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Alegorija smrti ili smrt alegorije

Author(s): Aleksandar Zistakis / Language(s): English,Serbian Issue: 0/1994

In Bertolucci's "Conformist" there is a scene in which the conformist meets his one-time professor of philosophy. They evoke old memories and, in that context, mention professor's lecture on Plato's allegory of the cave. The scene, as well as the film itself, happens in fascist Italy between two world wars. In between those old days and the time of the meeting, professor had openly declared himself as a fascist and became a member of the Party.

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Nova usamljenost

Author(s): Jovan Čekić / Language(s): English,Serbian Issue: 0/1994

How to use the energy of catastrophe, and is the thing that is happening today really a renewal of time? In his book "The Years Eaten by Locusts" Borisav Pekic anticipated the renewal of time here in the Balkans. The time structure round which this book has been built shapes itself into a seemingly simple texture.

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Alap és felépítmény a marxista kultúraelméletben

Author(s): Raymond Williams / Language(s): Hungarian Issue: 30/2022

Any modern approach to a Marxist theory of culture must begin by considering the proposition of a determining base and a determined superstructure. From a strictly theoretical point of view this is not, in fact, where we might choose to begin. It would be in many ways preferable if we could begin from a proposition which originally was equally central, equally authentic: namely the proposition that social being determines consciousness. It is not that the two propositions necessarily deny each other or are in contradiction. But the proposition of base and superstructure, with its figurative element, with its suggestion of a definite and fixed spatial relationship, constitutes, at least in certain hands, a very specialized and at times unacceptable version of the other proposition. Yet in the transition from Marx to Marxism, and in the development of mainstream Marxism itself, the proposition of the determining base and the determined superstructure has been commonly held to be the key to Marxist cultural analysis.

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„Dühöng a fősodor”. Az Orbán-rendszer populista diskurzusai a populáris zenében

Author(s): Emília Barna,Ágnes Patakfalvi Czirják / Language(s): Hungarian Issue: 30/2022

Our paper looks at the relation between populism and popular music in the context of Hungarian society and politics after 2010. We aim to answer the question of how popular music is able to pave the way for populist discourses, and how this is connected to both musical aesthetic and form, and the economic, social and political embeddedness of musicians. The paper understands populist discourses as part of the hegemony building of the Orbán regime, as an ideological pillar that underpins certain elements of post-2010 governance, while obscuring others. Our analysis is aimed at three songs, namely “Hazatalál” (Finding home) (2018) by Ákos, “Tizenötmillióból egy” (One of fifteen million) (2016) by Kowalsky meg a Vega, and “Akit a hazája nem szeretett” (They who were not loved by their country) (2020) by János Bródy. In addition to analysing the songs as texts, we consider the context of production, distribution, as well as performance, where the capitalist logic of the music industry becomes combined with the assertion of political power. Moreover, we analyse the songs together with the – at times changing – music industry and social position of the musicians. Within the music industry position of the musicians, a dependence on market relations appears together with a closely related reliance on state cultural and media politics.

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„Remélem, legközelebb sikerül pályáznod”. Függetlenség a filmiparban, és ennek kortárs magyar dilemmái

Author(s): Máté Konkol / Language(s): Hungarian Issue: 30/2022

Between 2011 and 2020, the Hungarian National Film Fund was responsible for distributing funds for feature films in Hungary. In this era, different circumstances led to a boom of films that were funded independently from the state, resulting in approximately the third of all movies being independent. In this paper I examine these productions based on their position on a dependent–independent spectrum. Firstly, I inquire whether they aim to use radical aesthetics, or on the contrary: reproduce the forms or genre cinema. Secondly, this paper will also address the wider question whether movie production can exist independently from power as such, or on the contrary, even politically engaged movies remain mere reactions and counter-discourses to existing power structures. Finally, I will look at the above-mentioned questions through a case study on Szabolcs Hajdu’s It’s Not the Time of My Life, released in 2016, also analysing the informal labour and symbolic resources required in making of an independent film.

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Дематериализация и атектонизация на архитектурата в контекста на информационния век

Author(s): Polina Kyosseva / Language(s): Bulgarian Issue: 4/2022

In the Information Age abstract knowledge received through media dominates over empirical knowledge derived through experience. This leads to a process of disintegration between man’s mental world and his physical environment. As architecture reflects human’s concept of the world through the current cultural paradigm, an architectural tendency towards disintegration between its ideal and its material aspects is observed today. The first part of the article examines how architectural image today tends to follow neither function, nor structure, but goes independent from them. Examples of this tendency are presented and analyzed. The term “architectural dematerialization” is classified into three types. In the second part an explanation of this tendency is proposed, together with short historical parallels from the Middle Ages to the age of Modernism. The importance of the ritual for the integration between abstract ideas and sensory experience is clarified, as well as its impact on architecture. A comparison is made between the architecture of Baroque and Modernism as a reflection of mental-sensory integrity and the world concept of these two epochs.

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Co to znaczy być „dobrym wilkiem”? O dyskursach ogrodu zoologicznego

Author(s): Katarzyna Szalewska / Language(s): Polish Issue: 9/2022

In her article, Katarzyna Szalewska offers a reading of the idea of the zoo in the context of Michel Foucault’s concept of the spatialization of discourse. Lars Berge’s book A Good Wolf. The Tragedy in a Swedish Zoo was an inspiration for Szalewska’s reflection. Szalewska refers to the history of the zoo and places this facility against the history of ideas, especially the nineteenth-century concepts of economization, scientism, collections and taxonomy. She then considers the zoo in the context of visual practices, especially the role of the gaze in the dialectic of power and knowledge. She shows that the zoo, functioning as it does in relation to the political and hierarchizing view, will always remain the domain of the cultural and the anthropocentric. Szalewska also addresses the perception and role of zoos as modern Noah’s arcs in the Anthropocene era and the ethical dimension of the “socialization” of animals.

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Философия с кауза

Author(s): Nonka Bogomilova / Language(s): Bulgarian Issue: 5/2022

The paper discusses and analyzes the specificities of the creative interpretation as a reading comprehension. The creative product, especially in philosophy with a cause, is described as a personal projection of the author in the light of his/her professional background, values preferences, existential psychology. A special attention is paid to the value aspect of the creative process and the role of the author’s attitude within it. The studies in the philosophical-anthropological sphere are debated within the same perspective; the intellectual and the social challenges the author usually meets in this process are discussed.

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Психосоциални производни от архитектурата – три теории

Author(s): Emil Yordanov / Language(s): Bulgarian Issue: 5/2022

In the context of the theoretical uncertainty of the phenomenon of Architecture, two opposing positions are compared, after some similarities between them have been identified. One belongs to the author, Assoc. Prof. Dr. Arch. Emil Yordanov, to which he dedicated a monograph. The idea is to clarify the phenomenon of Architecture by delving into the stages of its development, in parallel with the determining stages in the development of culture and mentality. Within this interaction, personal architectural professionalism is being cultivated. The other position – of Assoc. Prof. Dr. Arch. Todor Tsigov, accepts Architecture as a myth, whose utilitarian and artistic sides are (respectively) real and similar, i. e. – qualitatively different manifestations of essence, that do not interact objectively: two autonomous objects in a common entity. The interaction with the real manifestations of essence turns out to be a ritual towards the similar, mythologising them as real. Out of this follows the suggestive potential of Architecture and a conclusion about the architectural nature of perceptions and the religious nature of the psyche. The comparison between the two theses reveals unusual aspects of the phenomenon Architecture – beyond the professional practice, with humanitarian and philosophical significance.

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AI for Arts by Niklas Hageback and Daniel Hedblom

Author(s): Eduard-Claudiu Gross / Language(s): English Issue: 2/2022

The present review of the book AI for Arts by Niklas Hageback and Daniel Hedblom summarizes the main ideas of the concise volume which can act as a guide for those interested in the emergence of Artificial Intelligence, regardless of their level of knowledge. The four chapters are comprehensive enough to understand the origins of art and the events which have changed it, the current state of art of Artificial Intelligence in the creative field, and how it is already influencing the landscape of art, and finally, the direction it is heading and what the potential consequences of the hypothetical autonomy of Artificial Intelligence are. The present book is here to debunk the mystification hovering around AI, which is often portrayed by media as a monster destined to replace humans altogether. Art, which seems to be something that can only be made by humans, is also directly "threatened" by technological progress. As the book's authors present, it is time for authentic creativity to come to the fore.

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Dehumanizacija umjetnosti

Author(s): Karlo Opančar / Language(s): Croatian Issue: 1-2/2022

Umjetnost novog doba više se ne temelji na mitu i religiji, već ih nadomješta sa estetikom koja se može jedino razumjeti kao politička konstrukcija događaja i kao znanstveno-tehnički dizajn svijeta u kojemu sada vlada pobuna spram starih vrijednosti i uspostava novih estetskih pravila.

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From the Bronze Soldier to the “Bloody Marshal”: Monument Wars and Russia’s Aesthetic Vulnerability in Estonia and the Czech Republic

Author(s): Aliaksei Kazharski,Andrey Makarychev / Language(s): English Issue: 04/2022

The article analyzes historical monuments as instruments of Russia’s attempts to impose its aesthetic hegemony in the post-Communist world. Drawing on case studies from the Czech Republic and Estonia, it argues that this hegemony is precarious and vulnerable due to inability to deal with the inherent ambiguity and complexity of historical events and figures. The Russian approach regards historical truth in absolute terms and is underpinned by a zero-sum game understanding of historical narratives. It does not tolerate a multiplicity of perspectives on history and has no appreciation for postmodernist deconstruction of historical symbols. This conflicts with a more diverse, reflexive and inclusive politics of memory as an intrinsic element of cityscapes of Prague and Tallinn where some of the controversial monuments connected with the Soviet occupation have been removed. Russia’s reaction to these changes reveals an inherently vulnerable nature of its aesthetic hegemony which is deeply dependent on recognition of the absolute nature of its historical truth that the monuments are supposed to embody.

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HIGH LIFE FİLMİNDE DİSTOPİK EVREN TASARIMI VE BİYOPOLİTİKA

Author(s): Eren YÜKSEL / Language(s): Turkish Issue: 3/2022

This study evaluates the dystopic universe patterned on biopolitical framework of Claire Denis’ movie High Life (2018). It analyses the movie by Foucault’s concepts such as power, biopolitics, discipline, surveillance and punishment. The article investigates what kind of subjectivity is produced in the ship by various discipline and punishment techniques such as imprisonment, surveillance, sexual control, and spatial arrangement on the ship, applied to a group of criminals sent to space and whose survival depends on life support units. By evaluating how discourses about science, law and politics marginalize the prisoners’ bodies within the framework of an experiment in space, the consequences of these discourses that interrupt Western modernism are discussed. In this context, it is argued that the film can be seen as an example of a critical dystopia. In addition, it is questioned whether the film, which expresses the spread of power through power relations based on a hierarchical basis, mentions any resistance against domination practices and whether it contains a utopian hope.

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Measuring Mas: A Metaphysical-Bakhtinian Perspective on the Trinidadian Carnivalesque

Author(s): Chelsea Sinanan / Language(s): English Issue: 22/2022

Carnival is a space of play where you are at once earthly and divine. We are born to this culture, writing our narratives in song, dress, tradition and spirit. As Trinidadians, we embed our lives, our creativity, and our souls into this sacrament. And every year it blesses our people with inspiration, solace and liberation. The theoretical premise of this paper combines social constructivism and Mikhail Bakhtin’s dialogism, heteroglossia, and chronotope to investigate aesthetic architecture within the Trinidadian carnivalesque (mas). A series of narrative interviews were conducted with Carnival band leader Valmiki Maharaj and visual artist Jackie Hinkson, gathering core meanings, intentions, and processes of creation attached to the Trinidadian brand of Carnival. This work highlights the aesthetic manifestations of reflection, creation, and connection as represented in murals, costuming, and carnival accoutrements, whilst acknowledging the cultural and historical frameworks that support these structures.

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Към елиминиране на догматичната естетика

Author(s): Ivan Stefanov / Language(s): Bulgarian Issue: 1/2023

The process of liberation of Bulgarian culture from the orthodox aesthetics founded on class politics began in 1956 as an integral part of the general process of destalinisation and developed thanks to the formation of another generation of researchers in the field of aesthetics and criticism. This process developed mainly along the following lines: a) a search for a new answer to the question of what the essence of art is, an emphasis on its humanistic significance and critical social role; b) a decisive move closer to the current problems of artistic creation and to the innovative artifacts of modern Western art; c) the autonomous presence of art in social life requires a fundamental rethinking of form in relation to artistic content.

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Видеоигрите: архаика и авангард

Author(s): Miglena Nikolchina / Language(s): Bulgarian Issue: 1/2023

In this essay, the aesthetics of video games is examined in terms of various aspects of temporality. With literature as a point of reference, the analysis foregrounds the strange overlap of video games and ancient and Medieval epic. Archaic conceptions of temporality, furhtermore, are revealed as subtending video games, which might be considered as science fiction or avant-garde. Should we be surprised that games are swarming with monsters? As I will try to show, the „monstrous“ encounter that Derrida set decades ago as the task of thinking – the encounter between machine and “organic” performativity – is not only the material framework of the player's interaction with the game's algorithm, but it is also the generator of plots indicative of contemporary crises of temporality and ontological ruptures which – before and after psychoanalytic filters – are the true source of a monstrosity no longer imminent, but, perhaps, already happening.

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Жената-чудовище като естетически феномен във видеоигрите

Author(s): Severina Stankeva / Language(s): Bulgarian Issue: 1/2023

The paper seeks to deconstruct the image of the monstrous-feminine in video games insofar as it sees in it a fitting entry to the root of the problem of femininity in general. The monstrous is seen as a primary cultural category, marking that which stands on the edge of the hermeneutic circle and thus questioning its contents; the grotesque as a formal-aesthetic hallmark of the concrete personifications of monstrosity; and abjection as their unconscious constitutive motif. Video games, as a medium with an active agent rather than a passive spectator, are analyzed in terms of their extraordinary technical capabilities that make possible the literal and naïve playing out of the battle around the construction of subjectivity (matricide). The conclusions of the text function as a theoretical framework for constructing a typology of the monstrous-feminine and the specific connotative landscapes of its different types.

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TRIBUN I STAROST

Author(s): Aleksandar Prokopiev / Language(s): Bosnian Issue: 35-36/2022

Thinking about the behavior of three types of writers in their relationship to the government, I think I have not expressed myself enough about the Tribune. I described him as an experienced, measured player, who sometimes, if necessary, flirts with the authorities in order to stay on the podium as long as possible. But, as with Chronisterik and Klovna, Tribune also has significant nuances in the scale between self-interest and courage. I think that I have insufficiently emphasized the determination of certain Tribunes at key moments of social and national crossroads in their homeland when they uncompromisingly fight for their views. They can carry that role so devotedly, that at some point they should tear themselves away from it, saying to themselves what Konrad told Havel: "Now you could be a writer again. You played an important historical role, leave it to the politicians". Although some of the Tribunes, if necessary, manipulate the authorities, for them the truth is more important and against all pressures, they know how to be resistant and persistent in its defense.

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Estetyka jako teoria krytyczna. Filozofia sztuki Theodora W. Adorna

Author(s): Rafał Czekaj / Language(s): Polish Issue: 2 (20)/2022

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.

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EXPLORATIONS ON THE EVENT OF PHOTOGRAPHY: Dasein, Dwelling, and Skillful Coping in a Cuban Context

Author(s): Justin Michael Battin / Language(s): English Issue: 2/2022

In the summer of 2016, the author traveled to Havana to begin preliminary work on an interdisciplinary visual ethnography project. While venturing primarily on foot, he took hundreds of high-resolution photographs and interviewed people at random across several localities about their daily routine, their neighborhood, and their expectations about what was to come following the [then] normalizing of relations with the United States. Of the utmost importance to this work was the special attention granted to the inhabited locale where each photograph and interview took place. This article explores these photographs through the lens of the “event of photography,” a term emphasizing the temporal moment when a photographer, photographed subject, and camera encounter one another. With this interpretation, photographs are positioned as historical documents and the practice of photography as a civil and political matter, thus inviting new possibilities to read political life through its visual dimension, as well as to trace different forms of power relations made evident during the ‘event.’ This paper uses phenomenological reflection to explore the meshwork manifestation of these power relations, and articulate how they provide insights about one’s place and responsibility within that ‘event’ in a range of relational contexts.

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