Adrian Mróz
Adrian Mróz is a philosopher and scholar with a focus on esthetics and behavioral sciences. He received his PhD from the Jagiellonian University in Kraków, where he studied under Professor Michał Ostrowicki. His doctoral dissertation explored the role of behavior in the philosophy of art in the context of Stiegler's notion of "symbolic poverty" and "aesthetic war."
Mróz currently lectures at the Jan Matejko Academy of Art in Kraków, where he continues to work on issues related to behavior, art, and technology. He is particularly interested in the intersection of these fields and the ways in which they can be used to understand and shape human experience. His research has been published in a number of academic journals and he regularly presents his work at conferences and symposiums.
Supervisors: Sidey Myoo
Phone: +14432169316
Mróz currently lectures at the Jan Matejko Academy of Art in Kraków, where he continues to work on issues related to behavior, art, and technology. He is particularly interested in the intersection of these fields and the ways in which they can be used to understand and shape human experience. His research has been published in a number of academic journals and he regularly presents his work at conferences and symposiums.
Supervisors: Sidey Myoo
Phone: +14432169316
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Słowa kluczowe: psychologia poznawcza, psychologia muzyki, okulografia, zapis muzyczny, czytania nut, egzystencjalizm, filozofia technik
On reading music notation. A critique of a select oculographic study.
This paper examines a study in cognitive psychology and music, which is entitled Silent Reading of Music and Texts; Eye Movements and Integrative Reading Mechanisms. This study can be analyzed with reference to questions raised by other researchers on the reliability of oculography. The point of reference for this critique lies in personal experience. I raise philosophical (existential) concerns and draw on the fields of phenomenology and the philosophy of technology. The discussed study addresses matters associated with the relationship between two different ways of encoding information, as well as the cognitive relationship between silent music processing and language. I first present a description of the study accompanied by some comments, and then a critique of the study. I argue that this study, although important, is not sufficient for understanding the phenomenon of reading musical notation.
The aim of this essay is to apply the concept of “Leviathan” by
Thomas Hobbes to the concept of superintelligence or superhuman
intelligence, which is discussed among transhumanists and touched
upon by such philosophers and futurologists as Nick Bostrom,
Stanisław Lem, or Ray Kurzweil, among others. The inspiration for
this work came from considering questions of the kind: "when does
a human being cease to be an autonomous subject?" or "can a human
being be independent at all?" That said, it seems to me that such questions may arise when we recognize a human being as a political
creature (a political zoon in the sense of Aristotle). For it is difficult
to imagine how to separate the notion of politics from a lonely person,
that is to say, in isolation from other people and without making
reference to or addressing them. I will briefly argue from the
perspective of an evolutionary historian. Karol Darwin, Samuel
Butler, George Dyson, and specifically Yuval Noah Harari are
researchers who have contributed to this understanding. I focus on
the work of the last two.
Celem niniejszej pracy jest zastosowanie wizji „Lewiatana” Thomasa
Hobbesa do koncepcji superinteligencji lub nadludzkiej inteligencji,
które dyskutowane jest wśród transhumanistów i poruszone jest
przez takich filozofów i futurologów jak między innymi Nick Bostrom,
Stanisław Lem, albo Ray Kurzweil. Inspiracją mojej pracy były
pytania w rodzaju: „kiedy człowiek przestaje być autonomicznym
podmiotem?” albo „czy człowiek w ogóle może być samodzielny?”.
Niemniej jednak wydaje mi się, że takie pytania mogą się pojawić
wtedy, kiedy człowieka rozpoznamy jako zwierzę polityczne (politikon
zoon w sensie Arystotelesowskim). Albowiem trudno wyobrażać sobie
wyłonienie pojęcia polityki wobec człowieka samotnego, to znaczy
w izolacji od innych ludzi i bez odniesienia się lub ustosunkowania się
do nich. Będę argumentował z perspektywy historyka ewolucyjnego.
Za badaczy posiadających wkład do takiego stanowiska można uznać
Karola Darwina, Samuela Butlera, George’a Dysona i szczególnie
Yuvala Noaha Harariego. Opieram się głównie na pracach dwóch
ostatnich.
Keywords: Aesthetics, Symbolic Misery, New Media, Cognitive Dissonance, Faulty Sensory Appreciation, Behavior.
tożsamością, dostarcza kluczowych idei dla analizy procesu indywiduacji
płci w pracach artystów. W artykule poruszam problem artystycznej
i estetycznej reakcji na homogeniczne kulturowe wzorce męskości,
określone pojęciem „toksyczna męskość” w dyskursach popkulturowych, socjologicznych, psychologicznych i gender studies.
Wspólny motyw opiera się na tym, że „toksyczna męskość” składa się ze
szkodliwych wzorców, które rodzą antagonizmy i redukują
wielopostaciowe męskości do jednej „społecznie akceptowanej”
podstawy, co odbywa się kosztem dzieci, kobiet i mężczyzn – a więc
całego społeczeństwa. Celem artystów jest wykazanie tej szkodliwości i
wskazania na wartość współistnienia wielu form męskości w jej
różnorodności, co może redukować skutki destruktywnych relacji z płcią
kulturową.
Galard Jean (1986), La beauté du geste. Pour une esthétique des conduites, Paris: Les Impressions Nouvelles, pp. 14–32.
© Les Impressions Nouvelles, 1986
Galard Jean (1986), La beauté du geste. Pour une esthétique des conduites, Paris: Les Impressions Nouvelles, pp. 14–32.
© Les Impressions Nouvelles, 1986
Słowa kluczowe: psychologia poznawcza, psychologia muzyki, okulografia, zapis muzyczny, czytania nut, egzystencjalizm, filozofia technik
On reading music notation. A critique of a select oculographic study.
This paper examines a study in cognitive psychology and music, which is entitled Silent Reading of Music and Texts; Eye Movements and Integrative Reading Mechanisms. This study can be analyzed with reference to questions raised by other researchers on the reliability of oculography. The point of reference for this critique lies in personal experience. I raise philosophical (existential) concerns and draw on the fields of phenomenology and the philosophy of technology. The discussed study addresses matters associated with the relationship between two different ways of encoding information, as well as the cognitive relationship between silent music processing and language. I first present a description of the study accompanied by some comments, and then a critique of the study. I argue that this study, although important, is not sufficient for understanding the phenomenon of reading musical notation.
The aim of this essay is to apply the concept of “Leviathan” by
Thomas Hobbes to the concept of superintelligence or superhuman
intelligence, which is discussed among transhumanists and touched
upon by such philosophers and futurologists as Nick Bostrom,
Stanisław Lem, or Ray Kurzweil, among others. The inspiration for
this work came from considering questions of the kind: "when does
a human being cease to be an autonomous subject?" or "can a human
being be independent at all?" That said, it seems to me that such questions may arise when we recognize a human being as a political
creature (a political zoon in the sense of Aristotle). For it is difficult
to imagine how to separate the notion of politics from a lonely person,
that is to say, in isolation from other people and without making
reference to or addressing them. I will briefly argue from the
perspective of an evolutionary historian. Karol Darwin, Samuel
Butler, George Dyson, and specifically Yuval Noah Harari are
researchers who have contributed to this understanding. I focus on
the work of the last two.
Celem niniejszej pracy jest zastosowanie wizji „Lewiatana” Thomasa
Hobbesa do koncepcji superinteligencji lub nadludzkiej inteligencji,
które dyskutowane jest wśród transhumanistów i poruszone jest
przez takich filozofów i futurologów jak między innymi Nick Bostrom,
Stanisław Lem, albo Ray Kurzweil. Inspiracją mojej pracy były
pytania w rodzaju: „kiedy człowiek przestaje być autonomicznym
podmiotem?” albo „czy człowiek w ogóle może być samodzielny?”.
Niemniej jednak wydaje mi się, że takie pytania mogą się pojawić
wtedy, kiedy człowieka rozpoznamy jako zwierzę polityczne (politikon
zoon w sensie Arystotelesowskim). Albowiem trudno wyobrażać sobie
wyłonienie pojęcia polityki wobec człowieka samotnego, to znaczy
w izolacji od innych ludzi i bez odniesienia się lub ustosunkowania się
do nich. Będę argumentował z perspektywy historyka ewolucyjnego.
Za badaczy posiadających wkład do takiego stanowiska można uznać
Karola Darwina, Samuela Butlera, George’a Dysona i szczególnie
Yuvala Noaha Harariego. Opieram się głównie na pracach dwóch
ostatnich.
Keywords: Aesthetics, Symbolic Misery, New Media, Cognitive Dissonance, Faulty Sensory Appreciation, Behavior.
tożsamością, dostarcza kluczowych idei dla analizy procesu indywiduacji
płci w pracach artystów. W artykule poruszam problem artystycznej
i estetycznej reakcji na homogeniczne kulturowe wzorce męskości,
określone pojęciem „toksyczna męskość” w dyskursach popkulturowych, socjologicznych, psychologicznych i gender studies.
Wspólny motyw opiera się na tym, że „toksyczna męskość” składa się ze
szkodliwych wzorców, które rodzą antagonizmy i redukują
wielopostaciowe męskości do jednej „społecznie akceptowanej”
podstawy, co odbywa się kosztem dzieci, kobiet i mężczyzn – a więc
całego społeczeństwa. Celem artystów jest wykazanie tej szkodliwości i
wskazania na wartość współistnienia wielu form męskości w jej
różnorodności, co może redukować skutki destruktywnych relacji z płcią
kulturową.
Galard Jean (1986), La beauté du geste. Pour une esthétique des conduites, Paris: Les Impressions Nouvelles, pp. 14–32.
© Les Impressions Nouvelles, 1986
Galard Jean (1986), La beauté du geste. Pour une esthétique des conduites, Paris: Les Impressions Nouvelles, pp. 14–32.
© Les Impressions Nouvelles, 1986
Call For Papers
“Aesthetic War”, 67 (4/2022)
Submission deadline: September 30, 2022
Editors:
Olga Lagutenko (National Academy of Fine Arts And Architecture, Ukraine)
Andrii Markovskyi (National Academy of Arts of Ukraine)
Adrian Mróz (The Jagiellonian University in Krakow, Poland)
Kyle Chayka described the Russian invasion of Ukraine as the first “Tik Tok war,” in which “social media’s aesthetic norms are shaping how Ukrainians document the Russian invasion.” He asks, “Is it a new form of citizen war journalism or just an invitation to keep clicking?” Departing away from a war aesthetic such as propaganda, the notion of “aesthetic war” involves the marketing practices pioneered by Edward Bernays for peace-time propaganda, psychological operations promoting Abstract Expressionism and conducted by the C.I.A. during the Cold War, or as Bernard Stiegler argued, both a term that describes the appropriation of aesthetics as the theater and a weapon in an economic war.
The editors of this forthcoming volume of The Polish Journal of Aesthetics invite researchers to submit relevant articles replying to the question above within the domains of art and aesthetics, especially including analyses of Ukrainian artists and art practices. The main questions of this issue concern the role of art and aesthetics within the domain of their media and political conflicts and struggles. The volume focuses on how others exploit creative and fictive processes. This planned volume provides an opportunity for describing new modes of perception, artists, and media through in-depth reflections on and interpretations of modern culture.
We invite authors to reflect on relevant themes. They may include questions about military and economic wars and their aesthetics, the meaning or legitimacy of art in culture, art theory and practice, the role of artists, symbols and techniques, the category of “aesthetic war,” the art market and profitability, industrialization and media theory, censorship, acceptability, performance, entertainment, judgment, propaganda, and any other area that can be argued to be formative of feeling, emotion, or cognition. This list is not exhaustive, and other submissions relevant to the title Aesthetic War will also be considered.
Author Guidelines
We ask authors to read our guidelines posted on the submission page under Author Guidelines as well as to doublecheck the completeness of each submission (please do not forget to collectively submit the abstract, keywords, bibliography, and biographical note about the author) before submitting.
Only complete submissions sent through the submissions page will be accepted.
All submitted articles are subject to double-blind reviews. Articles published in The Polish Journal of Aesthetics are assigned DOI numbers. Please do not hesitate to contact us via email: [email protected]
About the Journal
The Polish Journal of Aesthetics is a philosophical-aesthetic periodical, which has been quarterly published since 2001 by the Institute of Philosophy of the Jagiellonian University in Krakow, Poland. The journal has a long editorial tradition and is affiliated with one of the oldest European universities, and at the same time, it is continuously growing through systematic development. The editors’ goal is to implement and maintain the highest international publishing standards and practices, resulting in eminently substantive articles and papers addressing essential and topical issues concerning artistic performances and activities. Each year, four volumes of the journal are published: two regular volumes and two thematic volumes, devoted to specific aesthetics and philosophy of art, prepared in cooperation with experts of a particular subject. Calls for Papers of thematic volumes are separately distributed.
https://www.fabula.org/actualites/appel-contribution-pour-le-n-35-de-la-revue-marges-l-art-face-aux-urgences-ecologiques_102121.php
Bullshit Art. PJA Volume 63 (4/2021)
Submission deadline ⏰: June 30, 2021
Editors: Thorsten Botz-Bornstein (Gulf University for Science & Technology, Kuwait) & Adrian Mróz (The Jagiellonian University in Krakow, PL)
Submission site: https://pjaesthetics.uj.edu.pl/en_GB/wyslij-tekst
Inter-nation/Geneva2020
tłum. Michał Pałasz & Adrian Mróz
https://internation.world/
Glosariusz stworzony i przetłumaczony przez grupę Internation/Geneva2020.
Aby dołączyć do kolektywu współtworzącej Międzynaród
prześlij nam swą nazwę użytkownika oraz język(i),
na których chcesz pracować na adres [email protected]!
Dramaturgia, reżyseria i wykonanie autorstwa: José Eduardo Silva
Muzyka i wykonanie: Albrecht Loops, Henrique Fernandes, Gustavo Costa
Projekt oświetlenia autorstwa Pedro Vieira de Carvalho
Wideo: Jorge Quintela
Kostiumy i rekwizyty: Cátia Barros
Realizacja spektaklu: Patrícia Caveiro
Zdjęcia: Susana Neves / TNSJ
Koprodukcja: Teatro do Frio, TNSJ
Polska adaptacja: Adrian Mróz
Galard, Jean (1986), “Etique du signe”, In: La beauté du geste. Pour une esthétique des conduites, Paris: Les Impressions Nouvelles.
© Les Impressions Nouvelles, 1986
The primary focus of this thesis is to provide an account of behavioral aesthetics in the practices of selected 20th and 21st-century artists while also raising Stiegler’s questions about aesthetic war and symbolic misery in the context of industrialization and systems theory. Jean Galard is recognized as a precursor to behavioral aesthetics, and Jennifer Hall receives credit for her work in a post-humanist context. The subject matter is innovatively analyzed concerning behavior in art and how it is addressed by artists developing artistic behavioral schemes that provide a framework of open systems for initiating arborizations across acquired behavioral patterns and cognitive processes. Stiegler is examined for his inclusion and supplementation of the paradigm of new materialism, namely metaphysical performativity formulated by Karen Barad. This paradigm is integrated into Stiegler’s writing, primarily in Technics and Time and Symbolic Misery. Aesthetics is considered broadly qua the capacity to feel. The research methodology leads from new materialist agential realism to general organology and the genealogy of behavioral aesthetics in case studies involving Stephen Willats, Tania Bruguera, Céleste Boursier-Mougenot, Judson Wright, Marcus Young, and Joseph Beuys.
The dissertation reveals the phenomenon of the uptake of psychological and structural behaviorism in the activities of particular separate artists for the period under discussion. It shows that although these artists differ in their projects, they are united by the assumption that behavior constitutes a medium or form of artwork. The study reveals their works as examples of responding to the contemporary problem of an aesthetic war based on aesthetic conditioning through market-driven values, a tendency described by Annie Le Brun as globalist realism. In contrast, the study emphasizes aesthetic experience and experimentation and a re-evaluation of the role of the amateur. Artworks developed from the mid-20th century to the present day can serve as a basis and cause for additional research on contemporary questions of exclusion and alienation in an environment that increasingly resembles a Skinner Box – a remote-controlled system of algorithmic governance, data-driven behaviorism, or psychoinformatics. The dissertation addresses Stiegler’s call to elevate the value of spirit, synonymous with various modes of consciousness and cycles of noetic thinking that are materially sustained, stimulated, and extinguished. This aspect is the fabric of Beuys’s social sculpture, which Stiegler also identifies as necessary for the cultivation of a new epoch and a forward-looking vision engaged in an active struggle in the face of symbolic misery, i.e., a person’s loss of a sense of belonging and participation in the process of symbolic and aesthetic exchange.