Book
Что такое искусство
What is it to be a work of art? Renowned author and critic Arthur C. Danto addresses this fundamental, complex question. Part philosophical monograph and part memoiristic meditation, What Art Is challenges the popular interpretation that art is an indefinable concept, instead bringing to light the properties that constitute universal meaning. Danto argues that despite varied approaches, a work of art is always defined by two essential criteria: meaning and embodiment, as well as one additional criterion contributed by the viewer: interpretation. Danto crafts his argument in an accessible manner that engages with both philosophy and art across genres and eras, beginning with Plato’s definition of art in The Republic, and continuing through the progress of art as a series of discoveries, including such innovations as perspective, chiaroscuro, and physiognomy. Danto concludes with a fascinating discussion of Andy Warhol’s famous shipping cartons, which are visually indistinguishable from the everyday objects they represent.
This article situates the politics of Katrin Nenasheva’s contemporary performance practice, which is based on a maternal aesthetics of tactile communication, within the broader, developing history of performance in post-Soviet Russia. First, I present a history of the development of the idea of the maternal in Russian performance art after 1991.
This book provides numerous examples to support the first claim of a massive growth in the defining role of the market and its players during the art boom, who also increasingly have a say in establishing artistic value.
Looking at pictures can be a delightful, exciting or moving experience, but some pictures – and these are often the most rewarding – require some explanation before they can be fully understood. Delving into the origins, designs and themes of over 100 pictures from different periods and places, this book illuminates the art of looking at – and talking about – pictures. Woodford shows how you can read a picture by examining the formal and stylistic devices used by an artist, and explores popular themes and subject matters, and the relationship of pictures to the societies that produced them. The book is supplemented by a glossary of key terms, ranging from art movements and technical terms to religious and classical terminology, to give readers all the information they need at their fingertips.
The article describes a technology for creating fractal graphics images and environments for film and television professionals, seeking new forms of realization of their creative ideas.
A part of the fractal art images by category: space, planets, landscapes, cities and architecture, series, objects, art sensationalism is presented.
These mathematical objects can be the basis for new films, virtual galleries, video games, light shows and advertising.
Jonathan Brooks Platt’s chapter discusses the Chto Delat School for Engaged Art as an alternative institution in contemporary Russia, founded on practices of intimacy and a community of shared exposure. The model of the school is challenged by the performance, Becoming Zoya (2014), initiated by Natalia Pershina-Yakimanskay (Gluklya), which asked the students to measure themselves against a famous Soviet militant and consider the meaning of the Russian podvig (heroic exploit).
Jonathan Brooks Platt’s chapter compares the strategies of the Voina (War) group and Petr Pavlensky at the end of the Russian actionist tradition in Russian contemporary art. If Voina preserves the movement’s elusive irony and the pursuit of “festive indistinction” with power, Pavlensky asserts the uncompromising position of art’s own law, utterly opposed to the law of the state.
The article considers the Views of L. N. Tolstoy not only as a representative, but also as a accomplisher of the Enlightenment. A comparison of his philosophy with the ideas of Spinoza and Diderot made it possible to clarify some aspects of the transition to the unique Tolstoy’s religious and philosophical doctrine. The comparison of General and specific features of the three philosophers was subjected to a special analysis. Special attention is paid to the way of thinking, the relation to science and the specifics of the worldview by Tolstoy and Diderot. An important aspect is researched the contradiction between the way of thinking and the way of life of the three philosophers.
Tolstoy's transition from rational perception of life to its religious and existential bases is shown. Tolstoy gradually moves away from the idea of a natural man to the idea of a man, who living the commandments of Christ. Starting from the educational worldview, Tolstoy ended by creation of religious and philosophical doctrine, which were relevant for the 20th century.
This important new book offers the first full-length interpretation of the thought of Martin Heidegger with respect to irony. In a radical reading of Heidegger's major works (from Being and Time through the ‘Rector's Address' and the ‘Letter on Humanism' to ‘The Origin of the Work of Art' and the Spiegel interview), Andrew Haas does not claim that Heidegger is simply being ironic. Rather he argues that Heidegger's writings make such an interpretation possible - perhaps even necessary.
Heidegger begins Being and Time with a quote from Plato, a thinker famous for his insistence upon Socratic irony. The Irony of Heidegger takes seriously the apparently curious decision to introduce the threat of irony even as philosophy begins in earnest to raise the question of the meaning of being. Through a detailed and thorough reading of Heidegger's major texts and the fundamental questions they raise, Haas reveals that one of the most important philosophers of the 20th century can be read with as much irony as earnestness. The Irony of Heidegger attempts to show that the essence of this irony lies in uncertainty, and that the entire project of onto-heno-chrono-phenomenology, therefore needs to be called into question.
The article is concerned with the notions of technology in essays of Ernst and Friedrich Georg Jünger. The special problem of the connection between technology and freedom is discussed in the broader context of the criticism of culture and technocracy discussion in the German intellectual history of the first half of the 20th century.