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Philosophical Thought
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MAIN PAGE > Journal "Philosophical Thought" > Rubric "Philosophy and art"
Philosophy and art
Skorkin O.A. - The Dialogue Between the Artist and the Viewer pp. 15-38

DOI:
10.7256/2306-0174.2014.6.12575

Abstract: Since antiquity and up to now philosophers, art critics, critics, didn't ignore the problem of the viewer in art, its role and value for the artist, process of perception of a work of art, mechanisms of its interpretation by the viewer. Both art creativity, and art perception is caused by sociohistorical prerequisites.What viewer in the field of art video? The modern viewer is a user, the client, the observer, the accomplice, the coauthor? What place of the viewer in art in general from the point of view of various philosophies and socio-political systems? In the history of the art, the change which have recorded process of art styles and graphic systems throughout centuries, the XX century is considered as absolutely special period. This century generated such quantity of various directions, made so many experiments with visual perception, so legalized use of "others" receptions that the artist of our time is faced by a choice problem – in what graphic system to work, what "language" to speak with the viewer. It would seem, the artist is in a situation of a full freedom of choice of graphic language: no official doctrine prevails over it; there are no ordering instructions from above; the range of the directions is wide and various. And, nevertheless, never the artist was so we depend: it is more, than ever, it depends on the viewer, on his readiness to perceive and understand this graphic language. The phenomenological analysis of processes of perception meets extremely seldom, and art perception especially. The author believes that between the ontologic bases of a work of art (on Gadamera – game, a symbol and a holiday) and culture of time and space of its creation the steady set of meanings and the valuable orientations which part is quite often bared in dialogue of the artist and the viewer settles down. It caused a phenomenological view of a work of art in dialogue of the artist and the viewer. Between ordinary and art perception there is a considerable distinction. Picture – not only the image of that is available to a look, but also realization in a visible form of representations of the world and of a place of the person in this world. The artist possesses special perception – the surprise, unpredictability, novelty. And, besides, language of the fine arts doesn't remain to the same, as a century ago, at least because the world picture promptly changes – the Internet, the cellular communication, new technologies cardinally changed perception of time, space, speed.Language of the fine arts can and has to change owing to new forms of communication – performance, installation, a happening. But how? How to combine tradition and experiment? How to make active a field where the art perception will have an adequate spectator response? How there is that actual context in which the artist and the viewer enter fruitful interaction? On the example of notes to works and/or during an open dialogue with the audience the author answers many questions reflecting the author's position and at the same time gives us a chance to interpret his artwork in many different ways. 
Faritov V.T. - Philosophy of Time and Land in the Lyrics of Maximilian Voloshin pp. 112-132

DOI:
10.7256/2409-8728.2015.11.1695

Abstract: The subject of study of the proposed article is philosophical aspects of poetry Voloshin. Main attention is focusing on the problem of time, history, and the matter of land in the philosophical and poetic world of the poet. The study shows the relationship of philosophical motives lyric Voloshin with such thinkers as Deleuze, Derrida, R. Steiner, Heraclitus and Thales. Particular attention is given to identifying parallels views Voloshin with the philosophical ideas of Nietzsche. The article uses the basic methodological principles and guidelines of the philosophical analysis of a literary text, comparative literature, and deconstruction. The main contribution of the author's research theme is the philosophical analysis of the images, concepts poetic world Voloshin as time, a moment, the trail wound, sign, scroll, matter and earth. The novelty of the research lies in the explication of the idea of eternal return Nietzsche in the philosophical world of the poet.
Popov E.A. - Art within the interdisciplinary correlation of sciences and knowledge: philosophy, culturology, sociology, ethnology, anthropology, and history of art pp. 135-149

DOI:
10.7256/2409-8728.2015.12.1749

Abstract: The object of this research is the diversified and expressive phenomenon of the art. The author suggests examining art as a complex phenomenon that requires reflection from the side of various scientific disciplines of the socio-humanitarian type. The specificity of art allows almost all disciplines to join the research, however the most potential have the following sciences: philosophy, culture, culturology, sociology, ethnology, anthropology, and history of art. A systemic approach serves as the main direction for this research, which allows demonstrating the examined object within the correlation of culture, society, and human. Among the main conclusions lie the following positions: 1) the art has to be viewed on the interdisciplinary level, which significantly increases capability of deeper and more comprehensive study of this phenomena; 2) within the framework of various sciences and knowledge, there has to be established a unified theoretical-methodological strategy of studying art.
Demenev D.N. - Some Aspects of the Dialectic Process of Creating an Art Painting pp. 150-185

DOI:
10.7256/2306-0174.2014.9.13549

Abstract: As to consider all dialectics of art as process in works of similar volume it is impossible in principle, the author, in the research, allocates only some aspects of a dialektichnost of art creativity, on the example of creation of a work of painting. In the first section, the author considers dialectics of art as result of interaction of various polar forces, systems, the phenomena. In the second section, art creativity as the developing process in which basis such law of dialectics as "transition of quantity to quality" lies is investigated. In the third section, the author argues on dialectics directly of a work of art as about complete, integrated, ideal and material education where spiritual (outlook of the artist) has an opportunity to prove through material (through picture form and content), that is it is especially evident. The third section is devoted to dialectics sensual and rational, as one of characteristic features of the dual nature of the artist. Methodological base of research is the method of the structurally functional analysis; dialectic method; method of a germenevtichesky reduction; method of intellectual speculation, and also general scientific (general-logical) methods: analysis, synthesis, induction, deduction, analogy, modeling. The research of these aspects conducted by the author allowed it to draw the following conclusions:In continuously moving, changeable formation of "fabric" of a work of painting, process of its development as continuous emergence something essentially new and irreversible in it is objectively realized.Each subsequent stage of development of the artist as the realizing individual, finds for him, hidden and invisible before, but now acquired, and from that the steps of his ascension becoming invaluable and, together with them, fixed "levels" of the untwisted spiral of his creativity. The work of art is a complete, integrated, ideal and material formation where spiritual (outlook of the artist) has an opportunity to prove through material (through picture form and content), that is is especially evident (by means of artistic images). As a result, it is necessary to record, characteristic for art process, the fact of transformation (transition) of conscious world outlook installation (idea of the life) through energy of the creative act – in an art product, in its form and its contents.Data of sensual level is an important initial material in which the artist receives information for the subsequent artly - creative processing. This initial, sensual and emotional material, as a result of rational activity is acquired and entirely appropriated by reason, forming the sensual and rational base for process of creation of a work of painting.It is necessary to state, as the creator, both the process of creation and the result are the dialectics of art creativity. 
Sineokii O.V. - Hungarian Rock Music in the Global Recording Space of the Twentieth Century (The Philosophical-Cultural Reflection) pp. 208-249

DOI:
10.7256/2409-8728.2015.2.14670

Abstract: Phonographic heritage is seen as a communication system in Eastern Europe and as a subsystem of audiovisual culture which is the object of study. The subject of this study is the history of the national rock as a sociodynamic factor in the development of communications in the field of music recording in the Hungarian People's Republic. The author of the article defines the place and the role of the Hungarian rock music in the field of recording. The author describes in detail the system of recording of communications in the socialist era of Hungary. Particular attention is paid to the analysis of recording artifacts, in partiular, gramophone records with rock music. The methodological basis of the article involves a systems method because the study is based on a synthesis of different views in social-humanities sciences on the phenomenon of musical recording. The priorities of scientific research are the comparative-historical methodology and philosophical-anthropological analysis. The author concludes that rock music actually became the unofficial center of a special sociocommunication system centered in Hungary just like in other countries of the «Eastern block» and formed a youth musical subculture. The novelty of the research is caused by the fact that the author establishes the basic elements of Hungarian record communication related to the state company «Magyar Hanglemezgyártó Vállalat – Hungaroton» with several trademarks «Pepita», «Start», «Bravo», «Favorit», «Krém», «Qualiton» which today has acquired a special nostalgic cultural status.
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