Art of seeing, John Rajchman argues in his essay, was in the center of Michel Foucault’s critical attention as well as practice. Foucault himself was a visual thinker and writer. More importantly, however, the ways in which historically changing vision determines not only what is seen, but what can be seen, are one of his major concerns. Rupture with self-evidences is then the first step one must take to make the invisible – yet not hidden – power visible. Th e (...) invisibility of power, seen as the invisible light that makes other things visible, is what makes it tolerable. Knowledge and the practice of knowing themselves are constructed by the technology of the visual, such as the diff erent types of spaces that bring about specific visibility. In Foucault’s histories, the prison or the clinic are such spaces that have visualized criminality, sexuality or madness in particular manner. However, problematization of these things needs to go beyond new ways of looking at them and has to question their entire field of vision. This implies that Foucauldian ethics is less concerned with what we do about things themselves, instead, it rather asks how we see them in the first place and how can they be seen differently. It thus requires not to look within us, on the contrary, we should look out, from outside of ourselves. (shrink)

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

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)

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

[Realism, Materialism, and Art] Recent years have seen the ascendance of a new trend in continental philosophy called “the speculative turn”, “speculative realism”, “continental materialism”, or “object-oriented ontology” (OOO). I focus on the work of one of the proponents of this new trend, Graham Harman, in particular his recent attempt to extend his “object-oriented” approach to art and aesthetics. In part 1, I start with a brief characterization of the new trend in terms of the shared opposition of all its (...) proponents to what Quentin Meillassoux calls “correlationism”, which is, roughly, anti-realism. However, there is a split among the new realists as to whether they accept materialism. As I explain in an exposition of OOO in part 2, Harman does not accept it, but he has an inadequate view of materialism. This affects his defense of the Greenbergian formalism as an alternative to materialism, which I outline in part 3. I believe Harman’s favorite formalism is quite unfit for understanding the art of the period that interests him, that is, post-1960s art. I close with a few notes on an alternative, namely a certain branch of materialism which, however, has as its source psychoanalysis rather than the metaphysical doctrine which usually goes by this name. (shrink)

A review of the first Czech translation, published in 2007, of Nelson Goodman’s Languages of Art.

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)

A review of the Czech translation of Nelson Goodman's Languages of Art. I emphasize Goodman's move away from the issue of the definition of art, and the fruitfulness of the autographic/allographic distinction.

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)

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.

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.

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.

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.

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.

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 increase of noise in man’s environment is a characteristic of aural human culture of the 20th century. Its subsequent involvement in artistic culture is a natural consequence of these processes. At its beginnings, noise, hisses, distortions, and various, originally non-musical, sounds came to be the means of expansion of potential aesthetic qualities of art. In the paper, the presence of noise elements as means of expression in the contemporary musical-dramatic genre is considered. Their aesthetic effects in alternative theatre are (...) analysed using examples of performances and workshops at the “Academic Prešov” festival. (shrink)

Text seznamuje čtenáře s výukovou metodou nastavení problému, jeho řešení pomocí zavedení a aplikování teoretických pojmů, konceptovou analýzou vybraného díla a důslednou oporou o kontext a ko-text díla. Příklady vybírá ze soudobé scény výtvarného umění a jeho cílem je zdůvodněná interpretace díla. Opírá se o Goodmanovské termíny denotace, exemplifikace a exprese. Metaforickou exemplifikaci, expresi člení průhledem poznávacími perspektivami 1. a 3. osoby na prožitkovou a empatickou komponentu, opírá se tak o teorii artefiletiky. Otevírá a řeší tak problém vztahu relativních objektivních (...) daností díla, jeho intersubjektivně kotvené interpretace a subjektivně vnímaného prožitku z díla. Tvorbu chápe jako způsob poznání. (shrink)

MAKKY, L. : Obraz, umenie a kultúra doby železnej na Slovensku: Umelecký a estetický pohľad. Prešov: Filozofická fakulta Prešovskej univerzity v Prešove. ISBN 978-80-555-1843-5.

TŘEŠTÍK, M. 2016. Umění vnímat umění. Guerilla writing about art. Praha: Gasset. 228s. ISBN 978-80-87079-52-2.

MAKKY, L. : Obraz, umenie a kultúra doby železnej na Slovensku: Umelecký a estetický pohľad. Prešov: Filozofická fakulta Prešovskej univerzity v Prešove. ISBN 978-80-555-1843-5.

Vysokoškolská učebnice člení látku do tří oddílů (K obecným otázkám umění a literatury; Poetika; Geneze literárního díla a literární proces), v nichž se pokouší vyložit teorii literatury z jednotného hlediska a podat klíč kteoretickému objasnění všech literárních děl a řad.

Článek si klade za cíl objasnit a obohatit Merleau-Pontyho pojetí promlouvající mluvy v kontrastu k mluvě, jíž se mluví. V kontextu tvůrčích vyjadřovacích výkonů, zejm. umění, píše Merleau-Ponty o promlouvající mluvě především jako o mluvě, jež otevírá nové horizonty zkušenosti a vede ke kognitivnímu obohacení recipienta. Mluva, jíž se mluví, je naproti tomu řečovou sedimentací kulturního významu, jejímž prostřednictvím jsou ustavené poznávací vzorce tradovány. Ve studii nejprve vysvětlujeme, jak se promlouvající mluva tvoří na pozadí běžné mluvy, jíž se mluví, a (...) jak souvisí s vnímaným světem. Poté se soustředíme na dva specifické případy promluv, jimiž se sám Merleau-Ponty explicitně nezabývá. Zaprvé jde o sekundární literaturu, jejímž posláním je sloužit nějakému původnímu autorskému dílu. Sekundární literatura sama o sobě nepřichází s původní stylotvornou vizí světa, a přesto tvoří mluvu, jež moderuje a mnohdy vůbec umožňuje porozumět původnosti myšlenek autorů v silném slova smyslu. Zadruhé se zaměřujeme na případy promlouvajících mluv, jež nás manipulují, nevedou k bohatšímu poznání světa, a přitom jsou schopny zakládat nově sdílený vzor. (shrink)

Práce, která uvádí do živé problematiky vědecké estetiky, řeší v první části problémy a úkoly estetiky, obrací se k jejímu předmětu, ke krásnu a umění, obírá se významem signální teorie pro estetiku, poměrem člověka k obrazu astavbě i pokrokem v hudbě a umění vůbec. Do druhé části jsou zařazeny vybrané kapitoly jednak z dějin řecké, jednak z české estetiky.

“Since 1989 we have lived in a world where the nightmare of socialist science fiction has become reality: capitalism has won. With some exceptions, we have no alternative visions of economic, technological, and social future, no visions that would spring from anything besides capitalism”.1 With these words, Tomáš Pospiszyl closes the introduction to a volume that accompanied a recent exhibition about imaginary futures in socialist Czechoslovakia organized in Dům umění in Brno and Centrum současného umění Dox in Prague. Pospiszyl’s idea (...) indeed echoes through contemporary Czech culture. At second sight, however, through the over-a-century-old... (shrink)