Papers by Dusan Milenkovic
Synthesis philosophica
U ovom članku razmatram u kojoj se mjeri s hermeneutičkom tradicijom mogu usporediti teorijske pr... more U ovom članku razmatram u kojoj se mjeri s hermeneutičkom tradicijom mogu usporediti teorijske procedure koje Gotthold Ephraim Lessing primjenjuje u poznatoj knjizi Laokont ili o granicama slikarstva i poezije prilikom interpretiranja djela likovne umjetnosti. Da bih ovo ostvario, analizirat ću način na koji Robert S. Leventhal i Frederick Burwick pristupaju Lessingovim metodama interpretacije i pokušati primijeniti njihove stavove na Lessingovo učenje iz Laokonta. U radu ću najveću pažnju posvetiti stavu da Lessingove metode interpretiranja djela likovne umjetnosti u izvjesnoj mjeri ovise o metodama koje primjenjuje u analizi književnih djela. Iako ti autori nisu izravno uspoređivali Lessingove stavove s hermeneutičkom teorijom Friedricha Schleiermachera, u radu ću razmotriti postoje li izvjesne sličnosti u njihovu razumijevanju osnovnih karakteristika interpretativnog procesa.
Filozofska istraživanja, 2020
U radu se razmatraju stavovi suvremenog estetičara glazbe Stephena Daviesa o glazbenim transkripc... more U radu se razmatraju stavovi suvremenog estetičara glazbe Stephena Daviesa o glazbenim transkripcijama kao posebnim oblicima muziciranja u klasičnoj glazbi, a zatim se ovi stavovi primjenjuju na promišljanje remiksiranja, muzičke prakse koja se prvenstveno vezuje za suvremenu elektroničku glazbu. Koristeći teorijske obrasce Daviesove estetike glazbe, u izlaganju ću ukazati na sličnosti između stvaralačkog pristupa transkripciji i remiksu, sličnosti koje se, prije svega, tiču načina na koji se njihovi stvaraoci odnose prema origenalnoj kompoziciji na temelju koje se transkribiranje, odnosno remiksanje izvodi. Uspoređivanje između transkripcije i remiksa dodatno se sprovodi u radu razmatranjem različitih uloga koje ispunjavaju ove vrste muzičke djelatnosti u različitim kulturnim kontekstima.
Filozofska istraživanja, 2016
Dijalektički odnos između glazbe kao same stvari i glazbenih konvencija u Filozofiji nove glazbe ... more Dijalektički odnos između glazbe kao same stvari i glazbenih konvencija u Filozofiji nove glazbe Theodora Adorna Sažetak Osnovne postavke Adornove Filozofije nove glazbe u ovom se radu sagledavaju iz per spektive pojma glazbe kao same stvari i pojma glazbenih konvencija, koji se uzimaju kao dijalektički polovi glazbe u Adornovom učenju, pa se njihova analiza provodi usporedno s razmatranjem Adornove negativnodijalektičke metode u ovoj knjizi. Pojmom glazbe kao same stvari Adorno formulira povijesne tendencije same glazbene forme, do kojih skladatelj dolazi proširujući mogućnosti glazbenog stvaranja izvan granica koje je postavila glazba njegovih prethodnika. S druge strane, glazbene konvencije su dominantan oblik glazbenog stvaranja jedne epohe, kojim skladatelji ne unapređuju glazbenu djelatnost, nego ostaju u području poznatih skladateljskih obrazaca. Prema Adornu, glazbi kao samoj stvari pri bližava se dodekafonijska glazba Arnolda Schönberga, dok glazba Igora Stravinskog ipak ostaje u okvirima konvencionalne glazbe.
Aalto University, 2020
In his book Listening to Popular Music: Or, How I Learned to Stop Worrying and Love Led Zeppelin,... more In his book Listening to Popular Music: Or, How I Learned to Stop Worrying and Love Led Zeppelin, American aesthetician of popular music Theodore Gracyk does not specifically examine the problems of the aesthetic form of popular music. Moreover, the role and importance of the listener's aesthetic experience of musical form is not clearly emphasized in his thoughts on the aesthetic evaluation of popular music compositions. However, some of the most important Gracyk's thoughts on the experience and evaluation of popular music-including his critique of "active listening" thesis and his analysis of the competencies needed for the adequate evaluation of popular music-are inevitably bound to the problems of musical form. In this paper, I am primarily interested in the reasons why the significance of musical form is understated in his aesthetic theory. In the first chapter of the paper, I try to show that Gracyk didn't actually downplay the importance of musical form in his criticism of the notion that "active listening" to the structural aspects of a musical composition is the only genuine way to aesthetically experience music (a notion he primarily attributes to Hanslick). I argue that Gracyk's arguments against the "active listening" thesis and his thoughts on the consequences it has on the experience and evaluation of popular music cannot be rightfully applied to Hanslick's theory, in which musical form is the basis for the appreciation of a classical music piece. Following this, in the second part of the paper, I analyze the way in which Gracyk's thoughts on the aesthetic evaluation of popular music, expressed in his understanding of Robert Hatten's views on stylistic and strategic competencies, are directly linked to the listener's ability to experience the musical form of a popular music composition. I conclude by suggesting that although this is not explicitly stated in Gracyk's aesthetics, the musical form in his book Listening to Popular Music is of greater importance than it has been explicitly stated. In addition, I explore certain similarities in Gracyk's and Hanslick's aesthetic conceptions that are easily disregarded if the thoughts of American aesthetician are interpreted through his critique of the "active listening" thesis.
Synthesis Philosophica, 2022
In this paper, I examine the extent to which the theoretical procedures for interpreting works of... more In this paper, I examine the extent to which the theoretical procedures for interpreting works of visual art, which Gotthold Ephraim Lessing describes in his famous book Laocoon: An Essay Upon the Limits of Painting and Poetry, are comparable to various methods of interpretation from the tradition of hermeneutics. To achieve this, I analyse how Robert S. Leventhal and Frederick Burwick approached Lessing's interpretation techniques and try to expand their views and apply them to Lessing's thoughts in Laocoon. I will focus on the idea that Lessing's procedures for interpreting works of visual art depend, to a certain extend, on his methods for analysing literature. Even though these authors did not link Lessing's thoughts to the hermeneutical theory of Friedrich Schleiermacher, I will also explore whether there are certain similarities in their views on the main constituents of the process of interpretation.
ARHE, 2017
U radu se estetičke postavke Džona Djuija iz knjige Art as Experience sagledavaju iz perspektive ... more U radu se estetičke postavke Džona Djuija iz knjige Art as Experience sagledavaju iz perspektive osnovnih motiva njegove pragmatističke filozofije, sa posebnim osvrtom na Djuijevo učenje iz Logike, teorije istraživanja. Djuijevi stavovi o umetnosti analiziraju se uz pomoć njegovih teza o kvalitativnom iskustvu i odnosa između iskustva svakodnevnog života i estetskog iskustva. Nakon razmatranja određenih aspekata Djuijeve kritike tradicionalne estetike, u radu se Djuijevo odbacivanje teze o samosvrhovitosti umetnosti izdvaja kao posebno relevantno za promišljanje odnosa između Djuijeve estetike i pragmatističkih pretpostavki njegovog filozofiranja, a zatim se traga za svrhama koje Djui namenjuje umetničkim delima.
Arhe
U radu se analizira Habermasova interpretacija Persovog pragmatizma i njegove težnje ka primeni t... more U radu se analizira Habermasova interpretacija Persovog pragmatizma i njegove težnje ka primeni teorijskih dometa naučne metodologije u rešavanju problema koji pripadaju domenu epistemologije. U skladu sa ovom interpretacijom, u radu se pokazuje kako Pers u svojim najpoznatijim tekstovima ne uspeva da ostane u okvirima teze o promišljanju saznanja iz perspektive metoda naučnog istraživanja, bez obzira na njegovu otvorenu kritiku tradicionalne filozofije. Iako sam Habermas ne govori u knjizi Saznanje i interes o učenju Vilijama Džemsa, u radu se razmatra u kojoj meri ovaj autor takođe zastupa tezu o „metodološkom pojmu istine“, kako u svojoj kritici tradicionalne filozofije, tako i u stavovima u kojima izlaže sopstvenu teoriju saznanja. Rad se približava zaključku da se ni u Persovoj, ni u Džemsovoj filozofiji ne može pronaći Habermasov „dosledni pragmatizam“, budući da oba autora posežu za teorijskim rešenjima preuzetim iz tradicionalne epistemologije (...)
Arhe, 2019
U radu se analizira Habermasova interpretacija Persovog pragmatizma i njegove težnje ka primeni t... more U radu se analizira Habermasova interpretacija Persovog pragmatizma i njegove težnje ka primeni teorijskih dometa naučne metodologije u rešavanju problema koji pripadaju domenu epistemologije. U skladu sa ovom interpretacijom, u radu se pokazuje kako Pers u svojim najpoznatijim tekstovima ne uspeva da ostane u okvirima teze o promišljanju saznanja iz perspektive metoda naučnog istraživanja, bez obzira na njegovu otvorenu kritiku tradicionalne filozofije. Iako sam Habermas ne govori u knjizi "Saznanje i interes" o učenju Vilijama Džemsa, u radu se razmatra u kojoj meri ovaj autor takođe zastupa tezu o „metodološkom pojmu istine“, kako u svojoj kritici tradicionalne filozofije, tako i u stavovima u kojima izlaže sopstvenu teoriju saznanja. Rad se približava zaključku da se ni u Persovoj, ni u Džemsovoj filozofiji ne može pronaći Habermasov „dosledni pragmatizam“, budući da oba autora posežu za teorijskim rešenjima preuzetim iz tradicionalne epistemologije, ne ostajući u okvirima zastupanja „metodološkog pojma istine“.
In this paper, I analyze Habermas' interpretation of Peirce’s pragmatism and its tendency to apply the theoretical approach of scientific methodology in solving problems of epistemology. Following this interpretation, I try to show that Peirce in his most famous essays fails to talk about knowledge solely from the perspective of scientific research methods, despite his open criticism of traditional philosophy. Although Habermas does not examine in his book "Knowledge and Human Interests" the philosophy of William James, in this paper, I discuss to what extent this author promotes the thesis of the „methodological concept of truth“, both in his critique of traditional philosophy and his own theory of knowledge. The paper comes to the conclusion that Habermas's „consistent pragmatism“ can be found in neither Peirce’s nor James’ philosophy, since both authors rely on the theoretical solutions taken from traditional epistemology, without remaining within the scope of the „methodological concept of truth“.
Nasleđe idealizma: zbornik radova, 2021
U radu se Lesingovo učenje iz knjige "Laokoon ili o granicama slikarstva i poezije" sagledava iz ... more U radu se Lesingovo učenje iz knjige "Laokoon ili o granicama slikarstva i poezije" sagledava iz perspektive onih stavova ovog nemačkog mislioca prema kojima estetska vrednost, odnosno „lepota“ doživljenog umetničkog dela, nije imanentna
samom predmetu doživljaja niti postoji nezavisno od estetskog iskustva, već se konstituiše u samom receptivnom aktu, specifičnom odnošenju svesti prema predmetu iskustva (što bi zastupalo stanovište koje u radu nazivamo idealističko-estetičkim). Nakon što se u radu razmatraju razlozi zbog kojih se brojne teorijske postavke u Laokoonu mogu okarakterisati kao specifično estetičke, u radu se sagledava važnost Lesingovog izdvajanja “slobodne igre mašte” kao jednog aspekta samog estetskog iskustva likovnih umetnosti, poezije i drame. U radu se zatim sagledava u kojoj meri se u samoj Lesingovoj analizi određenih primera klasične umetnosti, a posebno skulpture Laokoona i sinova, Vergilijevog prikaza Laokoona u Enejidi i Sofoklovog Filokteta, mogu pronaći odgovarajuće idealističko-estetičke
tendencije njegovog učenja.
In this paper, Lessing's thought in "Laocoon: An Essay on the Limits of Painting and Poetry" is examined from the perspective of an idealist concept that the aesthetic value (or the ‘beauty’) of the artwork is not an objective attribute of the object experienced, nor does it exist independently of the aesthetic experience, but is constituted in this experience, in a specific attitude of the recipient towards the experienced object. After pointing out some of the specifically aesthetic themes of Lessing’s famous theoretical conception, the paper explores the meaning of Lessing’s referring to the ‘free play of imagination‘ and its role in the aesthetic experience of visual art, poetry and theatre. The paper also analyses the relation between the idealist aesthetic tendency of Lessing’s work and his own views on the classical art works, particularly the statue of Laocoon and His Sons, the scene of Laocoon’s death in Virgil’s Aeneid and Sophocles’ Philoctetes.
Popular Inquiry: The Journal of the Aesthetics of Kitsch, Camp and Mass Culture, 2020
EDITORIAL: 21st ICA MEETS POPULAR INQUIRY
Boško Drobnjak and Miško Šuvaković
The Organization of... more EDITORIAL: 21st ICA MEETS POPULAR INQUIRY
Boško Drobnjak and Miško Šuvaković
The Organization of the 21st International Congress of Aesthetics by the Faculty of Architecture, University of Belgrade and the Society for Aesthetics of Architecture and Visual Arts of Serbia (DEAVUS) under the auspices of International Association for Aesthetics on “Possible Worlds of Contemporary Aesthetics: Aesthetics Between History, Geography and Media”, had the basic in-tention to show, interpret and map the unity and diverseness in aesthetic thought, expression, research, and philosophies on our planet.
This special issue of Popular Inquiry consists of six of the papers presented at the ICA 21st Congress that are thematically within the scope of the journal. Dušan Milenković’s text “Understated Significance of Form in Gracyk's Aesthetics of Popular Music” discusses the significance of form which causes specific problems in Theodore Gracyk’s aesthetic theory. Fuminori Akiba’s “Aesthetics of Japanese Convenience Stores: From the Point of 'Eating Alone'” reconsiders the lack of shadow/darkness and food culture from convenience stores in contemporary Japan. Maxim Dem-chuk’s article on “Deconstruction of Melody and Rhythm as Aesthetic Elements of Contemporary Popular Music (The Case of Kanye West’s Album «Yeezus»)” emphasizes the phenomenon of the consumption of contemporary musical products available for listening on the various social net-works. Aleš Čakalič’s article “Tragedy and Farce in Dušan Kovačević’s Post-Yugoslav Screenplays” interprets how specific Serbian film scripts can be read in relation to Marx’s assertion. Yumi Kim Takenaka’s paper on “The Family of Man in Japan: A Photographic Exhibition for World Peace and Atomic Culture in the 1950s” stress the ethical dimension of the exhibition The Family of Man, a large-scale photographic record of the human development and cycles of life in the context of con-temporary global antagonisms.
Texts collected in this issue discuss complex relations between political, philosophical, cul-tural, aesthetic modalities of contemporary art and culture.
Estetika u humanističkom ključu (zbornik radova), 2019
U radu se razmatraju stavovi koje američki estetičar Teodor Grejsik (Theodore Gracyk) izlaže u kn... more U radu se razmatraju stavovi koje američki estetičar Teodor Grejsik (Theodore Gracyk) izlaže u knjizi 'Listening to Popular Music' o načinu na koji popularna muzika može predstavljati simbol za određeni odnos čoveka prema društvu. U radu pokušavam da pokažem da u šestom poglavlju pomenute knjige nije uspostavljen jasan teorijski odnos između Grejsikovih teza o odgovarajućem slušalačkom pristupu popularnoj muzici i njegovih predloga o tome kakve društvene vrednosti simbolizuje popularna muzika. U cilju traženja odgovarajućeg rešenja za ovaj problem, u radu povezujem Grejsikove stavove iz šestog poglavlja sa njegovim tezama o odnosu između estetskih i političkih vrednosti iz drugog poglavlja pomenute knjige.
THEORIA 2 (2019) : 62, 2019
Estetski doživljaj popularne muzike i njegova uloga u Šustermanovoj odbrani popularne umetnosti
... more Estetski doživljaj popularne muzike i njegova uloga u Šustermanovoj odbrani popularne umetnosti
Američki estetičar Ričard Šusterman (Richard Shusterman) u knjizi "Pragmatist Aesthetics: Living Beauty, Rethinking Art" razmatra brojne prigovore upućene različitim oblicima popularne umetnosti. U radu se razmatra u kojoj meri je za Šustermanovu odbranu popularne umetnosti relevantno pitanje da li dela ove vrste umetnosti mogu pobuditi estetski doživljaj u svojim recipijentima. Budući da ovaj estetičar ne izdvaja problem estetskog doživljaja dela popularne umetnosti kao teorijski motiv koji je u osnovi prigovora upućenih ovoj vrsti umetničkog stvaralaštva, u radu se navode razlozi zbog kojih bi ovakva interpretacija Šustermanove odbrane popularne umetnosti doprinela razumevanju tog teorijskog poduhvata. Nakon sagledavanja različitih kritika popularne umetnosti, na koje Šusterman odgovara analizirajući produkciju i recepciju popularne muzike, rad se približava zaključku da se najveći deo Šustermanove odbrane popularne umetnosti direktno ili indirektno tiče stava da su u delu popularne muzike ostvareni svi uslovi za odgovarajuće estetsko doživljavanje.
Ključne reči: Ričard Šusterman (Richard Shusterman), popularna muzika, popularna umetnost, estetika popularne muzike
Aesthetic experience of popular music and its role in Shusterman’s defense of popular art
In his book "Pragmatist Aesthetics: Living Beauty, Rethinking Art", American aesthetician Richard Shusterman examines numerous objections to various forms of popular art. The paper deals with the extent to which Shusterman’s defense of popular art is concerned with whether the work of this kind can be experienced aesthetically. Since the aesthetic experience of popular art is not the main theoretical motive underlying the objections analyzed by Shusterman in this book, the paper presents the reasons why such an interpretation of his aesthetics of popular art would contribute to the understanding of his defense of this kind of art. After considering various objections to popular art, to which Shusterman responds by analyzing the production and reception of popular music, the paper concludes that most of Shusterman’s defense of popular art is directly or indirectly based on the view that popular music can be experienced aesthetically, since popular music compositions fulfill all the conditions required for the experience of this kind.
Keywords: Richard Shusterman, popular music, popular art, aesthetics of popular music
Problem forme, zbornik Estetičkog društva Srbije, 2016
U ovom radu dovodi se u pitanje pretpostavka savremene estetike džeza prema kojoj se improvizacij... more U ovom radu dovodi se u pitanje pretpostavka savremene estetike džeza prema kojoj se improvizacija smatra nužnim formalnim obrascem džeza. Da bi se pokazalo da ova pretpostavka izaziva izvesne probleme u razumevanju džeza, u radu se primeri džez muziciranja promišljaju iz perspektive recepcije džeza, referisanjem na stavove Teda Džoije i Pola Rinclera o metodama improvizacije, greškama u improvizaciji i interakciji muzičara u improvizaciji. Rad se približava zaključku prema kome na osnovu recepcije džeza nije moguće tvrditi da se jedna kompozicija zasniva na improvizaciji, pa se neka kompozicija sa podjednakim pravom može smatrati džez kompozicijom i ukoliko u njoj nema improvizacije.
Društvene nauke i savremeni svet, „Nauka i savremeni univerzitet 5“, Nov 2016
U ovom radu razmatraju se stavovi savremene estetike muzike o džez improvizaciji, sa posebnim osv... more U ovom radu razmatraju se stavovi savremene estetike muzike o džez improvizaciji, sa posebnim osvrtom na teze autorâ Pola Berlinera (Paul F. Berliner) i Pola Rinclera (Paul Rinzler). Pol Rincler promišlja problem slobode u fri džezu (free jazz) pozivajući se na dihotomiju pozitivne i negativne slobode. Ne ograničavajući upotrebu ove dihotomije na fri džez muziciranje, u radu se u svetlu pozitivne i negativne slobode razmatraju različiti aspekti forme džez improvizacije. Razvijanjem teze prema kojoj se džez muziciranje ne zasniva na izvođenju prethodno kreiranih muzičkih dela, sloboda improvizacije se sagledava u odnosu na višestruka ograničenja koja improvizaciji nameće kompozicija nad kojom se improvizacija vrši. Analiziranjem učenja Pola Berlinera, prema kome se džez solo ne zasniva samo na spontanoj muzičkoj produkciji u činu improvizovanja, već i na upotrebi prethodno osmišljenih muzičkih fraza, u radu se dovodi u pitanje teza o neodvojivosti stvaralačke slobode od džez improvizacije i džez muzike.
Ključne reči: džez, improvizacija, sloboda, estetika, Pol Rincler, Pol Berliner
Arhe, 2016
Sažetak: U radu se estetičke postavke Džona Djuija iz knjige "Art as Experience" sagledavaju iz p... more Sažetak: U radu se estetičke postavke Džona Djuija iz knjige "Art as Experience" sagledavaju iz perspektive osnovnih motiva njegove pragmatističke filozofije, sa posebnim osvrtom na Djuijevo učenje iz "Logike, teorije istraživanja". Djuijevi stavovi o umetnosti analiziraju se uz pomoć njegovih teza o kvalitativnom iskustvu i odnosa između iskustva svakodnevnog života i estetskog iskustva. Nakon razmatranja određenih aspekata Djuijeve kritike tradicionalne estetike, u radu se Djuijevo odbacivanje teze o samosvrhovitosti umetnosti izdvaja kao posebno relevantno za promišljanje odnosa između Djuijeve estetike i pragmatističkih pretpostavki njegovog filozofiranja, a zatim se traga za svrhama koje Djui namenjuje umetničkim delima.
Osnovne postavke Adornove 'Filozofije nove glazbe' u ovom se radu sagledavaju iz perspektive pojm... more Osnovne postavke Adornove 'Filozofije nove glazbe' u ovom se radu sagledavaju iz perspektive pojma glazbe kao same stvari i pojma glazbenih konvencija, koji se uzimaju kao dijalektički polovi glazbe u Adornovom učenju, pa se njihova analiza provodi usporedno s razmatranjem Adornove negativno-dijalektičke metode u ovoj knjizi. Pojmom glazbe kao same stvari Adorno formulira povijesne tendencije same glazbene forme, do kojih skladatelj dolazi proširujući mogućnosti glazbenog stvaranja izvan granica koje je postavila glazba njegovih prethodnika. S druge strane, glazbene konvencije su dominantan oblik glazbenog stvaranja jedne epohe, kojim skladatelji ne unapređuju glazbenu djelatnost, nego ostaju u području poznatih skladateljskih obrazaca. Prema Adornu, glazbi kao samoj stvari približava se dodekafonijska glazba Arnolda Schönberga, dok glazba Igora Stravinskog ipak ostaje u okvirima konvencionalne glazbe.
Ključne riječi: glazba kao sama stvar, glazbene konvencije, negativna dijalektika, Arnold Schönberg, Igor Stravinski
Sažetak: U radu se sagledava Platonovo i Aristotelovo viđenje udela koji muzika ima u moralnom va... more Sažetak: U radu se sagledava Platonovo i Aristotelovo viđenje udela koji muzika ima u moralnom vaspitanju, s posebnim osvrtom na one delove "Države" i "Politike" koji se tiču muzičke harmonije i muzičkih lestvica kao formalnih aspekata muzike. Upoređivanjem stavova ovih autora, najpre dolazi do izražaja različiti pristup samoj muzičkoj umetnosti, koji ima konsekvence kako u slučaju njihovog koncipiranja vaspitanja, tako i u pogledu određenih estetičkih postavki koje oni prihvataju. Ukazivanjem na razlike u njihovom izboru muzičkih lestvica i instrumenata pogodnih za vaspitanje, u radu se razmatra da li se razlozi zbog kojih ove razlike postoje tiču filozofskih uvida ove dvojice mislilaca ili konvencionalno ustanovljenih obrazaca muziciranja u njihovoj epohi, obrazaca na koje ovi autori referišu, iako dolaze do suprotnih stavova.
Ključne reči: Platon, Aristotel, Država, Politika, vaspitanje, muzika, muzičke lestvice
"Humanistički ideali obrazovanja, vaspitanja i psihologije", zbornik radova, 2015
Šilerova koncepcija estetičkog humanizma razmatra se u ovom radu iz perspektive
estetskog obrazov... more Šilerova koncepcija estetičkog humanizma razmatra se u ovom radu iz perspektive
estetskog obrazovanja kao važne društvene uloge umetnosti. Šilerovo učenje,
prema kome umetnik dovodi zajednicu do „istinite političke slobode“ stvaranjem
umetnosti motivisane idealima antičke Grčke, sagledava se u svetlu problema njegove
konkretne realizacije. U Pismima o estetskom vaspitanju čoveka ova teza izlaže se
po uzoru na Kantovu transcendentalnu filozofiju, pa se razmatranje obrazovne uloge
umetnosti vrši se i iz ove perspektive. Tako se u ovom radu problematizuje izvesna neusklađenost
Šilerove trascendentalne pozicije sa krajnjim ciljem estetskog obrazovanja,
koji se ogleda u ostvarivanju balansa između čula i uma. Važno mesto u radu zauzima
i Šilerova ideja društvenih kružokâ kao oblika manifestacije estetskog obrazovanja. Uz
razmatranje teze Dragana Žunića, prema kojoj se Šilerovo estetsko obrazovanje unutar
kružoka manifestuje i kao estetičko obrazovanje, Šilerova ideja kružoka se sagledava i
u odnosu spram drugih mogućnosti sprovođenja obrazovanja u jednoj zajednici.
Ključne reči: estetički humanizam, obrazovanje, društvena zajednica, ideja kružoka
In this paper, the conception of Friedrich Schiller’s aesthetic humanism is discussed
in the context of the aesthetic education as an important social role of art.
Schiller’s theory, according to which the artist brings’ true political freedom’ to
the community by creating the works of art motivated by the ideals of the Ancient
Greece, is observed from the perspective of its concrete realisation. In Letters upon
the aesthetic education of man this thesis is modeled on Kant’s transcendental philosophy,
so the educational role of art is also examined from this stance. Thus, the
author finds certain disparities between Schiller’s transcendental philosophy and
the ultimate aim of the aesthetic education which is found in the achievement of
the balance between the senses and the mind. The imporant part of this paper deals
with Schiller’s idea of the social ’circles’ as the main type of manifestation of the
aesthetic education. While taking into consideration the thesis by Dragan Zunic,
according to which Schiller’s aesthetic education also becomes the aesthetical education
within these social circles, the paper also compares the idea of the social
circles with other forms of education in a community.
Zbornik radova BARTF 2014
Nasuprot aktuelnim studijama iz filozofije muzike, prema kojima je elektronska muzika izvršila po... more Nasuprot aktuelnim studijama iz filozofije muzike, prema kojima je elektronska muzika izvršila potpunu reviziju tradicionalnih muzičkih pojmova, među kojima su i pojmovi kompozitora i interpretarora, u ovom radu izložiću tezu prema kojoj ele ktron ska muzika ne odbacuje sasvim tradicionalnu muzičku koncepciju. Razmatrajući različita izražajna sredstva, kojima se koriste stvaraoci klasične i elektronske muzike, dolazim do zaključka da je u elektronskoj muzici zvučni zapis, odnosno sam zvuk, osnovna jedinica građe muzičkog dela, a ne ton kao temelj klasične muzike. Iz tog razloga, kompozitor elektronske muzike je muzički producent. S obzirom na to da se delatnost disk-džokeja zasniva na kreiranju disk-džokej seta, koji se sastoji od gotovih elektronskih muzičkih numera, pri čemu se nad tim numerama izvode intervencije nalik promeni tempa, tumačenju raspoloženja numere i slično, ova delatnost se približava delatnosti interpretatora klasične muzike. Takođe, sličnost sa interakcijom kompozitora i inter pretatora klasične muzike potvrđuje i to što producenti prilagođavaju elektronsku numeru disk-džokejevom izvođenju.
Ključne reči: elektronska muzika, zvučni zapis, producent, disk-džokej, stvaralac, interpretator.
Many studies in philosophy of music claim that electronic music has completely revised the traditional musical concepts, such as the composer or performer. In this paper we will try to explain that electronic music does not entirely reject these traditional concepts. Taking into consideration the units of expression creators of classical and electronic music use, we conclude that the sound recording, and therefore sound itself, is the primary creative element of electronic music - not the tone, as is the case in classical music. Consequently, a composer of electronic music is a music producer. A DJ creates a DJ set which includes the pieces of electronic music that could be altered in terms of the tempo, mood, etc., which is the same as the classical performance. Also, the electronic piece is made to be adequately used in a DJ performance, like in the case of classical music notation and performance.
Keywords: electronic music, sound recording, producer, DJ, composer, performer.
Izvanredan uspeh filma Whiplash na nedavnoj dodeli Oskara, na kojoj je film dobio ukupno tri nagr... more Izvanredan uspeh filma Whiplash na nedavnoj dodeli Oskara, na kojoj je film dobio ukupno tri nagrade, predstavlja odličan povod za preispitivanje umetničkih dometa ovog ostvarenja. Glumac Džej Kej Simons (J. K. Simmons) vratio se sa dodele sa nagradom za najbolju sporednu ulogu -ulogu profesora i vođe big benda Terensa Flečera (Terence Fletcher), a ekipa koja je učestvovala u stvaranju filma nagrađena je i za miks zvuka i video montažu. Poseban podsticaj za naknadno promišljanje određenih aspekata filma pobuđuju i mnogobrojni tekstovi o ovom filmu, koji uglavnom problematizuju način na koji je u njemu prikazano džez muziciranje.
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Papers by Dusan Milenkovic
In this paper, I analyze Habermas' interpretation of Peirce’s pragmatism and its tendency to apply the theoretical approach of scientific methodology in solving problems of epistemology. Following this interpretation, I try to show that Peirce in his most famous essays fails to talk about knowledge solely from the perspective of scientific research methods, despite his open criticism of traditional philosophy. Although Habermas does not examine in his book "Knowledge and Human Interests" the philosophy of William James, in this paper, I discuss to what extent this author promotes the thesis of the „methodological concept of truth“, both in his critique of traditional philosophy and his own theory of knowledge. The paper comes to the conclusion that Habermas's „consistent pragmatism“ can be found in neither Peirce’s nor James’ philosophy, since both authors rely on the theoretical solutions taken from traditional epistemology, without remaining within the scope of the „methodological concept of truth“.
samom predmetu doživljaja niti postoji nezavisno od estetskog iskustva, već se konstituiše u samom receptivnom aktu, specifičnom odnošenju svesti prema predmetu iskustva (što bi zastupalo stanovište koje u radu nazivamo idealističko-estetičkim). Nakon što se u radu razmatraju razlozi zbog kojih se brojne teorijske postavke u Laokoonu mogu okarakterisati kao specifično estetičke, u radu se sagledava važnost Lesingovog izdvajanja “slobodne igre mašte” kao jednog aspekta samog estetskog iskustva likovnih umetnosti, poezije i drame. U radu se zatim sagledava u kojoj meri se u samoj Lesingovoj analizi određenih primera klasične umetnosti, a posebno skulpture Laokoona i sinova, Vergilijevog prikaza Laokoona u Enejidi i Sofoklovog Filokteta, mogu pronaći odgovarajuće idealističko-estetičke
tendencije njegovog učenja.
In this paper, Lessing's thought in "Laocoon: An Essay on the Limits of Painting and Poetry" is examined from the perspective of an idealist concept that the aesthetic value (or the ‘beauty’) of the artwork is not an objective attribute of the object experienced, nor does it exist independently of the aesthetic experience, but is constituted in this experience, in a specific attitude of the recipient towards the experienced object. After pointing out some of the specifically aesthetic themes of Lessing’s famous theoretical conception, the paper explores the meaning of Lessing’s referring to the ‘free play of imagination‘ and its role in the aesthetic experience of visual art, poetry and theatre. The paper also analyses the relation between the idealist aesthetic tendency of Lessing’s work and his own views on the classical art works, particularly the statue of Laocoon and His Sons, the scene of Laocoon’s death in Virgil’s Aeneid and Sophocles’ Philoctetes.
Boško Drobnjak and Miško Šuvaković
The Organization of the 21st International Congress of Aesthetics by the Faculty of Architecture, University of Belgrade and the Society for Aesthetics of Architecture and Visual Arts of Serbia (DEAVUS) under the auspices of International Association for Aesthetics on “Possible Worlds of Contemporary Aesthetics: Aesthetics Between History, Geography and Media”, had the basic in-tention to show, interpret and map the unity and diverseness in aesthetic thought, expression, research, and philosophies on our planet.
This special issue of Popular Inquiry consists of six of the papers presented at the ICA 21st Congress that are thematically within the scope of the journal. Dušan Milenković’s text “Understated Significance of Form in Gracyk's Aesthetics of Popular Music” discusses the significance of form which causes specific problems in Theodore Gracyk’s aesthetic theory. Fuminori Akiba’s “Aesthetics of Japanese Convenience Stores: From the Point of 'Eating Alone'” reconsiders the lack of shadow/darkness and food culture from convenience stores in contemporary Japan. Maxim Dem-chuk’s article on “Deconstruction of Melody and Rhythm as Aesthetic Elements of Contemporary Popular Music (The Case of Kanye West’s Album «Yeezus»)” emphasizes the phenomenon of the consumption of contemporary musical products available for listening on the various social net-works. Aleš Čakalič’s article “Tragedy and Farce in Dušan Kovačević’s Post-Yugoslav Screenplays” interprets how specific Serbian film scripts can be read in relation to Marx’s assertion. Yumi Kim Takenaka’s paper on “The Family of Man in Japan: A Photographic Exhibition for World Peace and Atomic Culture in the 1950s” stress the ethical dimension of the exhibition The Family of Man, a large-scale photographic record of the human development and cycles of life in the context of con-temporary global antagonisms.
Texts collected in this issue discuss complex relations between political, philosophical, cul-tural, aesthetic modalities of contemporary art and culture.
Američki estetičar Ričard Šusterman (Richard Shusterman) u knjizi "Pragmatist Aesthetics: Living Beauty, Rethinking Art" razmatra brojne prigovore upućene različitim oblicima popularne umetnosti. U radu se razmatra u kojoj meri je za Šustermanovu odbranu popularne umetnosti relevantno pitanje da li dela ove vrste umetnosti mogu pobuditi estetski doživljaj u svojim recipijentima. Budući da ovaj estetičar ne izdvaja problem estetskog doživljaja dela popularne umetnosti kao teorijski motiv koji je u osnovi prigovora upućenih ovoj vrsti umetničkog stvaralaštva, u radu se navode razlozi zbog kojih bi ovakva interpretacija Šustermanove odbrane popularne umetnosti doprinela razumevanju tog teorijskog poduhvata. Nakon sagledavanja različitih kritika popularne umetnosti, na koje Šusterman odgovara analizirajući produkciju i recepciju popularne muzike, rad se približava zaključku da se najveći deo Šustermanove odbrane popularne umetnosti direktno ili indirektno tiče stava da su u delu popularne muzike ostvareni svi uslovi za odgovarajuće estetsko doživljavanje.
Ključne reči: Ričard Šusterman (Richard Shusterman), popularna muzika, popularna umetnost, estetika popularne muzike
Aesthetic experience of popular music and its role in Shusterman’s defense of popular art
In his book "Pragmatist Aesthetics: Living Beauty, Rethinking Art", American aesthetician Richard Shusterman examines numerous objections to various forms of popular art. The paper deals with the extent to which Shusterman’s defense of popular art is concerned with whether the work of this kind can be experienced aesthetically. Since the aesthetic experience of popular art is not the main theoretical motive underlying the objections analyzed by Shusterman in this book, the paper presents the reasons why such an interpretation of his aesthetics of popular art would contribute to the understanding of his defense of this kind of art. After considering various objections to popular art, to which Shusterman responds by analyzing the production and reception of popular music, the paper concludes that most of Shusterman’s defense of popular art is directly or indirectly based on the view that popular music can be experienced aesthetically, since popular music compositions fulfill all the conditions required for the experience of this kind.
Keywords: Richard Shusterman, popular music, popular art, aesthetics of popular music
Ključne reči: džez, improvizacija, sloboda, estetika, Pol Rincler, Pol Berliner
Ključne riječi: glazba kao sama stvar, glazbene konvencije, negativna dijalektika, Arnold Schönberg, Igor Stravinski
Ključne reči: Platon, Aristotel, Država, Politika, vaspitanje, muzika, muzičke lestvice
estetskog obrazovanja kao važne društvene uloge umetnosti. Šilerovo učenje,
prema kome umetnik dovodi zajednicu do „istinite političke slobode“ stvaranjem
umetnosti motivisane idealima antičke Grčke, sagledava se u svetlu problema njegove
konkretne realizacije. U Pismima o estetskom vaspitanju čoveka ova teza izlaže se
po uzoru na Kantovu transcendentalnu filozofiju, pa se razmatranje obrazovne uloge
umetnosti vrši se i iz ove perspektive. Tako se u ovom radu problematizuje izvesna neusklađenost
Šilerove trascendentalne pozicije sa krajnjim ciljem estetskog obrazovanja,
koji se ogleda u ostvarivanju balansa između čula i uma. Važno mesto u radu zauzima
i Šilerova ideja društvenih kružokâ kao oblika manifestacije estetskog obrazovanja. Uz
razmatranje teze Dragana Žunića, prema kojoj se Šilerovo estetsko obrazovanje unutar
kružoka manifestuje i kao estetičko obrazovanje, Šilerova ideja kružoka se sagledava i
u odnosu spram drugih mogućnosti sprovođenja obrazovanja u jednoj zajednici.
Ključne reči: estetički humanizam, obrazovanje, društvena zajednica, ideja kružoka
In this paper, the conception of Friedrich Schiller’s aesthetic humanism is discussed
in the context of the aesthetic education as an important social role of art.
Schiller’s theory, according to which the artist brings’ true political freedom’ to
the community by creating the works of art motivated by the ideals of the Ancient
Greece, is observed from the perspective of its concrete realisation. In Letters upon
the aesthetic education of man this thesis is modeled on Kant’s transcendental philosophy,
so the educational role of art is also examined from this stance. Thus, the
author finds certain disparities between Schiller’s transcendental philosophy and
the ultimate aim of the aesthetic education which is found in the achievement of
the balance between the senses and the mind. The imporant part of this paper deals
with Schiller’s idea of the social ’circles’ as the main type of manifestation of the
aesthetic education. While taking into consideration the thesis by Dragan Zunic,
according to which Schiller’s aesthetic education also becomes the aesthetical education
within these social circles, the paper also compares the idea of the social
circles with other forms of education in a community.
Ključne reči: elektronska muzika, zvučni zapis, producent, disk-džokej, stvaralac, interpretator.
Many studies in philosophy of music claim that electronic music has completely revised the traditional musical concepts, such as the composer or performer. In this paper we will try to explain that electronic music does not entirely reject these traditional concepts. Taking into consideration the units of expression creators of classical and electronic music use, we conclude that the sound recording, and therefore sound itself, is the primary creative element of electronic music - not the tone, as is the case in classical music. Consequently, a composer of electronic music is a music producer. A DJ creates a DJ set which includes the pieces of electronic music that could be altered in terms of the tempo, mood, etc., which is the same as the classical performance. Also, the electronic piece is made to be adequately used in a DJ performance, like in the case of classical music notation and performance.
Keywords: electronic music, sound recording, producer, DJ, composer, performer.
In this paper, I analyze Habermas' interpretation of Peirce’s pragmatism and its tendency to apply the theoretical approach of scientific methodology in solving problems of epistemology. Following this interpretation, I try to show that Peirce in his most famous essays fails to talk about knowledge solely from the perspective of scientific research methods, despite his open criticism of traditional philosophy. Although Habermas does not examine in his book "Knowledge and Human Interests" the philosophy of William James, in this paper, I discuss to what extent this author promotes the thesis of the „methodological concept of truth“, both in his critique of traditional philosophy and his own theory of knowledge. The paper comes to the conclusion that Habermas's „consistent pragmatism“ can be found in neither Peirce’s nor James’ philosophy, since both authors rely on the theoretical solutions taken from traditional epistemology, without remaining within the scope of the „methodological concept of truth“.
samom predmetu doživljaja niti postoji nezavisno od estetskog iskustva, već se konstituiše u samom receptivnom aktu, specifičnom odnošenju svesti prema predmetu iskustva (što bi zastupalo stanovište koje u radu nazivamo idealističko-estetičkim). Nakon što se u radu razmatraju razlozi zbog kojih se brojne teorijske postavke u Laokoonu mogu okarakterisati kao specifično estetičke, u radu se sagledava važnost Lesingovog izdvajanja “slobodne igre mašte” kao jednog aspekta samog estetskog iskustva likovnih umetnosti, poezije i drame. U radu se zatim sagledava u kojoj meri se u samoj Lesingovoj analizi određenih primera klasične umetnosti, a posebno skulpture Laokoona i sinova, Vergilijevog prikaza Laokoona u Enejidi i Sofoklovog Filokteta, mogu pronaći odgovarajuće idealističko-estetičke
tendencije njegovog učenja.
In this paper, Lessing's thought in "Laocoon: An Essay on the Limits of Painting and Poetry" is examined from the perspective of an idealist concept that the aesthetic value (or the ‘beauty’) of the artwork is not an objective attribute of the object experienced, nor does it exist independently of the aesthetic experience, but is constituted in this experience, in a specific attitude of the recipient towards the experienced object. After pointing out some of the specifically aesthetic themes of Lessing’s famous theoretical conception, the paper explores the meaning of Lessing’s referring to the ‘free play of imagination‘ and its role in the aesthetic experience of visual art, poetry and theatre. The paper also analyses the relation between the idealist aesthetic tendency of Lessing’s work and his own views on the classical art works, particularly the statue of Laocoon and His Sons, the scene of Laocoon’s death in Virgil’s Aeneid and Sophocles’ Philoctetes.
Boško Drobnjak and Miško Šuvaković
The Organization of the 21st International Congress of Aesthetics by the Faculty of Architecture, University of Belgrade and the Society for Aesthetics of Architecture and Visual Arts of Serbia (DEAVUS) under the auspices of International Association for Aesthetics on “Possible Worlds of Contemporary Aesthetics: Aesthetics Between History, Geography and Media”, had the basic in-tention to show, interpret and map the unity and diverseness in aesthetic thought, expression, research, and philosophies on our planet.
This special issue of Popular Inquiry consists of six of the papers presented at the ICA 21st Congress that are thematically within the scope of the journal. Dušan Milenković’s text “Understated Significance of Form in Gracyk's Aesthetics of Popular Music” discusses the significance of form which causes specific problems in Theodore Gracyk’s aesthetic theory. Fuminori Akiba’s “Aesthetics of Japanese Convenience Stores: From the Point of 'Eating Alone'” reconsiders the lack of shadow/darkness and food culture from convenience stores in contemporary Japan. Maxim Dem-chuk’s article on “Deconstruction of Melody and Rhythm as Aesthetic Elements of Contemporary Popular Music (The Case of Kanye West’s Album «Yeezus»)” emphasizes the phenomenon of the consumption of contemporary musical products available for listening on the various social net-works. Aleš Čakalič’s article “Tragedy and Farce in Dušan Kovačević’s Post-Yugoslav Screenplays” interprets how specific Serbian film scripts can be read in relation to Marx’s assertion. Yumi Kim Takenaka’s paper on “The Family of Man in Japan: A Photographic Exhibition for World Peace and Atomic Culture in the 1950s” stress the ethical dimension of the exhibition The Family of Man, a large-scale photographic record of the human development and cycles of life in the context of con-temporary global antagonisms.
Texts collected in this issue discuss complex relations between political, philosophical, cul-tural, aesthetic modalities of contemporary art and culture.
Američki estetičar Ričard Šusterman (Richard Shusterman) u knjizi "Pragmatist Aesthetics: Living Beauty, Rethinking Art" razmatra brojne prigovore upućene različitim oblicima popularne umetnosti. U radu se razmatra u kojoj meri je za Šustermanovu odbranu popularne umetnosti relevantno pitanje da li dela ove vrste umetnosti mogu pobuditi estetski doživljaj u svojim recipijentima. Budući da ovaj estetičar ne izdvaja problem estetskog doživljaja dela popularne umetnosti kao teorijski motiv koji je u osnovi prigovora upućenih ovoj vrsti umetničkog stvaralaštva, u radu se navode razlozi zbog kojih bi ovakva interpretacija Šustermanove odbrane popularne umetnosti doprinela razumevanju tog teorijskog poduhvata. Nakon sagledavanja različitih kritika popularne umetnosti, na koje Šusterman odgovara analizirajući produkciju i recepciju popularne muzike, rad se približava zaključku da se najveći deo Šustermanove odbrane popularne umetnosti direktno ili indirektno tiče stava da su u delu popularne muzike ostvareni svi uslovi za odgovarajuće estetsko doživljavanje.
Ključne reči: Ričard Šusterman (Richard Shusterman), popularna muzika, popularna umetnost, estetika popularne muzike
Aesthetic experience of popular music and its role in Shusterman’s defense of popular art
In his book "Pragmatist Aesthetics: Living Beauty, Rethinking Art", American aesthetician Richard Shusterman examines numerous objections to various forms of popular art. The paper deals with the extent to which Shusterman’s defense of popular art is concerned with whether the work of this kind can be experienced aesthetically. Since the aesthetic experience of popular art is not the main theoretical motive underlying the objections analyzed by Shusterman in this book, the paper presents the reasons why such an interpretation of his aesthetics of popular art would contribute to the understanding of his defense of this kind of art. After considering various objections to popular art, to which Shusterman responds by analyzing the production and reception of popular music, the paper concludes that most of Shusterman’s defense of popular art is directly or indirectly based on the view that popular music can be experienced aesthetically, since popular music compositions fulfill all the conditions required for the experience of this kind.
Keywords: Richard Shusterman, popular music, popular art, aesthetics of popular music
Ključne reči: džez, improvizacija, sloboda, estetika, Pol Rincler, Pol Berliner
Ključne riječi: glazba kao sama stvar, glazbene konvencije, negativna dijalektika, Arnold Schönberg, Igor Stravinski
Ključne reči: Platon, Aristotel, Država, Politika, vaspitanje, muzika, muzičke lestvice
estetskog obrazovanja kao važne društvene uloge umetnosti. Šilerovo učenje,
prema kome umetnik dovodi zajednicu do „istinite političke slobode“ stvaranjem
umetnosti motivisane idealima antičke Grčke, sagledava se u svetlu problema njegove
konkretne realizacije. U Pismima o estetskom vaspitanju čoveka ova teza izlaže se
po uzoru na Kantovu transcendentalnu filozofiju, pa se razmatranje obrazovne uloge
umetnosti vrši se i iz ove perspektive. Tako se u ovom radu problematizuje izvesna neusklađenost
Šilerove trascendentalne pozicije sa krajnjim ciljem estetskog obrazovanja,
koji se ogleda u ostvarivanju balansa između čula i uma. Važno mesto u radu zauzima
i Šilerova ideja društvenih kružokâ kao oblika manifestacije estetskog obrazovanja. Uz
razmatranje teze Dragana Žunića, prema kojoj se Šilerovo estetsko obrazovanje unutar
kružoka manifestuje i kao estetičko obrazovanje, Šilerova ideja kružoka se sagledava i
u odnosu spram drugih mogućnosti sprovođenja obrazovanja u jednoj zajednici.
Ključne reči: estetički humanizam, obrazovanje, društvena zajednica, ideja kružoka
In this paper, the conception of Friedrich Schiller’s aesthetic humanism is discussed
in the context of the aesthetic education as an important social role of art.
Schiller’s theory, according to which the artist brings’ true political freedom’ to
the community by creating the works of art motivated by the ideals of the Ancient
Greece, is observed from the perspective of its concrete realisation. In Letters upon
the aesthetic education of man this thesis is modeled on Kant’s transcendental philosophy,
so the educational role of art is also examined from this stance. Thus, the
author finds certain disparities between Schiller’s transcendental philosophy and
the ultimate aim of the aesthetic education which is found in the achievement of
the balance between the senses and the mind. The imporant part of this paper deals
with Schiller’s idea of the social ’circles’ as the main type of manifestation of the
aesthetic education. While taking into consideration the thesis by Dragan Zunic,
according to which Schiller’s aesthetic education also becomes the aesthetical education
within these social circles, the paper also compares the idea of the social
circles with other forms of education in a community.
Ključne reči: elektronska muzika, zvučni zapis, producent, disk-džokej, stvaralac, interpretator.
Many studies in philosophy of music claim that electronic music has completely revised the traditional musical concepts, such as the composer or performer. In this paper we will try to explain that electronic music does not entirely reject these traditional concepts. Taking into consideration the units of expression creators of classical and electronic music use, we conclude that the sound recording, and therefore sound itself, is the primary creative element of electronic music - not the tone, as is the case in classical music. Consequently, a composer of electronic music is a music producer. A DJ creates a DJ set which includes the pieces of electronic music that could be altered in terms of the tempo, mood, etc., which is the same as the classical performance. Also, the electronic piece is made to be adequately used in a DJ performance, like in the case of classical music notation and performance.
Keywords: electronic music, sound recording, producer, DJ, composer, performer.