- Janusz Sidorek: O igraszkach zmysłow
- Maria Gołębiewska: Zmowa jako relacja podmiotu z Innym
- Cezary Józef Olbromski: Temporalność teraźniejszości w konfrontacji z dynamiczną (de)figuratywnością dzieła sztuki [uobecnianie vs. Odtwarzanie] – analiza fenomenologiczna nowych mediów
- Paweł Pasieka: Estetyka ogrodów tymczasowych
- Anna Grzegorczyk: Sztuka ikony w humanistyce obecności
- Iwona Lorenc: Estetyka obecności fenomenalnej jako hermeneutyka faktyczności
- Paweł Pasieka: Architektura i jej znaczenia
- Noty o autorach
- Informacje dla autorów
On the Frolics of Senses
The article presents Bernhard Waldenfles’ theory of the aesthetic mode of experience, presented in his book Sinne und Künste im Wechselspiel. Modi ästhetischer Erfahrung. Firstly, the author shows that the concept of “play” or a “frolic” is inherent to the “aesthetic reduction” – a specific mode of discourse that conditions and accompanies the work of translator. Secondly, the phenomenological concept of sensuousness and sensorial experience is analysed, beginning with Husserl’s Logical Investigations and finishing with the Cartesian Meditations. A careful consideration of sensory experience in Husserlian phenomenology shows that there is a link between the concept of senses and the concept of arts. This interconnection is the object of philosophical investigation proposed by Waldenfels.
Collusion as the Relation Between the Subject and the Other
The text presents the different methodological possibilities of considering collusion as a case of social contract and agreement. The first methodological point of reference is the speech act theory of John L. Austin, in the context of which collusion constitutes the border case of every individual and social communication, of every performative – of open, manifest, apparent acts of communication. The second methodological point of reference concerns collusion investigated as a secret – for example, by the poststructuralist philosophy of language, by Michel Foucault and Jacques Derrida. However these explications of the social phenomenon of collusion concentrate on the manifestation of collusion – on the disclosure of the contents of these secret acts of communication. Both the speech act theory and the theses of poststructuralist philosophy of language consider collusion as a special case of the social contract and agreement. The third point of reference we can find in the phenomenological theses concerning intersubjectivity, proposed in his later texts by Edmund Husserl, as well as by Alfred Schuetz. This text presents an analysis concerning the status of the Observer, as defined by Schuetz: the position of the Observer as the third person in the communicative relation between the sender (the subject of action) and the receiver (the subject of reception). The Observer has a special status in the acts of communication: the status of a subject who manifests the secret rules of communication, which are also the rules of collusion. Finally, we find the problem of collusion in the theses on the communicative relation between the subject and the Other, as well as in the internal communication of every subject. This internal communication is the object of psychoanalytical research considered, among others, by Jean-François Lyotard.
The Temporality of Presentness in Comparison with the Dynamic (De)Figuration of a Work of Art. [Presentation vs. Reproduction] – the Phenomenological Analysis of New Media
Cezary Józef Olbromski
The author examines a traditional idea of the perception of a work of art and criticises a traditional reference to simple sense communication. Initial reference to figurative and abstractive arts is supplemented by the term “the dynamic (de)figuration”. He also analyses the dynamic (de)figuration in the context of “the temporal presentness”. This is understood as a sequence of simple presentnesses of aesthetic impressions given by a creator, and it is opposed to “the (de)figurativeness” consisting in a discretionary mixing of sensitive domains. The dynamic (de)figuration rescues the perception of a masterpiece from the traditional perception that is conditioned by a specialization of senses and (de)figuration.
Aesthetics of Temporary Gardens
The first problem that the author analyses in this article appears purely technical but is in fact crucial: what is it that make a garden temporal? At first glance it seems quite clear that time should play a decisive role in the answer. But how long must a garden last in order to be described as temporal? A week, a month, or a couple of months? That is the first question that the author attempts to solve in this article. The second one is far more fundamental. Temporary gardens have not only a different form of time but also new forms of space. What is most striking in the forms of temporary gardens are their curiosity and novelty. In fact, they have broken open the traditional forms of gardens, broadening possibilities and opening new ways for the composition of the space of gardens. Drawing on Rosalind E. Krauss’ terms, the author analyses what new kinds of spatial forms temporary gardens create.
The Art of Icons in the Humanistic of Presence
A phenomenological approach to phenomena can yield a cognizance of their essence. This method can be also used in understanding works of art. In order to distinguish between categories of presence as a strategy of understanding works of art, especially iconic art. The interpretation of pieces of art and broader analyses of phenomena of contemporary culture allow the author to develop the conclusion that we should make an axiological shift in our way of carrying out research. Relying on the category of presence, we should recover lost values in human existence, art and humanistic studies.
The Aesthetics of Phenomenal Presence as a Hermeneutic of Facticity
Contemporary culture long ago erased the boundaries between illusion, fiction, and the reality of beings independent of our deeds. Art depicting our real existence in the world should reveal all of our relations, motives, and aims. Art is able to show our real existence in the world because of its sensual and sensitive emotional power, which on the level of aesthetical experience takes the form of preconceptual and prereflective understanding.
The Horror Fan and the Objective and Structural Aspects of their Imagination
We usually set the beginning of contemporary horror in 17th-century Schauer‑ romane. In this article, the author places the origins of horror in the 17th-century imagination could be divided into two types: the objective imagination and the structural one. Objective imagination concerns the set of possible objects in the world, while the structural describe a binary relation: inside/outside, the real world vs. the possible worlds, infinity vs. the limited. These 17th-century conflicts brought about the conditions for the rise of horror as a type of fictional narration that evokes fear and abomination.
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