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Estetyka I Krytyka

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Estetyka I Krytyka THE POLISH JOURNAL Estetyka OF AESTHETICS i Krytyka THE POLISH JOURNAL Estetyka OF AESTHETICS i Krytyka Vol. 34 (3/2014) Jagiellonian University in Kraków The Polish Journal of Aesthetics / Estetyka i Krytyka Editor-in-Chief: Leszek Sosnowski Editorial Board: Paulina Tendera (Deputy Editor), Dominika Czakon (Secretary), Natalia Anna Michna (Secretary), Katarzyna Kleczkowska, Anna Kłonkowska, Janusz Krupiński, Anna Kuchta, Marcin Lubecki, Piotr Mróz, Józef Tarnowski, AdvisoryAndrzej Warmiński Board: WładysławAkiko Kasuya, Stróżewski, Carolyn Tiziana Korsmeyer, Andino, Teresa Nigiel Kostyrko, Dower, Grzegorz Andrzej Dziamski, J. Nowak, Bogdan Dziemidok, Tadeusz Gadacz, Maria Gołaszewska, Carl Humphries, Elżbieta Paczkowska-Łagowska, Mauro Perani, Zofia Rosińska, Beata Szymańska, Kiyomitsu Yui, Anna Zeidler-Janiszewska, Bogusław Żyłko Reviewers: Leszek Sosnowski, Ignacy S. Fiut, Paweł Taranczewski, Rafał Syska Published by Institute of Philosophy, Jagiellonian University 52 Grodzka Street, 31-004 Krakow Co-publisher: Wydawnictwo Nowa Strona – Katarzyna Migdał ul. Łagodna 85/26, 43-300 Bielsko-Biała Proofreading: Marta Bręgiel-Benedyk Editorial Layout, Typesetting, and Cover Design: KatarzynaOn the MigdałCover: Planty zimą Paweł Taranczewski,http://www.nautilus-art.pl/ , 2010 Nautilus Galeria i Dom Aukcyjny, ul. Świętego Jana 12, 31-018 Kraków First Edition: 150 copies © Copyright by Jagiellonian University All rights reserved e-ISSN 2353-723X / p-ISSN 1643-1243 Artistic Thinking Within the Arts Editors of the Volume: Dominika Czakon Paulina Tendera Contents The Category of Artistic Thinking and the Conception of Roman Ingarden’s Paweł Chorzępa, Aesthetic Situation 9 Dominika Czakon The Creative Aspect of Sound Engineering Process in Feature Film 23 Jacek Hamela Pure Pleasure and Film Thinking – Watching Instead of Interpreting 45 Rafał Koschany About the Project „Beethoven – Metamorphosis” 57 Piotr Kucia Artistic Thinking in Film Education (from Reproduction to Creation) 77 Jerzy Łukaszewicz Artistic Thinking as the Phenomenon of Human’s Existence and Culture: Оlena Polishchuk Post-non-classical Discourse 91 Artistic Thinking – Thinking of the Essence (the Self-portraits of Rembrandt van Rijn) 101 Wojciech Rubiś, Paulina Tendera Painterly Quest for Values 121 Paweł Taranczewski About the Contributors 133 The Polish Journal of Aesthetics Vol. 34 (3/2014) * ** The Category of ArtisticPaweł Thinking Chorzępa and, Dominikathe Conception Czakon of Roman Ingarden’s Aesthetic Situation Abstract - The aim of this paper is to examine the validity and utility of the category of artistic thinking through applying it to the descriptionWykład XI of an Przeżycieaesthetic situationestetyczne as given by Ro man Ingarden. The authors are referring to the common understanding of the concept as well as Ingarden’s works, such as: and . In this paper they discuss the components of an aesthetic situation, at the same time attempting to characterise the category of artistic thinking. Key words situation artistic thinking, aesthetic experience, art, creative process, R. Ingarden, aesthetic Introduction In this paper we attempt to juxtapose the category of artistic thinking- with Roman Ingarden’s reflection on aesthetic situation. First of all, we aim to verify the usefulness and usability of the concept of artistic think ing to the analysis of art, and to propose directions in which Ingarden’s theory could be developed. At the same time, however, we would like to stress* that this work remains solely an introductory research draft and Krzysztof Kieślowski Faculty of Radio and Television University of Silesia ** Email: [email protected] Institute of Philosophy Jagiellonian University Email: [email protected] 10 Paweł Chorzępa, Dominika Czakon provides no exhaustive analysis of the posed problem. It is not our goal to derive the concept of artistic thinking from Ingarden’s theory, nor do we aim at correcting the theory in the light of the given category. It is only about juxtaposing these two separate proposals. Such an approach can be- justified by the assumption that the concept of artistic thinking should be considered as a current modern category which, in our opinion, lacks In garden’s division into what is and what is not artistically and aesthetically valuable. At the same time, we presume that it would be possible to adapt the category of artistic thinking to Ingarden’s reflection. Such an1 .attempt might involve coining a new term – this of aesthetic thinking – although that would exceed the scope of this basic and introductory work - So far, the concept of artistic thinking does not have any given and universally accepted definition. It seems to be rather intuitively under stood, and quite freely used. At the same time, it seems that the concept contributes to an interesting description of art, both from the point of view of the creative process and the reception and interpretation of art. In this way, the concept of artistic thinking is related to the activity of an artist creating his work, and the situation of the beholder observing the- work and trying to understand it. We also assume that on the one hand artistic thinking points to the presence and importance of the intellec- tual components and cognitive values of experiencing art, while on the other hand it tells us about certain features, which essentially differen tiate thinking about art (or thinking in art) from, say, scientific thinking. Characterising the experience of art in the light of the concept of an aesthetic situation, Ingarden describes all the sensations and actions of an individual as elements of a so called process of aesthetic experience. For him, aesthetic perception constitutes an additional element that may- be built over the aesthetic experience in its final stage. This experience,- requiring taking an aesthetic outlook on reality, is supposed to lead to cre ating an intentional aesthetic 2subject. And although the categories sug gested by Ingarden are also supposed to encompass the work of intellect (of the artist or the beholder) , the stress here is on the emotional and- 1 Wartość artystyczna – jakość artystyczna Słownik pojęć filozoficznych Roma- na IngardenaOn the subject of artistic and aesthetic values in R. Ingarden’s theory see: Z. Ma- jewska, Wartość estetyczna – jakość estetyczna , in:Słownik pojęć… , red. A. J. Nowak, L. Sosnowski, Kraków 2001, pp. 290–292 and M. Goła szewska,2 O poznawaniu, in: dzieła literackiego, op. cit., pp. 292–295. Ingarden describes the aesthetic experience. as “a phase of very active, intense and creative individual life”. R. Ingarden, , Warszawa 1976, p. 137 [trans. M. Bręgiel-Benedyk] The Category of Artistic Thinking... 11 3 - experiential aspect of experiencing art . We feel, however, that such an ap- proach is incomplete. The category of artistic thinking4 .appears to soundly highlight the very important intellectual moments present in the experi ence of art and in the concept of aesthetic experience The intention of our paper is to examine the validity and usefulness of the category of artistic thinking through applying it to the description of an aesthetic situation as given by Roman Ingarden. This attempt is also to underline the value of intellectual reflection in the creative process. The remaining part of the paper aims to characterise the category of artistic thinking as well as a critical analysis of Ingarden’s theory. Aesthetic situation and artistic thinking Wykład XI from Wykłady i dyskusje z estetyki In this paper we are referring5 first and foremost to , in which Ingarden characterises his concept- of aesthetic situation. Pondering upon the advantages of the term and its validity, Ingarden claims that it “allows to escape the differentiation be 3 In the aesthetic experience Ingarden distinguishes the so called prefatory emotion related to the state of excitement with the quality present in the perceived object. The quality stimulates and excites the beholder, causing him a sense of wanting, almost being in love. After the prefatory emotionO poznawaniu a new wave dzieła of literackiegoemotions appear, “a certain form of liking, enjoying and caressingIdea «with koncepcyjnej the sight», theteorii presence dzieł sztuki of the (Zarys) quality, the moment- of «delight»”.4 See: R. Ingarden, , op. cit., pp. 138–139. In his interesting work , Michał Ostro- wicki aims to define the essence of the work of art as a conceptual creation, for which the intentional activity of the subject and the meaning of the work become the consti tutive features. Ostrowicki emphasises that such understanding of art seems to be of a particular importance in the context of contemporary works, in which the aesthetic values often play a secondary role. He also claims that taking into consideration the conceptual nature of the work is closely connected with considering it an intentional phenomenon “expressing human emotions, feelings, values and knowledge. Through the peculiarity of its «existence», the work «creates» its own worldIdea koncepcyjnej in the beholder’s teorii dziełmind, sztuki liberates (Zarys) and, shapes human thought, being allusive and reflective, often abstract- in its function or real in its physical form”. See: M. Ostrowicki, “Kwartalnik Filozoficzny” 2000, t. XXVIII, z. 2 [trans. M. Bręgiel-Be nedyk], [online] http://www.ostrowicki.art.pl/Idea_koncepcyjnej_teorii_dziel_sztuki.Sytuacja estetyczna Słownik pojęć…pdf [access:5 7.08. 2014]. On an aesthetic situation see also: L. Sosnowski, , in: , op.
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