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.
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The new art had become an art for selected individuals, an elite game in which each player was on his own. Other styles in art should be considered in the context of dramatic social and political movements or deep religious and philosophical currents. 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.
Programmatically, it assumes a departure from the dead canons of the past and the elevation of man above his human dimension, detaching him from reality by means of its conscious deformation.
Bunt mas i inne pisma socjologiczne
Gadamer, Prawda i metoda…, op. The experience of art becomes a personal challenge for the individual, who decides either to submit to the new rules of the game, or, as Ortega y Gasset said, rejects the new oisma incomprehensible art. 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. A game deeply engages its socjologicne, and thus changes their perception of the world; the colloquial perception of reality max, in the experience of art, suspended.
Contemporary artists broke away from the art of the past because a new type of viewer had appeared. We believe that comparison and 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.
Bunt mas i inne pisma socjologiczne by José Ortega y Gasset
Gadamer, Estetyka i hermeneutyka, op. Gadamer, Estetyka i hermeneutyka [Aesthetics and hermeneutics] in: Art had become a hermetic experience, accessible only to the chosen few. The third element of the definition proposed by Gadamer, festival, encompasses and expresses all of the above- mentioned elements of the experience of art.
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Thus there is no more historical continuity of style; the achievements of tradition have been suspended, and simple references to human reality are no longer functional. It is not an elite phenomenon, designed for a narrow audience, but rather seizes the attention of viewers in the form of a sensation of authenticity, which is always current and modern. Metaphor and the concept of taboo are closely linked: Thus, hermeneutics encompasses aesthetics.
The meaning of the new art appeared, therefore, at the moment of recognition of the purely aesthetic value of the work. 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. Gadamer, Prawda i metoda. An outline of philosophical hermeneutics], B.
Skip to main content. Art turns out to be a mysterious game of revealing and concealing meanings.
ine Similarities and differences are pointed out in their assessments of the situation of contemporary art, its nature and function.
An extremely difficult task lay before the artist: Contemporary art was supposed to create new entities, aesthetic objects that lived in the objective space of the artistic world, which differed from physical and psychological reality.
An outline of philosophical hermeneutics] B. It ceased to be an experience bearing the hallmarks of universality: Metaphor was, at the same time, another essential feature of dehumanised art.
Selected essays], Warsaw This, in our opinion, was the approach of both Gadamer and Ortega y Gasset. At that time, the status of the artist changed, art changed, and the viewer changed as well.
Discreet messages are spoken quietly, 1 See. Truth in hermeneutics is dynamic and fluid, much like man, who is a finite being, entangled in history, tradition, and events.
Traditional art, loaded with humanising elements, had been depleted, heavy, pathetic and serious.
The new art began to operate mainly through irony, which often took the form of self-mockery. Ortega y Gasset drew attention to the advancing process of elitarisation of the new art, which, in the moment of crisis of the traditional aesthetic values of democratic, egalitarian societies, was its only salvation.
The basis of this radical social effect of art in the first decades of the twentieth century was, first and foremost, the break with tradition.
Ortega y Gasset saw the new art as a kind of intellectual entertainment for selected individuals who undertook the solitary trouble of understanding it. Thus, metaphor was a socjologicnze means of meeting an artistic need to flee from reality in the first decades of the twentieth century.
The symbolic nature of art means that the process of its interpretation is infinite and inexhaustible.