Application of zeolites as fillers in mix asphalt

The aim of this paper is estimation of the effect of zeolites addition on properties of asphalt and examination of possible application of zeolites in mix asphalt as a filler. The addition of zeolites to the mix asphalt is one of the ways used for reduction of technological temperatures by asphalt foaming. At the same time the zeolite material replaces the filler. The paper presents the results of studies on the synthetic zeolite NaP1, natural zeolite- clinoptilolite and mineral filled

The Open Space – Shape, Symmetry and Dynamic Narration in Contemporary Abstract Sculpture

E. Chillida once said that nobody knew what space exactly was. I try to describe a new idea of space that is emerging from theoretical texts on contemporary sculpture written by Kobro, Morris and Chillida. At the same time I want to establish more precise meaning of what the abstraction in sculpture might be. Among the other factors that could help define abstract sculpture are the following factors: analysis of shape or form (geometric as well as non-geometric or so called „geometrized” forms), symmetry (or ‘relative symmetry’) of composition, and finally research on space and its perception (including not only a scientific notion of space but also a natural, perceptual or artistic one). Processes of geometrization and asymmetrization, evident in Kobro’s, Morris’ and Chillida’s works, let the artists articulate the most basic function of sculpture, that is to open space (to change our idea and perception of space). Abstract sculpture enters the space and, at the same time, makes on-lookers move into the space. It unifies inner (generally subjective) and outer (objective) images of space. In my analysis of abstract sculpture I emphasize the role of shape (form, figure) in abstract pieces of art. Also, from the other side, I try to legitimize a relationship between abstraction and representation. I believe that we cannot consider non-representative and/or non-figurative sculpture as abstract sculpture because abstract sculpture includes its own object of perception, representation and reflection, I mean: space. For me, abstract sculpture (artworks by Kobro, Morris or Chillida) is a form of narration about space which is real and concrete in a more strict sense than any representation

Abstrakcyjne wariacje na kształt. O procesach, zasadach i teoriach abstrahowania w percepcji zmysłowej

Abstract variations on a shape. Rules and theories of perceptual abstracting processesAlthough perception or so called sensual cognition used to be treated as essentially irrational in the philosophical tradition, contemporary sciences of perception as the phenomenology of the sensuous, the anthropology of the senses, the psychology of vision or psychology of aesthetic perception, Gestalttheorie, psychoaesthetics etc. focus on some kind of logos implied in perception.Quasi-rational modalities of sensual visual perception – such as imagnation, memory, intuition and so on – work on visual sensory data reducing or/ and completing filling in them. The results of those processes can be called “abstractions”. The processes of abstracting are here defined by the idea of simplicity – on the one hand concerned as generalisation of the concrete and on the other as presentation of the specific qualities of the object.I would like to take into consideration different concepts of so called visual “notions” or “ideas”, to compare them and finally to put forward a risk hypothesis that a visual shape of abstract art e.g. square is a kind of a “notion” of visual perception. Abstract variations on a shape. Rules and theories of perceptual abstracting processesAlthough perception or so called sensual cognition used to be treated as essentially irrational in the philosophical tradition, contemporary sciences of perception as the phenomenology of the sensuous, the anthropology of the senses, the psychology of vision or psychology of aesthetic perception, Gestalttheorie, psychoaesthetics etc. focus on some kind of logos implied in perception.Quasi-rational modalities of sensual visual perception – such as imagnation, memory, intuition and so on – work on visual sensory data reducing or/ and completing filling in them. The results of those processes can be called “abstractions”. The processes of abstracting are here defined by the idea of simplicity – on the one hand concerned as generalisation of the concrete and on the other as presentation of the specific qualities of the object.I would like to take into consideration different concepts of so called visual “notions” or “ideas”, to compare them and finally to put forward a risk hypothesis that a visual shape of abstract art e.g. square is a kind of a “notion” of visual perception

Twórczość jako adaptacja? Sztuka zagrożona wyginięciem…

In this paper I try to defend contemporary art (avant-garde and post-modern) from the criticism of evolutionary aesthetics. Referring to selected theses put forward by Jerzy Luty in his book Art as Adaptation. Universalism in Evolutionary Aesthetics (2018), I propose an alternative to them in the form of philosophical anthropology (Gehlen) and evolutionary theory considered as bricolage (Jacob). Above all, I challenge the hypotheses of the evolutionarily and biologically adaptive function of art and the condition of pleasure it must necessarily provide.In this paper I try to defend contemporary art (avant-garde and post-modern) from the criticism of evolutionary aesthetics. Referring to selected theses put forward by Jerzy Luty in his book Art as Adaptation. Universalism in Evolutionary Aesthetics (2018), I propose an alternative to them in the form of philosophical anthropology (Gehlen) and evolutionary theory considered as bricolage (Jacob). Above all, I challenge the hypotheses of the evolutionarily and biologically adaptive function of art and the condition of pleasure it must necessarily provide

Czym jest ciało w body art?

What Who Is the Body in Body Art?Currently we deal with so many meanings of ‘body art’ that it is practically impossible to explicitly define what kind of art it is. Just like to unify so many different ways of conceiving what or — even better — who the body is in such kind of art. Is it an instrument, a medium, a subject or a work of art? Trying get the answer to this question I explore the essential functions of a body in art from three perspectives: firstly the cognitive one including autoreflexive abilities of bodily experience, secondly from the perspective of positively understood limited nature of a human body, and finally I take into consideration a mediatory status of corporeality. In my reflections I base on Jean-François Lyotard’s and John D. Caputo’s philosophical investigations in a general nature of human experience and sensibility.What Who Is the Body in Body Art?Currently we deal with so many meanings of ‘body art’ that it is practically impossible to explicitly define what kind of art it is. Just like to unify so many different ways of conceiving what or — even better — who the body is in such kind of art. Is it an instrument, a medium, a subject or a work of art? Trying get the answer to this question I explore the essential functions of a body in art from three perspectives: firstly the cognitive one including autoreflexive abilities of bodily experience, secondly from the perspective of positively understood limited nature of a human body, and finally I take into consideration a mediatory status of corporeality. In my reflections I base on Jean-François Lyotard’s and John D. Caputo’s philosophical investigations in a general nature of human experience and sensibility

Wszystko albo nic — abstrakcyjna geneza sztuki

In this paper I present the specific issues of contemporary abstract art, which negated the classic mimetic categories of resemblance and original (originary), but nevertheless does not lack any reference (Goodman). I focus on the questions of the beginning, history and evolution as well as the contemporary genres of abstract art (Kandinsky, Malevich, Reinhardt and others), trying to show that the answers to the questions very often take form of panaesthetic and universal statements (“everything”) or exclusionary negations (“nothing”). Describing the contemporary abstract art I base on two — characteristic to it — concepts of anti-purism (a critic of so called “pure art”) and the strategy of object oversizing (“size matters”).In this paper I present the specific issues of contemporary abstract art, which negated the classic mimetic categories of resemblance and original (originary), but nevertheless does not lack any reference (Goodman). I focus on the questions of the beginning, history and evolution as well as the contemporary genres of abstract art (Kandinsky, Malevich, Reinhardt and others), trying to show that the answers to the questions very often take form of panaesthetic and universal statements (“everything”) or exclusionary negations (“nothing”). Describing the contemporary abstract art I base on two — characteristic to it — concepts of anti-purism (a critic of so called “pure art”) and the strategy of object oversizing (“size matters”)

Sztuka dla ludzi — między zabawą a przyjemnością

Art for People — Between Play and PleasureThe XXth century idea of play is highly ambivalent in defining its functions. It lets consider a contemporary art as a form of play because of its “pleasure-genous” qualities. Different types of pop cultural activity playing culture, playing with technologies, playing with fire, spooky plays and stories establish many ways on which players get their selfsatisfaction between participation or anonymity, rational or irrational, haphazard and predictible, comic or tragic and make the idea of play more homogeneous. Pop cultural entertainment as well as media art investigate the idea of homo ludens and pleasure given by diverse modes of participating in culture or expressing oneself. Homo ludens of our time not only is able to play, but also take pleasure in it.Art for People — Between Play and PleasureThe XXth century idea of play is highly ambivalent in defining its functions. It lets consider a contemporary art as a form of play because of its “pleasure-genous” qualities. Different types of pop cultural activity playing culture, playing with technologies, playing with fire, spooky plays and stories establish many ways on which players get their selfsatisfaction between participation or anonymity, rational or irrational, haphazard and predictible, comic or tragic and make the idea of play more homogeneous. Pop cultural entertainment as well as media art investigate the idea of homo ludens and pleasure given by diverse modes of participating in culture or expressing oneself. Homo ludens of our time not only is able to play, but also take pleasure in it

Art for People – Between Play and Pleasure

The xxth century idea of play is highly ambivalent in defining its functions. It lets consider a contemporary art as a form of play because of its “pleasure-genous” qualities. Different types of pop cultural activity (playing culture, playing with technologies, playing with fire, spooky plays and stories) establish many ways on which players get theirselfsatisfaction (between participation or anonymity, rational or irrational, haphazard and predictible, comic or tragic) and make the idea of play more homogeneous. Pop cultural entertainment as well as media art investigate the idea of homo ludens and pleasure given by diverse modes of participating in culture or expressing oneself. Homo ludens of our time not only is able to play, but also take pleasure in it

W oparach absurdu. Przedmiot surrealistyczny

In the clouds of humor – object of the surrealDue to the limitations of the subjective own competence and the objective article’s volume, I decided to focus on the phenomenon or rather a sense of humor and surrealism. I understand humor as a spe-cifically human power, sensitivity and individual way of feeling different comic phenomena including absurd and ironic phenomena. Surrealism in visual arts broadly – in the art of interlaced threads of the surreal in the right way is testing the recipient’s as creator sense of humor. Surreal humor suspended between intellect, emotions and pleasure rarely becomes frustrating; more often – cathartic. It does not include any depreciating properties of laughter which may arise when there is a sense of superiority over the others. Humor contributes to taming the absurd, which is, nolens volens, an integral part of our lives. I search for answers to the following question: ‘What does surrealistic humor purifies in us?’. I analyze functions anti-functions? in surrealist objects by Man Ray, Marcel Duchamp, Meret Oppenheim, Oscar Dominguez, Marcel Jean, Marcel Marien and others. In the clouds of humor – object of the surrealDue to the limitations of the subjective own competence and the objective article’s volume, I decided to focus on the phenomenon or rather a sense of humor and surrealism. I understand humor as a spe-cifically human power, sensitivity and individual way of feeling different comic phenomena including absurd and ironic phenomena. Surrealism in visual arts broadly – in the art of interlaced threads of the surreal in the right way is testing the recipient’s as creator sense of humor. Surreal humor suspended between intellect, emotions and pleasure rarely becomes frustrating; more often – cathartic. It does not include any depreciating properties of laughter which may arise when there is a sense of superiority over the others. Humor contributes to taming the absurd, which is, nolens volens, an integral part of our lives. I search for answers to the following question: ‘What does surrealistic humor purifies in us?’. I analyze functions anti-functions? in surrealist objects by Man Ray, Marcel Duchamp, Meret Oppenheim, Oscar Dominguez, Marcel Jean, Marcel Marien and others