Zbog decentralizirane prirode tehnike blockchaina, NFT-umjetnost promijenila je poimanje autorstva i vlasništva, umanjila ulogu stručnjaka iz svijeta umjetnosti i utjecala na globalno tržište ...umjetnina. Međutim, pitanje mogu li se NFT-ovi uopće smatrati umjetnošću ostaje otvoreno za raspravu. Da bismo razlikovali NFT-ove od drugih digitalnih i nedigitalnih umjetničkih djela, najprije ćemo dati pregled toga što su NFT-ovi i kojoj vrsti digitalnog prostora pripadaju. Drugo, analizirat ćemo uvjete koje NFT mora ispuniti da bi se smatrao umjetničkim djelom, prema svojim inherentnim karakteristikama. Rezultati će pokazati da, prvo, NFT-umjetničko djelo ovisi o svojem umjetničkom konceptu; drugo, njegov predodžbeni sadržaj mora biti vizualno tumačenje NFT koncepta i povezan s podacima u skladu s konceptom; i konačno, koncept definira cijeli ekosustav i estetička svojstva NFT-umjetničkih djela.
En raison de la nature décentralisée de la technologie blockchain, l’art NFT a modifié les notions d’auteur et de propriété, réduit le rôle des experts du monde de l’art et influencé le marché mondial de l’art. Cependant, la question de savoir si les NFT peuvent être considérés comme de l’art reste ouverte au débat. Afin de distinguer les NFT des autres œuvres numériques et non numériques, nous offrirons d’abord un aperçu de ce que sont les NFT et du type d’espace numé- rique auquel ils appartiennent. Ensuite, nous analyserons les conditions qu’un NFT doit remplir pour être considéré comme une œuvre d’art en fonction de ses caractéristiques inhérentes. Les résultats montreront que, premièrement, une œuvre d’art NFT dépend de son concept artistique ; deuxièmement, son contenu représentatif doit être une interprétation visuelle du concept NFT et lié aux données conformes au concept ; et enfin, le concept définit l’ensemble de l’écosystème et les propriétés esthétiques des œuvres d’art NFT.
Wegen der dezentralisierten Natur der Blockchain-Technologie hat die NFT-Kunst die Vorstellung von Autorschaft und Eigentum verändert, die Rolle der Experten aus der Kunstwelt verringert und den globalen Kunstmarkt beeinflusst. Doch die Frage, ob die NFTs überhaupt als Kunst angesehen werden können, bleibt offen zur Diskussion. Um NFTs von anderen digitalen und nicht-digitalen Kunstwerken zu unterscheiden, wird als Erstes eine Übersicht darüber angegeben, was NFTs sind und zu welcher Art von digitalem Raum sie gehören. Danach werden die Voraussetzungen analysiert, die das NFT erfüllen muss, um als Kunstwerk betrachtet zu werden, nach seinen inherenten Charakteristiken. Die Ergebnisse werden zeigen, dass, erstens, ein NFT-Kunstwerk von seinem Kunstkonzept abhängt; zweitens, dass sein Vorstellungsinhalt eine visuelle Interpretation des NFT-Konzepts und mit den dem Konzept entsprechenden Daten verbunden sein muss; und schließlich, dass das Konzept das ganze Ökosystem und die ästhetischen Eigenschaften der NFT-Kunstwerke definiert.
Due to the decentralised nature of blockchain technology, NFT art has changed notions of authorship and ownership, diminished the role of art world experts, and influenced the global art market. However, the question of whether NFTs can be considered art at all remains open to debate. In order to distinguish NFTs from other digital and non-digital artworks, we will first provide an overview of what NFTs are and what kind of digital space they belong to. Secondly, we will analyse the conditions that an NFT must fulfil in order to be considered an artwork, according to its inherent characteristics. The results will show that, firstly, an NFT artwork depends on its artistic concept; secondly, its representational content has to be a visual interpretation of the NFT concept and related to data according to the concept; and finally, the concept defines the whole ecosystem and the aesthetic properties of NFT artworks.
The paper is focused on the analysis of the possibilities of a verbal and theoretical understanding of art, adequate to art itself. On the one hand, this problem is considered with regard to the ...perspectives of contemporary philosophy of art, and on the other, with regard to art itself. The thesis argues that, starting from itself, art has the possibility to acquire an adequate theoretical articulation of its own domain, which opens effectively the perspective of a new concept of theory. At the same time, the paper presents the thesis that modern philosophy of art can claim its legitimacy only by respecting the autonomy of art and the autonomy of the art's own possibility to develop a theoretical discourse concerning art.
Članak je posvećen razmatranju svojstvenosti pojmovnosti fundamentalne ontologije, koja će biti predstavljena na primjeru egzistencijala, kao za nju karakterističnog tipa pojmova. Analiza, najprije, ...pokazuje smisao i ulogu egzistencijala u vezi s osnovnim postavkama fundamentalne ontologije, te Heideggerovu kritiku kategorija. Potom se u drugom dijelu članka pojmovni karakter egzistencijala razmatra kroz njihove pojmovne odnose i na primjeru pojma svijeta. Analiza u članku polazi od ranih Heideggerovih stavova o odnosu filozofskog mišljenja i jezika, po kojima jezik filozofije izrasta iz načina misaonog držanja određenog mislioca i upućuje na to misaono držanje.
This paper is concerned with the characteristics of the conceptuality of fundamental ontology, which are presented through an analysis of existentials as the concepts typical of this philosophical position. The analysis first presents the meaning and role of existentials in relation to the main ideas of fundamental ontology as well as Heidegger’s critique of the categories. The second part of the paper then presents the conceptual character of the existentials through the analysis of the concept of the world and in terms of the conceptual relations they form. The analysis draws on Heidegger’s early ideas about the essential relation between thinking and language in philosophy, according to which the language of philosophy emerges from and indicates how a particular philosopher thinks.
Relations between persons in the contemporary world often resemble those of the same persons towards objects. We are accustomed to ‘use’ – and even see – others as if they are, to put it in Kantian ...terms, merely a means to an end, and not as if they are an end in themselves. Such blurring of lines between objects and persons surely has significant moral and political consequences. However, in this paper I reach instead for a very traditional example and suggest it as a possible model for understanding these contemporary issues. I’d like to offer an analysis of icons, with regard to the concepts of latreia (worship) and proskynesis (devotion), developed and discussed in the Byzantine empire during the era of iconoclasm. By revisiting this old quarrel, I wish to invert the issue of persons becoming (like) objects, since in the case of the icons the question is whether an object can and should be treated as a person. Such an inverted image could, in my opinion, offer us a new perspective on contemporary intersubjective relations and present us with a double optic, which can teach us to distinguish between esteem for objects and respect for persons.
Ovaj rad posvećen je ispitivanju promene u razumevanju filozofske pojmovnosti kod Dionizija Areopagita. Da bi filozofija kao oslovljavanje Boga (teologija) mogla biti opravdana u apofatičkom duhu, ...Areopagita napušta dotadašnje matrice i uvodi nov tip pojmova, koji poreklo imaju u sveštenim himnama. Veza himničkog jezika i jezika filozofije biće predmet analize u radu, a sa naglaskom na temeljnim pojmovima – božanskim imenima. Analiza pokazuje da ovi pojmovi napuštaju semantičke i logičke uzuse tradicije, te umesto njih sa istim funkcijama uvode bezimenost i mnogoimenost.
Hram, most i skulptura primeri su čijom analizom ćemo u ovom radu razmotriti Hajdegerovo razumevanje prostora, odnosno veze umetnosti i prostora. Analizom karakterističnih mesta iz Hajdegerovih ...tekstova, na kojima se pojavljuju ovi primeri, potvrdićemo da je promišljanje prostora, u zaokretu od ranih ka poznim radovima, za Hajdegera bitno vezano za umetnost. Sa druge strane, njihovim poređenjem ukazaćemo na dinamiku promene razumevanja odnosa mesta i prostora u poznoj Hajdegerovoj filozofiji. Rezultat analiza predstaviće problem prostora kao jedan od ključnih okvira za razumevanje Hajdegerove filozofije umetnosti, te predložiti tumačenje smisla veze ovih pojmova.
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