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Conceptual Art and its relationship to aesthetic value
Liborová, Noemi ; Kubalík, Štěpán (advisor) ; Dadejík, Ondřej (referee)
The question of the aesthetic value of conceptual art is one of the complex problems of aesthetic research, especially due to its diversity and ontological elusiveness stemming from dematerialization and the absence of the medium, as well as its frequent proclamatory anti- aestheticism. A wave of interest was sparked in 2009 by the study Who's Afraid of Conceptual Art by Peter Goldie and Elisabeth Schellekens. The authors were the first to attempt a comprehensive philosophical-aesthetic analysis of conceptual art, in which they also put forward their own bold hypothesis about the nature of this phenomenon. Their notion of the Idea idea, in which they tried to find the core of all conceptual art, lies in aesthetic idealism. Their approach has inspired other scholars to polemic, and thus prompted several other studies on the subject. The first part of the thesis is devoted to the key characteristics that define conceptual art and that are central to a theoretical grasp of the problem of its aesthetic value. Dematerialisation, ironic self-reflection, anti-definitional characteristics, its anti-aesthetic and intellectual nature are thus the starting point for the second part, which is an attempt at an independent analysis of the problem. The latter begins with an attempt to critique the notion of the...
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Defense of the concept of aesthetic disinterestedness in the theory of Thomas Hilgers
Kosyak Shuman, Ekaterina ; Kubalík, Štěpán (advisor) ; Dadejík, Ondřej (referee)
The proposed bachelor thesis deals with the question of the relevance of one of the key concepts of modern aesthetic theory, the concept of aesthetic disinterestedness. This concept was criticized in the second half of the 20th century, especially within the framework of Anglo-American aesthetics and philosophy of art (e.g. George Dickie, Arnold Berleant or Allen Carlson) and, as a result of this criticism, it was rejected as a concept on which the explanation of aesthetic experience could be based. This bachelor's thesis will first present the basic arguments of this criticism, then it will offer one of the contemporary elaborations of the concept of aesthetic disinterestedness, which responded to the above-mentioned criticism (Thomas Hilgers; attention will be paid primarily to Hilgers' proposal to base a new concept of disinterest attitude on the so-called "practical self-consciousness" or socially conditioned consciousness himself), and in the final part, it will evaluate the success of this defense of the concept of aesthetic disinterestedness and the relevance of this theory in relation to contemporary artistic manifestations, such as conceptual art, happening, performance. KEY WORDS: Aesthetic disinterestedness, practical self-consciousness , Thomas Hilgers, Martin Heidegger, George Dickie,...
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Relation between Comedy and "Fine Arts" according to Henri Bergson
Pavelková, Veronika ; Ševčík, Miloš (advisor) ; Dadejík, Ondřej (referee)
This bachelor thesis deals with the relationship between comedy and serious arts in the thought of Henri Bergson. It is divided into three main sections. In the first section, I examine Bergson's understanding of the serious arts as expounded mainly in The Two Sources of Morality and Religion and Laughter. In the second part, I deal with Bergson's theory of laughter. In the third, I compare these two topics and draw conclusions from them regarding Bergson's conception of both topics and their relation.
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Nietzsche's Gay Science and contemporary aesthetics
Samek, Tomáš ; Dadejík, Ondřej (advisor) ; Ševčík, Miloš (referee)
This bachelor's thesis aims to interpret aesthetic thinking based on Nietzsche's Gay Science within the basic features of his philosophy. At first it reflects both the author's philosophical background, whose significant features are perspectivist pluralism and affirmation of this pluralism, as well as the specific ways in which those ideas are contained in The Gay Science and also through the motif of the death of God. Based on this reflection, the thesis reconstructs author's aesthetic thinking: in which (whether artistic or non-artistic) aesthetic experience is understood by Nietzsche as something that reflects this plurality and affirmation - whether positively, when it affirms, or negatively, when the aesthetic is in danger of becoming a new backworldsmen to which one can turn away after the death of God. Those thoughts are then concretized on examples within various art genres that the author mentions in his book. Key Words: Friedrich Nietzsche, The Gay Science, plurality, affirmation, perspectivism, aesthetics, value
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Conceptual Art and Environmental Aesthetics
Esopová, Tereza ; Dadejík, Ondřej (advisor) ; Kubalík, Štěpán (referee)
(in english) The thesis Conceptual Art and Environmental Aesthetics aims to reveal the closeness of these seemingly completely different fields. Two dominant themes run through the whole investigation. From the point of view of conceptual art, it is primarily the question of the material, which will be discussed in the light of the previous research of Peter Goldie and Elisabeth Schellekens. The second issue, and therefore an issue from the point of view of environmental aesthetics, is the attempt to distinguish the realm of the artistic from the realm of the non-artistic. This thesis is therefore divided into two parts. The first one introduces conceptual art and the basic questions concerning its nature. The prevailing dualistic approach to the concept of conceptual art in the authors under review is here critically refuted and replaced by another concept that reopens the question of what is included in a conceptual work. Thus, the aspect of the choice of the medium and, consequently, the aspect of the choice of the environment as part of the conceptual work comes into focus. The topic moves seamlessly into environmental aesthetics, where the fundamental problem of the existing distinctions between the artistic and the non-artistic is introduced, which is that these distinctions are too narrow....
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Critical reactions on Edward Bullough's concept of psychical distance
Adámková, Veronika ; Ševčík, Miloš (advisor) ; Dadejík, Ondřej (referee)
In this thesis we are focusing at the notion of psychical distance first introduced in the work "'Psychical Distance' as a Factor in Art and as an Aesthetic Principle" from Edward Bullough. There were many responses to the concept of psychical distance from many authors, some of them have rejected this notion, and others tried to support it. Initially we provided brief interpretation of Bulough's work with the focus at parts, which are cited and investigated most frequently in mentioned interpretations. We are interpreting and comparing gradually the most popular works, which involve the notion of psychical distance with respect to Bullough's original concept. We are pointing out the difference between notions psychical distance and aesthetic attitude, because they are mistaken one for another by many different authors. This thesis tries to provide new look at some papers responding to Bullough's conception.
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Against Dualism - Conceptual Art in the Context of Functional-Normative Theory
Brejcha, Michaela ; Dadejík, Ondřej (advisor) ; Skalický, David (referee) ; Ciporanov, Denis (referee)
Title: Against Dualism - Conceptual Art in the Context of Functional-Normative Theory Author: Michaela Brejcha Department: Department of Aesthetics Supervisor: Mgr. Ondřej Dadejík, Ph.D. Abstract: The present dissertation thesis focuses on the problem of theoretical reflection of conceptual art in Anglo American aesthetic discourse in the second half of 20th and the beginning of 21st centuries. It is based on the claim of many conceptual artists and also some theoreticians, which emerged in the nineteen- fifties, that the conceptual art or tendencies have nothing in common with aesthetics or aesthetic theory. This work shows that this presumed discord draws on reduced understanding of what is the aesthetics and, at the same time, this understanding itself is based on the dualistic paradigm, which presents one of the most fundamental frames for our approach to reality. In the context of analysis of selected texts of Anglo American aesthetics, eight particular distinctions of dualism will be defined, which to a great extent contributed to the rejection of aesthetics by conceptual artists, and on the other hand to bad recognition of conceptual art by the aesthetic theory. As an alternative to the dualistic approach in the context of definition of conceptual art, the fluid and dynamic conception of aesthetics...
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The changes of reflection of landscape in the Czech art and its new concepts in last fifty years intented on photography
Dlabáčková, Barbora ; Stibral, Karel (advisor) ; Dadejík, Ondřej (referee)
Our thesis contents the description of the progress of landscape art reflection from the very antique beginning. In that time, at first just the natural detailes entered the art. After, in Renesssaince the landscape attracted artists as a whole. Later, landscape established itself as an independent topic and even as a visual art genre. The first big break in landscape art reflection came in romantism when even tabooed topics, mountains in the most important way, got in the people's subconsciousness. In the 20th century, the decrement of landscape painting happened, on the contrary an era of landscape photography arrived making subsequent steps within the technical progress. Traditional Czech landscape comes from the landscape painters of 19th century, centered on horizontal and vertical lines of fields and meadows composed in a mosaic. This traditional model is no longer valid and actual. Landscape has changed so much, it has been filled by mines, tips and factories. Thanks to the process of artealisation, we can reflect also these new landscapes, having no aesthetic value in reality, with pleasure. We are convinced by photographies made by Sudek, Koudelka, Holomíček as well as Spurný. In their works, we are finding concepts of new landscape, metalandscape, original (great-) landscape or silent landscape...
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Repetition and paradox of genre fiction
Sommerová, Zuzana ; Zuska, Vlastimil (advisor) ; Dadejík, Ondřej (referee)
The Bachelor thesis is concerned with the issue of the paradox of genre fiction which was presented by Deborah Knight. This paradox is based on the question why the readers and the viewers are spending their time by reading and watching stories they are already familiar with so they know what the stories will be about and how will they end. The author is proceeding from Noël Carroll's similar paradox of junk fiction. First part of the text is occupying with the characterization of the aesthetic experience, the principle of repetition in the works of art and the definition of the term of genre. After that in the second part the particular conditions of the paradox are verified.
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Theories of art evaluation
Neubert, Jiří ; Petříček, Miroslav (advisor) ; Dadejík, Ondřej (referee)
(EN) Evaluation is an inextricable part of perceiving artworks and therefore it is necessary to study it. Evaluation is always an evaluation of something, it presupposes certain knowledge and idea of what is being evaluated. Evaluation presupposes conceptualization. If we want to say something about art or better of our experience of it and want to be understood and believed, we will need to study our conceptual equipment we use. This paper offers a conceptual minimum, being important, almost inevitable for the evaluation of art. All encounters with art are connected to the consideration of authorship. Concept of the author seems to be with the concept of art more then adherent. Nowadays authorship flounders between complete sovereignty and dissolution. There are theories of artworks, that leave or even protest against the connection between art and author. Art has a long tradition, but the contemporary notio of art is relatively young and conceptually very much laden. On the one side there is ignorance of its character, on the other there are tendencies to fix it forever. Man understanding art as an expression, perceives, looks for meaning and evaluates differently, then the one understands art as an institutinally given status. The manners of thinking art are decisive. The concept of art depends...
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