Probably the fundamental issue about the relation between art and beauty in the Critique of the Power of Judgment, of 1790, is the difficulty to recognize an object as a work of art (across a concept of art) and the judgment of taste, which when considered as pure cannot possess concepts that determine the object. Nevertheless, there does not seem to be another experience such as the experience of beauty for the recognition of beautiful artwork. Thus, it becomes necessary to explore the points of convergence between a production oriented to ends and the production of a beautiful object, considering, despite what has just been said, that the "concept" of work of art is different from any concept that could be considered to be an end of an intentional act. Along this dissertation we propose to explore the relations between the practice of genius and taste, as regulators of the artistic production, recognition and valuation of the works of art. We will consider for it, the possible rules of the genius, trying to isolate the formal and content aspects of the object. With this intention, we will depart from the classification of the works of art as forms of expressiveness, similar to the language, trying to show the weaknesses of any classic aesthetic norm in the establishment of rules of connection between forms and contents. Nevertheless, also we will evaluate the emphasis of Kant himself in supporting identifiable connections between the objects considered as works of art, specially the formal aspects of the same ones. From the previous analysis we will be forced to evaluate the relationship between beautiful art and nature. The failure of the arbitrariness, as a way for establish the artistic beauty in the assimilation to a form of language , leads us to recovering the theory of natural beauty, trying to find the points of contact between beauty and aesthetic the experience of art. Therefore, we will evaluate the consequences of the Kantian theory of art in relation to the aesthetic experience of the "Analytic of the Beauty ", distinguishing the difficulties that Kant might have had in mind when he developed his philosophy of art. The fundamental aim of this tour across Kant's text is the possibility of evaluating the current importance of the Kantian aesthetics, linking the exegesis of the text with two fundamental elements of the contemporary debate in philosophy of art: definition (or recognition) and valuation. We try to show that the aspects considered by Kant as necessary to support this balance (originality, relation between artists and public across the work, place of the work em the society, pleasure of the aesthetic experience, artistic tradition), still are relevant for the current debate in aesthetics and reflective human action. / Provavelmente o principal problema da relação entre arte e beleza na Crítica da Faculdade de Julgar, de 1790, esteja na necessidade de reconhecer um objeto como obra de arte (através de um conceito de arte) e o juízo de gosto, que, considerado puro, não pode ter conceitos que determinem o objeto. Porém, não parece haver outra experiência além da experiência de beleza para o reconhecimento da obra de arte bela. Assim, faz-se necessário explorar os pontos de convergência entre uma produção orientada a fins e a produção de um objeto belo, considerando, contudo, que o conceito de obra de arte é diferente de qualquer conceito que possa ser colocado como fim de um ato intencional. No percurso do trabalho nos propomos a explorar as relações entre a prática do gênio e o gosto como regulador da produção artística e do reconhecimento e valoração das obras de arte. Consideraremos para isso as possíveis regras do gênio, tentando isolar os aspectos formais e os aspectos de conteúdo do objeto. Neste intento, partiremos da classificação das obras de arte como formas de expressividade, semelhantes à linguagem, visando mostrar as fraquezas de qualquer norma estética clássica no estabelecimento de regras de conexão entre formas e conteúdos. Porém, também avaliaremos a ênfase do próprio Kant em manter conexões identificáveis entre os objetos considerados obras de arte, sobretudo os aspectos formais dos mesmos. A partir da análise anterior estaremos obrigados a avaliar a relação entre arte bela e natureza. O fracasso da arbitrariedade, como forma de estabelecimento do belo artístico enquanto assimilação a uma forma de linguagem nos leva a recuperar a teoria da beleza natural, visando encontrar os pontos de contato entre beleza e experiência estética da arte. Destarte, avaliaremos as conseqüências que temos da teoria kantiana da arte em relação à experiência estética da Analítica do Belo , destacando as dificuldades de que o próprio Kant poderia ter sido consciente ao desenvolver sua filosofia da arte. O alvo fundamental deste percurso através do texto de Kant se encontra na possibilidade de avaliar a atualidade da estética kantiana, vinculando à exegese do texto dois elementos fundamentais do debate contemporâneo em filosofia da arte: definição (ou reconhecimento) e valoração. Pretendemos mostrar que os aspectos considerados por Kant como necessários para manter este equilíbrio (originalidade, relação entre artistas e público a través da obra, lugar da obra na sociedade, prazer da experiência estética, tradição artística), ainda são relevantes para o debate atual no que diz respeito à estética e ao agir humano reflexivo.

Este trabalho consiste no estudo da noção de gênio em Fernando Pessoa. Delimita por objetivo a identificação e análise de seu alcance e grau de penetração tanto nas formulações estéticas quanto poéticas do autor. O estudo se divide em três frentes, que definem a metodologia utilizada e o recorte do corpus investigado. A primeira aborda o ethos do homem de gênio nas cartas a João Gaspar Simões, Adolfo Casais Monteiro e Armando Côrtes-Rodrigues. A segunda frente do trabalho propõe a análise dos textos teóricos de Pessoa sob a perspectiva do gênio, pormenorizadamente os escritos sobre a questão Shakespeare-Bacon. A terceira frente se concentrará no estudo das leituras que Fernando Pessoa realizou do historiador e ensaísta escocês Thomas Carlyle (1795 - 1881), mais especificamente da obra On Heroes, Hero-Workship,and The Heroic in History. / This work consists of a study of the notion of genius in Fernando Pessoa. This research delimits as its goal the identification and analysis of Fernando Pessoas genius both in his aesthetic formulations and his poetics. The present work is divided into three sections, each defined by the methodology used and the selection of the corpus being investigated. The first part addresses the ethos of the man of genius in the letters to João Gaspar Simões, Adolfo Casais Monteiro, and Armando Côrtes-Rodrigues. The second part aims to analyze Pessoas theoretical texts from the perspective of the genius, carefully examining the writings that reflect on Shakespeare-Bacon. The third part will focus on Fernando Pessoas readings of the Scottish historian and essayist Thomas Carlyle (1795-1881), specifically of Carlyles work On Heroes, Hero-Workship, and The Heroic in History.

Pourquoi, où et quand, des résidences d'artistes se sont implantées en Aquitaine et comment ont-elles abordé la mise en application des préconisations institutionnelles ? Quelles sont ces structures et comment s'organisent-elles en milieu rural, au profit d'une véritable visibilité de l'art contemporain ? Entre phénomène artistique, programmation culturelle et action sociale, comment l'immersion paysagère amène-t-elle à repenser la pratique artistique à partir des relations qu'elle noue avec le territoire, l'humanité et le milieu naturel ? C'est au travers de la mise en valeur et de l’ancrage de la résidence au cœur d’un terroir spécifique que peuvent se nouer des rencontres et des expériences inédites, entre création et vie sociale. La présence d’un artiste peut révéler ou réveiller des qualités et des potentialités latentes, à même de renvoyer une image insoupçonnée des lieux et des liens entre territoires et populations. C’est bien parce que le concept d’ « artiste en résidence » et le dispositif de « résidence d’artistes » ne convoquent pas de la même manière les notions de lieu et de contexte paysager que nous avons décidé d’examiner de plus près l’évolution du rapport de l’artiste au paysage et à l’espace tout au long de sa « trajectoire migratoire », pour appréhender l’effet de l’expérience de la mobilité sur la création artistique et sur le sentiment d’appartenance au lieu. En prenant nos distances vis-à-vis des définitions classiques du paysage, nous proposerons l’idée d’entité vivante et stimulante à partir de laquelle peut se dégager une nouvelle manière de voir et de concevoir le monde : révélant ainsi le « Génie du lieu », dynamique et complice de la création. / Why, where and when artist residencies have established in the Aquitaine region? How did they approach the implementation of institutional recommendations? What are these so-called structures and how are they organised in rural areas to ensure an actual visibility of contemporary art? Between art phenomenon, cultural programming and social actions, how does landscape immersion require to rethink art practice and its relationships with territorial collectivities, people and nature? Unprecedented encounters and experiences may happen thanks to showcase, design, life experience and key situation of artist residences in the heart of territories. The artist’s presence might reveal or wake up one’s qualities and full potential, enabling to give an unexpected picture of places and connections between territories and people. It is precisely because the “artist in residence” concept and the “artist residencies” facilities have different approaches to the ideas of places and landscape contexts that we decided to review the evolution of the artist’s relationship to space, landscape and populated areas – throughout his “migratory path” – so as to be able to understand the effect of mobility experience on artistic creation and connection to places. While distancing conventional definitions of landscapes, we will present the idea of a living and stimulating entity from which a new way of seeing and designing the world may occur. The revealed Genius Loci appears to have its temporary roots, dynamic and complicit with creative work.

7 Abstract The aim of this thesis is to clear up the role of human in Schopenhauer's philosophical thinking. This goal could have been achieved only by clarifying the world's metaphysical substance. This substance proved to be the cruel will that manifests itself through the platonic ideas. It was shown that each human being is part of this eternal substance. Intellect, as explained in the thesis, is primarily mere instrument of the will designed to deliver motives. For this reason, the majority of people in different ways continually keep satisfying thein needs, therefore almost everyone enjoys the opinion of will affirmation. People constantly succumb to disilusion, which proved to be egoism. Therefore, what appears to be the greatest good for most of us is actually only good for the evil substance. Blind will plays with us so fraudulent and truly perverse game that most of us can never win. However, I have pointed out that there were some individuals who had been endowed by excessively developed intellect power. Only this paradoxically almost unnaturally developed power of intellect can lead to knowledge that the blind will in its game with people plays unfairly. I also presented three groups of people who are capable of that kind of knowledge. The first group are genius people who can plunge into a...

Aesthetics were the main passion of early century landscape architects. A focus on the concern with ecology followed, while the late twentieth century landscape architecture developed towards a concentration on restoration and recovery and so focussed more on redeployment than replacement (Campbell 2006). Today, in the twenty-first century, mankind is overwhelmed with issues of global warming, exhausted natural resources, and disappearing ecologies. Landscape architects are focused on providing sustainable landscapes from which both humans and nature can benefit. Attempts to create parks or green spaces for people‟s enjoyment become joined movements to simultaneously restore ecosystems, produce food or energy, reclaiming damaged sites and designing these interventions to be entertaining and interesting to the surrounding communities. Furthermore, landscapes have become catalysts in assisting with urban densification and reducing urban sprawl in their attempts to be multi-functional, process- and environment- focused designs. At last a question remains: do these twenty-first century landscapes relate to the individual? Have these sustainable systems and processes become the new aesthetic? And do visitors to designed landscapes still have rich spatial experiences? This dissertation explores the questions stated above. Part One focuses on the countering of urban sprawl through a process-focused landscape design response on an urban and framework level, while Part Two investigates if this new contemporary notion aids designers to create spatially aesthetic landscapes. A theoretical study and experiential conceptual development strategies are followed to aid in form-generation. The design follows a hypothetical course that starts with process and system planning followed by spatial landscape explorations. This phenomenological investigation will be resolved up to a detailed sketch plan level. / Dissertation ML(Prof)--University of Pretoria, 2014 / Architecture / ML(Prof) / Unrestricted

La rencontre entre Wittgenstein et Schopenhauer était inéluctable dans la Vienne « fin-de- siècle », fascinée par le philosophe allemand et lasse des exigences d’une rationalité néo-kantienne non exempte de contradictions. Mais le héraut de la volonté aveugle et sans but laisse un héritage difficile à assumer, dans lequel la quête du sens de l’existence et les problèmes d’identité interfèrent avec les conditions très strictes imposées à l’exercice de la pensée et aux formes de la représentation, dominées dans la culture moderne par la recherche incessante des causes et l’idéal de la science. L’exigence éthique et esthétique de Wittgenstein l’incite en réponse à mettre à nu les origines et le développement de toute activité intellectuelle et philosophique. Il suit ainsi d’abord la piste proposée par Schopenhauer à l’intellect en quête d’objectivité et de repos, celui de l’artiste ou du génie osant s’avancer aux limites de la représentation, dans la pure contemplation des idées. Mais ce chemin passe aussi tout près des frontières de la maladie mentale, et l’apaisement de la contemplation intellectuelle passive et détachée de la volonté peut basculer à tout instant dans le chaos d’une forme morbide de désengagement du monde, d’un solipsisme non seulement théorique mais vécu. Wittgenstein peu à peu identifie le solipsisme comme l’archétype de la maladie philosophique, conduisant les jeux de langages à se détacher des formes de vies et des comportements instinctifs qui les ont engendrés. Sa propre vocation philosophique se manifeste au cours de ce processus thérapeutique, comme l’expression d’une lutte vigilante contre les tentations réflexives de l’entendement et un retour humble à l’action dans la vie ordinaire. / Wittgenstein and Schopenhauer’s meeting was inescapable in the ‘End-of-Century’ Vienna, fascinated by the German philosopher and tired by the demands of neo-kantian rationality, itself not immune to contradiction. But the herald of blind and pointless will left a burdening inheritance, in which the quest for the meaning of existence and the problems of identity interfered with the very strict conditions imposed upon the practice of thought and the forms of representation, which, in the modern culture, are dominated by the relentless search for causes and by the ideal of science. Wittgenstein’s ethical and esthetic demands lead him, in answer, to reveal the origins and the development of any intellectual and philosophical activity. At first, he follows Schopenhauer’s path for the intellect looking for objectivity and rest, that of the artist or the genius daring enough to tread at the limits of representation, in the pure contemplation of ideas. But this path comes very close to the frontiers of mental illness, and at any moment, the soothing of passive intellectual contemplation, detached from will, may fall in the chaos of a morbid form of worldly disengagement, that is, of a not merely theoretical solipsism, but also lived. Wittgenstein gradually identifies solipsism as the archetype of philosophical illness, leading his language games to come apart from the forms of life and instinctive behaviors which fostered them. His own philosophical calling is made manifest through this therapeutic process, which expresses a vigilant struggle against the reflexive temptations of intellect, and a humble return to language and action in ordinary life.

This thesis deals with the theme of urban space in all its parts, which consist of personal interpretation and definition of urban space. In theory, it deals with different approaches to defining cities and states the view on a city as a spatial arrangement. It also briefly deals with historical and urbanistic development of the cities of Karvina and Prague. The theme of urban space is further elaborated toward the philosophical and psychological experience of cities and the phenomenon of genius loci, both in general and specific terms of each individual city. The urbanistic theme is also elaborated from the perspective of art, focusing on traditional techniques and the work of Czech artists. The starting point for the didactic part are the theoretical pieces of knowledge and expert experience of my own creative activities with an emphasis on my experience of cities and their creative representation. The starting point of the theoretical and teaching part is the part that is the most important one - the practical part - which defines the subjective relationship with cities, inspirational artistic influences and the creative process. My work of art consists of a series of drawings of larger and smaller formats. The basic principle is a diptych in black and white which defines and reflects my personal...

Martin Veselý At home at the large housing estate? Local identity and place identification in different types of urban environment The thesis is concerned with the question of local identity and place identification in urban environment on the example of Prague's Southern Town representing a large, centrally planned housing estate, and "old" Vršovice as an example of a traditional city quarter. The author distinguishes two theoretical-methodological approaches to the analysis of urban environment. The first approach is ontological-historical, ethic perspective describing the city with the use of theoretical devices of urbanism and phenomenology of architecture. The second approach - anthropological - is an emic approach studying the interpretation of a place by social agents. The author shows on numerous examples, how do the people identify with a place and what is the role of the physical attributes of the place and its memory in the process of place identification. The relation between ontological-historical and anthropological perspective is according to the author dialogic and he is looking for points of intersection. He shows that the consequence of one-sided way of interpretation is insufficient understanding for place identity. In other words, it is not able to answer convincingly the...

This diploma thesis deals with possibilities of designing contemporary buildings in the historical context of the city center. Emphasis is placed on the urban integration of new volumes into the current structure of the city and the place with its genius loci. The result of the design should be houses with a character and clear layout, using high-quality materials, especially with different forms and modifications of the plaster that is typical for the construction industry in Central Europe. The suggestion is the author's answer to the question of a "normal house" in the city center.

Martin Veselý At home at the large housing estate? Local identity and place identification in different types of urban environment The thesis is concerned with the question of local identity and place identification in urban environment on the example of Prague's Southern Town representing a large, centrally planned housing estate, and "old" Vršovice as an example of a traditional city quarter. The author distinguishes two theoretical-methodological approaches to the analysis of urban environment. The first approach is ontological-historical, ethic perspective describing the city with the use of theoretical devices of urbanism and phenomenology of architecture. The second approach - anthropological - is an emic approach studying the interpretation of a place by social agents. The author shows on numerous examples, how do the people identify with a place and what is the role of the physical attributes of the place and its memory in the process of place identification. The relation between ontological-historical and anthropological perspective is according to the author dialogic and he is looking for points of intersection. He shows that the consequence of one-sided way of interpretation is insufficient understanding for place identity. In other words, it is not able to answer convincingly the...