The ugly in fine arts. The sensory nature of terror in the tales of the Brothers Grimm

The author, inspired by philosophical aesthetic reflection, presents one of the aesthetic qualities: ugliness. Based on the assumption that “Grimms’ Fairy Tales” directly reach the realm of the unconscious, utilising towards that end not only symbolic meaning, but also a wide range of operations through imagined sensory perception, she identifies in the texts such fragments of the stories which relate to specific sensations caused in the real world using physical stimuli. The analysis constitutes only a case-based introductory study of the issue of senses in literary texts. She does not focus on the tale as an independent existential creation, which carries a multitude of interpretative references and meanings, only the possibilities offered by the analysis of a work, which consists of a transfer of a literary description to the imagination of the sensory experience occurring (hypothetically) in the receiver’s imagination

Aesthetics – a forgotten fifth element of the philosophy of law

Filozofia prawa dotyczy takich tradycyjnych kwestii filozoficznych, jak ontologia, epistemologia, logika i etyka. Zwykle jednak nie uwzględnia ostatniego z głównych zagadnień filozoficznych ‒ estetyki. Autor próbuje wypełnić tę lukę tzw. estetyką pragmatyczną, sformułowaną przez Richarda Schustermana. Stosując terminologię łacińską, twierdzi, że lex (prawo) powinna być nie tylko certa, praevia, scripta et stricta, ale również pulchra (pewne, uprzednie, pisemne, ścisłe, ale również piękne). W artykule przedstawiono też trzy różne perspektywy związków prawa z estetyką. W podsumowaniu autor próbuje dokonać przykładowo estetycznej oceny systemu prawa jako całości, posiłkując się analizą obrazu Gustava Klimta Jurisprudenz.The philosophy of law concerns such traditional philosophical issues as ontology, epistemology, logic and ethics. It usually fails to include the fifth main philosophical issue – aesthetics. An attempt is made to fill in this gap by pragmatic aesthetics formulated by Richard Schusterman. Using Latin terminology, the author claims that lex (law) ought to be not only certa, praevia, scripta et stricta (settled, prior, written and strict) but also pulchra (beautiful). Three different aspects of the relationship of law and aesthetics have been presented. Finally, an example of an aesthetic assessment of the system of law as an entirety is made based on the analysis of Jurisprudenz, a painting by Gustav Klimt

The specifics of suburban architecture

The fundamental differences between the suburbs and the city centre that I would like to point out concern the pace of life and the intensity of urban development. Certainly, these differences are not absolute but are rather relative, as they are defined in relation to the surrounding neighbourhood that serves as a reference for self‑determination. A suburb has some small‑town traits, but its close location to the city prevents it from becoming a local centre. The same concerns the architecture whose intensity is, after all, a consequence of the increasing intensity in other aspects of life, the differentiationof sources of people’s income, the demand for services, trade contacts, etc. Its incompleteness, imperfection, slower pace and focus on anunattained and unattainable ideal can make one see in the suburb as a theoretically extremely promising area. Indeed, its promise lies in this aspect of failure, incompleteness and fragmentation — which is long lasting and relatively permanent. Many traits of suburban architecture are conservative; whereas others, such as its impermanence and improvisational qualities, are experimental and are characterised by an almost guerrilla‑like aspect. However, present‑day advanced postmodern thinking at times achieves an ability to take contradictory spatial, visual, artistic and functional characteristics and, through a theoretical analysis, make them into a complex ‘difficult whole’. Here, the combination itself is probably not so much harmonious but rather contains certain internal tensions, imbalances and longings of one opposite towards another. Anyway, this combination does take place and — in line with the direction of many diagnoses of contemporaneity — instead of creating abstract constructs, we must register the facts and try to conceptualise them

Art as a laboratory – Guy Ben-Ary’s work

Szykowna Sylwia, Art as a laboratory – Guy Ben-Ary’s work. “Images” vol. XXV, no. 34. Poznań 2019. Adam Mickiewicz University Press. Pp. 115–124. ISSN 1731-450X. DOI 10.14746/i.2019.34.07. The present paper deals with the work of an Israeli artist, Guy Ben-Ary. His work is a prime example of artistic practice in the field of bio art. Bio art provokes critical thinking about the place and role of people in today’s world. The main purpose of the article is to describe changes in contemporary artistic practices within the framework of art as a laboratory, the aim of which is to study reality.  Szykowna Sylwia, Art as a laboratory – Guy Ben-Ary’s work. “Images” vol. XXV, no. 34. Poznań 2019. Adam Mickiewicz University Press. Pp. 115–124. ISSN 1731-450X. DOI 10.14746/i.2019.34.07. The present paper deals with the work of an Israeli artist, Guy Ben-Ary. His work is a prime example of artistic practice in the field of bio art. Bio art provokes critical thinking about the place and role of people in today’s world. The main purpose of the article is to describe changes in contemporary artistic practices within the framework of art as a laboratory, the aim of which is to study reality

Estetyka a granice języka. Ludwig Wittgenstein i Arthur C. Danto

The article is an attempt to pinpoint the areas of Ludwig Wittgenstein aesthetic thought, in which he is crossing the borders principally imposed upon the method and the language of his philosophy. I am directing my attention to metaphysical and mystical motifs of his reflection devoted to aesthetics, the essence of art and the essence of reality. I wish to discuss this issue based on the texts of Arthur C. Danto containing analysis of chosen notions of Wittgenstein’s aesthetic investigations. Additionally in this matter I am appealing to appropriate theses of Leszek Sosnowski and Wojciech Sady, concerning above issues

Estetyka codzienności – estetyka spotkania

Everyday aesthetics is the umbrella term for trends in contemporary aesthetics which focus on everyday existence. Its specifics require changes and innovations in traditional aesthetic theories. Everyday aesthetics can be related to the so-called engaged aesthetics of Arnold Berleant: it takes into consideration such aspects of aesthetic experience as its emotional character, sensuality, directness, and its open “boundaries.” Everyday aesthetics covers the whole spectrum of the forms of aesthetic appreciation from disinterested contemplation to active participation founded on cooperation with the environment and the notion of aesthetic welfare.” Introducing the categories of respect, care and attentiveness toward objects, processes, and other – human and non-human – beings, everyday aesthetics can be viewed as the “aesthetics of encounter.” The text attempts to present and discuss its main premises