The concept features as a vital element in architectural protocol and its vocabulary. If architecture and philosophy are defined as creation of concepts, then they are the terra nullius shared by both disciplines. By distinguishing the architectural concept from its philosophical counterpart, this paper analyzes the former as an entity that animates and directs a project as the documental prefiguration of an architectural object. In a more radical move, we consider architecture itself as a concept, that is, what makes architecture (...) what it is and what this discipline can become tomorrow. In addition to decisively participating in the process of generating an object yet to be constructed (the fetus of a building), on a correlative level, the concept has an essential role in theoretical self-thematization of architecture and guards the future of the architectural profession as an autonomous intellectual discipline. (shrink)

Our intention is to construct the conditions for a new position that more closely explains the reality of the object (its location, concreteness, possibility of being seen, extension, instantaneousness, etc.), but also the object’s movement, the “situation” in which it is or becomes a potential agent that “works,” influences us and incites us to _movement _towards us, indeed gives us a _turn_ towards an ideal object and its realization. Using a variety of texts that thematize the object, a few passages (...) from Hegel, we attempt to reveal connections between key architectural (and not only architectural) concepts, form a given epistemological order, and differentiate amongst basic acts and operations that could be ascribed to the object. (shrink)

The article provides a critical review of the books Rijec je o slici by Jagor Bucan and Slika i rec by the Serbian Society for Aesthetics. From the titles it is already evident that they share the same topic. The paper points out the similarities between the two texts on both what is present and what is absent in them, which also seems important for understanding the theoretical problems they deal with.

DRAGAN BULATOVIĆ, UMETNOST I MUZEALNOST: ISTORIJSKO-UMETNIČKI GOVOR I NJEGOVI MUZEOLOŠKI ISHODI, GALERIJA MATICE SRPSKE, NOVI SAD, 2016.Miloš Ćipranić.

José Ortega y Gasset studied painting in depth from the standpoint he called ratio-vitalism or the philosophy of vital reason. This paper explores whether the term živopis corresponds more to ratio-vitalist philosophy than the term pintura used by the Spanish philosopher. In other words, the question is whether the translation, in this case, is better than the original. Following Ortega’s thesis on the historicity of human creations, we will look for the origin of the word živopis, which contributes to the (...) consideration of whether it is an appropriate word for the art of painting from the perspective of the philosophy of life. (shrink)

Miloš Ćipranić Punoletstvo misli: Trivo Inđić.

The article investigates how and why we treat works of art as persons. From rhetoric to jurisprudence, various disciplines have dealt with the practice of attributing human features and abilities to insensate objects. The agency of works of art acting as fictitious persons is not only rec­ognized at the level of aesthetic experience, but also outside it, because there have been cases in which they were subject to legal liability. Per­sonhood is not reducible to individual human beings. However, since works (...) of art lack senses and consciousness, there is ultimately a limit to the personifying metaphor. (shrink)