The research presented in this paper begins from the time of turmoil in the field of arts and thinking (about art) in the late 19th and early 20th century. The shift from traditional techniques and ...operational procedures to modern ones, which is followed back from the time of industrial revolution, contributed to the elimination of art as the relevant operational procedure and consequently to the elimination of the values on which the traditional art survived. Although modern art drew its inspiration from the well of resistance to tradition and social reality in which the masses played an important role, the paper attempts to follow the task the art has inherited from earlier times - the artistic display of sense at the level of image, which differentiates it in the recent cultural, economic and intellectual conditions from the mass industrial production of consumable images. The paper examines the possibility of differentiation of artistic image in postmodern period, at the time of excessive expansion of mass media and electronic simulation techniques, following the realisation that the modernist ideal of progress and the exclusivity of art are unviable. The paper presents the arguments of the philosophers who deny the possibility of art in postmodern era. Contrary to that, it indicates that there is a vast area of artistic production which testifies with its exquisite experiential and cognitive value in the field of image to the need for artistic mimesis and its articulation of reality at the time of simulation.
U radu se ispituje odnos iluzije i stvarnosti u umjetnosti od antike do suvremenoga doba. Iluzionizam je nastao i razvijao se pod okriljem umjetnosti, no krajem devetnaestoga i početkom dvadesetoga ...stoljeća dolazi do prekretnice u njihovu odnosu. Tijekom dvadesetoga stoljeća iluzionizam postaje preokupacija medijskih tehnologija, stoga se u radu prati napredak vizualnoga iluzionizma od najstarijih vremena do digitalnoga komponiranja. Istražuju se novi zadatci moderne umjetnosti kada je riječ o iluzionizmu te odnosu prema stvarnosti. U sve većoj suradnji umjetnosti, masovnih medija i tehnologija umjetnost ne ostaje uskraćena za trendove u razvoju medijske industrije. U radu se razmatra povratak fotorealizmu i simulaciji u umjetnosti i ističe da umjetnost zadržava razliku u identitetu kada je riječ o odnosu iluzije i stvarnosti, po čemu se razlikuje od masovnih medijskih tehnologija dvadesetoga stoljeća u stvaranju iluzionizma.
The paper deals with the relationship between illusion and reality in art from ancient to contemporary times. Illusionism appeared and developed through art, but the turning point in the relationship ...between art and illusion occurred at the end of the nineteenth and the beginning of the twentieth century. In the twentieth century, illusionism became the preoccupation of media technologies. The paper investigates new modern and contemporary art tasks related to illusionism and reality. In increasing cooperation of art, mass media and technologies, art is not devoid of trends in the media industry. Finally, this paper considers the return to photorealism and simulation in art. It points out that art retains the difference in identity in the relationship between illusion and reality, differentiating art in creating illusionism from mass media technologies of the twentieth century.
Russell’s analysis of language in the relation with its theory of knowledge and ontology is discussed in this work. The theory of definite descriptions presents the Russell’s way of solving ...philosophical problems using language analysis. By reconstructing logical form of an expression Russell presents how we can be mistaken, if guided by grammar. At the same time, he demonstrates forcing all assertions into pre-determined (subject – predicate) schema as limited act of traditional logic. Attitudes expressed in essay On Denoting are considered related to Russell’s view in The Principles of Mathematics where the questions of denotation of definite descriptions are solved in the way similar to Frege’s. In the essay, Russell explicates his theory, considering Frege’s theory of meaning. That’s the reason why this work presents Russell’s understanding of distinction denotation – meaning related to Frege’s distinction reference – sense. The last part of this work shows how distinction between proper names and definite descriptions has to be considered in the relation with Russell’s epistemological views, especially those related to difference between knowledge by acquaintance and knowledge by description.
