The notion of “projective aesthetics” is considered in this paper for the first time as a variant of the recourse to praxis that characterizes contemporary aesthetics and its “aesthetic involvement”. Projective aesthetics involves the use of methodologies of a new type: “schizoanalysis”, “conceptivism” and “projectivism”. The emphasis is put on the principle of “rhizome” and on the features of so-called “culturonics”, a way of thinking “through projects” in the cultural sphere. Projective aesthetics implies a way of philosophizing about art and (...) aesthetics which is defined by a functional orientation in terms of a process of aestheticization and artification, and, accordingly, of projectivity. The connection between projective aesthetics and the peculiarities of modern communicative aesthetics is also examined, together with the need for creating a philosophical glossary of artistry and modern art, meant as a relevant project for aesthetics. In the text, a special place is also given to a number of projects implemented in the process of teaching philosophical aesthetics, as related to beauty as well as with the direct participation of students in filling out the contents of the above-mentioned glossary. (shrink)

The article takes as its starting point the work of Tomas Kulka on Kitsch and Art to further a philosophical move aiming at the very logical core of the question of art. In conclusion, the idea of Singular Rule is offered as capturing the defining logic of art. In so doing, the logical structure of a singular rule is uncovered and in that also the sense in which the idea of singular rule both explains and justifies the role that art (...) plays in our life. In his Kitsch and Art Tomas Kulka extends Karl Popper's refutation principle in science to the arts. He asks of a true work of art to be open to “refutation” by way of evaluating it against its own admissible alterations or variations. An admissible alteration according to Kulka is a change or a modification of the work that does not “shatter its basic perceptual gestalt”. In considering alterations that are aesthetically better, worse or neutral with respect to the original picture, Kulka offers us a rational reconstruction of key aesthetics concepts such as unity, complexity and intensity. His reconstruction will show that a work of kitsch does not qualify as art in direct analogy to a proposition that cannot qualify as scientific if it is not refutable. Kitsch cannot be “refuted” by any of its possible alterations as they are all of equal aesthetic value. This explains the aura of empty perfectionism that accompanies the experience of kitsch since the work of kitsch does not carry any promise for improvement nor does it show itself superior to any of its possible alterations. Notwithstanding Kulka’s novel analysis, its premise we must note is grounded in the work of art impressing on us a single basic perceptual gestalt with respect to which an alteration can qualify as admissible. But in acknowledging the possibility of a gestalt-switch or the fact that the work of art can impress on us a variety of mutually-exclusive perceptual gestalts, Kulka's analysis loses the logical anchor necessary for it to work. However, in what might look at first sight as an unrecoverable logical deficiency, we find an anchor to a novel analysis to the question of art. This is our analysis to the idea of art as a singular rule. Indeed, the concept of a singular rule - a rule onto itself which has exclusively itself as its own argument - must strike us as paradoxical. But in offering to reconstruct the work of art through the complementary concepts of background and figure - to match respectively the how and the what of the work - we are able to provide a structural resolution to the idea of singular rule as what defines art. In this we believe we deliver a definitive answer to the question of art. (shrink)

Arnold Gehlen's use of the term posthistory can be traced back to his writings from the 50s. It occurs also in Zeit-Bilder. Zur Soziologie und Ästhetik der modernen Malerei, where his theory of pictorial racionality in art history is formulated and "peinture conceptuelle" as the key tendency of modern painting is appointed. Focusing on both, Gehlen's aesthetics of modern art and his theorem of posthistory, we try to remind of the conservative thinker's contribution to today's debates of art and art (...) history. (shrink)

Th. W. Adorno’s aesthetics represents a comprehensive reflection on a number of important topics in aesthetic research. Among them is the issue of the aesthetic experience generated by the beauty of nature. In the perspective of Adorno’s theory, the experience of natural beauty is described as a quality that forms in an immanent relation to the historical and social reality of humans. In the first place, one can observe the fundamental dependence of natural beauty on the degree of social domination (...) of nature. By failing to reflect on this social mediation, the experience of natural beauty appears to be immediate and creates the deceptive fantasy of the primordial form of nature. At the same time, however, Adorno uncovers a positive potential in the experience of natural beauty – it lies in the ability to transcend a power-based subjectivity that reduces reality to the substrate of the domination. By means of the transcendence of subjectivity, the experience of natural beauty opens up the possibility to perceive and approach reality in the unreduced fullness of its qualities while also anticipating a reconciliation of man with nature in an allegorical way. The aim of my study is to describe the sketched aspects of the experience of natural beauty. (shrink)

This essay explores the nihilistic nature of the idea of postmodern aesthetics in the Western world by highlighting its historical and cultural specificity in contrast with non-Western postmodernities, in particular in East Asia, and this in spite of their formal similarities. We then have to question the nature, possibility and implication of Western postmodern aesthetics overcoming itself within the context of globalisation.

The ability to create and perceive art has long been understood as an exceptional human trait, which should differentiate us from the rest of the organisms or robots. However, with the uprising of cognitive sciences and information stemming from them, as well as the evolutionary biology, even the human being began to be understood as an organism following the evolutionarily and culturally obtained algorithms and evaluation processes. Even fragile and multidimensional phenomena like beauty, aesthetic experience or the good have lately (...) been analyzed using computational aesthetics, neuroaesthetics, and neuroethics, suggesting that the entire aesthetics, art or ethics can be understood as a result of a certain algorithmic data analysis. In the following article, I will attempt to think about the concept of computational aesthetics and the possibilities, benefits and shortcomings of artificial intelligence in the creation, as well as in perception and evaluation of artworks. I will introduce multiple models of artistic work based on AI, quality/originality evaluating computer programs, as well as mechanisms of its perception. In the end, I will attempt to present the basic aesthetic problems stemming from the development of AI and its usage in the field of art. (shrink)

In the1960s, texts by the prominent German philosopher and musicologist Theodor W. Adorno were translated into the Czech and Slovak language. This was only possible due to the more relaxed social and political atmosphere of those years. The translated essays were published in professionally-oriented periodicals. This paper is aimed to map and evaluate the reception of Adorno’s translated works in Czechoslovakia. Although these texts embraced above all Adorno’s work in the sociology of philosophy, aesthetics of literature and musicology, this paper (...) is mainly focused on Adorno’s musicological texts. Albeit mostly regarded as an original and extremely versatile author in Czechoslovakia, Adorno was also criticised on the background of Marxist-Leninist philosophy. In order to evaluate the reception of Adorno’s ideas in the Czech and Slovak environment, it is methodologically necessary to adopt a broader aesthetic-philosophical perspective that enables us to account for Adorno’s endorsement of the Marxist philosophy pursued at Frankfurt School of Philosophy. (shrink)

In this paper, I investigate one popular view in current methodological debate about musical ontology, namely, descriptivism. According to descriptivism, the task of musical ontology is to offer a description of the ‘structure of our thought’ about musical works, as it manifests itself in actual musical practices. In this regard, descriptivists often appeal to our pre-theoretical intuitions to ground ontological theories of musical works. This practice, however, is worrisome, as such intuitions are unstable and contradictory. For example, there is a (...) broad variety of intuitions in our musical practice concerning what counts as an authentic performance of a musical work. All such intuitions reflect at least a part of actual practice; however, they are in conflict with each other. This raises a problem, for how can they thus represent a reliable basis for our ontology? A further worry for descriptivism concerns the triviality of the knowledge it gives us access to. If, according to descriptivism, the task of musical ontologists is simply to codify the regularities found in our intuitive thought or discourse about practice, then how can the resulting theories be informative at all with regard to the object of their concern? (shrink)

In the 1990s and early 2000s, researchers in the field of so-called neuoaesthetics recruited research subjects who had been untrained in arts and did not have any pronounced interest in aesthetic matters for their laboratory experiments. The prevalent choice of research subjects has recently changed. Currently, a great number of studies uses subjects who are professionally engaged in the art world. In my paper, I describe, analyze, and critically discuss the two research paradigms regarding the subjects involved in the experiments (...) in neuroaesthetics. I claim that although the more recent one can be generally regarded as an improvement of the research framework, it underestimates the difficulties brought by the notion of expertise in aesthetic perception. (shrink)

ŠVIHURA, L. 2019. Umenie života a liberálna kultúra. Prešov: Filozofická fakulta Prešovskej univerzity v Prešove. ISBN 978-80-555-2322-4.

MARKOVIČ, P. : Slovenský literárny klasicizmus a preromantizmus. Prešov : Vydavateľstvo Prešovskej univerzity v Prešove, 144 s. ISBN 978-80-555-2496-2.

BALOGH, Piroska – FÓRIZS, Gergely [eds.] : Anthropologische Ästhetik in Mitteleuropa 1750–1850/ Anthropological Aesthetics in Central Europe 1750–1850. Hannover: Wehrhahn Verlag 2018. 304 pp.

Markus Cslovjecsek, Madeleine Zulauf : Integrated Music Education - Challenges of Teaching and Teacher Training. Bern, Berlin, Bruxelles, New York, Oxford, Warszawa, Wien: Peter Lang Publishers, 2018. 418 pp., 29 fig. b/w, 2 tables.

The following paper is based on a broad understanding of communication that considers as text basically anything that has been created within the framework of a cultural interaction by an author and that is perceived by a recipient. The first part of the paper introduces, explains and follows mostly cases in which the author’s violations of the recipient’s expectations have a communication value, i.e. provoke, in the recipient, a communication effect that matches the author’s intentions. In such cases, this effect (...) results as a consequence of an violation of the communication „cooperative“ principles. This, at the recipient’s end, translates into an event of expectancy violation. Each of such violations provokes an arousal in the recipient, which further motivates him/her to search for its cause. Finding this cause, and being “confronted” with the related violation pertaining to it with the norm equals, for the recipient, getting to the meaning of the text, or identifying its communication value etc. As part of the conclusion, a commented scheme is presented which offers a spectrum of possible communication outcomes “positioned” between the predictability of each textual element and the stochasticity of choice. The effort to illustrate all the explained facts results, in the paper, in a rich set of examples stemming from miscellaneous spheres of human activity – from “high styles” to rather day-to-day activities, to pop-culture. The objective is to show that the described principles, if not valid in general, permeate at least all forms of interaction. (shrink)

Recipients always perceive texts in a successive and linear way. Often, the recipient’s perception of the text only lasts until the text has fulfilled the expectations the recipient has of it. Being well aware of this, authors build texts based on their goals, aims, or preferences that either meaningfully fulfill the expectations of the recipient - according to the authors’ own knowledge, estimation, or presumptions - or, on the contrary, more or less intentionally violate these expectations. While the fulfillment of (...) expectations results in a certain “comforting” impression on recipients, its violation causes an arousal in them. In this sense, violation of expectations does not only have a negative effect, but it can also have a communicative value. It can be argued that a) the author incorporates stimuli into the text that lead to the violation of the recipient’s expectations and does so with a communicatively functional - also artistic and aesthetic - kind of intent and b) an arousal is a consequence of violating the recipient’s expectations; then if an author’s artistic or aesthetic intention lies in a series of violations of the recipient’s expectations, this can provoke an aesthetic experience which will be caused - among other things - by the arousals themselves induced by the relevant violations. (shrink)

ZAKARIA, F.. Obrana liberálního vzdělání. Praha: Academia. 127 s. ISBN 978-80-200-2717-7. Z anglického originálu In defence of a liberal education přeložil Jaroslav Veis.

Education and the support for creativity are some of the functions of the new medias. The users utilize a lot of e-tools to create products with varying art quality. Because of this new ability to create they, fallaciously, consider themselves – from their new positions of becoming artists - having also become art critics but they fail to understand the complexity of creative process. We intend to exemplify with the art of the American painter Cy Twombly, that some works of (...) art which seem to be easy to copy and therefore not worth enough are in fact a result of the author ́s erudition, talent, diligence and clear intention. Twombly ́s works are connected with topics such as sigh, ability to decipher, Apollonian and Dionysian principles and the dichotomy Eros/Thanatos. We will present the artist's original non-copiable way of taking inspiration from classical mytological stories and some interpretative approaches. (shrink)

The current form and transformation of artistic practice in the 20th and 21st century caused some estrangement of the recipient and the art. The current discourse is therefore dominated by some distrust in defining the criteria of contemporary art, or even the dilemma of whether or not art has to be defined at all, mostly under the influence of Morris Weitz. Arthur Danto very aptly reminds that there is currently no way to distinguish art from objects that are not art, (...) even though many theorists have tried to come up with a solution. The need to distinguish different objects in order to carry out the theoretical examination or to have a functional defining apparatus for criticism, or the exhibition practice is not necessary only on the semantic level. The aim of the submitted paper is therefore to offer a brief cross-section of theories, which, over the past sixty years, dealt with the problem of the definition of art and appreciate/re-think the need for a functional definition of art as the determinant of adequate aesthetic theory. (shrink)

In the 19th century, a gradual reform of art education began, which achieved its peak in the 1930s. This process manifested itself in the form of schools with an explicit anti-academic spirit – the Bauhaus in Europe and Black Mountain College in the United States. In this paper, I contend that such attempt at reform has never repeated again after the Black Mountain College case, where the combination of John Dewey’s educational principles, Josef Albers’ peculiar conception of art instruction, and (...) the college founders’ ideas concerning the essentiality of art for contemporary democratic societies created a unique environment for the development of an experimental form of art education. Examining this innovation with regard to the current situation of teaching art and the humanities, I argue that - despite a process of reform lasted more than a hundred years - art education still manifests residues of the old, conservative academic spirit, while art schools show features of exclusivity or even elitism. The pursuit for a wholesome social position of art, on the other hand, was the most striking endeavour of many brilliant thinkers in 19th and 20th century, something that art educators and art theoreticians of the 21st century must take this into a serious consideration. (shrink)

MAKKY, Lukáš : Od začiatku po koniec a ešte ďalej: umenie v definičných súradniciach. [From the Beginning til the End and Beyond: The Art in Definitional Coordinates]. Prešov: Filozofická fakulta Prešovskej univerzity v Prešove, Opera Philosophica. 256 pp.

The amateur photographer used to be defined as a photography enthusiast or a "photographer of everyday life". Since the 19th century, he has liked to join photo clubs, where he improves his technical skills. Has his position changed fundamentally in the 20th and 21st century? What impact does the growth of the Internet and smartphones have on the amateur photography? And how has the world of art responded to the increase of number as well as visibitity of amateur photographs? In (...) our contribution, we will also look at erasing boundaries between amateur, professional and artistic photography through concrete examples. (shrink)

In Kitsch and Art Tomáš Kulka notes that natural landscapes cannot be called kitsch. Kitsch needs to be produced by a human being, he says. I agree with that. Experience-wise it is more complicated, though. Sometimes kitsch affects our experience of landscapes. It is not just that our overwhelming culture of images affects how we see nature, but that also sugared, sentimental and stereotypical kitsch images of nature, that we see in postcards and social media, affect our experience of e.g. (...) sunsets and picturesque landscapes. We might desire to fight back, but at least we need to understand and to some extent accept our situation. Kitsch is in our experience even when there is no kitsch around, and our experiences of nature prove that. (shrink)

What is the sense of the question “What is art?” It may seem that the only adequate answer will be the effort to define the notion of art, that is, the exclusive purpose of this question is the classification of art, encompassing all artifacts regarded as works of art and distinguishing them from those do not belong to art. The study points to the connection between our classification of artifacts and our evaluation and understanding of them. It also recalls reflections (...) on the subject “What is Art?”, which does not even attempt to define it. Their aim is different: to change our understanding, evaluation or explication of art. (shrink)

ŘEBÍKOVÁ, B. : Poučený estetický postoj – Estetika současného umění. Praha: Togga, 234 s. ISBN 9788074761706.

Kvokačka, A. – Migašová, J.: Súradnice estetiky, umenia a kultúry IV: Študovať estetiku: koncepcie, stratégie a súvislosti štúdia estetiky na Slovensku a v zahraničí. Prešov: Filozofická fakulta PU v Prešove 2019. ISBN 978-80-555-2310-1. 198 s.

The article attempts to critically reconsider some of the central motives of Tomáš Kulka’s aesthetics, especially his use of the term Gestalt and his concept of versions and alterations. In addition to his own objections, the author focuses on criticism of the above-mentioned parts of Kulka’s theory from the perspective of Czech structuralism and phenomenology.