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Tytuł:
Литература и человек в цифровую эпоху: стилизация vs. гибридизация литературного творчества
Literature and people in the digital age: the styling vs hybridization of literary creativity
Autorzy:
Наталья, Кнэхт
Powiązania:
https://bibliotekanauki.pl/articles/1832501.pdf
Data publikacji:
2019-11-22
Wydawca:
Uniwersytet w Białymstoku. Wydawnictwo Uniwersytetu w Białymstoku
Tematy:
постструктурализм
концептуализм
антропология повседневности
текстовая фотография
автоэтнография
литература нон-фикшн
poststructuralism
conceptualism
anthropology of everyday life
text photography
auto-Ethnography
non-fiction literature
Opis:
The author examines the work of two of the most famous writers of the Russian underground – V. Pelevin and V. Sorokin, who expressed the crisis of the great humanistic tradition. The author analyzes the reasons why V. Sorokin refuses “his” author’s style and writes through recognizable literary discourses from the XIX century to socialist realism, and in later prose – through modern media dialects. In contrast to the “male” letter, the article presents a new “female” prose – a work that carries the message of the writer’s, scientific and cultural project-book B. Orlova “Anthropology of everyday life, non-fiction”. The material of the observation is oral history of the indigenous inhabitants of the Angara region (genre of anthropological, sociological, modern historical, ethnographic studies), and the method of their arrangement is collage. This explains the genre borderline of the work, which combines everyday mythology and cultural geography of the people (man).
Źródło:
Studia Wschodniosłowiańskie; 2019, 19; 101-114
1642-557X
Pojawia się w:
Studia Wschodniosłowiańskie
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Zbigniew Dłubak. Od sensu ukonstytuowanego do konstytucji sensu
Zbigniew Dłubak. From A Constituted Sense To The Sense Constitution
Autorzy:
Brogowski, Leszek
Powiązania:
https://bibliotekanauki.pl/articles/424605.pdf
Data publikacji:
2012
Wydawca:
Akademia Sztuk Pięknych w Gdańsku
Tematy:
CONTEMPORARY ART
CONCEPTUAL ART
CONCEPTUALISM
ZBIGNIEW DLUBAK
ABSTRACT PAINTING
EMPTY SIGN
SOURCE OF MEANING
ART IDEA
CONCEPTUAL PHOTOGRAPHY
POLISH ART AVANT-GARDE
ART BEYOND MEANING
ART BEYOND INFORMATION
ART BEYOND EXPRESSION
ART BEYOND ESTHETICS
ART BEYOND STYLE
DESYMBOLISATION
PHENOMENOLOGY OF PAINTING
SEMIOTICS OF ART
TAUTOLOGY
DIFFERANCE
Opis:
The article is based upon his translation of a French text published in 1994. The text was part of a catalogue featuring an individual exhibition by Zbigniew Dlubak in Maison des expositions de Genas. There were some minimal changes introduced by the author to the original work entitled “Du sens constitué à la constitution du sens.” The text highlighted the originality of the artist's inspirations: on the one hand — similarly to other conceptualists in 1960-1970 — Dłubak was interested in semiotics and linguistics. However he was more captivated by Jakobson and Mukarowsky than Ayer and Wittgenstein. On the other hand, in a similar way to some 20th century painters, he intuitively discovered the procedures of phenomenology. Dlubak's contribution to conceptual art is based on a 'structural-painterly' approach to art, which is reminiscent of Maurice Merleau-Ponty's philosophy. According to this French philosopher, language signs are 'forms in blanco'. For Dlubak, a work of art is an 'empty sign', which will acquire meaning during a process which Dlubak equaled with the work of art itself. The artist suggested an original—phenomenological—concept of aesthetic experience, which was based on the idea of stepping outside 'the world of meaning' in a search for the source where the sense of art is constituted. The discovery of the process in which the sense of art emerges and understanding its mechanisms, stand in opposition to aesthetic concepts, as these aesthetic concepts find the style as the main goal of art creation and assume that for an artist a specific style represents a specific way of thinking. Breaking away from the stylistic focus and from thinking in the categories of style, is one of the most significant elements of creation according to Dlubak; a style is an ossified and fossilised sense. One of his characteristic strategies, which is aimed at overcoming the category of style, is a parallel and concurrent use of painting and photography. He underlined the overlapping of artistic and cognitive processes and by doing so, Dlubak arrived at an original concept—not very new in the history of aesthetic thought—which sees art as ‘principle to the liveliness of one’s mind’.
Źródło:
Sztuka i Dokumentacja; 2012, 6; 55-62
2080-413X
Pojawia się w:
Sztuka i Dokumentacja
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Wspólnota Wyobraźni Jako Dyssensus. VIII Spotkanie Artystów i Teoretyków Sztuki Świdwin/Osieki (1970)
A Community of Imagination as Dissensus. The 8th Artists and Art Theoreticians Meeting in Świdwin/Osieki (1970)
Autorzy:
Nader, Luiza
Powiązania:
https://bibliotekanauki.pl/articles/424269.pdf
Data publikacji:
2018
Wydawca:
Akademia Sztuk Pięknych w Gdańsku
Tematy:
Dissensus
postartistic era
conceptualism
Jerzy Ludwiński
March 1968
Osieki Plain Air
Polish art after 1945
imagination
Dyssensus
epoka postartystyczna
konceptualizm
Marzec 1968
plenery osieckie
sztuka w Polsce po 1945 roku
wyobraźnia
Opis:
Celem tekstu jest refleksja nad znaczeniami wypowiedzi artystycznych, które przedstawiono na VIII Spotkaniu Artystów i Teoretyków Sztuki w Świdwinie i Osiekach w 1970 roku, wobec horyzontu wydarzeń roku 1968 w Polsce. Szczególnie skupię się na pierwszym wykładzie Jerzego Ludwińskiego „Epoka postartystyczna” oraz na kilku pracach artystów i artystek (m.in. Jana Chwałczyka, Wandy Gołkowskiej, Jerzego Fedorowicza, Jarosława Kozłowskiego, Natalii LL) odpowiadających i wchodzących w relację z wykładem krytyka. Przywołam również kontekst wybranych zjawisk i procesów społecznych i kulturowych około roku 1968, które plener poprzedzały, i które mu towarzyszyły. Zaproponuję, aby czas od czerwca 1967 do grudnia 1970 pojmować jako szczególny mikro-okres w historii sztuki w Polsce, charakteryzujący się z jednej strony strukturą długiego trwania, z drugiej zaś dystynktywnymi zasadami. Zastanowię się w końcu nad wyłaniającymi się z pleneru w Osiekach w 1970 roku ideami, szczególnie nad kategorią wyobraźni. Twierdzę, że posiadały one nie tyle charakter krytyki czy kontestacji, lecz raczej powinny być pojmowane jako inna, mało rozpoznana w historii sztuki w Polsce forma dyskursu oporu - dyssensus. Dyssensus w przypadku pleneru osieckiego w 1970 roku rozpatruję jako dyskursywne rozłączenie wobec obowiązującego wówczas „podziału postrzegalnego”, jako różnego rodzaju drobne, lecz znaczące konstelacje taktyk zaznaczania różnicy wobec po-marcowego świata. W przypadku prac artystów w Osiekach dyssensus ów nie osadzał się na negacji, ale na geście odbudowywania, pracy z wyobraźnią, która została znacznie osłabiona lub wręcz zniszczona, na skutek wydarzeń między czerwcem 1967 a sierpniem 1970 roku.
Źródło:
Sztuka i Dokumentacja; 2018, 18; 47-56
2080-413X
Pojawia się w:
Sztuka i Dokumentacja
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
WŁADZA VS. SZTUKA W PRL-U I DZIŚ
POWER VERSUS ART IN POLISH PEOPLE’S REPUBLIC AND TODAY
Autorzy:
Guzek, Łukasz
Powiązania:
https://bibliotekanauki.pl/articles/487714.pdf
Data publikacji:
2017-11-07
Wydawca:
Akademia Sztuk Pięknych im. Eugeniusza Gepperta we Wrocławiu
Tematy:
TOTALITARIANISM
DEMOCRACY
STALINISM, THAW
REPRESSION
MAREK WLODARCZYK
CONCEPTUALISM
CONTEXTUALISM
POLISH CONTEMPORARY ART
ELECTIONS 2015
TOTALITARYZM,
DEMOKRACJA
STALINIZM
ODWILŻ
REPRESJA
MAREK WŁODARCZYK,KONCEPTUALIZM
KONTEKSTUALIZM
POLSKA SZTUKA WSPÓŁCZESNA
WYBORY 2015
Opis:
POWER VERSUS ART IN POLISH PEOPLE’S REPUBLIC AND TODAY The basis of this study is Mark Wlodarczyk’s paper on research methodology of art history in Polish People’s Republic, especially in the 1950’s. Włodarczyk put the thesis that power in that decade, standing under the banner of Stalinism, introduced elements of a thaw in the art, but at the same time they continued the policy of repression. Meltdown was an immanent part of policy. However, policy enforcement can be seen in the pragmatics of government throughout the entire period of communism. Hence the thesis of this article on the dialectics of thaw and repression as the dominant instrument of power used in art, as this area of power relations is discussed here. Among the examples, there are mainly those from the seventies, for a period of domination of conceptual art is considered a period when artists concentrated on the autonomy of art, and abandoned their social engagement in order to avoid repression. That consensus with the government, however, was apparent. Artists still challenged the tolerance of power and thus triggered a dialectic of thaw and repression, and the government showed its totalitarian face. After 1989, the power in a democratic system is distributed, therefore the dialectic of thaw and repression loses its functionality. Also, Włodarczyk described the situation in Poland after the elections of 2015. He believes that political and totalitarian method of governance brings back functionality of dialectic thaw and repression against contemporary art.
Źródło:
DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu; 2016, 21; 36-47
1733-1528
Pojawia się w:
DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Transcendentalizm Kanta a problem konceptualizmu we współczesnej filozofii percepcji
Autorzy:
Sikora, Paweł
Powiązania:
https://bibliotekanauki.pl/articles/644106.pdf
Data publikacji:
2015
Wydawca:
Uniwersytet Marii Curie-Skłodowskiej. Wydawnictwo Uniwersytetu Marii Curie-Skłodowskiej
Tematy:
Immanuel Kant
Wahrnehmung
sinnlicher Gehalt
Konzeptualismus
Realismus
perception
perceptual content
conceptualism
realism
percepcja
treść zmysłowa
konceptualizm
realizm
Opis:
Indem die Philosophie des Kantischen Transzendentalismus den synthetischen Charakter unserer Erkenntnis beschreibt, nimmt sie im gewissen Sinne den Standpunkt des Konzeptualismus vorweg, der heutzutage auf dem Gebiet der analytischen Wahrnehmungsphilosophie breit diskutiert wird. Ich versuche darzustellen, wie die Hauptpfeiler des Kantischen Transzendentalismus in einigen führenden Standpunkten der gegenwärtigen Wahrnehmungsphilosophie anwesend sind und in welchem Grad von der Realität der Erfahrungsgegenstände in Bezug auf die These des Konzeptualismus gesprochen werden kann. Ich versuche auch nachzuweisen, warum die These des Konzeptualismus den Kern mannigfacher Standpunkte in der Wahrnehmungsphilosophie bilden kann, unabhängig von den Unterschieden in der Auffassung des Wahrnehmungsobjekts. Den Hintergrund des gegenwärtigen Streits conceptual vs. non-conceptual content in Bezug auf die Philosophie von Kant sollen die Betrachtungen über die Realität der Dinge an sich bilden, unabhängig davon, dass für viele Standpunkte in der gegenwärtigen Wahrnehmungsphilosophie der Begriff der Realität nur für die Welt der möglichen Erfahrung vorbehalten ist. Ins Deutsche übersetzt von Anna Pastuszka
Kantian transcendentalism describes the synthetic character of our cognition and represents the anticipation of conceptualism which is widely discussed on the field of the analytic philosophy of perception today. I will try to present the main pillars of Kant's philosophy as they are present in several key standpoints of the contemporary philosophy of the perception and I will attempt to show how we can understand the reality of the objects of experience based on the thesis of conceptualism. I will also try to show why conceptualism can make up the essence of varied positions in the philosophy of perception, independently from differences in comprehension of the object of perception. The present dispute along the lines of conceptual content vs. non-conceptual content in the reference to Kant's philosophy must also concern the problem of the reality of things itself, despite that the notion of reality for many standpoints of the philosophy of perception refers only to the world of possible experience. Summarised by Paweł Sikora
Filozofia kantowskiego transcendentalizmu, opisująca syntetyczny charakter naszego poznania, stanowi w pewnym sensie antycypację stanowiska konceptualizmu, które jest dziś szeroko dyskutowane w analitycznej filozofii percepcji. Postaram się zaprezentować, w jaki sposób główne filary transcendentalizmu Kanta są obecne w kilku kluczowych stanowiskach współczesnej filozofii percepcji oraz w jakim stopniu można mówić o realności przedmiotów doświadczenia w oparciu o tezę konceptualizmu. Spróbuję też pokazać, dlaczego teza konceptualizmu może stanowić sedno różnorakich stanowisk w filozofii percepcji, niezależnie od różnic w pojmowaniu przedmiotu postrzeżeń. Drugim planem współczesnego sporu conceptual vs. non-conceptual content w odniesieniu do filozofii Kanta muszą być także rozważania dotyczące realności rzeczy samych w sobie, niezależnie od tego, że dla wielu stanowisk we współczesnej filozofii percepcji pojęcie realności jest zarezerwowane tylko do świata możliwego doświadczenia.
Źródło:
Kultura i Wartości; 2015, 15
2299-7806
Pojawia się w:
Kultura i Wartości
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
The linguistic turn in Conceptualism and after
Lingwistyczny zwrot w konceptualizmie i po nim
Autorzy:
Piotrowski, Kazimierz
Powiązania:
https://bibliotekanauki.pl/articles/593971.pdf
Data publikacji:
2015
Wydawca:
Łódzkie Towarzystwo Naukowe
Tematy:
conceptism
conceptualism
contextualism
extension
intension
linguistic turn
ekstensja
intensja
konceptyzm
konceptualizm
kontekstualizm
lingwistyczny zwrot
Opis:
One of the most spectacular turns in the art of the 20th century was based on the linguistic reorientation of philosophy, whose extreme manifestation was Wittgenstein's non- denotational conception of meaning. It inspired the so-called analytical conceptualism that was trying in vain to overcome the heterogeneous nature of conceptism, from which it derived. This is reflected especially in Joseph Kosuth's confusion concerning the neo-positivist inspiration and one of the guiding themes of natural language philosophy which emphasizes the significance of metaphor and the fundamental role of the functor as in human thinking. The following article presents this process of inconsistent reduction of art to language, showing some of its consequences and its replacement by contextualism.
Podstawą jednego z najbardziej spektakularnych zwrotów w sztuce XX wieku była lingwistyczna reorientacja filozofii, której skrajnym przejawem była niedenotacyjna koncepcja znaczenia Ludwiga Wittgensteina. Jej aplikacji dokonał tzw. analityczny konceptualizm, który w tym lingwistycznym zwrocie daremnie usiłował przezwyciężyć heterogeniczny charakter konceptyzmu, z którego notabene się wywodził. Świadczy o tym, zwłaszcza u Josepha Kosutha, pomieszanie neopozytywistycznej inspiracji z motywem filozofii języka naturalnego, który podkreśla doniosłość metaforyzacji i myślenia z pomocą funktora as [podobnie jak]. Niniejszy tekst przedstawia proces tej niezbornej redukcji sztuki do języka, ukazując niektóre jej konsekwencje oraz jej wyraźną granicę, jaką stał się kontekstualizm.
Źródło:
Art Inquiry. Recherches sur les arts; 2015, 17; 144-166
1641-9278
Pojawia się w:
Art Inquiry. Recherches sur les arts
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Tautologie konceptualistyczne
Conceptual Tautologies
Autorzy:
Sztabiński, Grzegorz
Powiązania:
https://bibliotekanauki.pl/articles/424744.pdf
Data publikacji:
2012
Wydawca:
Akademia Sztuk Pięknych w Gdańsku
Tematy:
CONTEMPORARY ART
CONCEPTUAL ART
CONCEPTUALISM
LOGICAL TAUTOLOGY
TAUTOLOGY IN ART
JOSEPH KOSUTH
ROMAN OPALKA
JAROSLAW KOZLOWSKI
JAN CHWALCZYK
WANDA GOLKOWSKA
ZBIGNIEW DLUBAK
JERZY TRELINSKI
ZDZISLAW JURKIEWICZ
Opis:
The text is an attempt to consider the character of tautological activities undertaken in conceptual art. There are two ways the issue can be approached. The first refers to the texts of Joseph Kosuth, who wrote that an artwork is a tautology because it refers to the term ‘art’. The author develops the sense of Kosuth’s statement “a work of art is a definition of art” and states, that a part of the tautological system that makes a proposed definiens of ‘art” is available for direct perception, but the other part, which is the term ‘art’ must be recalled intellectually by the recipient. After taking into account the conceptual reference, the sense of a conceptual project with a meta-artistic character becomes noticeable. Polish examples of such works are projects by Roman Opalka, Jaroslaw Kozlowski, Jan Chwalczyk and Wanda Golkowska. The second part of the article considers conceptual projects, in which both parts of equal tautology are directly given. Conceptual works of this structure may either state what is “unquestionable and universally important” (as Alicja Kepińska wrote) or make a kind of sense “at the same time suggested and reversed” (Umberto Eco). The possibilities are considered in reference to tautological works of Zdzislaw Jurkiewicz, Jaroslaw Kozlowski, Zbigniew Dlubak and Jerzy Trelinski.
Źródło:
Sztuka i Dokumentacja; 2012, 6; 89-95
2080-413X
Pojawia się w:
Sztuka i Dokumentacja
Dostawca treści:
Biblioteka Nauki
Artykuł
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
Artykuł
Tytuł:
Sztuka jako wyraz świadomości artysty
Art As An Expression Of The Artist’s Awareness
Autorzy:
Zagrodzki, Janusz
Powiązania:
https://bibliotekanauki.pl/articles/424492.pdf
Data publikacji:
2012
Wydawca:
Akademia Sztuk Pięknych w Gdańsku
Tematy:
CONTEMPORARY ART
CONCEPTUAL ART
CONCEPTUALISM
Opis:
Considerations upon the awareness that previously had been identified as the power of God's creation, a universal mind that binds all terrestrial matters together, are the source of an ancient thought. The term conceptualism — conceptus, defining a thought, a concept, an imagination—was inherited from the Latin, but as an idea it emerged in philosophical discussions long before Socrates. The idea of conceptual perception may be found in Plato's philosophy; the definition of creative awareness was not, however, precisely defined by him. It was only Aristotle who assumed that a condition for art to exist is “a permanent disposition capable of producing something with reason”. This direction of research was undertaken by Friedrich Wilhelm Joseph Schelling, one of the first philosophers examining consciousness, the author of the treatise entitled “Philosophy of Art”. The power of Schelling's thought was an emphasis on using symbols in art. Confronting hidden meanings with the literality of concepts based on tangible aspects of knowledge mean that his opinions are still of interest for researchers. The concept of a self-awareness we owe to the establishments of René Descartes. His principle “I think therefore I am” did not remove and in fact even highlighted the doubts that arise during creative activity. What is contemporary art?— a discipline which attempts to understand the power of the human mind, which enables artists to use the knowledge they possess in action. It is an inborn predisposition, or perhaps it is a disposition to produce something material with a thought and therefore it is conceptual in nature. The values in art result from the essence of a message, and the methods of transmitting and receiving are, in a natural way, linked to the intellectual process and it does not matter, which form of the ‘conceptualisation’ of the world the artist chose. Art understood as a concept is often identified as utopian. Utopia, on the other hand, is most often understood as an intentional attitude that exists in one’s consciousness, an idea which cannot be realised. The question arises: what is an artwork completed as an artistic fact. This apparent antinomy between the notions of reality, utopia and concept in art results from an assumption that something is possible and other things are not and that all arguments depend on the assumed point of reference. It is often claimed in colloquial sentences that a project turned out to be utopian. But what does it mean? Can art be utopian? Has any art program ever been fully completed? Can ideas stemming from one’s artistic statement, in their full complexity, demanding a lot of harmonious circumstances, ever be realised? So called utopian or conceptual thought is the basis of all meaningful art achievements, contrary to intentions thought to be realistic, which by their very down-to-earth nature, lack fantasy and therefore have little in common with art. The emergence of an art concept is parallel to the possibilities of its realisation. Not sooner does art exist for real, then as a result a conflict between creative ideas and changing reality appears. Sometimes artistic objectives do not develop further beyond the project stage, sometimes they turn into concrete objects, events or processes. The fact that their incarnations exist, does not determine the meanings. The essence of artistic work is to sustain the idea created. If it takes the form of a registered project then it automatically turns into a tangible object, an item, a phenomenon which can be a base for further actions. So, when the artist questions the rules of the surrounding reality, it is not a conceptual utopia that emerges, but new realities.
Źródło:
Sztuka i Dokumentacja; 2012, 6; 119-122
2080-413X
Pojawia się w:
Sztuka i Dokumentacja
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Protokonceptualizm polski
Polish Proto-Conceptualism
Autorzy:
Kowalska, Bożena
Powiązania:
https://bibliotekanauki.pl/articles/424612.pdf
Data publikacji:
2012
Wydawca:
Akademia Sztuk Pięknych w Gdańsku
Tematy:
CONTEMPORARY ART
CONCEPTUAL ART
CONCEPTUALISM
PROTOCONCEPTUALISM
JOSEPH KOSUTH
SOL LEWITT
ROMAN OPALKA
RYSZARD WINIARSKI
ANDRZEJ PAWLOWSKI
JERZY ROSOLOWICZ
Opis:
By accepting one of the definitions applied to conceptualism in the research on this genre, as art that “takes the form of objects under the condition that they have a secondary function in parallel with an idea” I draw attention to an exceptional artistic case, that I call a Polish proto-conceptualism. This phenomenon occurred in the first half of the sixties, that is before Seth Siegelaub’s exhibition in New York (1969), accepted as the beginning of conceptualism, or even before Sol LeWitt’s article in Artforum entitled “Paragraphs on Conceptual Art” when the term, preceding the trend itself, was introduced into the language of art. For this reason I describe the above mentioned artistic experiments of clear conceptual characteristics, which preceded the accepted beginning of conceptualism, as protoconceptualism. I include four Polish artists in this category: Andrzej Pawlowski – an author of Cineforms (1957) that were famous in the sixties and “The concept of an energy field” (1966); Jerzy Rosolowicz – the author of the “Theory on the function of the form” (1963) and objects made of lenses and prisms that according to the artist were mere examples of his theory of neutral act; Roman Opałka with his ‘counted paintings’ (1965) that documented the idea of a fight with time; and Ryszard Winiarski inspired by the probability theory, who asked about determinism or indeterminism and treated his works not as paintings but as “Attempts of visual presentation by statistical charts”. Contrary to a typical conceptualism, (which was expressed as a record of processes, place marks, announcements, photographic documentation or mail art that was popular in Poland after 1970 and was inspired by similar activities by artists from Western Europe and the USA – the art of the described Polish proto-conceptualists was purely original and autonomous. It was precursory towards the global understanding of conceptualism and, what is very important, in their activity these artists generated an important message with which a significant concept, philosophical idea or analytic reflection was included.
Źródło:
Sztuka i Dokumentacja; 2012, 6; 15-19
2080-413X
Pojawia się w:
Sztuka i Dokumentacja
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Pojęcie i doświadczenie czasu w polskiej sztuce konceptualnej
The Concept And Experience Of Time In The Art Of Polish Conceptualism
Autorzy:
Zdanowicz, Maciej H.
Powiązania:
https://bibliotekanauki.pl/articles/424647.pdf
Data publikacji:
2012
Wydawca:
Akademia Sztuk Pięknych w Gdańsku
Tematy:
In my paper I analyse the art of selected Polish conceptual artists
whose art and creative strategies clearly attempt to analyse the essence of time
I consider exceptional in this context the work of Roman Opalka (Opałka 1965 /1 - ∞)
Natalia LL's recordings (Permanent recordings of time)
Zdzislaw Jurkiewicz's Saturn and Jupiter Ways
and the projects by Stanisław Dróżdż (FROM TO) that touch upon various levels of time
In the presented analyses
I refer to the psychological and philosophical concept of perception and aperception
as well as an anthropological understanding of time
In my view
conceptual art is the genre whose characteristics lie in the conscious cognition and deep intellectual analysis of the reality surrounding the artist
With regard to the active role of the mind in the process of perception the aperception of time may be a more appropriate term
CONCEPTUALISM
CONCEPTUAL ART
ROMAN OPALKA
NATALIA LL
ZDZISLAW JURKIEWICZ
STANISLAW DROZDZ
PERCEPTION
APERCEPTION
TIME
SPACETIME
NOTATION
RECONSTRUCTION
DOCUMENTATION
Opis:
In my paper I analyse the art of selected Polish conceptual artists, whose art and creative strategies clearly attempt to analyse the essence of time. I consider exceptional in this context the work of Roman Opalka (Opałka 1965 /1 - ∞), Natalia LL's recordings (Permanent recordings of time), Zdzislaw Jurkiewicz's Saturn and Jupiter Ways, and the projects by Stanisław Dróżdż (FROM TO) that touch upon various levels of time. In the presented analyses, I refer to the psychological and philosophical concept of perception and aperception, as well as an anthropological understanding of time. In my view, conceptual art is the genre whose characteristics lie in the conscious cognition and deep intellectual analysis of the reality surrounding the artist. With regard to the active role of the mind in the process of perception the aperception of time may be a more appropriate term.
Źródło:
Sztuka i Dokumentacja; 2012, 6; 141-147
2080-413X
Pojawia się w:
Sztuka i Dokumentacja
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Obraz a idea. Estetyczno-antropologiczne paradoksy sztuki konceptualnej (implikacje ikonoklastyczne)
Image and Idea. Aesthetic and Anthropological Paradoxes of Conceptual Art (Iconoclastic Implications)
Autorzy:
Kazimierska–Jerzyk, Wioletta
Powiązania:
https://bibliotekanauki.pl/articles/424511.pdf
Data publikacji:
2012
Wydawca:
Akademia Sztuk Pięknych w Gdańsku
Tematy:
CONTEMPORARY ART
CONCEPTUAL ART
CONCEPTUALISM
ICONOCLASM
ICONOPHILISM
ICONODULISM
IDOLATRY
JOSEPH KOSUTH
JAN BERDYSZAK
GRZEGORZ SZTABINSKI
Opis:
When taking into account the iconoclastic implications of conceptualism, we may observe its close but at the same time, warped relationship with aesthetics. I developed this thought after reflecting on Arnold Berleant. Such a view allows one to support the idea of a wider understanding of the notion of conceptual art, which accepts the presence of an art object not only in the form of art documentation, but also as an object included in an aesthetic awareness. One of its main aspects is the problem of the effect (power) of images. The problem of an aesthetic awareness was developed by Joseph Kosuth through a suggestive formula of ‘art as anthropology’. I treat this as a consequence of previous ideas developed by the artist, not as a total turn away from them. As a consequence one may consider as conceptual the attitudes and projects that keep the image in its physical sense and make the creating of images problematic in such a way that the most important seem to be reflections on the notion of art (image). In the article I consider two examples of Polish artists – Jan Berdyszak and Grzegorz Sztabinski. I underline how their activities are involved in certain iconoclastic practices (typical for conceptualism) and with which means they articulate the need to overcome them.
Źródło:
Sztuka i Dokumentacja; 2012, 6; 47-54
2080-413X
Pojawia się w:
Sztuka i Dokumentacja
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
O uzasadnianiu w matematyce
On justification in mathematics
Autorzy:
Wójtowicz, Krzysztof
Powiązania:
https://bibliotekanauki.pl/articles/2015959.pdf
Data publikacji:
2002
Wydawca:
Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
Tematy:
filozofia matematyki
formalizm
instrumentalizm
konceptualizm
realizm
philosophy of mathematics
formalism
instrumentalism
conceptualism
realism
Opis:
In this article the problem of justification of mathematical axioms (in the context of traditional standpoints in the philosophy of mathematics) is discussed. Stress is laid on the methodological analysis, which concerns the notion of “justification” itself. Concrete choices, known from mathematical practice are not discussed here. In the process of formulating an axiomatic theory, the problem of the choice of the appropriate axiom system and of the justification of this choice emerges. In particular, the following problems are connected with it:(1) The problem of the relation between the concept of “justification” and “truth” of mathematical sentences (when the classical definition of truth is assumed).(2) The problem which criteria of justification can be considered appropriate, and whether the problem of justification is well-posed.(3) The problem, whether these criteria can be applied only to axioms, in the process of constructing an axiomatic theory, or also to independent sentences (after their metamathematical status has been settled. In that case, extending a theory T by an independent sentence φ or ¬φ cannot be justified by a formal proof.) (4) The problem, whether the choice of a particular justificatory procedure is motivated philosophically; in particular, whether the problem of justification is considered well-posed. These questions are analysed in the context of classical philosophical standpoints in the philosophy of mathematics, such as: (1) strict formalism; (2) Hilbert's formalism; (3) mathematical instrumentalism; (4) intuitionism; (5) Quine's realism; (6) Gödel's realism. The standpoint of the “working mathematician” is also discussed.
Źródło:
Roczniki Filozoficzne; 2002, 50, 1; 527-551
0035-7685
Pojawia się w:
Roczniki Filozoficzne
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Najbardziej radykalne postawy w ruchu galerii konceptualnych lat siedemdziesiątych. Galeria 80x140 Jerzego Trelińskiego i Galeria A4 Andrzeja Pierzgalskiego
The Most Radical Attitudes Within The Movement Of 'Conceptual Galleries' In The 70s. Jerzy Trelinski's Gallery 80x140 And Andrzej Pierzgalski's Gallery A4
Autorzy:
Guzek, Lukasz
Powiązania:
https://bibliotekanauki.pl/articles/424312.pdf
Data publikacji:
2011
Wydawca:
Akademia Sztuk Pięknych w Gdańsku
Tematy:
ANDRZEJ PIERZGALSKI
CONCEPTUAL GALLERIES
CONCEPTUALISM
GALLERY 80X140
GALLERY A4
JERZY TRELINSKI
LODZ
Opis:
The 'Gallery movement', which formed in Poland in the 70s is a world phenomenon that provides extremely rich material, in terms of diversity, as well as in quantitative terms. The galleries were created under the dominant influence of conceptual art, that is why I describe them as 'conceptual galleries'. They played the traditional role of a gallery, that is, they were places of exhibition and they functioned as an 'art container', but at the same time, they were art projects created according to the individual decision of the artist, just like the works of art. They were therefore a form of conceptual art, developed in the 70s, the conceptual art decade. One of the most radical galleries at that time was the 80x140 Gallery, founded by Jerzy Trelinski, in spring 1971 in Lodz. The Gallery operated until 1977. Initially, the gallery space was a wall surface of dimensions given in the name of the gallery (80 x 140 cm). But soon the work presented in the gallery began to develop directly into the space of the room, turning it into an installation space. Then artworks began to be realized around the city and numerous projects by J. Trelinski, as well as collaborative projects, began to be created in various locations outside Lodz, all under the facade of Gallery 80x140. In May 1972, at the 80x140 Gallery, the A4 Gallery began its activity, which was an initiative of Andrzej Pierzgalski. It was perhaps an even more radical art project in the category of 'conceptual galleries', and it was limited to a plain sheet of A4 size paper (literally, a piece of A4 paper was placed within the 80x140 Gallery). This article also announces broader research on issues arising from the 'gallery movement' and the category of 'conceptual galleries' in Polish art of the 70s. The 'gallery movement' also had a social and political dimension. Thus a network of the independent exchange of ideas was created, and it functioned well on an international scale. The patterns of self-organising initiated by the artists' community and the art procedures that were developed in the 70s on the basis of conceptual art, proved extremely useful in the 80s. Also during the economic crisis and transformation of the 90s, the model of a 'conceptual gallery' enabled the artistic community to function, despite limitations of an economic nature. This article describes the methodology of research on the 'conceptual galleries' phenomenon. It contains a detailed description of works that were created in the Gallery 80x140 and Gallery A4 (and under their auspices) throughout the time of their operation. It also presents the consequences that the initiators of these galleries have drawn from them later in their artistic practice; particularly a series of works titled Autotautologies by J. Trelinski, (the artist puts a graphic sign TRELINSKI on various objects and in various places and situations), as well as further artistic development of A. Pierzgalski.
Źródło:
Sztuka i Dokumentacja; 2011, 4; 49-68
2080-413X
Pojawia się w:
Sztuka i Dokumentacja
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Moskiewski konceptualizm - między awangardą a postmodernizmem
Autorzy:
Pietraś, Elżbieta
Powiązania:
https://bibliotekanauki.pl/articles/444279.pdf
Data publikacji:
2007
Wydawca:
Uniwersytet Warmińsko-Mazurski w Olsztynie
Tematy:
conceptualism
underground
soc art
avant-garde
postmodernism
Opis:
The Moscov Conceptualism was one of the famous phenomena of non-official art. It showed emptiness of soviet paintings, literature, art. The Moscow underground was connected by the same feeling and need to change the soviet language poisoned by demagogy of politicians, by the falsity of official slogans and literature. It entered two influential styles in non-formal culture of the 1970s and 1980s. First of them was concentrated on a visual art and used term "soc-art" connected with series of paintings by Vitaly Komar and Alexander Malamid. It compared material forms of soviet ideology (posters, slogans, graphic art) with the profusion of Western commercial advertising products and pop art. The second circle of artists was concentrated near Ilya Kabakov and included not only painters but also great writers like Dmitry Prigov, Lev Rubinstein and Vladimir Sorokin, who used to deconstruct typical socrealistic literature by showing her absurd. This trend was called Moscow Conceptualism and was in many points connected with traditions of avant-garde art, especially futurism and OBERIU.
Źródło:
Acta Neophilologica; 2007, IX; 131-142
1509-1619
Pojawia się w:
Acta Neophilologica
Dostawca treści:
Biblioteka Nauki
Artykuł
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