Što još može fenomenologija? Finci, Predrag
Filozofska istraživanja,
10/2021, Letnik:
41, Številka:
3/163
Journal Article
Recenzirano
Odprti dostop
Our time has seen the end of the “big narrative”, the era in which there are no reliable criteria, making it difficult to establish what can and cannot be considered art. Phenomenology has conveyed ...very clear views on this matter. Its most prominent representatives draw attention even nowadays. Can philosophies that use the phenomenological method offer answers on the nature of the arts, what art is, and its essence? The author claims that this is still possible, but with the realisation regarding different aesthetic experiences and the new historical and social situation.
Estetic and Mytos of Pandanus War. Gringsing The name of Gringsing is explained in popular etymology asmeaning free from sickness, which is in itself enough to indicate that the cloths are honoured ...by the people becauseof their magic infl uence. The origin of the gringsing cloths is traced back to Dewa Indra, who created shadowsin the sky so that they could be copied as pattern in the cloths. As was pointed out, the weaving of the gringsing,a sacred activity for the women. The weaving women have to take a number of adat regulations into account.Throughout Bali weavers are srict in following the adat. In he village of Tenganan Pegringsingan itself the use ofcertain gringsings is prescribed for specifi ed ceremonies. Tenganan Pegringsingan community perform religiousrites everyday to maintain the balance of the village. Tenganan Pegringsingan has unique culture, and all refer tothe concept of balance. The most famous ritual activities in Tenganan Pegringsingan is Pandanus War. In PandanusWar, gringsing always used by Truna and Daha. They believe in using gringsing, they will be spared from disease.Gringsing present in Tenganan Pegringsingan bringing myths and aesthetics. Gringsing is a picture of a communitycultural order Tenganan Pegringsingan. All have been recorded in awig-awig Tenganan Pegringsingan.
Uz kajkavske stihove Mirne Weber, autor nastavlja tematizirati pojmove 'doživljaj' i 'doživljavanje' iz članka Uz obljetnicu Božice Jelušić, Kaj br. 1-2, 2021., posebno s osloncem na misao Wilhelma ...Diltheyja. Ukazuje na moderni racionalizam kao na pozadinu distanciranja od pojma doživljaj u novijoj teoriji književnosti. U tom kontekstu osvjetljava se kajkavska lirika Mirne Weber kao autentična lirika doživljaja.
Alongside with the Kajkavian verses by Mirna Weber, the author continues to deal with the notion of experience and experiencing in the article
Uz obljetnicu Božice Jelušić
, Kaj 1-2, 2021, relying especially on the ideas of Wilhelm Dilthey. Modern rationalism is indicated as being behind the distancing from the idea of experience in the more recent theory of literature. The Kajkavian lyrics of Mirna Weber are highlighted In such context as being authentic experience poetry.
Boja zuba u dentalnoj medicini značajno utječe na doživljaj cjelokupne estetike zubi i lica. Percepcija boje ovisi o mnogim čimbenicima, kao što su ljudski faktor, osvjetljenje, okolina, boja ...pozadine i drugi optički fenomeni. Odabir boje u dentalnoj medicini najčešće se vrši vizualno pomoću tvorničkih ključeva boja koji se temelje na tonu boje, zasićenosti ili svjetlini. Boje iz ključa se uspoređuju s bojom zubnog niza pacijenta. Takav način odabira boje vrlo je subjektivan te je tako odabranu boju teško reproducirati. Iz tog razloga kreirane su objektivne, instrumentalne metode određivanja boje pomoću različitih uređaja kao što su digitalne kamere, kolorimetar i spektrofotometar. Boja zuba odabrana ovim metodama daje rezultate koji su kvantificirani, objektivizirani, lako ponovljivi i reproducirani u dentalnom laboratoriju.
The Covid-19 pandemic requires us to carry out physical and social distancing. It is undeniable, this also has an impact on government policy to close tourist destinations, including museums. ...Currently, sophisticated 3D visualization technology provides the potential for the development of virtual museums. The virtual museums were developed for giving the experience of the visiting museum in the digital world as a distance learning. This application can provide immersion through interactivity while exploring virtual museums. Basically, this article explains the aesthetic investigations in some virtual museums. The researchers describe the aesthetic of each sampled virtual museums projects. The literature synthesis of several virtual museums projects is expected to be able to give an idea of the potential development of virtual museums in Indonesia. The aesthetics of virtual elements could be used as a recommendation for museum conservator for the development of prospective Indonesian virtual museums. Furthermore, the aesthetics of virtual in digital museums provide opportunities to present virtual museums exploration experiences. Estetika Virtual: Peluang Perkembangan Museum Virtual di IndonesiaAbstrakPandemi Covid-19 mengharuskan kita melakukan jarak fisik dan sosial. Tak bisa dipungkiri, hal ini juga berdampak pada kebijakan pemerintah untuk menutup destinasi wisata, termasuk museum. Saat ini, teknologi visualisasi 3D yang canggih memberikan potensi untuk pengembangan museum virtual. Museum virtual dikembangkan untuk memberikan pengalaman mengunjungi museum di dunia digital sebagai pembelajaran jarak jauh. Aplikasi ini dapat memberikan immersion melalui interaktivitas sambil menjelajahi museum virtual. Pada dasarnya, artikel ini menjelaskan investigasi estetika di beberapa museum virtual. Para peneliti mendeskripsikan estetika dari setiap proyek museum virtual yang dijadikan contoh. Sintesis literatur dari beberapa proyek museum virtual diharapkan dapat memberikan gambaran tentang potensi perkembangan museum virtual di Indonesia. Estetika unsur virtual dapat dijadikan sebagai rekomendasi bagi konservator museum untuk pengembangan museum virtual Indonesia yang akan datang. Selain itu, estetika virtual dalam museum digital memberikan peluang untuk menghadirkan pengalaman eksplorasi museum virtual.
1977 m. gegužės 14 d. įvyko tarpinstitutinė konferencija „Metodologinės pažinimo teorijos problemos“. Joje daugiausiai nagrinėtos šiuolaikinės pažinimo proceso tendencijos ir principai. Tų pačių metų ...spalio 12 d. MA Filosofijos, sociologijos ir teisės institute įvyko TSRS Filosofų draugijos Lietuvos skyriaus Estetikos sekcijos surengta konferencija „Pažintinė meno funkcija“. Perskaityta 13 pranešimų, kuriuose aptarta pažintinė meno funkcija ir lenininė atspindėjimo teorija, šios funkcijos ryšys su meno specifika, gnoseologistinių ir antignoseologistinių teorijų konfrontacija, meno sąlygiškumas, menininko santykio su tikrove subjektyvumas ir kita.
Straipsnyje siekiama atskleisti ekspresionizmo meninės praktikos ryšius su iracionalistine ir formalistine meno filosofija. Didžiausias dėmesys skiriamas formalistiniam ekspresionizmo sparnui, ...kuriame ryškus estetizmas, nihilizmas ir polinkis į formą. Ekspresionistai, kaip ir F. Nietzsche, buvo įsitikinę, kad techninė civilizacija ir masinės kultūros formavimasis grasina menininkui jo dvasios praradimu, individo laisvės apribojimu ir meno nužmoginimu. Į vidinį menininko pasaulį, jo sąmonę ekspresionistai žvelgė kaip į aukščiausią absoliučią realybę, sugebančią per psichologines būsenas išreikšti būties tiesas. Apsiribojusi daugiausia formaliųjų meno kūrinio pusių analize, formalistinė estetika faktiškai eliminavo turinio kategoriją. Pasisakydama už meno atitrūkimą nuo realaus gyvenimo, ji kartu filosofiškai pateisino beprasmį estetizmą ir meno suvedimą į grynai formalias struktūras. Ekspresionistai ignoravo socialiai reikšmingus idealus, suabsoliutino vidinės ekspresijos reikšmę, linko į maksimalų spalvos ir formos autonomiškumą.
Pendant plus de quinze ans, Léon N. Tolstoï (1828–1910) a travaillé sur son seul traité esthétique intitulé Qu’est-ce que l’art ? (1897–1898) dans lequel il écrit que l’art n’est ni l’apparition ...d’une mystérieuse idée ou de la beauté divine, ni le produit de l’énergie de l’homme ou de l’expression de ses émotions, mais un moyen de communication entre hommes, nécessaire à la vie et à l’aspiration vers la bonté de tout humain. Pour lui, l’art est une forme de création communicative qui unit les hommes dans des émotions identiques parmi lesquelles se distingue particulièrement l’importance du Bien. C’est précisément dans le transfert des émotions à l’aide du langage symbolique que repose la principale caractéristique de l’art. L’objectif de ce travail est la lecture des approches de Tolstoï envers l’esthétique et l’art, dispersées dans ses différentes oeuvres, afin d’arriver à la vision de l’art en tant que forme particulière d’ « à la recherche de » mais aussi du reflet du Bien. Ce travail est rédigé dans l’idée qu’une recherche plus exhaustive des pensées esthétiques de Tolstoï peut modestement contribuer à la « réhumanisation de l’art ».
U radu se analiziraju tragovi estetike videospota u poeziji Branka Čegeca kao istaknutog autora hrvatskog pjesništva iskustva jezika, kako je naraštaj ranije nazvao Zvonimir Mrkonjić i metajezičnog ...pjesništva, kako je Čegeca s pjesnicima spomenutih koncepata iskustva jezika skupno nazvao Goran Rem. Cilj je uputiti na elemente književnog kontakta s videospotovskim jezikom, odnosno pristupiti poeziji koja se konkretno i konkretistički, svojim jezičnim materijalom smješta u estetike video spota, kakvi su glavni rani projekti umjetnosti video spota Nam June Paika i Laurie Andersson. Upravo naziv „pjesništvo iskustva jezika“ signalizira kako se radi o pjesništvu čije je glavno obilježje jezična kodiranost odnosno metajezičnost te se rad bavi i sviješću o primanju tragova druge umjetnosti, prije svega videospotovskih. Polazi se od definicija intermedijalnosti, medija, postmodernizma i videospota. Analize predložaka u radu izdvajaju audiospotovske elemente vizualnosti i auditivnosti te donose nove interpretacije Čegecovih poetskih tekstova.
The article analyses the traces of video art aesthetics in the poetry of Branko Čegec, one of the “Croatian poets of the language experience,” as Zvonimir Mrkonjić termed that generation of poets, and of metalanguage poetry, as Goran Rem collectively called Čegec and the poets thematizing the aforementioned language experience. The aim is to address the elements of literary contact with the language of video art, that is, to approach the poetry recognizable as video art (of Nam June Paika and Laurie Andersson) due to its concrete, linguistic, material. The very term “language experience poetry” denotes that its main feature is the linguistic coding or meta-linguistics, thus the article also deals with the awareness of traces from other arts, primarily video art. The article is based on the definitions of intermediality, media, postmodernism, and video art. The analysis of selected works of art in this article emphasises the video elements of visual and auditory imagery, as well as provides new interpretations of Čegec’s poetry.
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