Papers by Dominika Czakon
The article juxtaposes reflections of two contemporary philosophers, Hans - Georg Gadamer and Jos... more The article juxtaposes reflections of two contemporary philosophers, Hans - Georg Gadamer and José Ortega y Gasset, on the theme of art.The authors refer to the basic works of these philosophers on aesthetics and the philosophy of art, among them Truth and method, The relevance of the beautiful, and The dehumanisation of art.These reflections revolve around the concept of crisis of art as it was understood by both thinkers. Similarities and differences are pointed out in their assessments of the situation of contemporary art, its nature and function
Przegląd Kulturoznawczy, 2021
From the Correspondence of Scientists: Stefan Morawski and Roman Ingarden The article is a scient... more From the Correspondence of Scientists: Stefan Morawski and Roman Ingarden The article is a scientific overview of the preserved correspondence of Stefan Morawski and Roman Witold Ingarden from 1961 to 1969. The 1960s were a period of important events and changes in both the lives of Ingarden and Morawski. In both cases, the background was the political situation in Poland, of which – in a certain sense – both philosophers became victims. Although their attitude and political commitment differed – Ingarden remained indifferent to politics, unlike Morawski, who belonged to the party – it turned out that both of them suffered harassment from state officials. In addition to discussing scientific issues, the letters of both philosophers contain a lot of information on current and important issues for them directly, and indirectly for the Polish scientific community of that time. Therefore, the article discusses publishing issues, organizational and scientific matters related to conferenc...
Artykuł jest wprowadzeniem do zagadnienia tradycji obecnego w refleksji H.-G. Gadamera. Autorka a... more Artykuł jest wprowadzeniem do zagadnienia tradycji obecnego w refleksji H.-G. Gadamera. Autorka analizuje tradycję z uwagi na jej związki ze sztuką. W pierwszej części tekstu pojęcie tradycji zostaje opisane na tle całokształtu poglądów filozofa. Autorka przedstawia tradycję w powiązaniu z kolejno: rozumieniem, doświadczeniem hermeneutycznym, świadomością efektywnodziejową, horyzontem, autorytetem, przesądem. Druga część artykułu to opisanie sztuki jako doświadczenia tradycji. Propozycja Gadamera interpretowana jest jako ewentualne rozwiązanie problemu współczesnej kultury; służy ukazaniu dróg wyjścia z kryzysu, który polegać ma na postępującym niezrozumieniu człowieka i otaczającego go świata, także świata sztuki.
Wywiad prowadzą Dominika Czakon i Paulina Tendera.
The aim of this paper is to examine the validity and utility of the category of artistic thinking... more The aim of this paper is to examine the validity and utility of the category of artistic thinking through applying it to the description of an aesthetic situation as given by Roman Ingarden. The authors are referring to the common understanding of the concept as well as Ingarden’s works, such as: Wykład XI and Przeżycie estetyczne. In this paper they discuss the components of an aesthetic situation, at the same time attempting to characterise the category of artistic thinking.
Publish/subscribe is a communication paradigm where loosely-coupled clients communicate in an asy... more Publish/subscribe is a communication paradigm where loosely-coupled clients communicate in an asynchronous fashion. Publish/subscribe supports the flexible development of large-scale, event-driven and ubiquitous systems. Publish/subscribe is prevalent in a number of application domains such as social networking, distributed business processes and real-time mission-critical systems. Many publish/subscribe applications are sensitive to message loss and violation of privacy. To overcome such issues, we propose a novel method of using secret sharing and replication techniques. This is to reliably and confidentially deliver decryption keys along with encrypted publications even under the presence of several Byzantine brokers across publish/subscribe overlay networks. We also propose a framework for dynamically and strategically allocating broker replicas based on flexibly definable criteria for reliability and performance. Moreover, a thorough evaluation is done through a case study on social networks using the real trace of interactions among Facebook users.
The eighteenth‐century English writer matthew Gregory Lewis wrote one of the most dramatic Gothic... more The eighteenth‐century English writer matthew Gregory Lewis wrote one of the most dramatic Gothic novels, The Monk; over 200 years later, a film of the same name appeared, based on the novel and directed by dominik Moll. The film, a free adaptation of the book, presenting the story of the moral downfall of the monk Ambrosio, has inspired us to philosophical re‐ flections on sexuality, carnality and physical desire. In the context of these issues we have attempted to analyse and interpret this cinematic work of art. The method we have adopted is based on a thorough discussion on the topics developed in the film and related issues. This method, while not pre‐ tending to scientific objectivity, enables us to outline an interesting field of research as well as to identify a number of theoretical problems and ques‐ tions which remain open. The formula we have adopted is to quote lines from the film The Monk which permit the analysis of selected issues related to sexuality, carnality and ...
held a lecture on Ingarden's photography entitled Aesthetics, Theory and Praxis during the Roman ... more held a lecture on Ingarden's photography entitled Aesthetics, Theory and Praxis during the Roman Ingarden and His Times. An International Phenomenological Conference at the Jagiellonian University between 25 and 27 October 2018. Potocka analized the philospher's photographs and divided them into categories, subjecting them to her original and critical interpretation. She emphasized that what is of value for Ingarden is the creative act itself, the taking of a photograph, rather than its effect. Hence all the undeveloped films left by him.
The adsorption of CO2 and CO on BaZrO3 (0 0 1) was investigated by first-principles calculations ... more The adsorption of CO2 and CO on BaZrO3 (0 0 1) was investigated by first-principles calculations with focus on the BaO-termination. CO2 was found to strongly chemisorb on the surface by formation of carbonate species with an adsorption enthalpy of up to-2.25 eV at low coverage and-1.05 eV for a full monolayer. An adsorption entropy of-8.8×10-4 eV K-1 was obtained from the vibrational properties of the adsorbates. Surface coverages were evaluated as function of temperature and CO2 partial pressure and the obtained coverage under 1 bar CO2 was more than 0.8 at 1000 K (conditions relevant for steam methane reforming). The fully saturated surface was stable up to about 400 K under ambient atmospheres, i.e., 400 ppm CO2. The initial stage of BaCO3 formation was evaluated according to migration of barium to the carbonate overlayer, which was found to result in a significant stabilization of the system. The barium migration was found to be essentially unobstructed with a barrier of only ~ 5 meV. In light of the stability of carbonate adsorbates at the surface, the prospect of bulk dissolution of carbonate species was evaluated, but ultimately found to be negligible in acceptor doped BaZrO3.
The object of the article is to assess whether the concepts of erotica and the erotic can be iden... more The object of the article is to assess whether the concepts of erotica and the erotic can be identified with the hermeneutic interpretation of art as understood by Hans‐Georg Gadamer. The starting point of the discussion is Susan Sontag’s essay ‘Against interpretation’, in which the concept of the erotic interpretation of art is outlined and which culminates with the author setting up a deliberate opposition between the erotics of art and hermeneutics. The present article is an attempt to present the issue of the eroticism of hermeneutic interpretation on the basis of Sontag’s essay, and thus a response to the provocation contained in this essay. In the final part of the text, another possible approach to the issue of the postulated eroticism of hermeneutics is presented. The first part of the present article is devoted to explaining what Sontag means when she writes about the erotics of art and hermeneutics. The next part will demonstrate the connections and similarities between th...
In the article, referring to the Bihor vs. Dior case study, we criticize the phenomenon of illegi... more In the article, referring to the Bihor vs. Dior case study, we criticize the phenomenon of illegitimate borrowing of the achievements of a given culture by corporations which we consider an act of cultural appropriation, in terms of both aesthetics and business ethics. We also describe the potential for a positive solution to the problems of cultural borrowing. The first part of our analysis is based on Roman Ingarden’s phenomenological theory of art, concerning artistic and aesthetic qualities and artistic and aesthetic values. Our analysis consists of the juxtaposition of two works, i.e., traditional clothing from the region of Bihor and clothing referring to this original, presented in the Dior collection, along with an indication and comparison of the associated qualities and values. In the second part of the article, we analyze the Bihor vs. Dior case from the point of view of the contemporary concepts of CSR (corporate social responsibility) and CSV (creating shared values). W...
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Papers by Dominika Czakon
Tangible attempts to transcend the current discourse have been observed since the nineteenth century. Woman is still the object of artistic creation, but she is represented in a modified way, which in a broader perspective is related to a revolution in morals and the beginning of a transformation of the male (and also female) perception of women. In this paper we would like to examine the change in this discourse using the example of the modernist works of the Polish artist Stanislaw Ignacy Witkiewicz (Witkacy). In our opinion, his work demonstrates an important transformation of the male fascination with feminine nature, associated with the transcendence of the existing artistic ways of depicting women. The heroines of Witkacy’s dramas, novels and paintings are mostly ‘demonic women’: they are strong, dominant, expansive, aware of their own sexuality and its threatening impact on men. The main question driving our analysis is whether the observable change in Witkacy’s depiction of women is meaningful and important or only superficial. In a broader perspective, we wonder whether the changes that occurred in the male art of the first decades of the twentieth century truly reflected the evolution of social consciousness or had an impact on social perceptions of feminine nature.
We assume that the artwork of mature artists is also an expression of this original desire to play. Their work is, however, necessarily mediated by a number of additional external factors such as rationalisation processes acquired through upbringing and education, including schematisation and classification based on cultural patterns and accompanying logical analysis, as well as numerous emotional limitations resulting from various social norms and prohibitions. In the development of modern art many artists, such as Paul Gauguin, Henri Rousseau, Louis Vivin, Vincent van Gogh, Pablo Picasso, Hans Arp, Francis Picabia, and Max Ernst, were aware of the importance of these radical processes and their impact on their work. Consequently, they made an attempt to return to ‘a child’s sensitivity’, their original way of thinking and feeling ‒ in other words, to a child’s way of creation.
In this paper we analyse selected works of contemporary art in order to answer the question of whether a return to unmediated creation is possible at all. Moreover, we wonder whether and how such art differs from the art of children at the level of aesthetic values. For this purpose we compare several works of contemporary artists with children’s works of art. We focus on the works of artists such as Jean Dubuffet, Cy Twombly, Asger Jorn and Sven-Åke Johansson, who apply the above-mentioned approach, with selected works from the Museum of Children’s Art in Warsaw and the images of Aelita Andre, a seven-year girl whose works are exhibited in New York galleries.
At the same time the experience of art has to be distinguished from scientific one, and the truth of art has to be fundamentally separated from the so-called objective truth of modern science. Therefore, understanding the truth of work of art (and more broadly the truth of the humanities) is associated with the expanded concept of rationality and the notion of truth, which definitely exceeds the current approach of contemporary science.
These postulates appear in the basic works of Gadamer: Truth and method and The relevance of the beautiful, as well as in his numerous essays, but there are mostly expressed in negative and fragmented way. Gadamer's approach should be associated with ancient philosophical ideas and such concepts as, inter alia, theoria or phronesis and with the theoretical achievements and presumptions of Martin Heidegger, which Gadamer develops and transforms creatively. Among the basic assumptions of hermeneutics there are assertions about: human finitude and historicity, the circular structure of understanding, the positive role of superstition, anteriority, and the necessity of cultural, social and historical contexts.
In this paper we make an attempt to initially characterise the truth of work of art and to identify and describe the conditions, which are crucial to capture and understand this truth. For this purpose what Gadamer calls the real experience of art will be described and analysed in a critical way. The experience of art in his opinion is associated with such concepts as: game, symbol, festival, beauty or ‘aesthetic indistinguishability’. Conclusions that emerge from the undertaken analysis will lead us to define concepts of rationality and truth in terms of hermeneutics.
“Phenomenology in relation to the challenges of contemporary art”
The Polish Journal of Aesthetics No. 49 (2/2018)
Editors:
Piotr Schollenberger (University of Warsaw, Poland)
Monika Murawska (Academy of Fine Arts in Warsaw, Poland)
Deadline for submissions: 31st December, 2017
The first part of the book (chapters 1-3) serves to describe the concept of interpretation in a broad context; the second part (chapters 4-6) aims to clarify its meaning. In the first chapter I characterize hermeneutics as a universal theory of interpretation and clarify the significance and functions fulfilled by interpretation within a broader philosophical and cultural context. In the second chapter, I characterize culture and the society associated with it as the basis and object of interpretation. Chapter 3 includes a description of interpretation as a basic experience for every human being, as well as a clarification of what constitutes the hermeneutic concept of rationality. In the following chapters (4-6), I characterize hermeneutic interpretation by referring to three concepts: truth, rhetoric, and eroticism. I consider the three above-mentioned concepts essential, even constitutive, in grasping the specifics of hermeneutic interpretation. These are necessary and distinctive features of interpretation, determining whether a given interpretation is hermeneutic rather than any other kind.
The truthfulness of hermeneutic interpretation signifies that its inalienable objective is attainment of the truth, as well as the resulting expansion of knowledge. If neither truth nor knowledge is attained in the course of interpretation, hermeneutic interpretation has failed. Therefore, hermeneutic interpretation exists only in combination with the understanding of a given issue. Accordingly, failed attempts at interpretation are not hermeneutic interpretations. Thus the close relationship between truth and interpretation described here constitutes both the final condition for the assessment of a given interpretation and a necessary precondition for the start of each interpretation. It is indeed assumed in hermeneutics that expectation of the sense of what is cognized is necessary in order to initiate any attempt at understanding. The acknowledgement that truth is the purpose of interpretation significantly affects the course of the entire interpretation process.
The rhetorical nature of hermeneutic interpretation results from the fact that this interpretation is defined and shaped by the rhetorical tradition. Accordingly, the elementary structure of hermeneutic interpretation is based on rhetorical speech patterns; moreover, the interpretation process uses and implements the rules and means applied in rhetoric, such as the art of persuasion. Although this interpretation is not intended to be an expert activity, it is associated with specific skills on the viewer’s part, which we can call interpretive artistry and compare with the artistry of a speaker. Hermeneutic interpretation of art is rhetorical because it is supposed to be constructed so as to be convincing. The persuasiveness of an interpretation is associated with the inclusion of what is probable, as opposed to certain, and with acknowledgement of argumentation which refers as well to a human being’s emotional, as opposed to solely rational, sphere. The rhetorical nature of the interpretation signifies, moreover, that the interpretation should be clear, interesting, and characterized by linguistic artistry, a suitable structure, and pertinent argumentation.
The eroticism of hermeneutic interpretation is associated in my approach with an indication of the “sensual” (i.e., received by means of the senses), “sensuous” (i.e., referring to the senses and related to sensuous experiences), and “amorous” (i.e., “full of love”) attitudes toward the object of understanding, including towards the experience of art, that can be noted in hermeneutics. Here, as an important condition for adoption of a thesis concerning the erotic features of hermeneutic interpretation, I perceive the necessity of expanding the formula of the rational and the complementary understanding of human perception. I assume that the eroticism of hermeneutic interpretation should be referred to the complexity of this experience, as it combines many types of knowledge, i.e., intellectual, conceptual, extraconceptual, emotional, sensual, and intuitive. Erotic interpretation also signifies the necessity of accounting for a subjective element therein. A description of hermeneutic interpretation therefore implies the inclusion and adoption of two - seemingly, perhaps, contradictory - postulates, i.e., the truthfulness and cognitive value of this experience and its simultaneous subjectivity, intimacy, and singularity.