Suvremena umjetnost izgubila je svoju likovnost, a ostala joj je samo vizualnost. S druge strane, prijelaz od likovne moderne ka nelikovnoj suvremenoj umjetnosti donio je i mnogo novosti; jedna od njih je tzv. ‘probijanje četvrtog zida’. Radi se o kazališnom terminu koji označava trenutak kada se gledatelj na neki način interaktivno uključuje u predstavu, a likovi pokazuju svijest da su likovi u predstavi. Upravo će suvremena umjetnost istraživati postupke brisanja granica između umjetničkog i svakodnevnog čina, sugerirajući (...) kako »sve je umjetnost« i »svaki čovjek je umjetnik«. Novo je doba donijelo otuđenost javnosti od znanosti i umjetnosti, ali i nova filozofska tumačenja medijskog krajolika i hiperrealnosti postmoderne. Hiperrealne postaju i digitalne igre, od kojih se neke temelje upravo na rušenju »četvrtog zida«. Zbunjene reakcije na tehniku rušenja »četvrtog zida« variraju u rasponu od verbalnih reakcija na performance, preko previše doslovnog shvaćanja filmova pa sve do tragičnih nesreća, čak i samoubojstava povezanih s određenim digitalnim igrama. To da stvarnost oponaša hiperstvarnost postalo je uobičajeno, ali otvorilo se i pitanje: može li suvremeni pojedinac s time izaći na kraj? Modern art has lost its artistic character; only its visual aspect remains. On the other hand, the transition from modern fine arts towards non visual contemporary art has brought a great deal of novelties; one of these is “breaking the fourth wall”. This is a theatre term referring to moments when viewers become interactively involved in a play, and the characters become aware that they are characters in a play. Modern art has explored processes by which the border between artistic acts and everyday acts is erased, suggesting that “everything is art” and “every man is an artist”. The new era has caused the public to become alienated from science and the arts, but has also provided new philosophical interpretations of media landscapes and the hypperealism of the post-modern. Digital games are also becoming hyperrealistic, and some of these are founded on demolishing the “fourth wall”. Confused reactions to techniques of breaking the “fourth wall” vary from verbal reactions to a performance and excessively literal perceptions of film to tragic accidents or even suicides connected with particular digital games. Hyperreality mimicking reality has become commonplace, however the question arises: can the modern individual deal with this? (shrink)

Modern art has lost its artistic character; only its visual aspect remains. On the other hand, the transition from modern fine arts towards non visual contemporary art has brought a great deal of novelties; one of these is “breaking the fourth wall”. This is a theatre term referring to moments when viewers become interactively involved in a play, and the characters become aware that they are characters in a play. Modern art has explored processes by which the border between artistic (...) acts and everyday acts is erased, suggesting that “everything is art” and “every man is an artist”. The new era has caused the public to become alienated from science and the arts, but has also provided new philosophical interpretations of media landscapes and the hypperealism of the post-modern. Digital games are also becoming hyperrealistic, and some of these are founded on demolishing the “fourth wall”. Confused reactions to techniques of breaking the “fourth wall” vary from verbal reactions to a performance and excessively literal perceptions of film to tragic accidents or even suicides connected with particular digital games. Hyperreality mimicking reality has become commonplace, however the question arises: can the modern individual deal with this? (shrink)

Danski filozof Søren Kierkegaard duboko je proživljavao i promišljao vjeru, umjetnost i filozofiju pa, premda se umjetnosti i filozofije odrekao u ime vjere, to je samo prividno tako, jer je filozofiju sačuvao svojim izvanrednim filozofiranjem, a umjetnosti je sačuvao značajno mjesto u estetici braka i umjetnosti življenja. Što to znači estetički živjeti, i što znači etički živjeti? Kierkegaard ne polazi od estetičkog života umjetnika, već od etičkog i religioznog samoizbora koji život čini lijepim i umjetničkim djelom. Cilj nije (...) class='Hi'>umjetnost umjetničkog djela, već umjetnost življenja, a to je moguće samo u vjeri.Dannish philosopher Søren Kierkegaard deeply lived through and contemplated faith, art and philosophy; althought he got rid of art and philosophy in the name of faith, this was only apparently, because he have preserved philosophy by his extraordinary thinking, and he also preserved important place for the art in the aestehtics of marriage and in the art of living. What does it mean to live aestehtically, and what to live ethically? Kierkegaard does not take the life of an artist as his point of departure, but he takes ethical and religious self-choice as the source of life which makes it artistic work and the work of beauty. The goal is not the art of artistic work, but the art of living, and that is possible only through the faith. (shrink)

U ovom radu želimo istražiti različite epistemološke koristi koje dobivamo putem nekih umjetničkih djela, pri čemu smo primarno usredotočeni na narativne umjetnosti. Tvrdimo da u određenom smislu, narativne umjetnosti mogu biti slične svjedočanstvu, utoliko što pružaju informacije koje mogu biti epistemološki vrijedne za kognitivne djelatnike kakvi smo mi. Razlikujemo barem dvije šire kategorije tih epistemoloških vrijednosti, od kojih prva uključuje ‘navođenje činjenica’ i u tom je smislu pandan paradigmatskom slučaju svjedočanstva u kojem ono što informator govori može biti izvor znanja (...) za publiku koja time naprosto dobiva činjenice . Međutim, to nije najsvojstvenija i najznačajnija vrsta epistemoloških vrijednosti koje dobijemo iz umjetnosti. Druga kategorija tiče se povećavanja svijesti ili produbljivanja razumijevanja o nekom fenomenu, koji se može odvijati na dva načina: ili pružanjem činjenica na specifično snažan i prožimalački način , ili prezentiranjem stajališta, stava ili mišljenja umjetnika koji nam može biti prosvjetljujući ili pak predstavljati izazov našem stajalištu. (shrink)

U članku se kritički promišlja predaja katoličkog ethosa iz vlastitih pretpostavki. Tematizirajući katolički ethos iz mišljenja bitka suvremenog čovjeka na temelju umjetnosti u modernom i postmodernom dobu pokušava se razumjeti katolički ethos u horizontu ljudske egzistencije post-modernog doba. Time nam je otvoren prostor za njegovo razumijevanje iz postojanja umjetnosti u post-modernom dobu. Problematizirajući katolički ethos i umjetnost u post-modernom dobu iz njihovog ontološkog statusa unutar položaja u bitku suvremenog čovjeka bilo je potrebno distingvirati i naznačiti razliku i korespondenciju ova (...) dva pojma kao jednih od temeljnih oblika ljudskog duha. Čovjek kao onto-antropološko biće logosa postoji jedino kao povijesno onto-antropološko biće koje ima potrebu za svetim koje određuje njegov izvorni odnos prema postojanju. Sveto kao sveto, naime, povezano je s egzistencijalnom biti čovjeka. Umjetnost se na temelju svetoga pruža kao otvoreno medijacijsko polje prema katoličkom ethosu, otvarajući mu istinu epohe, posredujući egzistencijalnu istinu s epohalnom istinom. Time umjetnost kao forma suvremenog čovjekovog duha, uz znanost, tehnologiju, filozofiju i religiju, otkriva i oblikuje jednu novu stvarnost, koja u svojim najvišem potencijalima korespondira s najdubljim pitanjima čovjekove povijesne egzistencije kao njegove istine.The article critically reflects upon the tradition of Catholic ethos from its own assumptions. Considering the Catholic ethos from the thought of Being of modern man based on art in modern and postmodern age, we are trying to understand the Catholic ethos in the horizon of human existence in the postmodern age. Through this we have open space for understanding it from the existence of art in the postmodern age. In raising the issue of the Catholic ethos and art in postmodern age from their ontological status inside modern man’s position in Being, it was necessary to distinguish and note difference and correspondence of these two notions as one of the ground forms of human spirit. Human as an onto-anthropological creature of logos exists only as a historical onto-anthropological creature which has the need for the sacred which determines his original relation towards existence. The sacred as sacred is connected to the human existential essence. Art grounded on sacred is extended as an open mediation field towards the Catholic ethos, revealing the truth of epoch, mediating the existential truth with the epochal truth. By this art as a form of modern human spirit, with science, technology, philosophy and religion, reveals and shapes a new reality which in its highest potentials corresponds with the deepest questions of human historical existence as his truth. (shrink)

AI’s new ability to create artworks is seen as a major challenge to today’s understanding of art. There is a strong tension between people who predict that AI will replace artists and critics who claim that AI art will never be art. Furthermore, recent studies have documented a negative bias towards AI art. This paper provides a philosophical explanation for this negative bias, based on our shared understanding of the ontological differences between objects. We argue that our perception of art (...) depends on our understanding of the context of its creation: human-made art is experienced as an interplay between the artist and nature. In AI-generated art, this interplay is either absent or minimised. We conclude that the displacement of the “human factor” in art will not lead to an evolution of art, but to the end of art. (shrink)

U svom remek- djelu, Proces i realnost (1929.), s podnaslovom Rasprava s područja kozmologije, Whitehead se bavio kozmologijom kao dijelom svoje opće metafizike procesa. Metafizika traga za najopćenitijim načelima realnosti. Kako je rekao, »to je znanost koja želi otkriti opće ideje koje su neophodne za analizu svega što se zbiva « (RM 84). Metafizika stoga traga za načelima koja su nužna u svim mogućim svjetovima ili kozmičkim epohama, a kozmologija otkriva pomoću promatranja onoga što su primjeri za naš aktualni svijet (...) ili ovu kozmičku epohu. (shrink)

This paper highlights John Stuart Mill’s views on the problem of gender equality as expressed in The Subjection of Women, which is commonly regarded as one of the core texts of Enlightenment liberal feminism of the 19th century. In this paper, the author outlines the historical context of both Mill’s views and his personal biography, which influenced his argumentation for the emancipation of women, and considers Mill’s utilitarianism and liberalism, as the main philosophical background for his criticism of social conditions (...) that subordinated women. She reflects on some of the philosopher’s ideas and arguments for equality and friendship between women and men which may still be considered noteworthy and relevant. Attention is also given to the main lines of contemporary reception of Mill’s liberal feminism from the perspective of current feminist philosophy, within which certain critical views predominate. Despite some problematic points in Mill’s considerations, his essay on women’s subjection may be regarded as one of the philosophically most interesting conceptions of liberal feminist thinking. (shrink)

Due to the decentralised nature of blockchain technology, NFT art has changed notions of authorship and ownership, diminished the role of art world experts, and influenced the global art market. However, the question of whether NFTs can be considered art at all remains open to debate. In order to distinguish NFTs from other digital and non-digital artworks, we will first provide an overview of what NFTs are and what kind of digital space they belong to. Secondly, we will analyse the (...) conditions that an NFT must fulfil in order to be considered an artwork, according to its inherent characteristics. The results will show that, firstly, an NFT artwork depends on its artistic concept; secondly, its representational content has to be a visual interpretation of the NFT concept and related to data according to the concept; and finally, the concept defines the whole ecosystem and the aesthetic properties of NFT artworks. (shrink)

Suvremena multikulturna društva velikim se dijelom okviruju u smislu proceduralne prije nego supstantivne etike, naglašavajući ispravnost umjesto dobrote, te uzdižu toleranciju kao ključnu vrijednost. No to ne može sâmo zamijeniti supstantivnu i motivacijsku normu dobroga života te se može iskusiti kao gubitak, otuđenje građana. Isto tako neće uspjeti suočiti se s granicama prihvatljivog djelovanja, neuvjetovanošću povezanom s moralnim gledištem. Klasična tradicija u etici, koja predlaže normu ljudskog blagostanja, može se ponovno izraziti kako bi iznijela na vidjelo ovu neuvjetovanost. Ukazat (...) ću na korisnost suprotne tradicije etičkog rasuđivanja u vidu proporcionalnosti, primjerice u slučaju ratne etike, te razmotriti alternativni koncept demokracije ne pod vidom formalnih i supstantivnih prava, nego etike participacije.Contemporary multicultural societies for the most part frame themselves in terms of a procedural rather than substantive ethics, by emphasizing rightness rather than goodness, and elevate tolerance to key value. But this cannot of itself replace a substantive and motivating norm of the good life and can be experienced as a loss, disaffecting citizens. It will also fail to confront the limits of acceptable action, the unconditionality associated with the moral point of view. The classical tradition in ethics, proposing a norm of human flourishing, can be re-expressed to bring out this unconditionality. I point to the counter tradition of ethical reasoning in terms of proportionality, exampled in the case of war ethics, as useful and draw on an alternative concept of democracy in terms not of formal or substantive rights but of an ethic of participation.Gegenwärtige multikulturelle Gesellschaften gestalten sich zumeist unter dem Aspekt der eher prozeduralen als materialen Ethik, indem sie die Richtigkeit anstelle der Güte herausheben, und werten die Toleranz zum Schlüsselwert auf. Dies per se vermag es immerhin nicht, die materiale und motivierende Norm des guten Lebens zu ersetzen, dagegen kann es als Verlust, als Bürgerentfremdung verspürt werden. Es versagt desgleichen in der Konfrontierung mit den Limits des akzeptablen Handelns, mit der moralitätsbetreffenden Bedingungslosigkeit. Die klassische Gepflogenheit in der Ethik, welche einen Maßstab der Menschheitsblüte nahelegt, kann wieder dargetan werden, um auf diese Bedingungslosigkeit Nachdruck zu legen. Ich deute auf die Nützlichkeit einer Gegentradition der ethischen Erwägung hin, aus der Perspektive der Proportionalität, exempli causa in der Angelegenheit der Kriegsethik, und stelle ein alternatives Demokratieschema auf, nicht im Sinne der formalen bzw. substantiven Rechte, sondern von der Ethik der Partizipation her. (shrink)

Suvremena zapadna društva pridaju veliku pozornost problemima vezanima uz ljudsku sreću. Ono što je karakteristično za ovu zaokupljenost tretiranje je negativnih emocija kao poremećaja. Služeći se interdisciplinarnim pristupom, ovaj je članak pokušao izložiti nekoliko važnih problema aktualnih gledišta o sreći, socijalizaciji emocija te ukazati na moguća ograničenja nekih utjecajnih teorija.Some of the important occupations of contemporary western societies are questions concerning human happiness. A characteristic of this absorption is treating negative emotions as a mere disorder. By using an interdisciplinary (...) approach this article tried to expose some of the main problems of contemporary views on happiness, socializing of emotions and possible limits of some prevalent theories. (shrink)

Zapadna suvremena logika korištena je za unapređenje islamske filozofske teologije, koja je povijesno koristila aristotelovsko-avicenovsku logiku, na temelju toga što se logika shvaćala kao inherentno normativna. To je usprkos kontroverzama o statusu logike u islamskoj teološkoj tradiciji. Normativni autoritet logike znači da ona utječe na sadržaj onoga u što bismo trebali vjerovati i na to kako bismo trebali revidirati ta uvjerenja. Ovaj rad nastoji pokazati da je, bez obzira na nekompatibilne razlike između dvaju sustava, temeljna značajka zapadne suvremene logike (...) i aristotelovsko-avicenovske logike njihova normativnost. Zatim se tvrdi da je inherentna normativnost logike u islamskoj teološkoj/filozofskoj tradiciji nemotivirana. Umjesto toga, kao održivu alternativu rad predlaže ponovno uspostavljanje logike kao anti-ekscepcionalističke unutar islamske teološke/filozofske tradicije. (shrink)

This paper discusses the changes in pedagogical paradigms depending on the socio-historical context in which they occur. Each pedagogical idea elaborated in the social documents that shape the work of early and pre-school institutions is the result of collective reflection on the vision of development and advancement of society. Different historical periods, marked by specific knowledge, needs and interests, form distinctive political, economic, cultural, and educational environments. It is precisely for this reason that understanding individual pedagogical paradigms is possible only (...) through consideration and appreciation of the context in which they are carried out. As there are no universal pedagogical truths, it is necessary to emphasize the importance of a research approach to current educational system. Observing the characteristics of the current pedagogical paradigm through objective perception of its positive and imprecise elements allows its systematic correcting that focuses on the welfare of the child to whom it is predominantly intended for. (shrink)