До проблеми ідентичності естетики навколишнього середовища (To the problem of identity of environmental aesthetics)

У статті розглядається проблема самовизначення нового напряму досліджень у сучасній філософії і культурі в цілому – естетика навколишнього середовища. Основна увага звертається на визначення основних аспектів цього напряму, а саме: розглядається питання щодо назви напряму, окреслення його об’єкта, передумов його виникнення і формування, теоретичного окреслення його основних понять. (The article is devoted to the problem of definition of such trend in contemporary philosophy and culture as aesthetics of environment. Author pays attention to the definition of the main aspects of this trend, for example: she investigates the problem of denomination of this trend, the definition of its object, premises of its origins and formation, theoretical definitions of its main concepts.

Художні й естетичні цінності в польській естетиці першої половини XX ст. (Artistic values and aesthetic values in the polish aesthetics of the first half to 20th century)

У статті проаналізовано погляди польських естетиків першої половини ХХ ст.: С. Оссовського, Р. Інґардена і Л. Хвістка на потребу розрізнення художніх і естетичних цінностей. Виявлено специфіку розуміння такого розрізнення в концепціях згаданих представників польської естетики. Автор звертає також увагу на мериторичне і методологічне значення цього розрізнення в естетиці, його роль у розвитку сучасної естетичної аксіології та сприйнятті сучасної художньої творчості. (The actuality of distinction between artistic values and aesthetic values is the result of ability to solve the difficult issues of modern aesthetics, for example the definition of artistic status of many avant-garde’s propositions, clarification the paradox of aesthetic appeal of sophisticated hoax or copies with the minimum artistic value. An important reasoning of the distinction between these types of values is methodological views and the need to improve the conceptual apparatus of aesthetics as a theoretical discipline. Among Polish philosophers of the first half of 20th century the need to distict these two types of values was emphasized by S. Ossowski, R. Ingarden and L. Chwistek. S. Ossowski distinguished between two types of evaluation the works of art because of the beautiful (aesthetic value) and artistic perspective (artistic value). He noted that these two concepts are not marked at current estimates or theoretical considerations. Therefore, the concept “aesthetic value” functions as a “conceptual synthesis”. These two values are mixed also because in practice among them there are some correlations. Aesthetic experience is often a criterion for the evaluation the creative efforts, and vice versa: the value of that attribute works of art can be a very important factor in the aesthetic feelings of the recipient. In the 70 – 80’s. XX century the comprehension of the artistic and aesthetic values, similar to Ossowski’s conception was offered by many aesthetics (R. Rudner, K. Korsmayer, P. Kiwi, G. Germeren , T. Kulka, S. Nayder, Dziemidok B. and others). In Roman Ingarden’s conception, the distinction between artistic values and aesthetic values correlated with the distinction of the two orders, artwork and values that serve him as well as the aesthetic concretization of artistic work with its characteristic values. The author observes that in the Ingarden’s conception the distinction between aesthetic values and assessments and artistic values significantly differs from that distinction, carried out by S. Ossowski. Ossowski linked these two values with two heteronomous orders: the artistic value of art and the aesthetics of the beautiful. He separates these two orders in the axiological sense. R. Ingarden reduces the artistic value to aesthetic value, according to the submission the art to beautiful. The artistic value is a particular feature of art itself unlike the aesthetic feature of the concretization of the work. L. Chwistek stated the necessity of distinguishing artistic values and aesthetic values. He proposed the theory of emotions caused by artwork. The distinction between the aesthetic experience and art experience, which was made on the basis of principles defined by the philosopher, is a background to distinguish aesthetic values and artistic values.

Uniform and Pointwise Shape Preserving Approximation by Algebraic Polynomials

We survey developments, over the last thirty years, in the theory of Shape Preserving Approximation (SPA) by algebraic polynomials on a finite interval. In this article, "shape" refers to (finitely many changes of) monotonicity, convexity, or q-monotonicity of a function (for definition, see Section 4). It is rather well known that it is possible to approximate a function by algebraic polynomials that preserve its shape (i.e., the Weierstrass approximation theorem is valid for SPA). At the same time, the degree of SPA is much worse than the degree of best unconstrained approximation in some cases, and it is "about the same" in others. Numerous results quantifying this difference in degrees of SPA and unconstrained approximation have been obtained in recent years, and the main purpose of this article is to provide a "bird's-eye view" on this area, and discuss various approaches used. In particular, we present results on the validity and invalidity of uniform and pointwise estimates in terms of various moduli of smoothness. We compare various constrained and unconstrained approximation spaces as well as orders of unconstrained and shape preserving approximation of particular functions, etc. There are quite a few interesting phenomena and several open questions.Comment: 51 pages, 49 tables, survey, published in Surveys in Approximation Theory, 6 (2011), 24-7

Концепція естетичного переживання в естетиці Романа Інгардена (The conception of aesthetical experience in the aesthetics of Roman Ingarden)

Проблема естетичного переживання є вістрям естетичної теорії Романа Інґардена. Естетичне переживання, на думку філософа, становить підґрунтя будь-якого естетичного пізнання, воно має визначену загальну структуру, складний, процесуальний характер, складається з кількох фаз та характеризуєтсья наявністю емоційних, перцептивних та пізнавальних чинників, які, своєю чергою, відзначаютсья своєрідною динамікою та активністю суб’єкта. У статті розглянуто основі аспекти проблеми естетичних переживань, їх мету та роль у формуванні естетичних цінностей (The problem of aeshetical experience is an important aspect of Roman Ingarden’s aesthetical theory. As he states, the aesthetical experience can be seen as fundament of every kind of aesthetical cognition. Aesthetical experience has general structure, complicated procedural character and it’s consist of few phases. Roman Ingarden states that aesthetical experience is characterixed by existence of emotional and cognitive element that are exceled by special dynamics and activity of subject. In the present article it’s analyzed that the main aim of aesthetical experience is formation of aethetical object and creating the opportunities of aesthetical evaluation. In other words there is the problem of judgement about the aestheticl value of art. If the process of aethetical experience happens in the appropriate way, corrensponds the appropriate conditions and forms the aesthetical object, the subject has possibility to immediate converse with qualities of this object. As the result, there is to be possible the evaluation and the general aim of aesthetical experience will be realized. Ingarden states that, criteria of evaluation of aesthetical experience are not richness and intensity of it and are not meeting the needs of various life subject, but the compliance with respect to aesthetic experience of a work of art that this experience caused. Therefore, some experiences were to be disqualified. This appears the normativity of aesthetic conception of the Polish philosopher. Roman Ingarden’s conception of aesthetical experience is the most developed and original in modern aesthetical theory. With respect to aesthetic experiences, his position can be defined as structural and teleological. Філософ вважав, що сутність і специфіка цих переживань проявляється в їх своєрідній структурі і меті, якій вони мають служити. Philosopher believed that the nature and specificity of these experiences is evident in their peculiar structure and purpose which they serve

ПЛЮРАЛІЗМ ЕСТЕТИКИ ВЛАДИСЛАВА ТАТАРКЕВИЧА. (The pluralism of Wladyslaw Tatarkiewicz's aesthetics.)

Статтю присвячено аналізу естетичної концепції В. Татаркевича, визначенню предмета, напрямку і методологічної позиції його естетичних досліджень. Основну увагу звернуто на підкреслення філософом багатоаспектності естетичних явищ і обґрунтування плюралізму в естетиці, а також значення імпліцитної естетики. (The article is devoted to the analysis of W. Tatarkiewicz's aesthetical conception. It deals with problems of definition the subject, direction and methodlogical position of his aesthetical investigations. Author pays attention to the questions of multi-dimentional charakter of aethetical phenomena, foundations of pluralism in aesthetics and value of implicit aesthetics.