Wszystkie pola: BOGUSLAW JASINSKI - Katalog OPAC zbiorów

Skocz do pozycji: 1.

Tytuł:: REVOLUTION NOW! Tradycja Awangardy i Perspektywy Nowoczesności Czarny Łabędź Rewolucji Red. / Edit. by Bogusław JASIŃSKI
REVOLUTION NOW! The Tradition of the Avant-garde and the Perspective of Modernity Black Swan of the Revolution Red. / Edit. by Bogusław JASIŃSKI
Autorzy:: JASIŃSKI, Bogusław
Powiązania:: https://bibliotekanauki.pl/articles/424579.pdf
Data publikacji:: 2019
Wydawca:: Akademia Sztuk Pięknych w Gdańsku
Tematy:: revolution now!
tradycja awangardy
perspektywy nowoczesności
Czarny Łabędź Rewolucji
Bogusław Jasiński
tradition of the avant-garde
perspective of modernity
Black Swan of the Revolution
Źródło:: Sztuka i Dokumentacja; 2019, 20; 5-7
2080-413X
Pojawia się w:: Sztuka i Dokumentacja
Dostawca treści:: Biblioteka Nauki

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Skocz do pozycji: 2.

Tytuł:: Bogusław JASIŃSKI, Rewolucja jako odpowiedź na pytanie jeszcze nie zadane
Revolution as an Answer to Questions not yet Asked
Autorzy:: Jasiński, Bogusław
Powiązania:: https://bibliotekanauki.pl/articles/424451.pdf
Data publikacji:: 2019
Wydawca:: Akademia Sztuk Pięknych w Gdańsku
Tematy:: alienacja
reifikacja
fetyszyzm towarowy
rewolucja
totalność
podmiot i przedmiot poznania
pozór i istota
Georg Lukács
alienation
reification
commodity fetishism
revolution, totality
subject and object of cognition
appearance and essence
Opis:: Rozprawka niniejsza opisuje główne założenia i problemy młodzieńczej pracy Georga Lukacsa „Historia i świadomość klasowa” ze szczególnym uwzględnieniem kwestii rewolucji. Autor koncentruje się przede wszystkim na paradygmatycznym przedstawieniu zagadnienia nie wdając się w analizę historycznych kontekstów tej problematyki. Ten punkt widzenia z kolei w naturalny sposób odsyłać musi do zagadnień stricte filozoficznych takich jak pojęcie „filozoficzności” marksizmu, krytyka pozytywistycznego dziedzictwa problematyki teoriopoznawczej z kontemplacyjnym pojmowaniem procesu historycznego, rola podmiotu w dziejach, wpływ metodologii nauk przyrodniczych na metodologię badań społecznych. Na tle tej problematyki pokazujemy dalej możliwość zmiany społecznej – czyli systemowej rewolucji.
In this paper I aim to examine the implementation of the Marxian programme of intellectually transcending the “philosophicity” of philosophy by the Hungarian Marxist, Georg Lukács. I will analyse the book by Lukács, History and Class Consciousness, which I regard to be the best example of a non-philosophical interpretation of Marxism. This fact is the source of the legend of this book, a legend that attributes to the fieriness of revolutionary enquiries as the direct expression of a particular, equally revolutionary historical situation. Let us consider the book, however, not from the point of view of its legend, but from the angle of its current, contemporary content. ‘Commodity fetishism’ is doubtlessly the most important problem to which Lukács devotes much of his attention in this book. All the remaining contents of the book, in fact, result from analysis of this central problem. In particular, the question of subjective-objective identity, with all the consequences it has for the revolutionary movement, directly stems from description of the phenomenon of commodity fetishism and alienation. Let us note that Marks`s thought proceeded along similar lines, recognizing reification and alienation as the social basis for divisions into being and thinking, theory and its object, etc.
Źródło:: Sztuka i Dokumentacja; 2019, 20; 21-40
2080-413X
Pojawia się w:: Sztuka i Dokumentacja
Dostawca treści:: Biblioteka Nauki

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Skocz do pozycji: 3.

Tytuł:: Ethosoficzne przesłanki estetyki Bogusława Jasińskiego
Ethosophical Reasons Of Bogusław Jasińskis Aesthetic
Autorzy:: Strzałkowska, Magdalena
Powiązania:: https://bibliotekanauki.pl/articles/424490.pdf
Data publikacji:: 2010
Wydawca:: Akademia Sztuk Pięknych w Gdańsku
Tematy:: AESTHETICS
BOGUSLAW JASINSKI
CREATIVE PROCESS
ETHOS
ETHOSOPHY
Opis:: The concept of Boguslaw Jasinski's aesthetics is an attempt to create a new theoretical space for examining the sense and the aims of activities in the field of art. The starting point is a negation of the very notion of art and an art object. The ending point is the experience of the mystery of existence. The obstacle on the way is traditional aesthetics (beauty, form, content, aesthetic experience, creativeness, re-creation). All that together makes up a metasphere of existence which is a dense matter of life that covers up the existence itself, that is deceptive and unauthentic. The theoretical background of aesthetics is the concept of ethosophy. Its central categories are ethos and existence that is the ethos of existence. The existence is a primary fact for philosophy, it is obvious and undeniable. There exists only what there exists. Ethos is, however, a place which we take up in the whole of existence, in contrast to life, in which we find ourselves in the constant search for our own place. An artistic creation is a tool which allows us to grasp the wisdom coming from the very existence. It demolishes the traditional structure of aesthetics and the global System and points out a new area of human activity, in a frame for a new social structure where creation can be freely carried out. Creation has no material effect and does not function as a product. It is a process, it is constantly becoming. It is realised in the particular way of living. The artist makes art without consciousness or hyperconsciousness of being an artist. Jasinski postulates creating enclaves - small communities organised in their own way and self-sufficient, which are free from unwelcome influences from the outside world. Creativity is here a way of self-fulfillment, without the need to communicate anything to anybody outside. In the ethosofical project the only matter for creation is the very personality of an individual.
Źródło:: Sztuka i Dokumentacja; 2010, 3; 26-32
2080-413X
Pojawia się w:: Sztuka i Dokumentacja
Dostawca treści:: Biblioteka Nauki

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Skocz do pozycji: 4.

Tytuł:: Sztuka zamiast filozofii
Art Instead Of Philosophy
Autorzy:: Jasiński, Bogusław
Powiązania:: https://bibliotekanauki.pl/articles/424367.pdf
Data publikacji:: 2012
Wydawca:: Akademia Sztuk Pięknych w Gdańsku
Tematy:: CONTEMPORARY ART
CONCEPTUAL ART
CONCEPTUALISM
AESTHETICS
ETHOSOPHY
EXISTENCE
Opis:: The aim of this text is to show the cognitive function of the art later referred to as conceptual. Conceptualism was particularly predisposed to express abstract messages which included philosophical ones. The basic question I would like to pose in this text is: can a conceptual art toolbox express in its own way that which had been formerly expressed by philosophy? How, with the usage of means suggested by conceptual art, may one build a general image of the world – comparable to that which philosophy had previously given? Perhaps a full answer to the above question leads us into the areas of art which ceased to fill the boundaries of conceptualism, or post-conceptualism and heads straightforward to action, which Grotowski called an ‘active culture’ — that is a place where art is not sufficient anymore.
Źródło:: Sztuka i Dokumentacja; 2012, 6; 97-107
2080-413X
Pojawia się w:: Sztuka i Dokumentacja
Dostawca treści:: Biblioteka Nauki

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Skocz do pozycji: 5.

Tytuł:: Martin Heidegger – Filozof Bytu w Podróży po Sztukę
Martin Heidegger – Philosopher of Being in His Journey to Art
Autorzy:: Jasiński, Bogusław
Powiązania:: https://bibliotekanauki.pl/articles/2171431.pdf
Data publikacji:: 2021
Wydawca:: Akademia Sztuk Pięknych w Gdańsku
Tematy:: podmiot poznania
przedmiot poznania
fenomenologia
idealizm
realizm
etozofia
dualizm epistemologiczny
transcendentalizm
Opis:: The aim of the dissertation is the theoretical analysis of Martin Heidegger`s philosophical work after the famous turn to radically-perceived philosophy of being (the so called "Kehre"). The author presents a completely new paradigm of doing philosophy, which Heidegger himself began with his publication. It is a paradigm outside the traditional Cartesian subject-object divisions. However, it was not continued in the tradition of modern philosophy, as it went beyond commonly understood rationalism. Another current of philosophical tradition to which my ethosophy relates is the development of modern transcendentalism, marked by such names as Descartes, Kant, Hegel, and Husserl. Descartes, as we know, posed the overriding question of modern philosophy: the relation between thought and being. By this he set the modern version of the traditional subject-object dualism and substantiated it in his system. Contemporary transcendentalism best accommodated this dichotomy, breaking it down by building up the subject sphere. This is the way Kant followed and Husserl took to its end—so it would appear—in his transcendental idealism. The essence of this philosophical program was such a buildup of the subject sphere so as to see through—as though from outside—this entire subject-object dualism. Yet this point of view of transcendental idealism by no means fully eliminates this dualism but, on the contrary, in a way cements it further. Its negation is purely declarative. Within the limits of this theoretical perspective, such an observational position is constructed which as its counter-element encompasses both the subject and the object, and more specifically the relation which links them. By the same token, this original dualism reemerges, only on a different qualitative plane, which on the one hand includes this transcendental point, and on the other has this relation linking the studied and the studying spheres. Obviously, it is possible to eliminate this level again by constructing a new, much more general, point of observation, transcendental to the earlier. This procedure may proceed ad infinitum, wit¬hout really eliminating this original dualism. In reality, such was the course of this current in modern transcendental philosophy—from Descartes, through Hegel all the way to Husserl. There is yet another answer to the central problem that Descartes posed. This is an attempt to break up this subject-object dualism from within by expanding the object sphere. The best known theoretical solutions within this current of modern philosophy are the proposals that Marx and Heidegger advanced. While the transcendental idealism of the type Husserl proposed built up the external point of view of the traditional subject-object division of philosophy, an internal point of view of this division marks the current of transcenden¬talism in which the high-watermarks were the names of Marx and Heidegger and which, in contrast to the former, could qualify as realistic. This comes about by up-valuing the object sphere. The solution Husserl proposed was, as indicated earlier, illusory. The solution Marx and Heidegger reached is real, as it reveals the rules behind the constitution of such a dual manner of thinking about the world. Both of these philosophers show this dualism as illusory. Ethosophy expands on this point of view.
Źródło:: Sztuka i Dokumentacja; 2021, 24; 33-43
2080-413X
Pojawia się w:: Sztuka i Dokumentacja
Dostawca treści:: Biblioteka Nauki

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Skocz do pozycji: 6.

Tytuł:: Performance w perspektywie estetyki procesów twórczych
Performance in the Perspective of Creative Processes of Aesthetics
Autorzy:: Jasiński, Bogusław
Powiązania:: https://bibliotekanauki.pl/articles/424504.pdf
Data publikacji:: 2019
Wydawca:: Akademia Sztuk Pięknych w Gdańsku
Tematy:: język performance
proces twórczy
uczestnictwo
przedmiot sztuki
człowieczeństwo
language of performance art
creative process
participation
art subject
humanity
Opis:: Estetyka procesów twórczych jest dla autora nowym paradygmatem teoretycznym, w którym sztuka pojmowana jest jako proces, a nie jako określony przedmiot artystyczny. Jasiński wywodzi go z tradycji hermeneutycznej oraz z teleologicznego modelu pracy obecnego m. in. w Kapitale Karola Marksa. Model ten posłużył potem do sformułowania pojęcia ethosofii w kolejnych pracach Jasińskiego.
The aesthetics of creative processes is for the author a new theoretical paradigm, in which art is treated as a process rather than as a defi ned product. The roots of Jasiński’s theory derived from the tradition of hermeneutics and teleological model of work presented in Das Kapital by Karl Marx. Jasiński used this theoretical model to formulate his concept of ‘ethosophy,’ which he refers to in this publication.
Źródło:: Sztuka i Dokumentacja; 2019, 21; 17 - 29
2080-413X
Pojawia się w:: Sztuka i Dokumentacja
Dostawca treści:: Biblioteka Nauki

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Skocz do pozycji: 7.

Tytuł:: Język Performance
Language of Performance Art
Autorzy:: Jasiński, Bogusław
Powiązania:: https://bibliotekanauki.pl/articles/424695.pdf
Data publikacji:: 2019
Wydawca:: Akademia Sztuk Pięknych w Gdańsku
Tematy:: performance
zwrot performatywny
performatyka
język performance
proces twórczy
uczestnictwo
człowieczeństwo
performative turn
performance studies
language of performance art
creative process
participation
humanity
Opis:: Od wielu lat toczy się „niemy” spór o to, czym naprawdę jest performance. Napisałem „niemy,” albowiem z jednej strony ostentacyjnie zadaje się pytanie o performance artystom, godząc się jednocześnie na rozkosznie nieodpowiedzialne definicje, tak szerokie, że w ogóle zatraciły sam przedmiot definiowany, z drugiej zaś trwa – równie milczący – terror i szantaż, który przyzwalając dosłownie na wszystko, ustawia tych, którzy nic z tego nie rozumieją, na marginesie – jako ignorantów w sztuce. W obu zatem wypadkach ów spór prowadzi do jednego: milczenia. Nadszedł czas, by je przerwać. Spróbujmy podejść do kwestii performance z należytą uwagą, to znaczy dokładnie tak, jak do każdego innego rodzaju sztuki. Nie wdając się w jałowy spór o definicję samego przedmiotu sztuki, zastosujmy do opisu zjawiska performance aparat teoretyczny semiologii. W takim ujęciu sztuka to swoisty „język”, który „coś” komunikuje „komuś” w określony sposób. Ten punkt wyjścia pozwala nie tylko poddać analizie formę performance, lecz również jego swoistą „gramatykę” wypowiedzi. Pozwoli to nam na bliższe określenie struktury tej szczególnej formy, a to z kolei umożliwi uczenie jej – tak jak każdego innego rodzaju wypowiedzi artystycznej. Rzecz jasna, opanowanie języka tej wypowiedzi nie gwarantuje, że sam komunikat z jego pomocą sformułowany ma sens i jakąkolwiek wartość – dokładnie tak samo jak opanowanie nut nie powoduje, że od razu rodzi się artysta muzyk. Taki punkt wyjścia naszej refleksji na temat performance niewątpliwie otwiera tę problematykę na klasyczne zagadnienia estetyczne: funkcje poznawcze sztuki, ekspresyjne i impresyjne, wreszcie piękna i narracji w sztuce. Musimy mówić o performance, by uchronić go przed nim samym – bo jest on bez wątpienia wielką szansą dla sztuki. Bo zaprawdę, jeśli i tu powtórzymy hasło anything goes, to droga ta prowadzi donikąd.
For many years there has been a ‘silent’ dispute about what performance really is. I wrote ‘silent,’ because on the one hand the question about performance is obviously asked of artists, while at the same time deliciously irresponsible definitions are agreed, so broad that they have lost sight of the defined object along the way; and on the other, there is - equally silent - terror and blackmail, which literally allows everything, and relegates those who do not understand anything to the margin - as ignorant of art. In both cases, then, this dispute leads to only one thing: silence. The time has come to break this silence. Let us try to approach the issue of performance art with due care – that is, exactly as we would do any other kind of art. Without entering into an idle dispute about the definition of the object of art itself, let us use the theoretical apparatus of semiology to describe the phenomenon of performance: art as a kind of ‘language’ which ‘communicates’ to ‘someone’ in a certain way. This starting point allows us not only to analyse the form of performance, but also its specific ‘grammar’ of expression. This will allow us to define the structure of this particular form more closely, which in turn will enable us to teach it - just like any other type of artistic expression. Of course mastering the language of this form of expression does not guarantee that the message, itself formulated with its help, makes sense or has any value: just as mastering the notes does not mean that one immediately becomes a musician. Such a starting point for our reflection on performance art undoubtedly opens this issue to classic aesthetic concerns: the cognitive functions of art, expression and impressionism, and finally beauty and narrative in art. We need to talk about performance to protect it from itself - because it is undoubtedly a great opportunity for art. Indeed, if we repeat the slogan ‘anything goes’ here, then the road leads nowhere.
Źródło:: Sztuka i Dokumentacja; 2019, 21; 6-7
2080-413X
Pojawia się w:: Sztuka i Dokumentacja
Dostawca treści:: Biblioteka Nauki

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Skocz do pozycji: 8.

Tytuł:: Idea demokracji w filozofii społecznej Karla R. Poppera – racjonalistyczny mit nowoczesnej Europy
The idea of democracy in Karl R. Poppers social philosophy - the rationalistic myth of modern Europe
Autorzy:: Jasiński, Bogusław
Powiązania:: https://bibliotekanauki.pl/articles/424328.pdf
Data publikacji:: 2017
Wydawca:: Akademia Sztuk Pięknych w Gdańsku
Tematy:: Karl R. Popper
demokracja
mit
nowoczesna Europa
oświecenie
Opis:: The article presents a sketch of Karl Popper’s philosophical opinions. Popper belongs to those philosophers who came to strictly philosophical questions from problems concerned with the natural sciences. This development of their thought has particular consequences for their philosophical style. On the one band – as one can note in Popper – their philosophy is one which is low on poetic turns of phrase and high on logical rigor. On the other hand, their thought is characterized by a greater dose of certainly, of an apodictic tendency even, than is that of those philosophers who, educated in the traditions of the humanities, are more burdened by the weight of tradition. Such an attitude has perhaps two consequences: it leads either to the trivial repetition of other people’s insights or to a certain unquestionable originality. The author maintains that, in the case of Popper, we are dealing with the second eventuality. In the article he presents chosen elements illustrative of the originality of Popper’s thought. In Popper philosophy the rational is always contradicted by the irrational. And the ‘despair of reason’, as he states, always leads to limitation of freedom and closed society. So the alternative is based on dramatic choice: ‘reason or violence’ or/and ‘reason or revolution’. The reason for Popper is - in fact - the same as humanities. Historicism, the way of thinking in historical categories, is exempt from thinking because it is based on firm rules and thus its result is totalitarianism. Here is the focal point of Popper’s thinking - his a priori established faith in reason implies a certain type of humanism; the one who believes in the unlimited possibilities of man whose chief weapon becomes reason. We believe in reason – that is a dogma. And reason enables criticism (critical rationalism), that is a falsification of (any) theory. That’s why the social science has an inevitable conjectural character. Popper’s methodological individualism that is based on belief in his own reason is a dogma as well. The only way out to deprive reason of its irrationality is to place it in the horizontal and not the vertical perspective, on the level of practical life, in between individual men. After the Holocaust there is nothing ‘above’ or ‘beyond’. Our decisions are rooted in already reason-guided life, and so are the political institutions – not in a meta-level rationalism.
Źródło:: Sztuka i Dokumentacja; 2017, 16; 7-27
2080-413X
Pojawia się w:: Sztuka i Dokumentacja
Dostawca treści:: Biblioteka Nauki