Štěpán Kubalík | Charles University, Prague (original) (raw)
Discussions by Štěpán Kubalík
This critical note on Tomáš Kulka’s ‘Why Aesthetic Value Judgements Cannot Be Justified’ revisits... more This critical note on Tomáš Kulka’s ‘Why Aesthetic Value Judgements Cannot Be Justified’ revisits Kulka’s treatment of what he calls the main thesis of Frank Sibley’s famous essay ‘Aesthetic Concepts’ (1959). According to this thesis, ‘There are no non-aesthetic features which serve as conditions for applying aesthetic terms’, and ‘aesthetic or taste concepts are not in this respect condition-governed’. Kulka argues that this thesis fails to apply to descriptive concepts and some negative aesthetic concepts. In his view there exist concepts that are both aesthetic and condition-governed. We argue against Kulka, seeking to show that he fails to appreciate Sibley’s central thesis.
Papers by Štěpán Kubalík
Estetika: The European Journal of Aesthetics, Nov 25, 2013
... Anna Chęćka-Gotkowicz. ... From this perspective, artists communicate their creative processe... more ... Anna Chęćka-Gotkowicz. ... From this perspective, artists communicate their creative processes to audiences directly, and therefore allow art to be authentically ... in the last chapter of the book, discusses the work of Katharine Kuharic, a contemporary American artist, who invented ...
A report form the second annual conference of the European Society for Aesthetics (ESA) (it took ... more A report form the second annual conference of the European Society for Aesthetics (ESA) (it took place in Udine from 27 May to 29 May 2010).
Estetika: The European Journal of Aesthetics, May 15, 2010
is meant to be catchy, 1 but the main reason it is used is its deeper connection to what the auth... more is meant to be catchy, 1 but the main reason it is used is its deeper connection to what the authors have to say here. One can read this work as an attempt to get a better understanding of why so many of us fear or mistrust conceptual art. This book is not just another historical survey of the cultural phenomenon that has come to be called conceptual art, another attempt to draw attention to conceptual art in general. What Goldie and Schellekens present here is a philosophical analysis of the highly controversial and obscure nature of conceptual art. Unlike art critics, art historians, and gallery curators, the authors do not take for granted the status of conceptual art as art proper. In fact, they prefer to pose the existence of conceptual art, first and foremost, as a challenge to the category of art. Their inquiry into the special nature of conceptual art thus calls for a re-examination of the most fundamental problems concerning art in general, including the question of what art is and what we expect from it. Together with its philosophical accessibility, these more general aesthetic questions make Who's Afraid of Conceptual Art a perfect introduction for beginners in the fields of philosophy, visual studies, and aesthetics. It is a good introduction not only to the theory of conceptual art but also to aesthetics in general. The exposition of Goldie and Schellekens's account of conceptual art and its appreciation gives the material a clear, firm structure. Every notion or view deployed here plays a specific role in Goldie and Schellekens's larger argument and clarifies their meanings where they are applied. This is an excellent way to introduce analytic thinking and its related terminology.
This critical note on Tomáš Kulka’s ‘Why Aesthetic Value Judgements Cannot Be Justified’ revisits... more This critical note on Tomáš Kulka’s ‘Why Aesthetic Value Judgements Cannot Be Justified’ revisits Kulka’s treatment of what he calls the main thesis of Frank Sibley’s famous essay ‘Aesthetic Concepts’ (1959). According to this thesis, ‘There are no non-aesthetic features which serve as conditions for applying aesthetic terms’, and ‘aesthetic or taste concepts are not in this respect condition-governed’. Kulka argues that this thesis fails to apply to descriptive concepts and some negative aesthetic concepts. In his view there exist concepts that are both aesthetic and condition-governed. We argue against Kulka, seeking to show that he fails to appreciate Sibley’s central thesis.
Estetika: The European Journal of Aesthetics, Nov 25, 2013
... Anna Chęćka-Gotkowicz. ... From this perspective, artists communicate their creative processe... more ... Anna Chęćka-Gotkowicz. ... From this perspective, artists communicate their creative processes to audiences directly, and therefore allow art to be authentically ... in the last chapter of the book, discusses the work of Katharine Kuharic, a contemporary American artist, who invented ...
A report form the second annual conference of the European Society for Aesthetics (ESA) (it took ... more A report form the second annual conference of the European Society for Aesthetics (ESA) (it took place in Udine from 27 May to 29 May 2010).
Estetika: The European Journal of Aesthetics, May 15, 2010
is meant to be catchy, 1 but the main reason it is used is its deeper connection to what the auth... more is meant to be catchy, 1 but the main reason it is used is its deeper connection to what the authors have to say here. One can read this work as an attempt to get a better understanding of why so many of us fear or mistrust conceptual art. This book is not just another historical survey of the cultural phenomenon that has come to be called conceptual art, another attempt to draw attention to conceptual art in general. What Goldie and Schellekens present here is a philosophical analysis of the highly controversial and obscure nature of conceptual art. Unlike art critics, art historians, and gallery curators, the authors do not take for granted the status of conceptual art as art proper. In fact, they prefer to pose the existence of conceptual art, first and foremost, as a challenge to the category of art. Their inquiry into the special nature of conceptual art thus calls for a re-examination of the most fundamental problems concerning art in general, including the question of what art is and what we expect from it. Together with its philosophical accessibility, these more general aesthetic questions make Who's Afraid of Conceptual Art a perfect introduction for beginners in the fields of philosophy, visual studies, and aesthetics. It is a good introduction not only to the theory of conceptual art but also to aesthetics in general. The exposition of Goldie and Schellekens's account of conceptual art and its appreciation gives the material a clear, firm structure. Every notion or view deployed here plays a specific role in Goldie and Schellekens's larger argument and clarifies their meanings where they are applied. This is an excellent way to introduce analytic thinking and its related terminology.