Keywords

Art |artistic thinking |Aesthetic Experience |creative process |Roman Ingarden |aesthetic situation

Abstract

The aim of this paper is to examine the validity and utility of the category of artistic thinking through applying it to the description of an aesthetic situation as given by Roman Ingarden. The authors are referring to the common understanding of the concept as well as Ingarden’s works, such as: Wykład XI and Przeżycie estetyczne. In this paper they discuss the components of an aesthetic situation, at the same time attempting to characterise the category of artistic thinking.

Keywords

sound engineering process |sound design |feature film |film work

Abstract

The aim of this paper is to discuss and clarify the numerous controversies regarding the creative aspect of sound engineering process in feature film. The author describes the core of the sound operator’s work and focuses on the analysis of two different methods employed by a sound engineering on the set: designing and recording.

Keywords

interpretation |perception |senses |film thinking

Abstract

In his reflection on watching instead of interpreting as a way of getting to know a film, the author wishes to focus on two issues: (i) one related to the sensuous experience of the cinema, the pleasure of the act of watching itself (in accordance with the formula “seeing as only seeing”), and supported by the long tradition of the aesthetic thought (Baumgarten, Dewey, Shusterman, Gadamer, Merleau-Ponty), and (ii) one connected with film thinking – inspired by the thesis of Rudolf Arnheim: “The visual perception is visual thinking”. Thus, the concept of watching instead of interpreting raises the status of the pre-intellectual and sensuous way of receiving a film work, which does not act against the interpretation (as Susan Sontag claimed), but constitutes its alternative or complementary version.

Keywords

Art |photography |metamorphosis |L. van Beethoven

Abstract

The aim of this paper is to describe the theoretical assumptions and the effects of the realisation of the project entitled “Beethoven – metamorphosis”. The project was the practical part of the PhD program and seems to be a good example of an author’s creation of reality.

Keywords

Art |thinking |education |work of art |experience

Abstract

Making an attempt to describe the threats to the development of artistic education, one should particularly emphasise the failure of noticing the mission of art and culture in the vision of a contemporary man. Above all, the threat is posed by the depreciating attitude of the mass media turning culture into entertainment and spiritual space merely into a battlefield for trivial and ordinary goods. The problem of globalization deeply afflicts culture, particularly artistic education. But are the tasks of artistic education as defined within the humanistic approach to the Culture of Man not fundamental to the future of “thinking art”? The matter is worth of a serious and continuous debate, irrespective of the political correctness and the pragmatic attitudes “for today”. However, particular responsibility lies with the didactics in the field of art.

Keywords

artistic thinking |symbol-artistic thinking |project-artistic thinking |expressive-artistic thinking |aesthetic motive and aesthetic attitude

Abstract

The modern scientific status of the term “artistic thinking” and the concept of this phenomenon are analyzed. The structure and basic components of the phenomenon are identified. Its determinants of existence, cognitive and creative potential are defined. The article is devoted to the question of such kinds of artistic thinking as symbol-artistic thinking, project-artistic thinking and expressive-artistic thinking. Also, the analysis of its nature and its original features are conducted. It is concluded that the key ideas of this research are the concept of artistic thinking as another logical informative-cognitive human strategy which has determined aesthetic sources and has been the large cognitive-creative potential.

Keywords

interpretation |painting |neo-Platonism |self-portrait |Plotinus

Abstract

Looking at Rembrandt’s self-portraits we follow the course of his artistic development, which clearly reflects three significant stages of the artist’s life. But can these stages be applied to the life of any man? We ask this question because of the main problem discussed in this article – the problem of the essence, which Rembrandt fulfilled in his work. In general, the topics, Rembrandt undertakes, concern the ethos, and similarly in his self-portraits we encounter the ethos of an adolescent, mature and elderly man.

Keywords

Aesthetic Experience |painter |value |hierarchy

Abstract

The painter is trying to realize a certain value in the canvas, the value which he feels, he is looking for and he can see in his imagination. Nevertheless, that value is not given to him, it is undefined and unclear. For this reason, painting a picture is both creating and looking for a fully perceptible value. The emerging image shows the painter the form of that value, it is controlled by the artist, but the artist is also controlled by the image which, in a way, leads him. The demanded and achieved value is not a label which appraises the image, stuck on it by the painter, but it is like a light that permeates and illuminates the painting.