The Plight of Aesthetics and A rt Criticism The Universal Model or Pluralism - What are the Criteria ?

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Report on the XIXth International Congress of Aesthetics

“Aesthetics in Action” Jagiellonian University Kraków, Poland 21-27 July 2013 The XIXth International Congress of Aesthetics, the centenary jubilee of this major triennial event of philosophical aesthetics, took place at the Jagiellonian University, Kraków, Poland.[1] For exactly one century now, international congresses of aesthetics have been held all over the world: Europe, Asia, and North and South America, the first one taking place in Berlin 1913. Numerous congresses in recent memory (e.g. in Tokyo 2001, Ankara 2007, and Beijing 2010) were well-organized and characterized by an open-minded (while academically strong), inspiring, international atmosphere.[2] These led to high expectations for this jubilee congress, expectations that, indeed, were to a considerable extent fulfilled

Architecture as Image

Architectural photography that generally aims to be a ‘portrait’ of a building, in the way of representing its best appearance, often it is far from offering a sense of the architectural experience. Architectural photography can be classified into three basic types, the most representative of the experiential aspect being partial photographs that can re-create our movements and perception as we move in space. Furthermore, few architectural photographs refer to the sense of the materials or how our bodies relate to the physicality of the building. It is often disregarded that buildings like people change in time and have a life story. If photography is usually time-specific, can it, through certain techniques, make us understand the duration in time of an architectural object? This paper will try to affront these aspects and problems of architectural photography

Yeni Türk sanatında iki ünlü isim Mustafa Ata ve Zekai Ormancı Beymen Bedesten Galerisinde

Taha Toros Arşivi, Dosya No: 62-Mustafa-Kadir, At

On art definitions and my work

The essence of art lies in its being the manifestation, on an individual level, of the collective consciousness and the relationships between man and the environment. Thus, originality in art is dictated basically by the limitations of the individual catalyst, and real creativity lies in being able to let the dynamism of existence and of man/environment relations appear through one's expressions. Ultimately, an artist's aesthetic values and artistic claims depend upon what his definition.for this existential dynamism, in other words, for "reality' or 'truth' may be. The fact that, in spite of art-critics attempts at objectivity and empiricism, the most noteworthy documents of art are the often rhapsodic and esoteric art statements of artists themselves, prove that the process of creativity is rooted in the unknown psychological history of mankind, and that efforts at formulating its invariables objectively often end in esotericism. , for an artist to give a clear definition of his work, let alone a descriptive title, is the hardest thing to do. Yet, in spite of the prejudices it might cause, in order to guide apprehension I find it helpful to use the title Structural Expressionism in introducing my work. Although these two terms have represented contrary attitudes throughout the history of Western Civilization, quite in line with the aesthetic principles of the 20th Century, which are often based on the concept of complements and paradoxes, it is my claim that they are necessary complementaries in the actualization of my aesthetic philosophy. In my definition, an aesthetic application is the most efficient and intense stimulation of sensory faculties through the manipulation of proper stimuli, within the context of intended communication or clarification. In my work, the life forces, or movements of the multidimensional perceptual elements are organized into a hierarchic structure that will regulate the reading into specific patterns, and thus call attention to specific perceptual elements or phenonenae. The subject matter is the human figure, not only for the formal potentialities it supplies because of the richness of its form and its pictorial malleability, but essentially because of its subjective and symbolic character which has been used in art as a source of truly universal vocabulary. The human figure in its rich archetypal symbolism, and in its being the richest and clearest reflection of the mechanism of the existential process, is my key to the search for the personal expression of a universal aesthetic communication

Kentsel törenler, kentsel sokaklar

ODTÜ Mimarlık Fakültesi Yayınları arasında kısa sürede önemli bir yer edinen Cep Kitapları dizisi ile, zaten yapılmakta olan ders okuma malzemesi dağıtımının öğrenciye daha rahat ulaştırılması; yeni ve güncel tartışmalar konusunda kolektif olarak daha hızlı davranılabilmesi; ama bu atılan adımın kitap niteliğinde ve kalıcı olabilmesi; bilginin dergi ve kitap yayını dolayımıyla ulaştırılmasındaki uzun süre yerine daha hızlı deneyime sokulmasının gerçekleşmesi; ders dışı okuma etkinliğinin artması ve her mekanda özendirilmesinin sağlanması; kısacası; günümüzün küçülen dünya ortamında okuma ve bilgiye ulaşma konusunun zaman ve mekan engeline daha az takılmasının sağlanması amaçlanmaktadır. Kitaplar 32-48 sayfa arasında, dolayısıyla görsel malzeme hariç 2500- 6500 sözcük olabilecek hacimlerdedir. Tek makale hacminde, güncel ve gündem yaratıcı/ya da zamana dayanıklı/ya da ders okuma malzemesi/ vb olabilecek türdeki yazı /grafik / resim/ çizelge / rehber / benzeri eserlerin kitaplaştırıldığı bu dizinin yedi yeni kitabı yayınlandıPublisher's Versio

Anadolu Sevgilim

Publisher's Versio