The basic idea of this discussion may roughly be summarized in the following author's thesis:... more The basic idea of this discussion may roughly be summarized in the following author's thesis: “The primary task of aesthetics is not to formulate and propose aesthetic norms, but conceptually prepare the conditions for the development of such norms and their acceptance in practice”. The central part of the discussion is dedicated to the logical reasons why absolute normativeness in aesthetics is impossible, and how the only possible normativeness is the relatively “soft” one which has many unwanted side effects for both aesthetics and art. The analysis of these effects leads the author to the conclusion that aesthetics encounters problems whenever it is directly faced with integral and complex artistic reality, when trying to directly standardise the artistic future, and when striving to be directly beneficial to art. More than enough grounds for thought can be found in this ascertainment that the direct involvement of aesthetics in artistic practice will always be optimum for b...
Eseji v tej knjigi so izšli iz referatov, ki so jih njihovi avtorji predstavili na istoimenskem s... more Eseji v tej knjigi so izšli iz referatov, ki so jih njihovi avtorji predstavili na istoimenskem simpoziju »Likovno / Vizualno«, ki se je 11. in 12. maja 2011 odvijal v Mestnem muzeju v Ljubljani. Globinska inspiracija simpozija je bil podnaslov likovnoteoretske monografije »Slikarsko mišljenje« prof. dr. Milana Butine iz leta 1984, ki se glasi Od vizualnega k likovnemu. Je podnaslov dandanes, ko se je področje umetnosti z uvajanjem novih konceptov, novih umetniških praks in novomedijskih tehnologij močno razširilo, še tako relevanten, kakor se je kazal tri dekade nazaj? Je njegova vektorska usmeritev enako samoumevna kot je bila? Sta vizualno in likovno še vedno povezana na način »baze« in »nadstavbe« ali pa nekdanja samoumevnost namesto prihodnostnih ponuja le še iritacijske potenciale? Bi ne bilo likovne umetnosti danes ustrezneje preimenovati v vizualno? Sta likovna in vizualna umetnost sinonima ali je treba začeti govoriti o likovni in vizualni umetnosti kot o dveh samostojnih i...
The fundamental question discussed by the author in this paper is whether communication by means ... more The fundamental question discussed by the author in this paper is whether communication by means of pictorial (visual) signs, especially those produced by the visual arts, supposes, as does verbal communication, a special semiological competence, and if it does, what kind. On the basis of an analysis of relations between the signified and the signifier in iconic artistic signs, the author shows that an iconic artistic sign has two fundamental levels of meaning: referential and formal. The first focuses attention on the signified object; the second, on the inventiveness and morphological complexity of its sign articulation. The first level is automatically accessible through spontaneous visual experience, while the second level can only be activated by metapictorial (artistic) competence, which is defined by the author as the ability to recognize the creative formative aspects of a sign form and their structural correlations.
The basic idea of this discussion may roughly be summarized in the following author's thesis:... more The basic idea of this discussion may roughly be summarized in the following author's thesis: “The primary task of aesthetics is not to formulate and propose aesthetic norms, but conceptually prepare the conditions for the development of such norms and their acceptance in practice”. The central part of the discussion is dedicated to the logical reasons why absolute normativeness in aesthetics is impossible, and how the only possible normativeness is the relatively “soft” one which has many unwanted side effects for both aesthetics and art. The analysis of these effects leads the author to the conclusion that aesthetics encounters problems whenever it is directly faced with integral and complex artistic reality, when trying to directly standardise the artistic future, and when striving to be directly beneficial to art. More than enough grounds for thought can be found in this ascertainment that the direct involvement of aesthetics in artistic practice will always be optimum for b...
Eseji v tej knjigi so izšli iz referatov, ki so jih njihovi avtorji predstavili na istoimenskem s... more Eseji v tej knjigi so izšli iz referatov, ki so jih njihovi avtorji predstavili na istoimenskem simpoziju »Likovno / Vizualno«, ki se je 11. in 12. maja 2011 odvijal v Mestnem muzeju v Ljubljani. Globinska inspiracija simpozija je bil podnaslov likovnoteoretske monografije »Slikarsko mišljenje« prof. dr. Milana Butine iz leta 1984, ki se glasi Od vizualnega k likovnemu. Je podnaslov dandanes, ko se je področje umetnosti z uvajanjem novih konceptov, novih umetniških praks in novomedijskih tehnologij močno razširilo, še tako relevanten, kakor se je kazal tri dekade nazaj? Je njegova vektorska usmeritev enako samoumevna kot je bila? Sta vizualno in likovno še vedno povezana na način »baze« in »nadstavbe« ali pa nekdanja samoumevnost namesto prihodnostnih ponuja le še iritacijske potenciale? Bi ne bilo likovne umetnosti danes ustrezneje preimenovati v vizualno? Sta likovna in vizualna umetnost sinonima ali je treba začeti govoriti o likovni in vizualni umetnosti kot o dveh samostojnih i...
The fundamental question discussed by the author in this paper is whether communication by means ... more The fundamental question discussed by the author in this paper is whether communication by means of pictorial (visual) signs, especially those produced by the visual arts, supposes, as does verbal communication, a special semiological competence, and if it does, what kind. On the basis of an analysis of relations between the signified and the signifier in iconic artistic signs, the author shows that an iconic artistic sign has two fundamental levels of meaning: referential and formal. The first focuses attention on the signified object; the second, on the inventiveness and morphological complexity of its sign articulation. The first level is automatically accessible through spontaneous visual experience, while the second level can only be activated by metapictorial (artistic) competence, which is defined by the author as the ability to recognize the creative formative aspects of a sign form and their structural correlations.
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