Art as Festival Art has been a privileged sphere in the sense that it appeales to art-receivers because of its power of taking them outside the sphere of everyday life (commonplaceness) and practicality. For the first time the philosophers of ancient Greece propagated this view. In this paper the Pythagorean and Aristotle’s views are considered; however they have different metaphysical bases, there is some aspect common to theirs aesthetics. In 20th century it is Helmut Kuhn, Hans-Georg Gadamer and Władysław Stróżewski (...) who express similar ideas and convictions about an exceptionality of the meeting between art and man. In the first part of the article (the ancient) notion of “leisure” (scholé) is presented, while in the second one the case of “festival”, Festlichkeit and Eigenzeit is taken into account. (shrink)

In the article I analyse the phenomenological possibilities of sanctioning a religious revelation through the experience of art. First, I present the context for reflections on the religious dimension of art on the grounds of contemporary phenomenological research. Next, I analyse the main methodological problems within the research area under consideration. I also propose an interdisciplinary approach to the issue of art and revelation, which allows for a complementary presentation of this complex research problem at the intersection of aesthetics, phenomenology, (...) philosophy of religion and theology. (shrink)

Techne and Truth. The problem of techne in the dispute between Gorgias and Plato -/- The source of the problem matter of the book is the Plato’s dialogue „Gorgias”. One of the main subjects of the discussion carried out in this multi-aspect work is the issue of the art of rhetoric. In the dialogue the contemporary form of the art of rhetoric, represented by Gorgias, Polos and Callicles, is confronted with Plato’s proposal of rhetoric and concept of art (techne). The (...) ingenuous and dramatic structure of the dialogue composed of three acts, in each of which Socrates’ consecutive interlocutors emerge, is difficult to interpret. It seems, however, that even though the first conversation between Socrates and Gorgias constitutes a small part of the dialogue, it forms the foundations for the discussion. This part, dealing with such important issues as the subject of art, knowledge, power and relation between art and good, is the starting point for the conversations which follow. What do the differences between the Gorgias’ and Plato’s concepts of art consist in? Any attempt to answer the question requires presentation of the background for the discussion taking place in Plato’s work as well as the reconstruction of Gorgias’ vision of the art of rhetoric and art in general, defining the relation between art and knowledge. The latter may be undertaken on the basis of two paraphrases of the treatise “On Non-existence”, two epideictic speeches entitled “Helen” and “Palamedes” and some smaller fragments which have been preserved from Gorgias’ creative output. The treatise “On Non–existence”, very paradoxical in its philosophical meaning, testifies to new, sophistic thinking represented by Gorgias of Leontinoi. The treatise is the polemic and attack on Eleatism based on certain principles and methods elaborated by the Eleatics themselves. It also shows that Gorgias – using traditional Eleatic schemes – is opposed to this tradition. Even though the treatise does not discuss the problem of art directly, it anticipates the considerations from epideictic speeches. “Helen” and “Palamedes” constitute further stages in the development of Gorgias’ thought and concept of art combining typically epideictic elements with some philosophical convictions. Gorgias refers to the Eleatic theme considering the issues of truth, knowledge and belief, yet defining them in the empirical spirit. Solutions in the cognitive sphere determine the horizon of Gorgias’ rhetoric. The word is separated from the existence. Human cognition is limited and therefore the word and visual images affect the belief. This promotes the great importance of rhetoric, painting and sculpture, i.e. the areas which influence in a specific way – creating the “delusion” (ἀπάτη). Through idealization art provides pleasure, which is its objective. Therefore the task of art is to create delusion. The rhetor of Leontinoi discusses the issue of “how?” to use the word ‘rhetoric’. Gorgias is aware that rhetoric may be used to talk about what is unknown and that technical correctness of a rhetoric statement is not identical with the truthfulness of the proclaimed message. Mentioning it, Gorgias shows his respect to the truth as a value which should be respected in speech on the one hand, and on the other emphasizes that the truth in itself has no persuasive power. For this reason it is not enough to proclaim the truth, but, to convince the listeners, the orator should possess the skill of speaking. What is then the relation between truth and art emerging from epideictic speeches? Gorgias undoubtedly emphasizes the formal aspect of speech, as rhetoric is art, thus an ability based on certain principles. According to Gorgias, the truth is the value which should be respected in speeches. Rhetoric is able to create a fictive world, as a great range of reality remains outside direct human experience. Rhetoric does not oppose the truth but discussing not only what is directly given concerns the area outside the sphere of direct experience. This concept of rhetoric is the basis of the discussion about art carried out in the dialogue “Gorgias”. Even though the first of the discussions in the dialogue – the conversation between Socrates and Gorgias – is directly concerned with rhetoric itself, numerous remarks testify to its much wider character. This is best exemplified by the way of carrying out the conversation by Socrates, who, asking questions about rhetoric practised by Gorgias, throughout the whole conversation compares it with other skills. Additionally, the manner and the structure of the conversation prove that Plato considers the issue of rhetoric from a wider perspective determined by the issue of art. The specific feature of the conversation is ordering it around main issues – such notions as πρᾶγμα, ἐπιστήμη, δύναμις, each of which has its own meaning in Plato. In the first part of Gorgias Plato presents the principles previously occurring in other dialogues in a certain order, thus constructing the structure of the conversation with Gorgias. The notions are not novum in Plato but the fact that he clearly wants to systematise them and present a certain concept of art is a new and significant aspect. This tendency is of paramount importance for the discussion because Gorgias’ answers are evaluated by Plato from the perspective of this clearly set concept consisting of not only established notions but also certain principles. The discussion between Socrates and Gorgias introduces a theme which is crucial for the dialogue: the relation between art and good, i.e. the technical and ethical spheres. The issue is introduced by Gorgias, who mentions that rhetoric may be used for evil purposes. On this basis Socrates proves that if rhetoricians can use rhetoric for evil purposes, they have no knowledge concerning the subject of their art – justice, because one who knows what is just, always acts justly. Thus the relation between the technical and ethical spheres transpires to be the main point of contention. The question is whether a technician following the principles of the art he practices may act against good. This paradoxical statement based on the well-known Socrates’ principle "nemo sua sponte peccat" acquires philosophical foundations in the dialogue. In its remaining two parts Plato presents a justification, placing the principle within the framework of a certain concept of art, as a result of which not only rhetoric but also many other skills are criticised. The notions on which the conversation with Gorgias focuses are more precisely defined in the subsequent parts of the dialogue. Additionally, Plato presents twice the conditions which art should fulfill. They oblige the “technicians” to know the nature and purpose of the art and to know the causes of undertaken activities and to be able to justify them. These conditions determine the relation between the two spheres – technical and ethical. According to Plato, art may not act against good because it should be the objective of its activities. Certain concepts of good and knowledge outlined in the dialogue are the guarantees of “technicality”. Good, which should be respected by every art, is understood objectively and is contrasted with subjective pleasure. Knowledge, which should be the basis of art, opposes experience, which uses observation and recollection. Additionally, the definition of knowledge, significance of order in the world assuming the form of “geometrical equality”, significance of mathematics becoming the ideal of exactness indicate that Plato’s concept of knowledge is formed in Gorgias. These conclusions render it impossible that the results of any activity deserving the name of art should oppose good. And this is Plato’s main reproach of Gorgias’ concept, who wrote about false speeches possessing the power of conviction because they were written according to the principles proof of art or who defined tragedy as “a deceit, where he who cheats is more just than he who does not and the cheated is wiser than he who was not cheated”. Such determination of the relation between the technical and ethical sphere resulted from Gorgias’ concept of the world and fundamental philosophical principles. The whole concept of art described by Plato in the dialogue opposes the view presented by Gorgias. According to Plato, every technical activity has a defined object (ἔργον), is based on knowledge (ἐπιστήμη) and is always aimed at the good of human soul or body. The danger revealed and presented in the dialogue by Plato exists in the very concept of art presented by Gorgias, i.e. in its empirical foundations and the resulting understanding of the relation between art and good. Gorgias’ concept of art based on empirical cognition, which concerns the world of phenomena and rejects the possibility of perfect knowledge, leads, according to Plato, to a dangerous falsification of the relation between art and good. Plato proves that this weakness of Gorgias’ concept is revealed when confronted with these representatives of “the magnificent art” who are not protected against radicalism by the adherence to the moral tradition. The comparison of two, completely contrasting concepts of art based on different philosophical understanding of knowledge and good is decisive for the criticism of rhetoric in Gorgias. The concept presented by Plato criticises contemporary rhetoric and sophistry but determines the direction of research of the real art of rhetoric. (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)

Growth in popularity of computer games is a noticeable change in recent years. Electronic entertainment increasingly engages the wider society and reaches to new audiences by offering them satisfy of wide variety of needs and aspirations. As a mass media games not only provide entertainment, but they are also an important source of income, knowledge and social problems. Article aims to bring closer look on the common areas of games and comics. On the one hand designers and artists working on (...) games are often inspired by comic books, as well as they create their licensed adaptations and separate „interactive issues”. On the other hand more and more often we can see comics based on popular games. Study present the areas of agreement, cooperation or dependence like: technologies used to create games and comic books, use of comic books to comment events in the gaming industry and organization of exhibitions or events popularizing the works from both fields. ** W ostatnich latach dostrzegalny jest wzrost popularności gier komputerowych. Elektroniczna rozrywka angażuje uwagȩ coraz to szerszych krȩgów społecznych i dociera do nowych grup odbiorców oferuj¸a}c im zaspokojenie najrozmaitszych potrzeb i aspiracji. Jako środek masowego przekazu gry dostarczaj¸a} nie tylko rozrywki, ale stanowi¸a} też istotne źródło dochodów, wiedzy i problemów społecznych. Celem artykułu jest przybliżenie wspólnych obszarów gier i komiksu. Z jednej strony projektanci i artyści pracuj¸a}cy nad grami czȩsto czerpi¸a} inspiracjȩ z komiksów, jak również tworz¸a} ich licencjonowane adaptacje i odrȩbne, „interaktywne numery”. Z drugiej zaś coraz czȩściej publikowane s¸a} komiksy bazuj¸a}ce na popularnych grach. Opracowanie przedstawia również takie obszary porozumienia, współpracy, b¸adź zależności jak: technologie wykorzystywane przy tworzeniu gier i komiksów, zastosowanie komiksów w komentowaniu wydarzeń branży gier oraz organizowanie wystaw i imprez popularyzuj¸acych twórczość z obu dziedzin. (shrink)

Reklama jako sztuka perswazji wykorzystuje obecnie każdą technikę i każdy środek w celu zwiększenia swego wpływu na potencjalnego konsumenta. Ważnym aspektem reklamy są tzw. słowa-klucze (Schlüsselwörter), które ze względu na swą semantykę wywołują różnorodne pozytywne konotacje i skojarzenia. Słowa te transportują pewne wartości, które zostają przez konsumenta przenoszone na reklamowany produkt, co przyczynia się do zwiększenia wartości danego produktu w oczach konsumenta. Analizie poddano 100 tekstów reklamowych, które ukazały się w prasie niemieckiej w latach 2001-2002. Słowa-klucze zostały wyodrębniane osobno (...) z czterech grup tekstów reklamowych w zależności od reklamowanego produktu: leki, biżuteria, kosmetyki, samochody. W prezentowanym artykule wykazano, że użycie słów-kluczy zależy od reklamowanego produktu, co związane jest z reprezentowanymi przez te słowa różnymi wartościami i wywoływanymi przez nie różnymi konotacjami i skojarzeniami. W reklamie leków największą rolę odgrywają takie wartości jak skuteczność i naturalność, które spełniają w pełni oczekiwania konsumenta co do stosowania reklamowanych leków. Reklamy biżuterii podkreślają trwałość, tradycję i kosztowność produktów, dzięki czemu odnoszą się do emocji konsumentów i podkreślają ich status społeczny. Reklama samochodów kieruje uwagę konsumenta na bezpieczeństwo, technikę i komfort reklamowanych pojazdów, co podkreśla dostosowanie się do głównych potrzeb kupującego. Reklamy kosmetyków zachwalają natomiast swe produkty takimi określeniami, jak pielęgnacja, efektywność i skuteczność. Wspomniane słowa-klucze wskazują bezpośrednio lub poprzez skojarzenia i konotacje różne wartości, które odgrywają istotną rolę w danym społeczeństwie. Poprzez podświadome przeniesienie tych wartości na reklamowany produkt potencjalny konsument nie dokonuje zakupu określonego produktu, lecz postrzega ten produkt przez pryzmat związanych w nim wartości i decyduje się na kupno, jeśli dane wartości spełniają jego potrzeby. W wyniku powyższych rozważań można stwierdzić, iż konsument nie kupuje jedynie materialnego produktu, który dla konsumenta tylko w nieistotny sposób różni się od innych produktów tego samego rodzaju, ale wartości przekazywane przez reklamę pod postacią słów-kluczy. (shrink)

Nakładem wydawnictwa Uniwersytetu w Walencji ukazała się w 2008 roku książka brytyjskiego profesora Iana Ground’a, zatytułowana ¿Arte o chorrada? (tytuł oryginału: ang. Art or bunk?). Ian Ground jest wykładowcą Uniwersytetów w Edynburgu oraz Newcastle, przedmiotem jego zainteresowań filozoficznych jest estetyka oraz zagadnienia sztuki współczesnej. Długoletnie doświadczenie w pracy ze studentami stało się dla niego inspiracją do podjęcia próby przybliżenia odbiorcy idei sztuki współczesnej. Celem autora nie jest jednak podanie bezpośredniej odpowiedzi na pytanie: jak poradzić sobie w świecie sztuki współczesnej, ale (...) dostarczenie określonych narzędzi, pomocnych w zetknięciu z tego rodzaju sztuką. W zamyśle autora, narzędzia te pozwolą odbiorcy dokonać fundamentalnego osądu: czy ma do czynienia z dziełem sztuki, czy też ze zwykłym „śmieciem” i pospolitą „bzdurą” (ang. bunk, hiszp. chorrada). ¿Arte o chorrada? to próba stworzenia elementarnego podręcznika, prezentującego metodę analizy dzieła, które stało się dla nas wyzwaniem oraz zawierającego propozycję pewnych rozwiązań, nie zawsze będących gwarancją osiągnięcia sukcesu. Podobnie jak wiele innych prac związanych z tematem sztuki XX wieku, książka Iana Ground’a nie jest niezawodnym remedium na wszelkie bolączki odbiorcy sztuki współczesnej. Możemy ją raczej potraktować jako solidne zestawienie tez, na których autor opiera swoją propozycję rozumienia dzieł sztuki i w konsekwencji, konstruktywne podejście do omawianego problemu. (shrink)

These are the excerpts from the book "Sztuka a prawda. Problem sztuki w dyskusji między Gorgiaszem a Platonem" concerning Gorgias' theory of apate (deception).

W tekście rozważane są zagadnienie realności i związana z nim tematyka epistemologiczna w trzecim okresie filozofii Fryderyka Nietzschego. Analizując ten obszar filozofii Nietzschego, autor zwraca szczególną uwagę na problem życia. Opisuje go za pomocą metafory pnącej się wzwyż spirali. Metafora ta rozwijana jest przez autora w kontekście koncepcji „ekstatycznego tańca kratofanicznego” Zbigniewa Kaźmierczaka. Autor rozpoczyna rozważania od interpretacji stanowiska Nietzschego na temat trzech władz poznawczych: świadomości, rozumu i języka metafizycznego. Następnie stara się opisać wpływ, jaki — zdaniem filozofa — wywierają (...) one na powstanie koncepcji realności. Z tego powodu przechodzi do analizy struktury woli. W ostatniej części tekstu autor dokonuje analizy koncepcji realności, zestawiając wyniki badań z metaforą spirali. (shrink)

This is a critical discussion of Nick Zangwill’s Aesthetic Creation Theory of Art, as presented in his book Aesthetic Creation. The discussion focuses on two questions: first, whether the notion of art implied by Zangwill’s theory is at once too wide and too narrow; second, whether Zangwill is right about the persistence conditions of works of art.

While pluralism in ontology of art improves on various monistic views, through its eclectic approach it lost a lot of their simplicity, parsimony, unity and intuitiveness. The dualistic theory presented in this paper offers an alternative – it shares the advantages of the monistic views while retaining the wide scope of pluralism, and thus should be preferred for methodological reasons. On this view all artworks are at the same time abstract universals which are called recipes, and particular physical objects – (...) realisations. The fact that various artworks seem to differ in their ontology is due to certain fairly consistent culturally determined biases which cause people to prioritise the above compounds differently in cases of different arts. Thus the diversity of arts should not be considered on the level of ontology, as the pluralists would hold, but epistemology, or even further – socially determined phenomena concerning customary perception of various artworks. (shrink)

This article gives an account of Jean‑Luc Marion’s thought concerning the anamorphosis of works of art. The initial considerations regarding the phenomenon of anamorphosis in art are followed by a presentation of the innovative character of Marion’s phenomenological project, together with the characteristics of saturated phenomena. The article examines selected examples of anamorphosis of works of art and also categorizes different varieties of anamorphosis. The author aims mainly at proving that Marion’s phenomenological thought reaches beyond the limits of traditionally understood (...) aesthetics, pointing towards the category of excess of intuition (saturation, saturé) in art. (shrink)

Since the beginning of the 20th Century to the present day, it has rarely been doubted that whenever formal aesthetic methods meet their iconological counterparts, the two approaches appear to be mutually exclusive. In reality, though, an ahistorical concept is challenging a historical analysis of art. It is especially Susanne K. Langer´s long-overlooked system of analogies between perceptions of the world and of artistic creations that are dependent on feelings which today allows a rapprochement of these positions. Krois’s insistence on (...) a similar point supports this analysis. - I - Unbestritten bis heute gilt, formwissenschaftliche und ikonologische Methoden scheinen sich grundsätzlich auszuschließen, da die ersteren auf ahistorischen und die letzteren auf historischen Grundlagen aufbauen. Dem entgegen soll mit diesem Beitrag gezeigt werden, wie insbesondere die Forschungen Susanne K. Langers und ergänzend diejenigen von John M. Krois eine Annäherung beider Positionen ermöglichen. (shrink)

Artykuł poruszać będzie zagadnienia dotyczące sposobu definiowania artysty oraz istnienie artystów w kontekście historycznym, ontologicznym i filozoficznym. Autor rozważy także dylematy moralne i etyczne, dotyczące statusu dzieła, jak i problemy estetyczne odniesione do „standaryzacji” dzieł według wzorca produktów i języka biznesowego. Udowodni, że żaden współczesny człowiek w istocie nie potrafi zrobić „kanapki” jako jednostka. Wytwory artystyczne są w podobnej sytuacji. Status quo jest w procesie przewartościowania. W artykule postawiona będzie teza, że współczesny artysta jest nauczycielem, który stymuluje bądź angażuje działalność (...) osób – korzystając z nowych rozwiązań technologicznych – do powstających w sposób zbiorowy dzieł sztuki. Te nowe realia wymagają ogólnego dostępu do zasobów koniecznych dla nowego społeczeństwa. Rozwój technologii spowodował, że wśród artystów i odbiorców znacznie zradykalizował się sposób tworzenia i recepcji sztuki. Nie jest to bynajmniej tajemnicą, szczególnie biorąc pod uwagę konflikty między własnością autorską a prywatną (piractwo) oraz historię tego „problemu” – począwszy od pojawienia się prasy drukarskiej. W świetle nowej technologii nasuwa się pytanie, czy usiłujemy utrzymać przestarzały model? Czy komputer może być artystą? Czy może nim być tłum? A zwierzęta? Czy twory sztuki mogą być własnością publiczną? Co w przypadku powszechnego dostępu do edukacji artystycznej? Jaki paradygmat wprowadzić? Jaka powinna być polityka wobec zasobu energii kreatywnej? (shrink)

Stanisław Ignacy Witkiewicz and Franciszka and Stefan Themerson constitute a rare constellation of outstanding artists of the 20th century avant-garde. Their best known contributions were a concept of Pure Form and an idea of Semantic Poetry respectively. They all shared multiplicity and diversity of interests and areas of not only artistic activities. Philosophy and science influenced to large extent form and content of their works. Despite their mutual interest in each other’s work they had never met personally and no correspondence (...) between them was found. However similarities in attitudes resulted then in intertwining of their paths of artistic development. One of early Stefan Themerson’s novels featured strong influence of Witkacy works but all his later writings were fully original and individual. However the author believes one can still find some flavours, tones and traces leading to the oeuvre of the author of Insatiability. After leaving Poland in 1938 Themersons had still maintained their interest in Witkiewicz works what finally led to translation and preparation for publishing by Gaberbocchus Press of his two plays – Gyubal Wahazar and Mother featuring Franciszka’s drawings. A brief review of Gaberbocchus Press achievements and resources of the Themersons Archive, established by Jasia Reichardt after their death, constitute a background for an analysis of relationships between Witkacy and Themersons. The fact National Library in Warsaw acquired Themersons heritage alleviated very much access to many very interesting source documents. The author focused on a part of the Archive related to the all aspects of Witkacy’s works. Typescripts of publication ready translated and adapted plays, Vahazar and Mother, which finally remained not published by the Gaberbocchus Press triggered an idea to take up the challenge of publishing a “bestlooker” today. A draft of a bibliophilic bilingual edition of the Gyubal Wahazar drama illustrated with Franciszka Themerson’s drawings (samples are included in the paper) is proposed as a final thought. (shrink)

This paper presents gesture as an element of aesthetic experience of musical work. It focuses on specific dialectics of gesture in musical works as that which is visual or highlighted and at the same that which speaks to the listener. The difficulty in describing what constitute musical expressive gesture is there to guide us. The gesture stands in way of recognizing meaning and providing communication but at the same time that, which speaks to the listener is the most secluded, intimate (...) part of musical experience. (shrink)

Metaphor in Experience of Musical Work. Account of Roger Scruton's Theory Author analyses Roger Scruton's theory of metaphorical transfer outlined in his The Aesthetics of Music. Tone and a special kind of listening constitute the main elements of music in Scruton's music aesthetics. It is through the listening experience, one in which physical sound changes into musical tone, that music comes into being. The change - Scruton argues - takes place when spatial and time metaphors are employed to describe and (...) name what we listen to. Author further examines Scruton's theory, his concept of metaphor and metaphorical transfer and also his account of experience of music understood as an experience of double intentionality. In conclusions, author argues that Scruton's account of music is inspirational and phenomenologically true even if -author feels - it fails to explain what is really unique in the listening experiences of music. (shrink)

Author begins with setting up a problematics of relations between values and evaluation in art and aesthetics experience. Following Bohdan Dziemidok work on American Axiology and Aesthetics (2014) author offers her remarks on the subject and joins the discussion on values and qualities and the possibility of assessing and evaluating the work of art with or without grounding it in aesthetic experience. Following Ingarden’s aesthetic phenomenology and turning to Władysław Stróżewski, author suggests that the values are a necessary part of (...) any aesthetic theory yet the understanding of the work of art and its proper evaluation should also place the values in the proper if changing cultural and historical context. (shrink)