27 found

Year:

  1.  4
    Projective Aesthetics as a Possible World.Boris Orlov - 2020 - Espes 9 (2):45-50.
    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 (...)
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  2.  2
    From Tomas Kulka on Kitsch and Art to Art as a Singular Rule.Doron Avital & Karolina Dolanska - 2020 - Espes 9 (1):17-27.
    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 (...)
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  3.  2
    Arnold Gehlen on Modern Art, Culture and Posthistoire.Daniela Blahutková - 2020 - Espes 9 (1):74-84.
    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 (...)
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  4.  5
    Natural Beauty by Adorno: In Dependence and Opposition to the World of Domination.Peter Brezňan - 2020 - Espes 9 (1):5-15.
    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 (...)
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  5.  9
    The Self-Overcoming of (Western) Postmodern Aesthetics.Gerald Cipriani - 2020 - Espes 9 (1):16-25.
    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.
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  6.  19
    Art and Artificial Intelligence - Challenges and Dangers.Andrej Démuth - 2020 - Espes 9 (1):26-35.
    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 (...)
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  7.  2
    A Reception of the Aesthetic Thinking of Theodor W. Adorno in Czech and Slovak Musicology within 60s to 80s of the 20th Century. [REVIEW]Vladimír Fulka - 2020 - Espes 9 (1):36-48.
    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 (...)
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  8.  13
    Descriptivism in Meta-Ontology of Music: A Plea for Reflective Equilibrium.Lisa Giombini - 2020 - Espes 9 (1):59-73.
    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 (...)
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  9.  2
    Aesthetic Experts.Tereza Hadravová - 2020 - Espes 9 (1):27-36.
    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 (...)
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  10. ŠVIHURA, L. 2019. Umenie života a liberálna kultúra.Peter Gustáv Hrbatý - 2020 - Espes 9 (1):77-79.
    ŠVIHURA, L. 2019. Umenie života a liberálna kultúra. Prešov: Filozofická fakulta Prešovskej univerzity v Prešove. ISBN 978-80-555-2322-4.
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  11.  2
    MARKOVIČ, P. (2020): Slovenský literárny klasicizmus a preromantizmus.Nina Kollárová - 2020 - Espes 9 (1):80-81.
    MARKOVIČ, P. : Slovenský literárny klasicizmus a preromantizmus. Prešov : Vydavateľstvo Prešovskej univerzity v Prešove, 144 s. ISBN 978-80-555-2496-2.
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  12.  2
    BALOGH, Piroska – FÓRIZS, Gergely [eds.] (2018): Anthropologische Ästhetik in Mitteleuropa 1750–1850/ Anthropological Aesthetics in Central Europe 1750–1850. [REVIEW]Slávka Kopčáková - 2020 - Espes 9 (1):85-87.
    BALOGH, Piroska – FÓRIZS, Gergely [eds.] : Anthropologische Ästhetik in Mitteleuropa 1750–1850/ Anthropological Aesthetics in Central Europe 1750–1850. Hannover: Wehrhahn Verlag 2018. 304 pp.
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  13.  3
    Music, the Arts and Everyday Life Experience.Slávka Kopčáková - 2020 - Espes 9 (1):55-58.
    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.
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  14.  2
    Notes on the Text – Perception of the Text, (Non)Violation of Expectation, Recipient vs Author.Ondřej Krátky - 2020 - Espes 9 (1):49-76.
    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 (...)
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  15.  3
    Perception, length of its duration, evaluation: Various authors, related observations.Ondřej Krátký - 2020 - Espes 9 (1):33-44.
    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 (...)
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  16.  1
    Unavené umění [Exhausted Art].Barbora Kundračiková - 2020 - Espes 9 (1):3-6.
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  17.  2
    In Defence of a Liberal Education.Lenka Lee - 2020 - Espes 9 (1):59-61.
    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.
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  18.  2
    Paskvil, nebo umění? Nový diletantismus jako zdroj unaveného publika [A Scribble or The Art? New Diletantisms as a Source of Tired Audience].Lenka Lee - 2020 - Espes 9 (1):37-46.
    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 (...)
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  19. Dilema (ne)definovateľnosti umenia [The Dilemma of (Un)definability of Art].Lukáš Makky - 2020 - Espes 9 (1):7-19.
    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, (...)
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  20.  3
    Black Mountain College Case: Transformation Trends in Art Education in the First Half of the 20th century.Jana Migašová - 2020 - Espes 9 (1):51-58.
    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 (...)
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  21.  2
    MAKKY, Lukáš (2019): Od začiatku po koniec a ešte ďalej: umenie v definičných súradniciach. [From the Beginning til the End and Beyond: The Art in Definitional Coordinates].Jana Migašová & Peter Gurský - 2020 - Espes 9 (1):88-91.
    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.
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  22.  2
    Premenlivá pozícia amatérskej fotografie [Shifted Position of Amateur Photography].Michaela Paštéková - 2020 - Espes 9 (1):47-54.
    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 (...)
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  23.  4
    Kitsch Happens. On the Kitsch Experience of Nature.Max Ryynänen - 2020 - Espes 9 (1):10-16.
    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. (...)
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  24.  2
    Od definice ke kritice [From Definition to Criticism].David Skalický - 2020 - Espes 9 (1):20-26.
    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 (...)
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  25.  2
    ŘEBÍKOVÁ, B. (2020): Poučený estetický postoj – Estetika současného umění.Tomáš Timko - 2020 - Espes 9 (1):82-85.
    ŘEBÍKOVÁ, B. : Poučený estetický postoj – Estetika současného umění. Praha: Togga, 234 s. ISBN 9788074761706.
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  26.  1
    Kvokačka, A. – Migašová, J.: Súradnice estetiky, umenia a kultúry IV: Študovať estetiku: koncepcie, stratégie a súvislosti štúdia estetiky na Slovensku a v zahraničí.Sandra Zákutná - 2020 - Espes 9 (1):92-94.
    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.
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  27.  2
    Non-structural version of the variational method - the explanatory weakness of Gestalt, the limits of imagination and rejection of the Other.Vlastimil Zuska - 2020 - Espes 9 (1):28-32.
    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.
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