„Ši dovana ištobulinama pratybomis, ir tapytojas įvaldo savo regėjimą ne per kelis mėnesius ir ne būdamas vienas. Svarbu ne tai, ankstyvas ar vėlyvas, spontaniškas ar muziejuje susiformavęs yra tapytojo regėjimas, kiekvienu atveju jo regėjimas mokosi tik žiūrėdamas.“Straipsnyje analizuojama kūrybos psichologijos ir fenomenologijos samprata Vosyliaus Sezemano estetikoje. Tyrimas atskleidžia, kaip estetikos bendrųjų problemų svarstymas yra susijęs su kūrybos ir kultūros filosofija. Estetika turi analizuoti ne tik estetinio objekto suvokimo aktus, bet ir tai, kaip estetinis objektas yra kuriamas. Straipsnyje aptariama: kaip Sezemano (...) estetikoje suprantami trys pagrindiniai kūrybos momentai; kokia yra vaizduotės, suvokimo ir atminties sąveika Sezemano estetikoje; kaip kūnas ir vaizduotė dalyvauja žaidime; koks yra asociacijų ir abstrakcijų vaidmuo kūrybinėje veikloje. Sezemano estetikoje išplėtota kūrybinės dinamikos samprata yra artima fenomenologinei kultūros filosofijai. Sezemanas, kaip ir kiti fenomenologinės estetikos atstovai, akcentuoja meno kūrinio, kaip pasaulio patyrimo, sampratą. Meno kūrinys yra kuriamas kaip tokia institucija, kuri yra nukreipta tiek į pasaulio patirtį, tiek į galimybę šią patirtį atverti kitam subjektui. (shrink)

Straipsnyje tyrinėjamas kompleksinis fenomenologinių patyrimo struktūrų ir empirinės plotmės sąryšis. Siekiama apibrėžti dviejų objektyvumo plotmių koreliaciją: eidetinių patirties struktūrų ir empirinės plotmės. Ši koreliacija yra labai sudėtinga. Netgi atskiri empiriniai fenomenai turi būti apibrėžiami per patirties struktūras, su kuriomis jie yra koreliuoti. Empiriniai komunikacijos tyrimai turi atsižvelgti į patirties struktūras, kurios užtikrina Santraukaempirinę duotį. Tuo pat metu jie turi empirinius faktus susieti su kalbiniais kontekstais. Dar daugiau, komunikacijos tyrinėjimai kultūrinių objektyvybių lygmenyje turi analizuoti ne tik empirijos koreliaciją su ženklų sistemomis, (...) bet ir ženklų tarpusavio sąry-šius bei tarp pačių ženklų atsirandančią prasmę. Esminiai žodžiai: fenomenologija, patirties struktūros, empiriniai duomenys, kalba, išraiška, komunikacija, ženklai.This paper has hardly hinted at the complexity of the relationship between phenomenological-experiential structures and the empirical domain; it attempted to sketch a simple correlation, or lack thereof, between the two domains of objectivity: the eidetic-experiential structures and the empirical domain. The correlations are extremely complex. Even the singular empirical phenomenon has to be delimited in terms of experiential structures which are correlated to it. Empirical researches in communication must respect the experiential structures as parameters within which the empirical data are present. At the same time it must contextualize the empirical factors within linguistic fields. Moreover, communication researches at the level of cultural objectivity must forego the search of empirical correlates to the sign systems and deal with the relationships among the signs and the meaning which emerges between the signs. Key words: phenomenology, experiential structures, empirical data, language, expression, communication, signs. (shrink)

Straipsnyje pristatomas žmogaus somatikos mokslas, kuris pirmiausia susiejamas su ankstyvaja Husserlio somatologijos samprata, o vėliau pasiūloma transcendentali šio mokslo pagrindinių prielaidų kritika. Kritiškai nagrinėjama psichofizinė apercepcija ir jos nuoroda į išgyvenamą mirties patirtį. Tada kaip alternatyvi somatikos prielaida pateikiama Husserlio kinestetinės sąmonės samprata. Straipsnnis užbaigiamas fenomenologine kinestetinių sistemų analize susiejant somatikos tyrinėjimus su įsikūnijimo etika bei pagarbos kinestetika. Esminiai žodžiai: fenomenologija, Husserlis, transcendentalumas, somatika, psichofiziologija, gyvenamas kūnas, kinestetinė sąmonė, kinestetinės sistemos, įsikūnijimo etika. After introducing the field of somatics as (...) a human science, I first link it with Husserl’s earlier notion of somatology, then offer a transcendental critique of the root assumption of such a science – the psychophysical apperception – and trace the origin of the latter to the lived experience of death. Next I present Husserl’s notion of kinaesthetic consciousness as an alternative assumption for somatics, concluding with some contributions to a phenomenology of kinaesthetic systems as well as some suggestions for approaching somatic work in the spirit of embodied ethics and the kinaesthetics of respect.Key words: phenomenology, husserl, transcendental, somatics, psychophysical, lived body, kinaesthetic consciousness, kinaesthetic systems, embodied ethics. (shrink)

V pričujočem prispevku bom kritično presodil dva splošno sprejeta pristopa k umetnosti in estetiki, ki nakazujeta, da filozofska estetika ni več mogoča. Tako sociologija umetnosti kot tudi številni poststrukturalistični pristopi k umetnosti trdijo, da so pokazali, da sta tradicionalna umetnostna zgodovina in filozofija umetnosti nelegitimni. Sociologija umetnosti in poststrukturalistična teorija sta obe prišli - po povsem različnih poteh -do podobnega sklepa: estetika je v osnovi ideološki diskurz, ki mora biti demaskiran. Poskušal bom pokazati, da Bourdieujev pristop - čeprav razjasni nekatere (...) aspekte umetnostne presoje -resno napačno razlaga naravo sodobne filozofske estetike. Zdi se mi, da so mnogi poststrukturalistični misleci zagrešili isto napako, kot jo je Bourdieu: nagnjeni so k temu, da tradicionalno umetnostno in literarno zgodovino itd. razumejo kot neizpodbitno »logocentrično« in »esencialistično«. To je tako, kot da bi hoteli povedati, da mrrabiti vsaka, svojega imena vredna estetika esencialistična, nezgodovinska in zatorej ideološka. Trdim, daje koncept umetnosti, kot ga mi poznamo in ki seje izoblikoval v sedanjo obliko konec 18. stoletja, zgodovinski koncept. Umetnost, kot jo mi poznamo, ni večna, čeprav presega naše življenje. To pa ne pomeni, da umetniškega vzgiba, kije soroden simbolnemu in kije lahko uresničen na mnogo načinov v različnih zgodovinskih in kulturnih pogojih, ne moremo legitimno obravnavati kot stalno odliko človeške narave. Človek ni samo zoon politikon, temveč tudi zoon symbolikon. Estetika je med drugim racionalni odraz naše potrebe po simbolih ter naše zmožnosti simbolizacije. (shrink)

In this paper, implicitly starting from the neuralgic epistemological point caused by Kostas Axelos’ question to Gordana Bosanac: “Will a woman manage to think?”, we will analyse The Second Sex (Le Deuxième sexe, 1949) by Simone de Beauvoir, to deliberately dissolve the irony of Axelos’s question by reading and talking to the text of one of the most important woman philosophers in the history of philosophy. We will interpret The Second Sex as a report on the phenomenology of the relationship (...) between the gendered self and the gender-marked world, in which the social ideals of the feminine shape the experience of the female self and the processes of becoming a woman. The paper is structured into three sections. After the introductory notes, in the first section, entitled “Ad feminam criticism and controversies”, we will present only a few paradigmatic examples of controversies and negative reactions that followed the publication of The Second Sex. In the “Phenomenology of Gender”, the second and key section of the paper, we will pay attention to the original reading of The Second Sex, mapping the existentialist-phenomenological theses on gender in the book. Finally, in the concluding remarks, we will only sketch a few more recent readings of The Second Sex, to point out the current and very engaged affirmations and additions to the ideas that Simone de Beauvoir announced with that philosophical classic. (shrink)

Mišljenje koje ukazuje na značenje posrednika u procesu spoznaje jednim svojim dijelom ulazi u područje gnoseologije. Probijajući se do biti promišljanoga, te odstranjujući ono što pripada posrednicima u procesu spoznaje, ovo je mišljenje dijelom i svojevrsna »proširena hermeneutika «. Proučavajući napredovanje spoznaje o posredovanosti same spoznaje, te napredovanje iskustva u kontekstu medija posredovanja, ovo je mišljenje i svojevrsna fenomenologija. Sabirući u sebi teorijsko, praktičko i poetičko, filozofija medija želi biti mišljenje koje nije određeno slikom, gramatikom, pojmom, kontekstom, performanceom, psihologijom nastupa, (...) tehnologijom – ali sve to želi imati u sebi sačuvano i nadvladano. Transmisija znanja više nije samo stvar riječi. Nakon lingvističkog obrata i ikoničkog obrata, sve smo bliže shvaćanju da je i jednom i drugom obratu u osnovi bio medijski obrat. (shrink)

According to the orthodox view, photographic artworks are abstract objects. This view, however, has recently been challenged by Christy Mag Uidhir. In his article ‘Photographic Art: An Ontology Fit to Print’, he argues in favour of a nominalist construal of photographic artworks. My goal is to show that Mag Uidhir’s argument is unpersuasive.

The expression ‘an instance of an artwork’ is often used in philosophical discourse about art. Yet there is no clear account of what exactly this expression means. My goal in this essay is to provide such an account. I begin by expounding and defending a particular definition of the concept of ‘an instance of an artwork’. Next, I elaborate this definition – by providing definitions of the main derivatives of the concept of ‘an instance of an artwork’, namely the concepts (...) of ‘a well-formed instance of an artwork’ and ‘a non-wellformed instance of an artwork’. Finally, I examine the relation of the foregoing definitions to the existence and identity conditions of artworks and make some additional remarks concerning these definitions. (shrink)

The question ‘What is a novel?’ has received scant attention in the philosophical literature. Meanwhile, this question is important. In the light of this, in this paper, I would like to address it, suggesting a potential answer. I begin by defining what I call ‘novel in the restricted sense’ – the concept that covers all novels except the so-called nonfiction novels, graphic novels, and novels in verse. Then, drawing upon Jerrold Levinson’s approach to defining ‘art’, I provide a definition of (...) the concept that covers nonfiction novels, graphic novels, and novels in verse. Finally, with the help of this definition and the definition of ‘novel in the restricted sense’, I formulate a definition of ‘novel’ simpliciter and defend it against potential objections. (shrink)

It seems natural to think that there are aesthetic reasons for action and that an artist must be guided by such reasons as he or she begins work on the canvas or poem or symphony or marble. This latter supposition seems at odds, however, not only with classical inspiration theory but also with the views of one of the last century’s most important philosophers of art, R. G. Collingwood. We propose an account of acting for an aesthetic reason inspired by (...) G. E. M. Anscombe’s Intention, specifically by her concept of ‘practical knowledge’, which we believe can accommodate Collingwood’s reservations about the sort of knowledge of their ends, and of the means to those ends, which artists have as they engage in their creative activity. (shrink)

In this paper, I defend a contextualist account of the role of authors’ intentions in interpretation, according to which their role depends on readers’ interpretive interests. In light of a general discussion of intentions and responsibility, I argue that insofar as readers are interested in attributing authorial responsibility for interpretations of fictional works, authors’ intentions need to play a central role in those interpretations. And I investigate the implications of this account for ‘accidental authorship’, cases in which interpretations of a (...) work are neither intended nor reasonably foreseen by the author. (shrink)

Dialogo filosofijos mąstytojų Rosenzweig‘o ir Levino darbų esmė – mirties bedugnės ir asmens tapatumo santykis. Rosenzweig‘as niekį laiko galutiniu kantiškojo mąstymo tašku. Mirtis, kaip egzistencinis niekio patyrimas, buvo laikoma kiekvieno žmogaus realybe sudėtingu amžių sandūros laikotarpiu. Rosenzweig‘ui niekis buvo atspirties taškas, permąstant ir siekiant išsaugoti asmens tapatumą. Asmens tapatumas apsaugo nuo niekio, tačiau jis taip pat yra atviras pokyčiams. Savo ankstyvuosiuose tekstuose Levinas daro panašias prielaidas, laikydamas Buvimą asmens tapatumo pradžia. Levinas plėtojo dialektinę fenomenologiją pradėdamas nuo mirties. Asmens tapatumas traktuojamas (...) kaip hipostazė, tačiau Levino darbe „Totalité et Infini“ įvyksta svarbus lūžis – jame asmens tapatumo šaltiniu laikomas troškimas. Buvimas tampa dėmesio centru kaip antroji elementale pusė, o asmens tapatumas suvokiamas kaip atsiskyrimas. (shrink)

The article seeks to explain what it means to say that an object has the status of being made art-like. I have reconstructed and analysed Ossi Naukkarinen and Yuriko Saito’s definition of artification and flagged up its methodological limitations. My conclusions serve as a starting point for describing the nature of artified objects, the way they are individuated, and how they persist. I consider the question of what can and what cannot be artified. Finally, I propose that artification be redefined (...) in such a way as to render it informative on the grounds of the largest number of existing aesthetic theories of art. (shrink)

A review of Anežka Kuzmičová´s Mental Imagery in the Experience of Literary Narrative: Views from Embodied Cognition (Stockholm: Stockholm University, 2013, 177 pp. ISBN 978-91-7447-660-6).

Many aestheticians and ethicists are interested in the similarities and connections between aesthetics and ethics (Nussbaum 1990; Foot 2002; Gaut 2007). One way in which some have suggested the two domains are different is that in ethics there exist obligations while in aesthetics there do not (Hampshire 1954). However, Marcia Muelder Eaton has argued that there is good reason to think that aesthetic obligations do exist (Eaton 2008). We will explore the nature of these obligations by asking whether acts of (...) aesthetic supererogation (acts that go beyond the call of our aesthetic obligations) are possible. In this paper, we defend the thesis that there is good reason to think such acts exist. (shrink)

Joseph Addison’s (1672--1719) essays in The Spectator occupy contradictory positions in the history of aesthetics. While they are generally considered central to the institution of aesthetics as a scholarly discipline, their reception has throughout history entailed a strong questioning of their philosophical and scholarly importance. In the following paper, I consider this dual feature as regards reception, and set out to clarify how this has come about. A re-examination of the arguments advanced by Addison makes clear that his role is (...) not that of a philosopher, but that of a public educator. As such he aims to raise the standard of general education of the British ‘middling orders’ in the early eighteenth century, and by using art for didactic purposes he seeks to contribute to the shaping of morally accomplished individuals. (shrink)

Lessons from the Footnotes: The Reception of Burke’s Aesthetics and Social Theory in Szerdahely’s Conception of Aesthetics and Schedius’s Theory of Philokalia This article discusses the early phase of the Hungarian reception of the aesthetic views of Edmund Burke. It does so by considering two reference works on aesthetics, one by György Alajos Szerdahely (1740–1808), the other by Johann Ludwig Schedius (1768–1847). Both authors were, in their day and later, well known amongst the scholars of Europe. Their reference works became (...) university textbooks, and should therefore not now be neglected. The specialist literature has, however, to this day one-sidedly interpreted their conceptions as eclectic mixtures of German, English, and French works on aesthetics. In this article, the author seeks to surmount the poor methodology and unsatisfactory conclusions concerning the reception of foreign authorities in Hungarian aesthetics. She does so by using the example of Burke, reconstructing the context of the places that he is mentioned, presenting them as period topoi, and analysing the narrative strategies of the two Hungarian authors. These approaches allow her more profoundly to explore the relationship between Burke’s Enquiry and the two reference works. In the foreground of the comparison are the key terms ‘beauty’ and ‘the sublime’, the use of narration and metaphor, and also reflections on art, society, and sociability. (shrink)

A review of Tomáš Hlobil’s Geschmacksbildung im Nationalinteresse. Vol. 2. Der Abschluss der frühen Prager Universitätsästhetik im mitteleuropäischen Kulturraum 1805–1848.

What is street art? This paper offers a definition of street art as an art kind or art form based on its essential value: its subversiveness. It argues that street art is essentially subversive in virtue of using public space as a technical resource. By hijacking a portion of the urban landscape with its colourful forms and witty designs, street art challenges familiar ways of practising the city, while creating a ‘temporary autonomous zone’ of free expression. There, corporate control over (...) the city’s visible surfaces is ridiculed and people reclaim their right to use the city. In this sense, street art functions as a carnivalesque tactic of social resistance, favouring the emergence of alternative ways to imagine our urban life and our uses of public space. By considering its subversiveness, one can also explain how street art (i) significantly differs from official public art; (ii) includes graffiti as its original and most radical style. (shrink)

Straipsnis skiriamas prancūzų aktoriaus, poeto, scenaristo, žiaurumo teatro idėjos autoriaus Antonino Artaud idėjų pėdsakų šifravimui Gilles’io Deleuze’o kino filosofijoje. Straipsnyje keliami klausimai: kuo Artaud idėjų traktuotė antrajame knygos „Kinas“ tome „Vaizdinys-laikas“ skiriasi nuo čia pat aptariamų rusų režisieriaus Sergejaus Eisensteino idėjų įtakos? Kaip modernaus kino filosofijoje veikia Deleuze’ui svarbi Artaud mintis apie pamatinę minties bejėgystę, įkūnytą pačioje mintyje? Ar iš Artaud pasiskolintas „kūno be organų“ konceptas išveda į kasdienį ir ceremonijų kūną, apie kurį rašo Deleuze’as kaip apie modernaus kino ženklą? (...) Straipsnyje prieinama prie išvados, kad visgi galima išskirti dvi Deleuze’o iš Artaud perimtas kūno traktuotes: iki-šizofrenišką pozų ir gestų kūną, kuris sudaro pamatinę „žiaurumo teatro“ konceptualinę šerdį ir kuria remiasi Deleuze’as, rašydamas apie modernaus kino tapsmą, bei šizofrenišką „kūną be organų“, kuris turėjo įtakos Deleuze’o ir Guattari tyrimams. Pamatinė straipsnyje ginama tezė: tiriant teorines įtakas Deleuze’o modernaus kino filosofijai, neįmanoma apeiti ir nepastebėti Artaud. (shrink)

A book review of Jon Robson, Aesthetic Testimony: An Optimistic Approach. Oxford: Oxford University Press, 2022, x+166 pp. ISBN 9780192862952.