V Heteronomiji umetnosti in avantgard se Aleš Erjavec ukvarja zlasti z radikalnimi politiziranimi avantgardami, se pravi s futurizmom in s konstruktivizmom, in tako nadaljuje svoje delo z začetka osemdesetih let 20. stoletja, ko je pričel svojo "ekspedicijo na severni pol človeškega duha". V pričujoči študiji so tako posebne pozornosti deležne radikalne avantgarde ter politična in ideološka vloga novejše umetnosti, še zlasti one z vzhoda. Nekateri vidijo v teh avantgardah skrajno obliko modernizma, drugi jih obravnavajo kot specifični vzhodnoevropski pojav, tretji (...) pa jih preprosto zreducirajo na njihove zahodne ekvivalente. Podobna ali celo še bolj neustrezna podoba spremlja postsocialistične avantgarde oziroma avantgarde tretje generacije. Te so bile imenovane nekonformistična in neuradna umetnost, vzhodni modernizem, konceptualna umetnost itd. Erjavec dokazuje, da se estetsko krilo teh avantgard v resnici navezuje na estetske avantgarde z začetka 20. stoletja, s čemer so klasične avantagarde s postsocializmom doživele svojo postmoderno ponovitev. In kakor avantgarde nenehno reflektirajo svoj odnos do siceršnje umetnosti, tako tudi estetika kot del filozofije reflektira svoj odnos do umetnosti in avantgarde, pa če ju dojemamo kot avtonomni ali heteronomni. V nadaljevanju obravnava novejšo zgodovino umetnosti in kulture v Vzhodni Evropi. (shrink)

This interview is inspired the most important working-hypothesis presented in the volume Aesthetic Revolutions and the Twentieth-Century Avant-Garde Movements, edited by Aleš Erjavec, that questions the legitimacy of the distinction between aesthetic and artistic avant-gardes, supported by the relationship of each concept with the modern revolutionary politics. The relevance of this contrast for determining modernity both in its ideological shape and its continuity, in the terms of postmodernity will be criticized in our discussion with professor Erjavec, reflecting on (...) the manner in which the artistic communities representative for Surrealism, Russian constructivism, Situationist International, Dadaism, Italian Futurism, 1960s American Art, as well as for Slovenian, Mexican or Romanian artistic movements of the 20th century opened the path for different democratic or totalitarian political attitudes, practices and ambitions. (shrink)

In the author's opinion the current resurgence of national issues could be interpreted as an attempt of Second World countries to counter the effects of oncoming late capitalism. Under such conditions national culture is often perceived as a bastion of national identity. The insurmountable problem encountered by these national cultures attempting to play such a role, is that under the present conditions of global late capitalism national culture as well, if it wishes to achieve recognition, is forced to accept the (...) logic of postmodern culture which is simultaneously commodified and international. Hence national culture in the Second World countries, which in the past could integrate everything from avant-garde to folk art, is bound to increasingly resemble tradition culture in First World countries. (shrink)

This collection categorizes aesthetic avant-garde art as art that seeks to politically transform society and argues that such art is essential for political revolution. It provides seven in-depth analyses of twentieth-century aesthetic avant-garde art movements and examines them in relation to revolutionary politics.

Knjiga vsebuje filozofske in estetiške študije, v katerih avtor obravnava nekatere osrednje sodobne probleme estetike, umetnosti in kulture.

The book focuses on three interrelated issues: the relationship between modernism and postmodernism; visuality and visual culture; and the relation between the East (former European socialist countries) and the West as regards aesthetics, globalization, culture, and the mechanisms of the presentation and representation of contemporary visual art. In the first part the author reflects upon some of the less noticed issues of modernism and its dominant theoretical narratives regarding art: its privileging of truth and its obfuscation of some segments of (...) European art. One of his central tenets is that recent postsocialist politicized postmodern visual art contradicts Peter Bürger's canonical theory about the avant-garde art of the previous century. The art and culture discussed throughout this volume predominantly concern the visual. For this reason, in the second part visual culture and its uneasy relationship with art and art history are an object of reflection, a topic which is then complemented with that of the embodied eye in the philosophy of Merleau-Ponty. Photography, its relation to truth, and the problematic expectation that an ontology of photography is possible or necessary is the theme of the closing chapter of this part of the book. In the third part the author offers a global view on philosophy of art, visual culture, and the institutions that disseminate them. (shrink)

The immediate reason for choosing the theme of this international issue of Filozofski vestnik was the forthcoming XVII International Congress of Aesthetics (Ankara, July 2007). The other motive was to discern some of the issues in contemporary aesthetics.

In the 20th century Adorno and Heidegger put forth two different sets of arguments for the paramount importance of art. While the former offered a philosophy of modernist art and interpreted it as a negativity within the means-end rationality of everyday bourgeois existence, the latter praised poetry and art for being a rare modern instance of the disclosure of truth. Within a century exemplified by master narratives promoting collective agendas, they both denigrated the social function of art, thereby promoting the (...) ideals of modernism (the urban, new and transient) and its unreconciliated "other" (the rural, traditional and "eternal"). Are the early 21st century art and its appreciation different and in which ways? In brief, is Adorno's and Heidegger's "overvaluation" of art but a footnote to their philosophy or is it relevant for today's philosophy of art? The paper offers some possible answers to these questions. (edited). (shrink)

What often occurs in relation to contemporary culture are attempts to develop a philosophy which would be focused on culture which is gaining in importance and which would thus complement the extant philosophy of art. The author discusses two such attempts, namely those of Heinz Paetzold and Fredric Jameson. Nonetheless, in his view, in both cases the theories offered remain insufficient and in need of further development if they are to philosophically grasp the current changes in art and culture. (edited).

Avtor obravnava razliko med postmodernizmom in modernizmom in to predvsem na primeru arhitekture. Ugotavlja, da se estetska in umetnostna tradicija romantike nadaljuje z modernizmom avantgard tega stoletja, ki so, še posebej v arhitekturi, izpostavljale funkcijo in vnaprejšnjo določitev pomena stvaritev. S postmodernizmom se situacija spremeni: dela, med njimi tudi arhitekturna, omogočajo pluralnost funkcij in pomenov ter dopuščajo uporabniku neprimerno več ustvarjalne svobode kot pa modernizem. Pomembno vlogo dobi vizualnost in vizualna umetnost, ki je pomembna ne le sama po sebi, marveč (...) tudi kot del arhitekturnega in urbanega prostora, zaradi česar postaja, po avtorjevem mnenju, arhitektura osrednja javna umetnost. (shrink)

Theodor Adorno's Aesthetic Theory offers one of the most powerful and comprehensive critiques of art and of the discipline of aesthetics ever written. The work offers a deeply critical engagement with the history and philosophy of aesthetics and with the traditions of European art through the middle of the 20th century. It is coupled with ambitious claims about what aesthetic theory ought to be. But the cultural horizon of Adorno's Aesthetic Theory was the world of high modernism, and much has (...) happened since then both in theory and in practice. Adorno's powerful vision of aesthetics calls for reconsideration in this light. Must his work be defended, updated, resisted, or simply left behind? This volume gathers new essays by leading philosophers, critics, and theorists writing in the wake of Adorno in order to address these questions. They hold in common a deep respect for the power of Adorno's aesthetic critique and a concern for the future of aesthetic theory in response to recent developments in aesthetics and its contexts. (shrink)

This article highlights the underlying themes or leitmotifs that recur in Russian war propaganda. Using the method of thematic analysis, we analyze the messages related to the war in Ukraine that have been disseminated in mass media and social media by Russian propagandists through the lens of the „principles of war propaganda“ presented and illustrated by Arthur Ponsonby and Anne Morelli. More precisely, we will show that all the eleven recurrent themes of war propaganda defined by Ponsonby and Morelli intervene (...) in the messages disseminated through two important media channels for the propaganda of the Kremlin regime: the TV show „Evening with Solovyov“ and the Russian news agency TASS. Misleading war propaganda is as lethal as weapons of mass destruction, and it is part of the arsenal of any aggressor country, including Russia. Through thorough knowledge of the underlying leitmotifs, it is easier to counter it. (shrink)

[1] Nisayon le-hadrikh et ben-dorenu bi-khenisato le-tokh ʻolam ha-Torah uvi-shelabe ʻaliyato -- ḥeleḳ 2. Nisayon le-hadrikh et ben dorenu bi-khenisato la-ʻavodah musarit.

Fenomenologie není pouze specifická metoda filosofického zkoumání, ale též svébytná filosofická pozice. Husserl je znám a diskutován spíše jako autor právě zmíněné metody, ovšem ta přeci měla sloužit jakožto organon pro vytvoření samostatné filosofické nauky. Proto se bude v příspěvku věnovat pozornost Husserlovu chápání toho, co je to filosofie, a to v kontrastu proti dobově populárním filosofickým pozicím, jimiž byly naturalismus a filosofie světového názoru s jeho nejodpudivější podobou nazývanou Husserlem pejorativně „Tiefsinn“: důvtipná duchaplnost. Husserl zamýšlí odstranit oba zmíněné typy (...) filosofie skutečně přísně vědeckou filosofií, jež bude filosofií fenomenologickou. (shrink)

V příspěvku připomínáme originální spolupráci s prof. P. Maternou, která začala v 60. letech minulého století a vedla ke vzniku třísložkové teorie jazyka, jejímiž autory jsou spolu s Pavlem Maternou Karel Pala a Aleš Svoboda. Články o třísložkové teorii byly publikovány v r. 1976 a 1979, ovšem jméno P. Materny se v titulcích článků ne­smělo objevit, byl tak komunistickým režimem trestán za vyloučení z KSČ v r. 1969. Třísložková teorie jazyka, jak název naznačuje, pokrývá tři základní komponenty sys­tému jazyka, tedy (...) syntax, sémantiku a pragmatiku, a je plně srovnatelná s podobnými pokusy u nás i v zahraničí. Stala se východiskem pro další propojení logiky, lingvistiky a informatiky díky působení K. Paly a P. Materny na Fakultě informatiky od roku 1995. Do této spolupráce se zapojili studenti Fakulty informatiky, zejména Aleš Horák, jehož zásadním příspěvkem je počítačová implementace systému transparentní intenzionální logiky (TILu) ve vztahu ke zpracování přirozeného jazyka (češtiny). (shrink)

The objective of this paper is to present the research on how unlabeled advertorials are produced and interpreted by their key producers. The study uses ethnographic methods and reveals that advertorials are produced by news producers or agency practitioners and advertisers either independently or collectively. The production was based on paying for various expenses or services and making threats. Reasons for production were different within particular groups of producers. Responsibility belongs to all actors analyzed, but also to other media and (...) social actors who establish and maintain circumstances that enable this illegal and unethical practice. (shrink)

Le titre au premier abord énigmatique de cet ouvrage collectif d'anthropologie et le caractère très technique et parfois difficile de son contenu risquent de décourager les lecteurs non spécialistes. Aussi me paraît-il important d'en résumer la problématique tant elle paraît importante pour qui s'intéresse à la question du caractère universel de la différence des sexes et de la subordination des femmes. La lecture de l'introduction générale de Catherine Alès qui présente les différente...