako točno držao onoga: ‘Ne smiješ učiniti sliku sebe’« (str. 808). Ako prihvatimo Benjaminov sud o Kafki, onda bi pokušaj da se Kafkino djelo Proces prikaže u formi pokretnih slika, kao što je to učinio Orson Welles u svojoj adaptaciji Procesa, ukazivao na suštinsko nerazumijevanje Kafki na djela. Međutim, ako ostanemo na ovome, ne samo da bismo zakinuli Wellesovu adaptaciju, već i bitne nijanse u Benjaminovoj izjavi sadržane u teoriji jezika, kao i sliku iz ranijeg teksta koja je razvidna u njegovom čitanju Kafke. Druga zapovijed stipulira nemogućnost pozitivnog prikazivanja Boga, a svi pokušaji vizualnog opisivanja totaliteta njegova postojanja bile bi puke obmane. Ovo pomanjkanje smislenog totaliteta opisano u Kafkinom djelu, omogućilo je Benjaminu da kaže kako je Kafka poštivao drugu zapovijed (čini se da je Benjamin također govorio 0 odbacivanju »estetičke totalizacije slike« [Menninghaus, 1985, str. 159]). [...]
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U naslovljenom radu autor će istražiti dosege i ispreplitanja triju pojmova koje možemo smatrati utemeljenjem pojma hiperrealnosti. Simulacija, simulakrum i spektakl čine trijadu suvremene kritike društva i kulture u doba slike, doba slike svijeta napose. Sve što se stvarno proživljavalo udaljilo se u predmet potrošnje, a kako vremena istinski više nema, potrošnja je sama svedena na zabilježbu (reciklažu) stvarnosti kao ekstaze iskustva, oblikovanja života kao jednog od ponuđenih stilova realiziranja vlastitog kraja. Dakle, oblikovanja kao estetiziranja u kojem potrošnja postaje estetskim iskustvom u kojem je predodžba umjetnosti samo jedan oblik anesteziranja (ne)postojanja. Doba slike svijeta znači jedno specifično oblikovanje. No, osim ovog već općeg mjesta koje je opisao Heidegger u istoimenom eseju, a s iskustvom totalne mobilizacije digitalne tehnologije kao glavnog kreatora sadržaja života, prisiljeni smo pitati o dobu koje dolazi. Post-digitalna stvarnost upravo je doba u kojem stvarno više nema odlike temelja, već se ono pokazuje kao proizvod, predmet estetskog iskustva u vremenu nestvarnosti integralne slike-svijeta. Odatle nam odzvanja Baudrillardova teza o totalnoj umjetnosti; ona je posvuda, naime, jer je upravo izvještačenost u srcu stvarnosti. [...]
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Snažan učinak tehnološkog napretka dovodi do preobrazbe ontološkog modela shvaćanja čovjeka. Od promjene načina na koji se odvija interakcija u zajednici, načina djelovanja za koje čovjek svakodnevno koristi hi-tech uređaje i djelovanja u kojima se posredstvom tehnologije nadilaze i proširuju čovjekovi potencijali, pa do promjene u samoj biološkoj strukturi čovjeka. Upravo uz sveprisutnu integraciju čovjeka i tehnologije vezana je pojava transhumanizama, misaonog usmjerenja ili pokreta koji nastoji prevrednovati tradicionalni koncept ljudskog bića. S obzirom na poteškoće koje se javljaju pri podrobnijem objašnjenju i određenju njegovih obilježja, što zbog kompleksnosti teme, a što zbog ekvivočnosti teoretičara koji se njime bave, izaziva predmetnu i metodološku konfuziju. Za ispravno shvaćanje potrebno ga je razlučiti od drugog i donekle srodnog i sličnog, ali ipak bitno drugačijeg pojma - posthumanizma. Oba pojma tvore vrlo vividna teorijska područja nastala kasnih 80-ih i ranih 90-ih godina prošlog stoljeća. Za svoje polazište imaju preinake u poimanju čovjeka uslijed biotehnologijskog razvoja, a bave se preispitivanjem onto-epistemologijskih okvira unutar kojih se razumijeva suvremena čovjekova bit. [...]
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If aesthetic and teleological judgments are equally reflective, then it can be argued that such judgments can be applied concurrently to digital objects, specifically those that are products of the rapidly developing sophisticated forms of artificial intelligence (AI). Evidence of the aesthetic effects of technological development are observable in more than just experienceable objects; rooted in inscrutable machine learning, AI’s complexity is a problem when it is presented as an aesthetic authority, particularly when it comes to automated curatorial practice or as a progressively determinative aesthetic force originating in an independent agency that is internally self-consistent.Rooted in theories of the post-digital and the New Aesthetic, this paper examines emerging new forms of art and aesthetic experiences that appear to reveal these capabilities of AI. While the most advanced forms of AI barely qualify for a ‘soft’ description at this point, it appears inevitable that a ‘hard’ form of AI is in the future. Increased forms of technological automation obscure the increasingly real possibility of genuine products of the imagination and the creativity of autonomous digital agencies as independent algorithmic entities, but such obfuscation is likely to fade away under the evolutionary pressures of technological development. It’s impossible to predict the aesthetic products of AI at this stage but, if the development of AI is teleological, then it might be possible to predict some of the foreseeable associated aesthetic problems.
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The thinking power of Homo sapiens made human beings the lord of all creation. The ability to reason is also the premise of human existence. We, however, now know that this is not confined only to human but to Artificial Intelligence. Over the history of humankind, human beings have attempted to create an immortal being that could surpass their abilities and complements their inferiorities. We are making something immortal and transcendent, which are different properties from our own. Artificial Intelligence may be able to evolve on its own like humans have been doing. As a kind of numerical being, humans are able to be omnipresent with the technology provided. This new kind of existence makes us think about and see things differently. Humans are attempting to create ‘beings’ that can generate art, take care of weak human beings, talk and discuss human issues, and even fall in love with humans. As our minds can run beyond the boundaries created by our body limitations, we would like to infuse our creativity into AI that might evolve from its original state. Similar to what Prometheus did, humans are attempting to share their legacy with another existence. Recently a research team from Rutgers University in New Jersey proposed a system named CAN: Creative Adversarial Networks for generating art with creative characteristics. The team demonstrated a realization of this system based on a novel, creative adversarial network. Their proposed system possesses the ability to produce novel artworks which make people believe human artists produced them. The data the team proposes proves that AI now attempts to do something considered as a creative activity. With this research, the definition of art should be reconsidered. Since the Fountain(1917) by Duchamp, open concepts toward artworks have been embraced by many artists and their colleagues. However, it is time to contemplate the new phase. When we regard something as artwork, should it be created, selected, and combined by human beings? Is it possible that the thing that is accepted as artwork by people can be art? This paper seeks to propose several opinions regarding these questions.
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Presupposing artificial intelligence (AI) is an ‘intellectual subject’ rather than merely a product of complex operation is a prerequisite to discussing how AI and human intelligence inherently understand time and space. This article argues that AI as an intellectual subject and human intelligence have their respective origins and connotations, and different intelligent characteristics also lead to the difference between them in the way of inherently understanding time and space; different inherent understandings of time and space and whether to think with time and space as an ‘object’ are the underlying differences between AI and human intelligence. Meanwhile, so far AI is unable to process space-time issues by means of ‘non-objectification’.
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The article examines the ramifications of documentary discourse. The approach is formulated to give a voice to interdisciplinary research on documentary. The emphasis on the close analysis of extracts and larger documentary entities will bring a new level to this meeting of various aspirations. It gives the possibility to create a heightened sensitivity of matters of analysis that covers similarities and differences, as well as causal and empirical reflections. The aim is to create a web of associations for these perspectives and perceive a wider approach on documentary in order to argue that the meaningful appropriation of various tendencies in documentary studies requires sufficient correspondence and dialogical proneness for an understanding of the conceptual, formal and aesthetic legitimacy of this phenomenon.
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The article presents the socio-cultural research on interactions between the Argentinian tango dance and cinematography. The author analyzes reasons why screenwriters and directors show a big interest in tango music and dance. Research unveils the evolution of tango representation in cinematography since the earliest sound films until the twenty-first century. Of particular interest are films with tango scripts and tango performances (Tango bar; Tangos, the Exile of Gardel; Tango; The Tango Lesson; Moulin Rouge). Also, the reasons why tango in cinematography is often associated with gangsters, criminals and prisons is analyzed (Naked tango; Chicago; Assassination tango; Tango libre). Tango dance and music are perceived as particularly appropriate to express feelings of love, passion, jealousy, and to visualize freedom and death. Therefore, tango music and dance is considered an important and perspective topic of cinematography.
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The article considers the “sociology of exceptionality” of the contemporary French art sociologist Natalie Heinich, who corrected, developed and widely applied the sociology of the artistic field elaborated by P. Bourdieu during the 19th century. She pays much attention to the formation of an autonomous artistic field and the social institutes connected with the artist’s identity and status. She explores exhaustively these aspects against a wide historical background.
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Gimė 1960 m. vasario 20 d. Kaune. Mokėsi M. K. Čiurlionio vidurinėje meno mokykloje. 1979 1984 m. studijavo grafiką Valstybiniame dailės institute, kur, paties dailininko prisipažinimu, stipriausią poveikį jam turėjo L. Lazauskas, A. Kmieliauskas, itin malonu buvo bendrauti su A. Švėgžda. Diplominis darbas - iliustracijos V. Miliūno knygelei „Linksmos pasakaitės". 1985 m. dirbo Klaipėdoje Dailės kombinate, 1986-1988 m. tarnavo Sovietinėje kariuomenėje. Grįžęs iš jos, piešė, raižė ofortus, tapė, bendradarbiavo su leidykla „Vyturys". 1989 m. režisieriaus Gintaro Varno „Šėpos teatrui" sukūrė lėles ir dekoracijas. 1990-1991 m. rudenį žiemą slapta ruošė atsarginio lito banknoto projektą. [...]
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The article describes what kind of visual elements can be found in present-day theatre, classifies them, and analyses visuality in theatre art. The author makes a semiotic scheme of possible visual components in the theatre at the turn of the 20th and 21st century. The article states how important visuality is in postmodern theatre art, and which tendencies it faces in Lithuania, how visual components correlate with words, sounds and music, and how these components are created.
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During his career as an opera scenery painter, the Lithuanian artist L. Truikys ardently looked for an organic synthesis of image and music. In this search he relied much on Eastern symbolism and aesthetics. He believed that the dramaturgy of opera gives an excellent opportunity for the synthesis of various arts.
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Humanistic studies of the 20th century have expanded the theory of metaphor into different fields like historiography, narratology, culture studies, etc. What are the possibilities for applying the theory to studies of the visual and performing arts, and theatre in particular? The article deals with the issue, introducing R. Jakobson’s theory, the idea of cognitive value of metaphor, and P. Ricoeur’s hermeneutic principles as different theoretical attitudes towards metaphor. Different perspectives expose different ways of perceiving the metaphorical structures of mise-en-scéne and distinct qualities of what can be called the “stage metaphor”. Thus, the means of integrating different stage systems, the forms of representation and the relation of performance text to cultural context can be investigated, invoking the key concept of metaphor. The theory of metaphor is also an effective way to locate and to interpret particular historical theatrical processes, such as for example the productions of the representatives of Lithuanian metaphorical theatre: J. Jurašas, E. Nekrošius, J. Vaitkus.
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Humanistic studies of the 20th century have expanded the theory of metaphor into different fields like historiography, narratology, culture studies, etc. What are the possibilities for applying the theory to studies of the visual and performing arts, and theatre in particular? The article deals with the issue, introducing R. Jakobson’s theory, the idea of cognitive value of metaphor, and P. Ricoeur’s hermeneutic principles as different theoretical attitudes towards metaphor. Different perspectives expose different ways of perceiving the metaphorical structures of mise-en-scéne and distinct qualities of what can be called the “stage metaphor”. Thus, the means of integrating different stage systems, the forms of representation and the relation of performance text to cultural context can be investigated, invoking the key concept of metaphor. The theory of metaphor is also an effective way to locate and to interpret particular historical theatrical processes, such as for example the productions of the representatives of Lithuanian metaphorical theatre: J. Jurašas, E. Nekrošius, J. Vaitkus.
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Music therapy is an applied science still making its way in Bulgaria. Therefore, in its opening part, the article presents some definitions of music therapy and its types according to different characteristics. The main part treats individual and group music therapy focused on self-consciousness and self-development; reviews in brief the psychological defence mechanisms involved in this process and points out some of the psychological theories at the base of this type of music therapy.
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