CFP: “Phenomenology in relation to the challenges of contemporary art”, 49 (2/2018). Editors: Piotr Schollenberger (University of Warsaw, Poland) and Monika Murawska (Academy of Fine Arts in Warsaw, Poland).
In 1907, Edmund Husserl wrote to Hugo von Hofmannsthal:
The artist who ‘observes’ the world, in order to gain knowledgeof nature and manfor his own purposes, relates to it in a similar way as the phenomenologist. […]When he observes the world, it becomes phenomenon for him, its existence is indifferent, just as to the philosopher (in the critique of reason). The difference is that the artist, unlike the philosopher, dosen’t attempt to found the “meaning” of the world-phenomenon and grasp it in concepts, but appropriates it intuitively, in order to gather, out of its plenitude, materials for the creation of aesthetic forms.
From its very beginnings, phenomenology has carefully treated art and aesthetic phenomena as a special sphere, depicting the fact of the appearance of things, and of the world, within its framework. The aesthetic attitude enables the phenomenal nature of an experience to be captured: ‘to be is to appear’. At the same time, since the time of Husserl, phenomenological descriptions, as a result of corrections made by Martin Heidegger, Maurice Merleau-Ponty, and many others, began to account for not only objective but also existential andcorporal dimensions.The description of ‘pure essences’ was perhaps not as interesting for artists and viewers of works of art as new ways to characterise aesthetic experience, taking into account the corporeal, affective, temporal, spatial, and cultural dimensions of art. In the work of some contemporary art theorists and artists one can find traces of the revolution represented by the discovery of the phenomenological method, as well as of the evolution through which it passed. Today, in the context of the emergence of new forms of art, such as performance art, installations, and videoart, in the face of the changes that have occurred in thinking about architectural form and sculpture, in relation to the new languages of dance and new concepts of listening and responding to music, we are well aware that, following Heidegger, we should reject the notion thatart ‘belongs in the domain of the pastry chef. Essentially it makes no difference whether the enjoyment of art serves to satisfy the refined taste of connoisseurs andaesthetes or serves for the moral elevation of the mind.’ Involvement in the world –which appears to us in many forms and shapes of which artists attempt to make sense – is a common point of reference for contemporary phenomenologists as well as for those who, in contesting certain traditional theoretical assumptions, define themselves as post-phenomenologists.
We invite you to submit articles dealing with the issue of a meeting ground of phenomenology on one hand and assorted artistic practicesand models of viewing art from the second half of the twentieth century on the other. We are less interested in approaches justifying the ‘relevance of phenomenology’, since this need not be justified and therefore does not constitute a philosophical problem, than in those showing how an attitude regarding the sphere of ‘appearance’ can enable the discovery of new dimensions of art and new kinds of aesthetic experience.
Submission deadline: 31st December, 2017.
Tom “Phenomenology in relation to the challenges of contemporary art” zostanie opublikowany w języku angielskim. Przed wysłaniem tekstu prosimy o zapoznanie się z informacjami dla Autorów. Gotowe teksty prosimy przesyłać przez formularz.
CFP: “Memory and (Counter) Monuments”, 47 (3/2017). Editors: Carla Milani Damião (Federal University of Goiás, Brazil) and Natalia Anna Michna (Jagiellonian University, Poland).
The inspiration for this issue stems from Walter Benjamin’s famous thesis: “There is no document of culture which is not at the same time a document of barbarism. And just as such a document is not free of barbarism, barbarism taints also the manner in which it was transmitted from one owner to another”. Once a monument is conceived by an artist and built, it should remain in its actual space and in the imaginary culture as a document for eternity, as a support for “heroic” values, according to specific political circumstances. A revolution can knock down the material as if it were destroying ideas and ideals, historic and cultural values. It is hardly the task of an artist “to brush history against the grain” when his task is an official State commission. However, an artist can incorporate some subliminal sign of dissent. Thinking of the colonial past of any country, for instance, and some art movements against the memory of the oppressive-colonizer - whose identity is displayed in many national monuments as a result of the union of arts and politics -, it is possible to see an explicit counter action on the verge of raging vandalism. There are those who adopt anti-monumental strategies which can run contrary to the principles of traditional monuments, or those who interfere with a specific existing monument and the values it represents. Prospective authors are encouraged to investigate such topics as: Counter-Monument, a monument transformed by art interventionism; the building of a monument as an act of political resistance; the destruction of ancient monuments as a political-ideological act in order to destroy the memory of a singular culture; erasing the memory of a certain "unpleasant" time; hidden signs of dissent in monuments commissioned by political (and/or religious) power; or any kind of transformation that memorials and monuments undergo in a manner that could bring the memory of past and present together, transforming their meaning,- through art -, for future generations. However, the thematic scope of the issue is not limited to these suggestions.
Submission deadline: 1st July, 2017.
Tom “Memory and (Counter) Monuments” zostanie opublikowany w języku angielskim. Przed wysłaniem tekstu prosimy o zapoznanie się z informacjami dla Autorów. Gotowe teksty prosimy przesyłać przez formularz.
Trwają prace redakcyjne tomu 43 (4/2016) pisma „Estetyka i Krytyka".
“Hermeneutics and Art” Editors: Jean Grondin (Université de Montréal, Canada) and Dominika Czakon (Jagiellonian University, Poland).
Hermeneutics, one of the most important contemporary philosophical positions, can be used creatively and fruitfully to analyse and interpret art and overcome a number of problems generated by contemporary works. For the pages of Estetyka i Krytyka/The Polish Journal of Aesthetics, we are pleased to welcome submissions of articles connected with the issues of hermeneutics and art. Our proposal is addressed to a wide circle of philosophers, aestheticians, theoreticians and historians of art, as well as to the artistic environment as a whole. Prospective authors are encouraged to investigate such topics as: hermeneutic interpretation; hermeneutic method; aesthetic experience and hermeneutic experience; the specificity of the language of all artistic media, including that of modern art; the relationship between art and tradition; the significance of beauty in contemporary art; the concept of hermeneutic truth. However, the thematic scope of the issue is not limited to these suggestions.
The issue “Hermeneutics and Art” 43 (4/2016) will be published in English.
Trwają prace redakcyjne tomu 42 (3/2016) oraz tomu 44 (1/2017) pisma „Estetyka i Krytyka". Tomy 42 oraz 44 nie są numerami tematycznymi.
Trwa nabór tekstów do tomów pisma „Estetyka i Krytyka" zaplanowanych na rok 2017 i kolejne. Zapraszamy do nadsyłania artykułów w językach kongresowych lub w języku polskim. Nabór tekstów do pisma prowadzony jest w sposób ciągły. Przed wysłaniem tekstu prosimy o zapoznanie się z informacjami dla Autorów. Gotowe teksty prosimy przesyłać przez formularz.
Zapraszamy do lektury tomu 45 (2/2017), który ukazał się pod redakcją Romana Kubickiego, Teresy Pękali, Józefa Tarnowskiego i Anny Zeidler-Janiszewskiej: Numer 45 (2/2017)