- John Barker, Piękno matematyczne
- Rafael De Clerc, Estetyczna twórczość jako teoria sztuki
- Gary Iseminger, Sztuka i publiczność
- Daniel O. Nathan, Na temat estetycznej teorii sztuki Nicka Zangwilla
- Larry Shiner, Piękno funkcjonalne, metafizyka piękna and specyficzne funkcje architektury
- Robert Stecker, Twórczość estetyczna oraz artystyczna wartość
- Nick Zangwill, John Barker
- Nick Zangwill, Rafael De Clerc
- Nick Zangwill, Gary Iseminger
- Nick Zangwill, Daniel O. Nathan
- Nick Zangwill, Larry Shiner
- Nick Zangwill, Robert Stecker
- Z. Rosińska, Pasywność intelektualna i postawa estetyczna
- Tonny Benn, Złe malarstwo: Analiza fenomenu złego malarstwa w pracach pragmatystów
Intellectual Passivity and Aesthetic Attitude
The intention of this essay is to show the consequences different ways of understanding, the aesthetic experience, have on the philosophy of man. The understanding of the aesthetic experience as “aisthesis” – i.e., as intrinsically receptive, passive, and based on sensation – leads to a one-dimensional vision of the human mind, and to a vision of the human being with a flattened personality. The post-Kantian analysis of the aesthetic experience developed in the twenties and thirties by, among others, Polish philosophers, is based on three characteristics of this experience: “selflessness”, “contemplation”, and “enclaveness”. Within this framework, the aesthetic experience cannot be characterized by passivity. Rather, it appears as complex mental activity, which, besides providing pleasure, maintains the tension throughout all the mental functions and all distinct psychological divisions. The source of this activity is the focus of the aesthetic experience on values. The idea of the aesthetization of life – akin to aisthesis – means the transformation of an axiological stance into a psychological one. It means the change of the stance focused on values, norms, principles, criteria, and the justification of one’s beliefs, to the stance focused on impressions, feelings, emotions, and expression.
The author’s ideal is the merging of both stances. Because the stance based solely on impressions and expression without the axiological dimension is blind; while the purely axiological one without the emotional engagement – is dead.
“Bad Painting”: An Examination of the Phenomena of “Bad Painting” through the Work of Pragmatists
This essay is an investigation into artist’s strategies for rule testing and critical investigation within recent painting practices, primarily within ‘bad painting’ art practices where conscious decisions are made to paint badly. The research concerns the devaluation of the body within aesthetic discourses that tend to prioritise category definition. This is both a historical problematic going back to Edmund Burke’s definitions of beauty, and an ongoing source of debate about the valorisation of visual space over haptic space within contemporary painting practices.
What are the implications for painting practice if an artist deliberately and consciously sets out to paint badly? The essay builds upon Richard Shusterman’s book Pragmatist Aesthetics and questions rationalist approaches to aesthetics developed from Immanuel Kant to Theodor Adorno. It points towards a somatic understanding of painting practice that leads away from category bound definitions of the good in art practice. Incompetence and gaucheness within the making of a bad painting are necessary correctives to the old normalising habits of aesthetic evaluation that have become acceptable disembodied orthodoxies within institutions.
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