Maria Gołaszewska (1926–2015), a Polish philosopher, was associated throughout her life with Poland’s oldest academic institution, the Jagiellonian University in Cracow. She was a student of the phenomenologist Roman Ingarden, himself a student of Edmund Husserl. During the postwar and communist years in Poland, Gołaszewska conducted research focusing on issues related to art and aesthetics. She created her own conception of empirically and anthropologically oriented aesthetics, which I believe is a prime example of a theory that accounts for the (...) perspective of gender, and in this sense should be acknowledged as an important contribution to contemporary gender-sensitive/feminist philosophy. In the article, I present Gołaszewska’s life, academic career, and philosophy as a cognitively valuable response to feminist philosophy’s search for a suitable description of women’s experiences related to art and aesthetic perception. (shrink)

Listening and polyphony lead us directly to reflection on the musical form of the fugue. Starting with M. Heidegger’s considerations about the juncture of beyng, we will phe-nomenologically ask about the essence of the fugue, and the musical work put under analysis will be The Art of Fugue by J.S. Bach. The article aims to show the convergence between Heidegger’s philosophy and the essence of the musical form of fugue as an artis-tic mode of the essential occurrence of beyng as (...) an event. (shrink)

The author discusses the relationship between art and the body, as exemplified by the similarities and differences in the works of: two Japanese artists, Matsui Chie (b. 1960) and Higashikage Tomohiro (b. 1978); and the Polish artist, Mirosław Bałka (b. 1958). These examples are referred to in the context of a unique project recently conducted in Japan — the Tatsuno Art Project 2013. Held with the support of the Agency for Cultural Affairs of Japan, the project aims to present (...) contemporary art to people from across Japan and around the globe, and to capitalize on the region’s unique cultural heritage, creating opportunities for people to communicate with local residents and making Tatsuno a more dynamic and popular place to visit. This paper considers various connections between art and the body by focusing on a selection of works included in the Tatsuno Art Project 2013: Arts and Memories. Known in past centuries as the ‘little Kyoto’ of Harima Province, Tatsuno is an atmospheric old castle town. It is mild and relatively warm all year round, with the climate of the nearby Seto Inland Sea region, said to be similar to that of the Mediterranean. Thanks to the support of numerous people, the organizers were able to hold the 2013 event which represented the culmination of their efforts over the past few years, being the largest ever in terms of scale with nine invited artists, eleven other participating artists, and one contemporary musician, for a total of 21 creators contributing works. With new spaces added to create a total of 16 venues, the community‑wide project truly achieved its goal of presenting the ‘historic castle town as a museum’. The project curators were also able to strengthen Tatsuno’s international ties by inviting artists from France and Poland to take part, as well as Japanese artists residing in the UK and Spain. (shrink)

W NINIEJSZYM opracowaniu analizuję klauzulę dobra wspólnego zawartą w art. 1 Konstytucji Rzeczypospolitej Polskiej z 2 kwietnia 1997 r., zmierzając do uwyraźnienia, w jakim sensie można mówić o jej prawnonaturalnym charakterze (zatem i do zarysowania możliwych znaczeń zwrotu "prawnonaturalny charakter klauzuli dobra wspólnego") oraz do ujawnienia „momentów" prawnonaturalnych, które mogą wchodzić w grę przy interpretacji tej klauzuli.

Arthur C. Danto did not live to witness the proliferation of AI in artistic creation. However, his philosophy of art offers key ideas about art that can provide an interesting perspective on artwork generated by artificial intelligence (AI). In this article, I analyze how his ideas about contemporary art, intention, interpretation, and authorship could be applied to the ongoing debate about AI and artistic creation. At the same time, it is also interesting to consider whether the incorporation of AI into (...) artistic creation marks a new chapter in the narrative, which seems to have reached its end, or if it represents a significant rupture with past artistic traditions. (shrink)

In this essay, I analyze Romare Bearden’s art, methodology, and thinking about art, as well as his attempt to harmonize his personal aesthetic goals with his sociopolitical concerns. I then turn to Hans-Georg Gadamer’s reflections on art and our experience (Erfahrung) of art. I show how Bearden’s approach to art and the artworks themselves resonate with Gadamer’s critique of aesthetic consciousness and his contention that artworks address us, make claims upon us, and even reveal truth. Lastly, I discuss Gadamer’s emphasis (...) on the spectator’s active yet non-mastering role in the event of art’s address—an event that implicates the spectator and has the potential to transform him or her. This leads to a discussion of Gadamer’s notion of the type of self-(and world) understanding that occurs through aesthetic experience. I close by returning to Bearden in order to discuss how his art unearths a crucial feature of our being-in-the-world. I call this feature “world-unmasking” and show how it expands and enriches Gadamer’s account. (shrink)

COVID-19 infects cities, here grasped as quasi-living functioning systems, and the changes inflicted can poetically open us to certain things. Drawing on ecological psychology, we maintain that this brings people into contact with different realities depending on their overall wellbeing, arguing that the aesthetic experience of cities accordingly varies. We then consider iterations of these ideas in dystopian cinema, which portrays global threats altering human relations with technology, art, and the world.

Three concrete instances of modern and contemporary art development in the former Soviet bloc are addressed in the study. Comparing three particular cases of post-socialist countries (Czechoslovakia, Poland and Lithuania), three distinctive situations are identified in order to establish a link between modern and contemporary art and the emergence of canonized stories of their development. Although these concrete cases turned out to represent a certain range of situations-models that have taken place, the study indicates a variety of omissions and unrecognized (...) vital moments in the currently prevailing canons, which puts the connection of the shifting point of 1989 and the transition from modern to contemporary art into a new light. (shrink)

This essay argues that bullshit art is a meaningful concept that differs from bullshitting about art, although the two may occur in tandem. I defend what I call the social pretense theory of bullshit art. On this view, calling a work of art ‘bullshit’ highlights a discrepancy between the prestige accorded a work of art and its nonsense character. This category of aesthetic criticism plays a unique role that cannot be identified with kitsch but bears only a contingent connection to (...) it. (shrink)

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. (shrink)

Here the concept of the human being as a “relatively isolated system” developed in Ingarden’s later phenomenology is adapted into an “aesthetics of isolation” that complements conventional environmental aesthetics. Such an aesthetics of isolation is especially relevant, given the growing “aesthetic overload” brought about by ubiquitous computing and new forms of art and aesthetic experience such as those involving virtual reality, interactive online performance art, and artificial creativity.

The author examines the arguments for applicability of the limitation clause which specifies the requirements for limitation of constitutional freedoms and rights (Article 31 para. 3 of the Constitution) to the right to protection of life (Article 38). Even if there is almost a general acceptance of such applicability, this approach does not hold up to criticism based on the rule existing in the Polish legal order that treaty commitments concerning human rights have supremacy over national statutory regulations. Due (...) to an international pattern which does not provide application of the limitation clause to the right to life protection, despite the recognition — at the level of a constitutional standard — of applicability of the clause of Article 31 para. 3 to Article 38, and to protection of life in general, this will be made impossible at any attempt to formulate a statutory standard. He also points out the defectiveness of the reasoning leading to acceptance of certain limitations of a particular value (e.g. life) on the basis of the ex definitione exemptions existing in the international standard to the assumption of applicability of the limitation clause when shaping statutory standards in the Polish legal system. The discussed issues are related to the question of interpretation of the inviolability of human rights. This term takes different meaning in the context of: 1) inviolability of all human rights understood in abstracto as normative structures of a general and abstract nature; 2) right protecting certain values with no exception; 3) rights to which an application of the limitation clause is forbidden; 4) rights not subject to derogation; 5) inviolability of understood in concreto, as that is (here and now) due to the subject of dignity; 6) inviolable essence of freedoms and rights. One should also clearly distinguish between (7) the descriptive and (8) the normative meaning of inviolability. -/- Punktem wyjścia jest analiza argumentacji na rzecz tezy o stosowalności do prawa do ochrony życia (art. 38 Konstytucji RP), klauzuli limitacyjnej określającej warunki ograniczania konstytucyjnych wolności i praw (art. 31 ust. 3). Mimo niemal powszechnej akceptacji tej tezy, nie wytrzymuje ona krytyki opartej na pierwszeństwie, które w polskim porządku prawnym mają zobowiązania traktowe dotyczące praw człowieka, wobec regulacji ustawowych. Ze względu na wzorzec międzynarodowy, który nie przewiduje stosowania klasycznej klauzuli limitacyjnej do prawa do życia, mimo uznania - na poziomie standardu konstytucyjnego - stosowalności klauzuli z art. 31 ust. 3 do art. 38 i ochrony życia w ogóle, stosowalność tej klauzuli będzie uniemożliwiona przy każdej próbie formułowania standardu ustawowego. Autor zwraca uwagę na wadliwość wnioskowania prowadzącego od uznania dopuszczalności pewnych ograniczeń ochrony jakiejś wartości (np. życia) na podstawie wyjątków ex definitione obecnych w standardzie międzynarodowym, do tezy o stosowalności klauzuli limitacyjnej przy kształtowaniu standardu ustawowego w polskim systemie prawnym. (shrink)

Opracowanie zmierza do określenia paradygmatu rozumienia klauzuli dobra wspólnego zawartej w art. 1 Konstytucji z 1997 r. i treści sformułowanej w nim zasady. Argumentuje się, że – m. in. ze względu na zachowanie materialnej tożsamości konstytucji – kluczowa dla realizacji postawionego celu jest analiza prac przygotowawczych. Analiza ta pozwala na postawienie tezy, że dobro wspólne to – określana na płaszczyźnie wspólnoty politycznej – suma warunków życia społecznego umożliwiających i ułatwiających rozwój wszystkich członków tej wspólnoty i tworzonych przez nich społeczności. Szeroko (...) przedstawiona jest szersza, sięgająca starożytności, filozoficzna tradycja ideowa leżąca u podstaw identyfikowanego paradygmatu konstytucyjnego pojęcia dobra wspólnego, oraz polskie tradycje konstytucyjne powiązane z podjętą problematyką. Argumentuje się, że ustrojodawca wskazał określoną tradycję ideową jako wyznaczającą podstawowy kontekst wyznaczający rozumienie klauzuli dobra wspólnego oraz wprost zdystansował się wobec centralnych elementów ujęcia dobra wspólnego właściwego konstytucji kwietniowej z 1935 r., pozostając w tradycji, do której należała Konstytucja 3 Maja. Sformułowana w art. 1 Konstytucji z 1997 r. zasada dobra wspólnego głosząca, że „Rzeczpospolita Polska jest dobrem wspólnym wszystkich obywateli”, sytuuje dobro wspólne u podstaw całego porządku konstytucyjnego. Po zidentyfikowaniu zasadniczych elementów tej zasady argumentuje się, że jest ona zasadą pierwszą, strukturalnie powiązaną z każdym elementem systemu prawnego. Argumentuje się na rzecz tezy o integralnym powiązaniu dobra wspólnego z godnością i uznaniu wolności i praw człowieka za zasadniczy element dobra wspólnego. Opracowana koncepcja zostaje zaaplikowana do orzecznictwa Trybunału Konstytucyjnego. Przeprowadzona analiza wskazuje, że orzecznictwo to nie jest, jak dotąd, oparte na spójnej koncepcji dobra wspólnego. Nierzadko przyjmowana jest perspektywa typowa dla – odrzuconego przez ustrojodawcę – ujęcia w duchu konstytucji kwietniowej, w której dobro wspólne przeciwstawiane jest prawom człowieka; obecne są jednak także elementy typowe dla ujęcia klasycznego, w duchu Konstytucji 3 Maja. Analizę dopełniają postulaty dotyczące dalszego kształtowania orzecznictwa TK odwołującego się do dobra wspólnego. (shrink)

Classic expression theory identified the emotional content of works of art with the feelings of the artists and the recipients. This content thus appeared to be external to the work itself. Consequently, formalism declared it to be irrelevant to a work’s value. A way out of this predicament – one which the Polish aesthetician Henryk Elzenberg (1887–1967) was among the first to propose – was suggested by the idea that physical, sensory objects can themselves possess emotional qualities. Thanks to (...) Bouwsma and Beardsley, this concept – of expressiveness as a quality – became common in Anglo-American aesthetics from the 1950s onwards. At the same time, these authors demanded that the term ‘expression’ be expunged from the language of aesthetics. But the widespread tendency to conceptualize the emotional content of art in terms of the expression of a certain subject (most often the artist) still requires some explanation – interpretation, rather than negation. One interpretation construes the expressiveness of works of art in terms of the expression of a fictitious subject, the ‘work’s persona’, conceived by Elzenberg in the 1950s and 1960s. This article discusses his concept and explains some of its more complex aspects, before addressing the emergence of a very similar concept within Anglo-American aesthetics. This concept was gradually elaborated in the 1970s and 1980s, but only in the 1990s did it become more fully developed and widely discussed. (shrink)

György Alajos Szerdahely, the first professor of aesthetics in Pest, publishes his Aesthetica in 1778, a work, written in Latin, that not only engages with the eclectic university aesthetics of late-18th-century Germany and Central Europe, but also marks the beginning of the Hungarian aesthetic tradition. Szerdahely proposes aesthetics as the doctrine of taste, a philosophical discipline that can polish our manners and social conduct through a sensual-affective Bildung offered by art experiences. Highlighting his sources in both British criticism and (...) German aesthetics, the paper traces the development of Szerdahely's concept of beauty from beauty as form (uniformity amidst variety) to beauty in motion (sensibility). Initially, Szerdahely argues for unity and variety as the two main constituents of a beautiful object, evoking disinterested contemplation, but he then turns to sensibility as the third necessary condition of beauty: an object becomes aesthetically beautiful only if it has the power to strike the senses (Lux) and stir the affections (Vivacitas), enlivening the whole embodied person. The paper argues that this third principle of sensibility proves to be more emphatic than the first two, leading to (1) the aesthetic conception of beauty as an experiential quality; but more interestingly to (2) the incorporation of the element of self-preservation and self-love into aesthetic experience. The reason for the latter development lies in Szerdahely’s anthropological argument, which traces back every affection to the instantaneous apprehension of good or evil concerning ourselves, implying desire (Adpetitus) or aversion (Auersi) in our reactions. (shrink)

"Dignity as a Quality of Person: Types of Dignity – a Proposed Systematisation" This study aims to identify various meanings of the expression (name) “dignity”, with particular emphasis on the meanings of the expression as it appears in the text of the Constitution of the Republic of Poland. The meaning of the name “dignity” is the concept of dignity; in turn, the concept of dignity encompasses dignity of particular types. Twelve different meanings of the expression “dignity” are indicated – twelve (...) different concepts of dignity, and thus twelve types of dignity. Half of them are meanings (concepts) that recognize dignity as something belonging to a human being as a subject of law, and this essay is devoted to this group of meanings. This group of meanings includes three concepts of dignity which encompass dignity as something constitutive of being a person: (1) inherent dignity of the person, (2) dignity established by qualities specific to a thinking being, and (3) dignity as a historically emergent social status of all human beings. Only the first of these three concepts of dignity is adequate to the interpretation of the preamble and art. 30 of the Polish Constitution. The second group of meanings, treating dignity as something with which the human being is endowed, includes concepts which encompass (4) personal dignity (honour and good reputation), (5) dignity as moral excellence, and (6) dignity as appropriateness of attitude or behaviour. The other half of the meanings take dignity as something that belongs to something. These meanings will be considered in the forthcoming essay Godność jako cecha podmiotów zbiorowych i godność jako cecha ugruntowana instytucjonalnie. Typy godności – propozycja systematyzacji [Dignity as an Attribute of Collective Entities and Dignity as an Institutionally Grounded Attribute: Types of Dignity – a Proposed Systematisation]. The Constitution of the Republic of Poland speaks of (1) the dignity of the Nation, (2) the dignity of office or function, and (3) public dignity. The expression “dignity” when designating something belonging to something can also designate (4) the dignity of social status based on belonging to a social group, (5) the dignity of a profession, and – specifically to the Polish language – (6) dignity meaning a surname. The author argues that it is unacceptable to ascribe different concepts of dignity to the expression “dignity” appearing in a specific legal provision. STRESZCZENIE Opracowanie zmierza do identyfikacji różnych znaczeń wyrażenia (nazwy) „godność”, ze szczególnym uwzględnieniem znaczeń tego wyrażenia występującego w tekście Konstytucji RP. Znaczeniem nazwy „godność” jest pojęcie godności; z kolei pojęcie godności ujmuje samą godność danego typu. Wskazanych zostaje dwanaście różnych znaczeń wyrażenia „godność” – dwanaście różnych pojęć godności, zatem i dwanaście jej typów. Połowa z nich to znaczenia (pojęcia), które ujmują godność jako coś przynależnego człowiekowi jako podmiotowi i tym znaczeniom (i odpowiadającym im typom godności) poświęcone jest niniejsze opracowanie. W tej grupie znaczeń odróżnione zostają trzy pojęcia godności, które ujmują godność jako coś konstytutywnego dla bycia osobą – (1) przyrodzoną i niezbywalną godność osobową, (2) godność opartą na obserwowalnych i zmiennych cechach specyficznych dla istoty rozumnej i (3) godność opartą na historycznie ukształtowanym statusie społecznym przypisanym wszystkim ludziom. Jedynie pierwsze z tych pojęć jest adekwatne do interpretacji preambuły i art. 30 Konstytucji RP. W drugiej grupie znaczeń ujmujących godność jako coś przysługującego człowiekowi są pojęcia ujmujące godność jako cechę osoby – (4) godność osobistą (cześć i dobre imię), (5) godność osobowościową (poziom moralny) oraz (6) godność jako dyspozycja do stosownego sposobu bycia. Druga połowa znaczeń ujmuje godność jako coś przynależnego czemuś lub jako coś o charakterze konwencjonalnym, instytucjonalnym. Te znaczenia będą omawiane w kolejnym opracowaniu Godność jako cecha podmiotów zbiorowych lub cecha ugruntowana instytucjonalnie. Typy godności – Propozycja systematyzacji – Część 2. Konstytucja RP mówi o (1) godności Narodu, (2) godności urzędu lub funkcji, oraz o (3) godności publicznej (godnościach publicznych. Wyrażenie „godność” jako desygnujące coś przynależnego czemuś może także desygnować (4) godność statusu społecznego opartego na przynależności do jakiejś grupy społecznej, (5) godność zawodu oraz – co specyficzne dla języka polskiego – (6) godność jako nazwisko. Autor argumentuje, że niedopuszczalne jest przypisywanie wyrażeniu „dignity” występującym w danym przepisie prawnym, różnych pojęć godności. (shrink)

By observing the mediating role of Pomarańczowa Alternatywa [Orange Alternative], the Polish artistic-activist formation of the 80s and 90s, this paper aims to determine the properties, values and ideals that make a piece of art a public act that can engage people from different social groups in play, and can allow them to reveal their self-determining agency in light of social change. Within the system of varying degrees of social permission, art should allow for the transition from the realm (...) of the “unofficial” to the realm of the “forbidden,” and should facilitate a transformation from the realm of thought to the realm of action. Art introduces an element of play into the sphere of collective behavior, and is a bridge over dichotomous social and political forces. (shrink)

Opracowanie dotyczy relacji konstytucyjnego pojęcia „dobro wspólne” z art. 1 Konstytucji RP, do pozaprawnych pojęć dobra wspólnego. Bezpośredni asumpt do jego przygotowania dało zdanie odrębne sędziego Trybunału Konstytucyjnego Zbigniewa Cieślaka do wyroku TK z dnia 20 kwietnia 2011 r. w sprawie Kp 7/09, dotyczącej zmian w prawie budowlanym. Jest to w ogóle najobszerniejsza wypowiedź w całym dotychczasowym orzecznictwie TK poświęcona wprost problematyce dobra wspólnego. Sędzia Z. Cieślak wyraźnie odróżnił prawne pojęcie dobra wspólnego – jego zdaniem właściwe dla interpretacji klauzuli dobra (...) wspólnego z art. 1 Konstytucji RP z 1997 r. – od pojęć pozaprawnych, uznając te ostatnie za źródło nieporozumień w prawniczych dyskusjach na temat rozumienia wyrażenia „dobro wspólne” w prawie i jako kategorii konstytucyjnej. Argumentować będę, że zrekonstruowane przez Z. Cieślaka prawne pojęcie dobra wspólnego nie nadaje się do interpretacji klauzuli dobra wspólnego z art. 1 konstytucji z 1997 r., i że pojęcia pozaprawne powinny być postrzegane nie jako źródło nieporozumień, ale jako nieodzowna pomoc w ustalaniu treści konstytucyjnego pojęcia dobra wspólnego. Problematyka ta prowadzi do podjęcia pewnego – kluczowego dla stosowania art. 1 – zagadnienia relacji między dobrem wspólnym a prawami człowieka (wolnościami i prawami człowieka), zagadnienia, które ostro zarysowało się w orzecznictwie trybunalskim po raz pierwszy właśnie w tym zdaniu odrębnym. Chodzi mianowicie o związki zachodzące między dwoma zasadniczymi tradycjami pojmowania dobra wspólnego i odpowiadającymi tym tradycjom dwoma typami pojęć dobra wspólnego – tradycji klasycznej, znajdującej swój wyraz w Konstytucji 3 maja z 1791 r., i tradycji, w której dobro wspólne pojmowane jest przede wszystkim jako dobro państwa i która znalazła wyraz w konstytucji kwietniowej z 1935 r. Dla pierwszej tradycji charakterystyczne jest uznanie praw człowieka za zasadniczy element dobra wspólnego – i tę tezę Z. Cieślak akceptuje. Analiza jego propozycji pokazuje jednak, że należy ona do tradycji konstytucji kwietniowej, a przyjęcie pojęcia dobra wspólnego należącego do tej tradycji prowadziłoby do niespójności z niektórymi fundamentalnymi rozstrzygnięciami ustrojodawcy, dotyczącymi tak interpretacji art. 1 konstytucji i przyjętej w nim koncepcji dobra wspólnego, jak i konstytucyjnej koncepcji wolności i praw człowieka. (shrink)

This article first of all attempts to assess the proposals of 2006–2007 to amend Poland’s Constitution, aimed mostly at strengthening constitutional protection of unborn human life. Parliamentary work on this proposal begins with the submission of the Deputy’s bill on amendment of the Constitution, published in the Sejm Paper No. 993 of September 5, 2006, and ends with a series of votes at the 39th sitting of the Sejm of the fifth term of office, held on April 13, 2007, on (...) which it was decided not to adopt any amendment. In the course of the legislative process, several modifi cation were offered not only to Article 38 concerning protection of life, but also to Article 30 dealing with dignity as a source of rights. Each of these proposals had drawbacks, including inter alia: the lack of a definite period of protection or entitlement to dignity, resulting in the decreased protection in relation to issues concerning euthanasia; the application of new categories granting a specific status to unborn human life; specifying the standards for protection by means of legislative acts ranking lower than a constitution, resulting in the transfer of life protection into the sphere of regulation of ordinary legislation. The most conducive for strengthening of the protection of unborn human life, even if not free of imperfections, was an amendment of Article 30 proposed by the Committee in the following wording: “The inherent and inalienable dignity, conferred on the person from the moment of conception, shall be a source of freedoms and rights of persons and citizens. It shall be inviolable; the respect and protection thereof shall be the obligation of public authorities.” From the rejection of the proposals it is diffi cult to draw conclusions that are vital for interpretation of the existing provisions. However, a conclusion that the intention of the authors of the constitution was not to strengthen the constitutional protection of life is not legitimate, mostly because of their doubts about formal correctness of the proposed amendments (when deciding to reject them), particularly the doubts about legal consequences of their adoption. -/- Streszczenie Zasadniczym celem opracowania jest próba całościowej oceny propozycji nowelizacji Konstytucji RP mającej miejsce w latach 2006-2007, zmierzającej przede wszystkim do wzmocnienia konstytucyjnej ochrony życia człowieka przed narodzeniem. Prace parlamentarne nad analizowaną nowelizacją otwiera poselski projekt ustawy o zmianie Konstytucji zawarty w druku sejmowym 993 z dnia 5 września 2006 (projekt wpłynął do Sejmu 7 września); zamyka seria głosowań na 39 posiedzeniu Sejmu V kadencji, dnia 13 kwietnia 2007 roku; głosowań, które przesądziły o niewprowadzeniu żadnych zmian. W trakcie procesu legislacyjnego proponowano szereg formuł, zmieniających nie tylko art. 38 dotyczący ochrony życia, ale także art. 30, który dotyczy godności jako źródła praw. W zasadzie wszystkie zgłoszone propozycje posiadały wady, wśród których najważniejsze to: brak domknięcia okresu ochrony lub przysługiwania godności, skutkujący obniżeniem ochrony w kwestiach związanych z eutanazją; stosowanie nowych kategorii, prowadzące do nadania specyficznego statusu człowiekowi przed narodzeniem; określanie standardu ochrony za pośrednictwem aktów o randze niższej od konstytucji, prowadzące do przesunięcia ochrony życia przed narodzeniem w sferę ustawodawstwa zwykłego. Z punktu widzenia celu, jakim było wzmocnienie konstytucyjnej ochrony życia człowieka przed narodzeniem i wzmocnienie jego pozycji prawnej, najlepsza, choć nie pozbawiona usterek, była zaproponowana przez Komisję zmiana brzmienia art. 30 prowadząca do formuły: „Źródłem wolności i praw człowieka i obywatela jest przyrodzona i niezbywalna godność człowieka, przynależna mu od chwili poczęcia. Jest ona nienaruszalna, a jej poszanowanie i ochrona jest obowiązkiem władz publicznych.”. Na podstawie odrzucenia propozycji zmian trudno wyciągać wnioski istotne dla interpretacji aktualnie obowiązujących przepisów; wniosek, że ustrojodawca nie chciał wzmocnienia konstytucyjnej ochrony życie nie jest prawomocny, przede wszystkim ze względu na – istotne w procesie podejmowania decyzji o odrzuceniu propozycji zmian – wątpliwości, co do formalnej poprawności formułowanych propozycji, w tym wątpliwości co do konsekwencji prawnych ich przyjęcia. (shrink)

The author undertakes an attempt to answer the following question: is Christian philosophy possible today? The question seems to be of great importance due to the fact that what Christians who try to do philosophy usually encounter is bitter criticism which comes to them from two sides at once: that of academy and that of the Church. In short, for academy their philosophy is too Christian, and for the Church it is too academic. Being indebted to the insights of Étienne (...) Gilson and Mieczyslaw A. Krapiec (the original Polish spelling: Mieczysław Albert Krąpiec, pronounced: myechisuaf albert krompyetz), the author comes to the conclusion thatChristian philosophy is possible today only if: 1) it isnot identified with the art of persuasion, as its final end lies in gaining understanding rather than being convincing, 2) itis the work of a Christian, and 3) it has thereal world as its object and metaphysics as its method. ForChristian philosophy—which in essence consists indoing philosophy by Christians in order to get morerational understanding of their religious faith—shouldbe identified with theperfection of the intellect achieved by practicingthe classical philosophy of being. (shrink)

This paper attempts to acquaint Polish readers with the Russian Orthodox philosopher Pavel Florensky’s (1882–1937) thinking on the category of space‑ness, which together with the categories of symbolism and light is one of the key‑words in his theory of aesthetics. The concept of space is, according to Florensky, a criterion for distinguishing art types, although for him it is only a model, which can be used to help form judgments about the world. It is also the basis of being (...) for the artwork itself. Painting and printmaking, among other arts types mentioned by Florensky (poetry, music, theatre, and architecture), have their own particularities in their organization of space. Painting and printmaking are, for Florensky, the truest art forms — art par excellence. The presentation of a threefold interpretation of the category of space‑ness, together with the description and justification of the divisions which are made in art based on these spatial categories by the philosopher is the leitmotiv of this paper. The aim of the paper is to present and discuss the opinions and arguments of the Orthodox thinker from his work Анализ пространственности (и времени) в художественно‑изобразительных произведениях, which has not yet been translated into Polish or English. (shrink)

This article presents a new approach to studying aesthetics by weaving together a thread of ideas based on investigating the problematics of the philosophy of art from a behavioral paradigm in order to exceed the margins of aesthetics. I claim that it makes no sense to ask if something is art, but rather we should be looking out into the manners in which art subsists, consists, and insists itself. Several notions of what I call behavioral aesthetics are proposed such as (...) observation, aesthetic experience and aesthetic conditioning, behavioral materialism, out-comes, behavioral memory and replication or acquisition, interaction and intra-action, emotional engineering, artificial instincts, aesthetic dissonance, and the problem of measurement. The proposed goal of behavioral aesthetics consists in studying the process of individuation as constitutive of art with the methods of Bernard Stiegler’s general organology and genealogy of the sensible. The article presents a behavioral stance as a borderline mode for approaching the genealogy of aesthetics. I mostly refer to Tania Bruguera’s Behavior Art School and Wright Judson’s Behavioral Art, and the paradigm of new materialism, notably agential realism of Karan Barad. (shrink)

Why have Polish philosophers fared so badly as concerns their admission into the pantheon of Continental Philosophers? Why, for example, should Heidegger and Derrida be included in this pantheon, but not Ingarden or Tarski? Why, to put the question from another side, should there be so close an association in Poland between philosophy and logic, and between philosophy and science? We distinguish a series of answers to this question, which are dealt with under the following headings: (a) the role (...) of socialism; (b) the disciplinary association between philosophy and mathematics; (c) the influence of Austrian philosophy in general and of Brentanian philosophy in particular; (d) the serendipitous role of Twardowski; (e) the role of Catholicism. The conclusion of the paper is that there is no such thing as 'Polish philosophy' because philosophy in Poland is philosophy per se; it is part and parcel of the mainstream of world philosophy simply because, in contrast to French or German philosophy, it meets international standards of training, rigour, professionalism and specialization. (shrink)

It is intuitively plausible that art and imagination are intimately connected. This chapter explores attempts to explain that connection. We focus on three areas in which art and imagination might be linked: production, ontology, and appreciation. We examine views which treat imagination as a fundamental human faculty, and aim for comprehensive accounts of art and artistic practice: for example, those of Kant and Collingwood. We also discuss philosophers who argue that a specific kind of imagining may explain some particular element (...) of the artistic domain: for example, Walton's ideas about representational art, and Kivy’s about reading. (shrink)

Abstract: There is a long tradition of trying to analyze art either by providing a definition (essentialism) or by tracing its contours as an indefinable, open concept (anti-essentialism). Both art essentialists and art anti-essentialists share an implicit assumption of art concept monism. This article argues that this assumption is a mistake. Species concept pluralism—a well-explored position in philosophy of biology—provides a model for art concept pluralism. The article explores the conditions under which concept pluralism is appropriate, and argues that they (...) obtain for art. Art concept pluralism allows us to recognize that different art concepts are useful for different purposes, and what has been feuding definitions can be seen as characterizations of specific art concepts. (shrink)

Since the launch of applications such as DALL-E, Midjourney, and Stable Diffusion, generative artificial intelligence has been controversial as a tool for creating artwork. While some have presented longtermist worries about these technologies as harbingers of fully automated futures to come, more pressing is the impact of generative AI on creative labour in the present. Already, business leaders have begun replacing human artistic labour with AI-generated images. In response, the artistic community has launched a protest movement, which argues that AI (...) image generation is a kind of theft. This paper analyzes, substantiates, and critiques these arguments, concluding that AI image generators involve an unethical kind of labour theft. If correct, many other AI applications also rely upon theft. (shrink)

A critical note on Christopher Bartel and Jack M. C. Kwong, ‘Pluralism, Eliminativism, and the Definition of Art’, Estetika 58 (2021): 100–113. Art pluralism is the view that there is no single, correct account of what art is. Instead, art is understood through a plurality of art concepts and with considerations that are different for particular arts. Although avowed pluralists have retained the word ‘art’ in their discussions, it is natural to ask whether the considerations that motivate pluralism should lead (...) us to abandon art talk altogether; that is, should pluralism lead to eliminativism? This paper addresses arguments both for and against this move. We ultimately argue that pluralism allows one to retain the word ‘art’, if one wants it, but only in a loose, conversational sense. The upshot of pluralism is that talk of art in general cannot be asked to do theoretical and philosophical work. (shrink)

Eristic has been studied more and more intensively in recent years in philosophy, law, communication theory, logic, proof theory, and A.I. Nevertheless, the modern origins of eristic, which almost all current researchers see in the philosopher Arthur Schopenhauer, are considered to be a theory of the illegitimate use of logical and rhetorical devices. Thus, eristic seems to violate the norms of discourse ethics. In this paper, I argue that this interpretation of eristic is based on prejudices that contradict the original (...) intention of modern eristic. Eristic is not an art of being right or winning an argument, but an art of protecting oneself from the one who deliberately violates norms of discourse ethics to gain argumentative acceptance. For this reason, eristic must be seen as a discipline of Enlightenment philosophy and a correlate of discourse ethics. Especially in the age of alternative facts and post-factual politics, this makes eristic a valuable discipline. (shrink)

Inquiries concerning the theory of imperatives and norms prosecuted in Poland in the 20th century covered practically the whole scope of this theory. In a uniform conceptual scheme, the paper shows main results of this research done mostly within the Lvov-Warsaw School tradition. It begins with presenting the Polish theoreticians’ approach to three correlated theoretical situations containing our preferences (opposed to impulses, decisions and tendencies), accepted values and imposed obligations. The second step is discussing their views on means of (...) verbalising these situations, i.e. by help of imperatives, evaluations and norms (opposed to consultatives, instructions and optatives) correspondingly. The paper is closed with examining the Polish logicians’ trials of reconstruction of imperative-normative argumentation. (shrink)

Who and how revised Marxism in Poland? The simple answer is that it was done by young intellectuals seeing themselves as obligated to social and political activity, eager to participate in the process of the constitution of a new postwar Communist society. Marxism was for them a philosophical world-view and a political program rising hopes for a better socio-economic reality. Revisionists were committed Communists and their attitude toward Marxism was almost religious. Marxism, Promethean and scientific at the same time, was (...) supposed to replace religion, for which the radically secular revisionists saw no place in the new society. (See: Mikołajczyk 2013, p. 44-48) After the shock of 1956 they stuck by the slogan: ’socialism–yes, distortions–no,’ they thought that “Marxist socialism was possible without Leninist political forms, that Communism might be attacked within «the framework of Marxism»,” and they “believed for some time ... that Stalinism was curable in the sense that Communism could be restored or «democratized» without questioning its foundations” (Kolakowski 1978, p. 461). They saw themselves in an elitist way, i.e., as true and devoted Marxists fighting with dogmas, orthodoxy, myths, and unfounded faith both within Marxism-Leninism and outside it. They were willing to accept the position of sectarians, heretics, or apostates. Their political and ideological involvement forced them to attack pre-war but still active Polish philosophers of the Lvov-Warsaw School and other nonMarxist thinkers (Roman Ingarden, Władysław Tatarkiewicz, Stanisław Ossowski), who were classified as “bourgeois thinkers” unable to understand and assimilate Marxism. (shrink)

Confirmational holism is at odds with Jeffrey conditioning --- the orthodox Bayesian policy for accommodating uncertain learning experiences. Two of the great insights of holist epistemology are that (i) the effects of experience ought to be mediated by one's background beliefs, and (ii) the support provided by one's learning experience can and often is undercut by subsequent learning. Jeffrey conditioning fails to vindicate either of these insights. My aim is to describe and defend a new updating policy that does better. (...) In addition to showing that this new policy is more holism-friendly than Jeffrey conditioning, I will also show that it has an accuracy-centered justification. (shrink)

In this chapter, we examine Iris Murdoch’s views about art. We highlight continuities and differences between her views on art and aesthetics, and those of Plato, Kant, and Freud. We argue that Murdoch’s views about art, though traditionally linked to Plato, are more compatible with Kant’s thought than has been acknowledged—though with his ethics rather than his aesthetics. Murdoch shows Plato’s influence in her idea that beauty is the good in a different guise. However, Murdoch shows a more Kantian than (...) Platonic influence in her suggestion that the experience of beauty can be conducive to virtue, and distances herself from Plato in her claim that the enjoyment, as well as the production, of certain kinds of art can be virtuous. We also argue that her view of bad art as self-consoling fantasy is consonant with Freudian thought. Lastly, we question her view of bad art, specifically concerning her identification of bad art as self-consoling fantasy or entertainment, and her separation of the latter and good art. (shrink)

As art produced by autonomous machines becomes increasingly common, and as such machines grow increasingly sophisticated, we risk a confusion between art produced by a person but mediated by a machine, and art produced by what might be legitimately considered a machine artist. This distinction will be examined here. In particular, my argument seeks to close a gap between, on one hand, a philosophically grounded theory of art and, on the other hand, theories concerned with behavior, intentionality, expression, and creativity (...) in natural and artificial agents. This latter set of theories in some cases addresses creative behavior in relation to visual art, music, and literature, in the frequently overlapping contexts of philosophy of mind, artificial intelligence, and cognitive science. However, research in these areas does not typically address problems in the philosophy of art as a central line of inquiry. Similarly, the philosophy of art does not typically address issues pertaining to artificial agents. (shrink)

The primary aim of this chapter is to outline the consensuses that have emerged in recent philosophical works tackling normative questions about responding to immoral artist’s art. While disagreement amongst philosophers is unavoidable, there is actually much agreement on the ethics of media consumption. How should we evaluate immoral artist’s art? Philosophers generally agree that we should not always separate the artist from the art. How should we engage with immoral artist’s art? Philosophers generally agree that we should not always (...) reflexively turn away from them. In turn, these responses reveal that moral value is not autonomous from aesthetic value, and neither dominates the other. The secondary aim of this chapter is to explore the ramifications of this revelation. I argue that, in addition to an ethics of media consumption, we need an aesthetics of media consumption that is fundamentally social rather than solitary. (shrink)

Heidegger, Art, and Postmodernity offers a radical new interpretation of Heidegger's later philosophy, developing his argument that art can help lead humanity beyond the nihilistic ontotheology of the modern age. Providing pathbreaking readings of Heidegger's 'The Origin of the Work of Art' and his notoriously difficult Contributions to Philosophy, this book explains precisely what postmodernity meant for Heidegger, the greatest philosophical critic of modernity, and what it could still mean for us today. Exploring these issues, Iain D. Thomson examines several (...) postmodern works of art, including music, literature, painting and even comic books, from a post-Heideggerian perspective. Clearly written and accessible, this book will help readers gain a deeper understanding of Heidegger and his relation to postmodern theory, popular culture and art. (shrink)

In this paper, I provide a descriptive definition of art that is able to accommodate the existence of bad art, while illuminating the value of good art. This, I argue, is something that existing definitions of art fail to do. I approach this task by providing an account according to which what makes something an artwork is the institutional process by which it is made. I argue that Searle’s account of institutions and institutional facts shows that the existence of all (...) institutions is due to their being perceived by their participants to perform some humanly valuable function. I then identify the functions to which the existence of art institutions is due. I then use these functions to provide a reductive institutional definition of art. Finally, in section seven, I examine the account’s consequences for the value of good art. (shrink)

Public reason liberalism is the political theory which holds that coercive laws and policies are justified when and only when they are grounded in reasons of the public. The standard interpretation of public reason liberalism, consensus accounts, claim that the reasons persons share or that persons can derive from shared values determine which policies can be justified. In this paper, I argue that consensus approaches cannot justify fair educational policies and preserving cultural goods. Consensus approaches can resolve some controversies about (...) teaching values in the educational system, such as curriculum choice. But they cannot determine which culture goods, e.g., architecture, artwork, or language ought to be preserved in the education system. Consensus approaches cannot fairly resolve competing claims about these kinds of disputes. -/- I propose that convergence accounts of public reason, which allow individuals to draw on their own comprehensive doctrines in limited ways, can remedy these weaknesses in the mainline public reason tradition. The convergence approach can justify a pluralist state that can advance valuable community goods. John Henry Newman’s advocacy of liberal arts education finds resonance in other cultures, notably among Confucians, illustrating that there can be a shared moral vision and inquiry into the good life across deep substantive disagreements about educational values and policies, once we expand our notion of justification to be more inclusive. (shrink)

Vous éprouvez souvent l'embarras du choix? Que sera la liberté au XXIe siècle? Depuis l'invention des machines et des computeurs, notre quotidien semble avoir gagné du temps. Mais en contrepartie, il paraît de plus en plus codé, soumis aux automatismes. Depuis Leibniz jusqu'à la puce biométrique, l'auteur raconte une histoire alternative de l'ère informatique. Il démontre que le " numérisme ", le principe ordinateur, est une vertu humaine ancestrale et nécessaire. Mais insuffisante. Après le sauve-qui-peut du postmodernisme, un nouveau paradigme (...) est en train de naître, le " créalisme " : le monde est notre création commune incessante. L'horizon de notre liberté politique et existentielle, c'est la Terre comme oeuvre d'art. Construit comme une odyssée philosophique curieuse et empreinte d'humour, voici un traité de cocréativité pour une époque aux forces actives éclatées. Où l'on découvre que l'ordre et l'aventure ne sont pas incompatibles. (shrink)

Overview of the definition of art and its relationship to definitions of the individual art forms, with an eye to clarifying the issues separating dominant institutionalist and skeptical positions from non-skeptical, non-institutional ones. Section 2 indicates some of the key philosophical issues which intersect in discussions of the definition of art, and singles out some important areas of broad agreement and disagreement. Section 3 critically reviews some influential standard versions of institutionalism, and some more recent variations on them. Section 4 (...) discusses some recent reductionist approaches to definitional questions, which advocate a shift of philosophical focus from the macro- to the micro-level —from art to the individual art forms. Section 5 outlines an alternative, non-institutionalist and non-reductionist approach to definitional questions. (shrink)

Este trabajo presenta una propuesta biologizada del arte y la Filosofía Indígena desde el pueblo kichwa Saraguro, con el fin de discutir especialmente los fundamentos de los derechos de la naturaleza. Aunque, hay que resaltar que, el sitio de enunciación no es estrictamente el lugar descrito; porque la matriz de discusión es el Sumak Kawsay que involucra a Latinoamérica en general. La metodología que se usa es la transdisciplinar. El orden de desarrollo está enmarcado en una primera parte que desarrolla (...) a modo teórico la presencia del arte y la estética en el mundo indígena. Luego, se presenta un breve análisis de campo, específicamente una discusión con el artista kichwa Saraguro Luis Antonio Lozano. Se concluye que existe un contenido religioso, espiritual o Trascendental en el arte y la estética kichwa Saraguro, que puede aportar para el desarrollo del fundamento filosófico de los derechos de la naturaleza y el Sumak Kawsay. (shrink)

Most recent discussions of reasons in art criticism focus on reasons that justify beliefs about the value of artworks. Reviving a long-neglected suggestion from Paul Ziff, I argue that we should focus instead on art-critical reasons that justify actions—namely, particular ways of engaging with artworks. I argue that a focus on practical rather than theoretical reasons yields an understanding of criticism that better fits with our intuitions about the value of reading art criticism, and which makes room for a nuanced (...) distinction between criticism that aims at universality and criticism that is resolutely personal. (shrink)

The theory and culture of the arts has largely focused on the arts of objects, and neglected the arts of action – the “process arts”. In the process arts, artists create artifacts to engender activity in their audience, for the sake of the audience’s aesthetic appreciation of their own activity. This includes appreciating their own deliberations, choices, reactions, and movements. The process arts include games, urban planning, improvised social dance, cooking, and social food rituals. In the traditional object arts, the (...) central aesthetic properties occur in the artistic artifact itself. It is the painting that is beautiful; the novel that is dramatic. In the process arts, the aesthetic properties occur in the activity of the appreciator. It is the game player’s own decisions that are elegant, the rock climber’s own movement that is graceful, and the tango dancers’ rapport that is beautiful. The artifact’s role is to call forth and shape that activity, guiding it along aesthetic lines. I offer a theory of the process arts. Crucially, we must distinguish between the designed artifact and the prescribed focus of aesthetic appreciation. In the object arts, these are one and the same. The designed artifact is the painting, which is also the prescribed focus of appreciation. In the process arts, they are different. The designed artifact is the game, but the appreciator is prescribed to appreciate their own activity in playing the game. Next, I address the complex question of who the artist really is in a piece of process art — the designer or the active appreciator? Finally, I diagnose the lowly status of the process arts. (shrink)

La identidad, el cuerpo y los imaginarios, en su vínculo con el arte y la cultura, son los conceptos básicos presentes en este libro. La asociación entre ellos no es nada casual. Responde a importantes necesidades epistemológicas y prácticas en la comprensión de lo que somos, de la medida en que el arte y la cultura nos constituyen y del modo en que lo corporal y lo imaginario se convierten en depositarios de los atributos que nos identifican. Esta sexta entrega (...) de La Fuente nace como iniciativa para el trabajo conjunto del Cuerpo Académico “Estética y Arte” de la BUAP y extiende su concepción y realización a otros cuerpos, asociados, junto al primero, en la Red de Investigaciones en Arte (RIA). Participan en el libro, de esta forma, investigadores de las universidades Autónoma de Puebla, Autónoma de Ciudad Juárez, Autónoma de Querétaro y de Barcelona. Se compone de tres secciones, precedidas cada una de ellas por Mesas Redondas dedicadas, respectivamente, al vínculo entre identidad y universalidad, a la estética del cuerpo femenino y a los imaginarios como depositarios de las identidades promovidas por el arte. Las secciones se completan con trabajos en torno a los mismos temas, realizados por integrantes de diferentes cuerpos académicos de la RIA o que colaboran con ella. (shrink)

El presente libro, editado de manera conjunta por la Facultad de Filosofía y Letras de la BUAP y el Instituto de Filosofía de La Habana, reúne algunos de los principales resultados del Proyecto de Investigación Coordenadas epistemológicas para el análisis estético de la cultura y su relación con el consumo, coordinado por el Grupo de Investigación sobre Estética, Cultura y Arte, perteneciente a la institución cubana, con la colaboración de los cuerpos académicos de Estética y Arte y La Estética y (...) Los Medios, ambos asociados a la Maestría en Estética y Arte de la BUAP. Componen el libro tres partes fundamentales. La primera está referida a los problemas epistemológicos y axiológicos que supone la compleja relación actual entre estética, arte y cultura; la segunda centra su atención en el tema del consumo, abordado desde una perspectiva teórico-general y en sus ricos vínculos con la cultura y el arte; la tercera pone en evidencia la movilidad del consumo cultural a través de todo el entramado social, destacando sus nexos con diferentes facetas de la vida social. (shrink)

This book covers the field of and points to the intersections between politics, art and philosophy. Its hero, the late Sir Roger Scruton had a longstanding interest in all fields, acquiring professional knowledge in both the practice and theory of politics, art and philosophy. The claim of the book is, therefore, that contrary to a superficial prejudice, it is possible to address the philosophical issues of art and politics in the same oeuvre, as the example of this Cambridge-educated analytical philosopher (...) proves. Accordingly, the book has a bold thesis on the general, theoretical level, mapping the connections between politics, art and philosophy. However, it also has a pioneering commitment on the level of the particular, offering the first full-length study into the philosophical legacy of Roger Scruton, probably the most important British conservative philosopher of the late 20th and the first decades of the 21st century. It also allows reader to look into the philosopher’s fascination with Central European art and culture. Finally, it also provides a daring analysis of the late Scruton’s metaphysical inspirations, connecting the arts, and especially music, with religion and the bonds of love. (shrink)

In this article I argue that a work of art provides the best interpretation of itself - more faithful than any other scholarly interpretative work.

A standard art-ontological position is to construe repeatable artworks as abstract objects that admit multiple concrete instances. Since photographic artworks are putatively repeatable, the ontology of photographic art is by default modelled after standard repeatable-work ontology. I argue, however, that the construal of photographic artworks as abstracta mistakenly ignores photography’s printmaking genealogy, specifically its ontological inheritance. More precisely, I claim that the products of printmaking media (prints) minimally must be construed in a manner consistent with basic print ontology, the most (...) plausible model of which looks decidedly nominalist (what I call the relevant similarity model) and that as such, photographic artworks must be likewise construed, not as abstracta but as individual and distinct concreta. That is, the correct ontological account of photographic art must be one according to which photographic artworks are individual and distinct concrete artworks. In the end, I show that the ontology of photographic art resists the standard repeatable-work model because the putative repeatability of photographic artworks is upon closer inspection nothing more than the relevant similarity relation between individual and distinct photographic prints. (shrink)