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)

This paper is concerned with the characteristics of the conceptuality of fundamental ontology, which are presented through an analysis of existentials as the concepts typical of this philosophical position. The analysis first presents the meaning and role of existentials in relation to the main ideas of fundamental ontology as well as Heidegger’s critique of the categories. The second part of the paper then presents the conceptual character of the existentials through the analysis of the concept of the world and in (...) terms of the conceptual relations they form. The analysis draws on Heidegger’s early ideas about the essential relation between thinking and language in philosophy, according to which the language of philosophy emerges from and indicates how a particular philosopher thinks. (shrink)

This paper is about the musical meaning and its relation to verbal meaning. My aim is to show that musical meaning should be sharply differentiated from the verbal one, that it should not be understood as a subspecies of verbal meaning, or as a meaning of a verbal sort whatsoever. I will address this issue starting with the sounds of music and language, and working my way up from those: by comparing these sounds and the way they relate to their (...) meanings, I will show that musical sounds are strongly connected with musical meanings, that they have token-like qualities. Resulting from this is a suggestion to redefine the way we use the concepts of meaning and articulation, so that they would allow for the concept of non-verbal, musical meaning. Additionally, my suggestion is that musical meaning per se should be differentiated from the non-musical meanings music can communicate and convey – one does not exclude the other. (shrink)

In this paper, Heidegger’s understanding of art is analysed with regard to the status of painting, for which I claim to be of equal status as poetry. Such claim is derived from Heidegger’s commentaries on Klee, which show that the essence of painting is not a presentation of beings, but the revelation of our grasp of Being. The same idea is analysed considering Heidegger’s short comment on Franz Marc from his early works, with the conclusion that Hedegger’s attack on an (...) abstract painting is not the consequence of demand that painting should present us with some concrete being, some object. Finally, the specific status of poetry and painting indicate the new understanding of the image in Heidegger, which in return demands for the revision of the usual interpretation of Heidegger’s philosophy of art. (shrink)

This paper is about the specific character of the aesthetic experience of icons. I am arguing for the idea that the aesthetic experience of icons is a necessary condition of their role and function in Christian worship, and, moreover, that this particular aesthetic experience is of an apophatic kind. My arguments will be developed on the background of the Byzantine iconoclastic debate and the apophatic theology of Pseudo-Dionysius the Areopagite. Also, they should present the very debate from the perspective of (...) aesthetics, often overlooked in favour of more theological or ontological issues related to it. (shrink)

This paper deals with the interpretation of Kant?s Critique of Judgment from the perspective of aesthetics. Our aim here is to show the immanent relationship between the two main motifs of this work: the analysis of traditional aesthetic problems, such as beauty and taste, on the one hand, and the systematical thinking, philosophy, and Kant?s critical project, on the other. This interpretation is developed in consideration of the prob?lem of aesthetics as a philosophical discipline, within which, for each of the (...) motifs of Kant?s third critique it is shown how it redefines aesthetic into philosophical thought. Finally, the character of critical positioning of aesthetic problems in Kant is shown in light of the opening of the perspective of subjective universality as a theme that connects the two motifs of third critique, but also allows a different view in the domain of intersubjectivity. Ovaj rad posvecen je tumacenju Kantove Kritike moci sudjenja iz jedne esteticke perspektive. Nas cilj je da pokazemo unutrasnju vezu izmedju dva glavna motiva ovog dela, naime izmedju tematizacije tradicionalno estetickih problema, poput lepog i ukusa, sa jedne strane, odnosno sistemskog karaktera misljenja i filozofije Kantovog kritickog projekta sa druge strane. Interpretacija je vodjena s obzirom na problem estetike kao filozofske discipline, pri cemu se za svaki od ovih motiva Kantove trece Kritike pokazuje kako oni redefinisu nacin estetickog misljenja kao filozofskog. Napokon, karakter kritickog postavljanja estetickih problema kod Kanta se pokazuje i u svetlu otvaranja perspektive jedne subjektivne univerzalnosti, kao teme koja povezuje dva motiva trece Kritike, ali i omogucava drugacije viziranje domena intersubjektivnosti. (shrink)

This paper is about the interconnectedness of the realm of language with that of social interactions, constitutive of all human communities. Arguing against the traditional and still present primacy of the rationally based understanding of language, I wish to stress the possibility of another approach to language, strongly related to the question of the Other. Relying on the idea that the Other is a constitutive part of any linguistic situation, I wish to inspect how it is possible for the voice (...) of the Other to be suppressed or silenced, and if that is the case, how we should understand the silence of the Other. The main result of my findings is that the silence of the Other is not only meaningful, but that it can have positive social and political effects, including the enhancement of the sensitivity for the various modalities of the voice of the Other. (shrink)

Ovaj rad inspirisan je knjigom Predraga Krstica Filozofska zivotinja Zoografski nagovor na filozofiju, i predstavlja pokusaj da se u kompleksnoj mrezi pojmova, simbola i filozofija koju ona postavlja ispita put razumevanja savremenog polozaja filozofije. Birajuci filozofsku zivotinju kao osnovnu temu, autor knjige balansira izmedju tradicionalnog i savremenog polozaja filozofije, izmedju sistema njenih argumenata i konkretnog polozaja u kom filozofiji danas treba prilaziti, izmedju apstraktnog i individualnog. Vesto preispitivanje jezickih strategija filozofije otkriva filozofa, odnosno coveka kao pravu filozofsku zivotinju, kao ono (...) mesto na kom se ove strategije ukrstaju, i koje stoga zahteva dodatnu analizu. (shrink)