W. Madej, (Warsaw ); J. Ortega y Gasset, “Rozmyślania o technice” [in:] Bunt mas i inne pisma socjologiczne, transl. P. Niklewicz (Warsaw ). Ortega y Gasset, J. Bunt mas i inne pisma socjologiczne. Warsaw: PWN. Rosenbaum, B. and Sonne, H. Det er et band der taler: Analysis of. Read the latest magazines about Socjologiczne and discover magazines on Jose Ortega y Gasset BUNT MAS I INNE PISMA SOCJOLOGICZNE.
|Published (Last):||7 April 2010|
|PDF File Size:||18.21 Mb|
|ePub File Size:||9.72 Mb|
|Price:||Free* [*Free Regsitration Required]|
Ortega y Gasset sees in art a form of entertainment for the elite, operating, as it were, on the edge of everyday human activities. The festival concept also emphasises, above all, the exceptional possibilities of socjokogiczne integration of art: Cichowicz introductionWarsawp. Festival of Art or Crisis of Art? Introduction In undertaking an attempt at philosophical reflections on contemporary art today, it is impossible to ignore the changes that took place in human artistic activity in the late nineteenth and early twentieth centuries in Europe.
It is thus connected with the disappearance of the socjklogiczne of communication and of methods for the manifestation of truth in works of art.
This flight was a departure from the traditional imitation of reality, in order to create new forms that, as Ortega y Gasset would say, were as dissimilar as possible to the fragments of human reality: Therefore, Ortega y Gasset considered the examination of art from a sociological point of view to be a useful tool for understanding the phenomenon of contemporary art.
The cognitive value of the new art was based on meanings that were no longer simply a way to recognise a work based on the similarity of its content to reality, as was the case in traditional art.
Becoming acquainted with the rules of the game of the new art was, for Ortega y Gasset, essential. As a result, nonfigurative art appeared, making no attempt to respond to usual expectations of the image, and evoking shock and feelings of alienation from its viewers.
Bunt mas i inne pisma socjologiczne by José Ortega y Gasset
Szkice wybrane [Reason, word, history. Thus, hermeneutics encompasses aesthetics. Thus there is no mqs historical continuity of style; the achievements of tradition have been suspended, and simple references to human reality are no longer functional.
Cichowicz introductionWarsaw Here, it is worth adding that the basic premise of this reflection is that the reception of art is directed by the sense of expectation. These considerations concerning contemporary art lead to the conclusion that neither philosopher has any doubt about art being an intellectual experience, expanding the cognitive horizon of the individual.
The new art began to operate mainly through irony, which often took the form of self-mockery. The end of traditional art irrevocably closed a certain chapter in the history of human artistic activity, but it also opened completely new horizons. However, it is necessary to make an effort to benefit from what art offers. What ended irrevocably was the art of the past.
The specificity of the language is based primarily on the fact that art speaks to the viewers in a very powerful way; the sense of the truth of a work of art, though never fully expressible, appears as if obvious.
Selected essays], Warsaw Contemporary artists broke away from the art of the past because a new type of viewer had appeared.
Selected essays], Warsawp. At the same time, there is still no answer to the question of whether the changes which have taken place in art have led to its rebirth in a completely new form or to a crisis. For Ortega y Gasset, art was one of the most significant sociocreative factors: Gadamer, Hans-Georg, Koniec sztuki?
Bunt mas i inne pisma socjologiczne
Dehumanised art is the art of intellectual pleasure, a game based on the concepts of irony and metaphor. At the same time this is not the truth we deal with in modern science; it is not a question of so-called objective truth or about reaching inn specific unappealable meaning.
The viewer, for his part, had changed his attitude to contemporary art because it had departed radically from the artistic canons of the past. Help Center Find new research papers in: Ortega y Gasset identified this aesthetic object of the new art with a metaphoric object.
Importantly, however, the dehumanising metaphor was not merely a decorative tool or a highlighted element of the reality being presented. A game deeply engages its participants, and thus changes their perception of the world; the colloquial perception of reality is, in the experience of art, suspended.
This tradition had created, in his opinion, a community of mutual understanding and agreement, associated with intelligibility and openness transmitted by the content of the art, 1 constructing a common myth that rendered the truth embodied in the works easily accessible. The role of not only the modern audience, but also the entire set of critics and aestheticians, is to respond creatively to the challenges art poses us.
The new art, in his view, was antipopular by definition: Gadamer, Estetyka i hermeneutyka, op. Similarly, the true experience of art means taking a work as modern and up to date, and its truth as present.
The polarisation of society and the negation of the unifying ideals of socjklogiczne art had therefore become the tangible results of the activity of contemporary artists. Therefore, Ortega y Gasset wrote of two arts, radically different from each other, causing the rift between past and present to become enormous. There is no place here for the acquisition of knowledge, only for a never-ending process of dialogue. We believe that comparison bun analysis of these partly congruent, partly conflicting proposals may prove to be of cognitive value and to provide useful tools for the further study of contemporary art.