Lukaš Makky

Lukaš Makky
University of Presov in Presov | UNIPO · Department of Aesthetics and Art Culture

PhD.

Publications

Publications (57)
Chapter
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This paper deals with urban aesthetics as one of the main research fields in contemporary aesthetics, placing particular emphasis on the recipient’s aesthetic experience of the city. The overall aim is to discuss the kind of aesthetic interactions we have when immersed in a city. Somaesthetic experience (Shusterman 1999) represents the core notion...
Article
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The image of the ancient past represents just a fragment. When we stand in front of such an image, we are standing in front of time. This text reflects the possibilities of aesthetic evaluation of ancient artifacts with the emphasis on the contextual perception of received phenomena. The defining concept of context is based on Jan Mukařovsky's appr...
Article
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In this paper, I investigate the origins of banality and the reasons why some phenomena appear banal to us. I discuss the issue by analysing three interrelated areas of aesthetic investigation: artworks, everyday objects, and banal things. By identifying the source of banality, my goal is to understand what makes banal things different from other k...
Chapter
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The terms center and periphery are often accepted to be an axiological opposites, even though Ján Bakoš (2000) has already illustrated, their a) historical variability and b) their complementary relationship. The border of both constants is liquid. The conviction about unproductive methodologies or the necessary “discrimination” of certain producti...
Chapter
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Are there any regional specifics of aesthetic interaction, or aesthetic experience? This question may sound really unorthodox, but there is a whole movement in aesthetic: environmental aesthetics, which explore the possibilities of aesthetic interaction and aesthetic value of nature. Although this movement is not really something new, it gives a lo...
Chapter
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Sometimes it looks like there is no need to go further in the past in the study of aesthetics and aesthetics of art because contemporary art offers much more complex problems. In this line of thinking, we often do not realise that we ignore a fundamental element of our past that should be included in the learning process, although its importance wi...
Article
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The current form and transformation of artistic practice in the 20th and 21st century caused some estrangement of the recipient and the art. The current discourse is therefore dominated by some distrust in defining the criteria of (not only) contemporary art, or even the dilemma of whether or not art has to be defined at all, mostly under the influ...
Chapter
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Contemporary art presents a specific issue whether in theory, reception, or overall in the way of approach. When we add to the complicated situation that we are talking about art after the end of art or the so-called “post-historic art”, we find that the prospect of our viewing changes rapidly, and the question as to whether we can continue to appr...
Chapter
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Prehistoric art always presents crucial and complicated theoretical problem in the view of archeology, art history, theory of art and aesthetics since the age of its (re)discovery. The research of artifacts, considered as a “fine art”, proved that a simple approach based on only archeology, art history, the theory of art, cultural, or religionist s...
Chapter
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Walter Benjamin joined the theorists who understood the establishment of the film as a definitive change in artistic expression at the beginning of the 21st century. The film, and even before, the photography, gave him the opportunity to think (though often not explicitly) about the perspectives of art. As he declared, by the “extinction” of the au...
Book
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Every object, activity or phenomenon has its own time and space boundaries (specifications), and we usually think of them in these denotations. It is a case of a typical event and situation horizon which has to start somewhere and has to end somewhere or it has to transform into another phenomenon. The progress of art and especially its history (wh...
Article
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Fantasy fiction has quite often been understood as a low literary genre and has also often been strongly criticized and described as purely free-time reading. However, from the perspective of popular art (once we recognize and accept it), fantastic fiction is not so decadent and it is apparent that it has, or can have, also artistic ambition beyond...
Conference Paper
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Georg Wilhelm Friedrich Hegel is often accused of being responsible for the end of art, or being the first one who suggested the fulfilment of historic role of the art, although it was Arthur Danto, who first use the notion “end of art”. In the given paper, I would like to follow up in my research on Jan Joachim Winckelmann, which was the first the...
Chapter
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Human kind exists and always has in some time and some space. If we want to discuss the past of our ancestors, we need to think in this two determinants and realise that the past and present, are entirely different. We could never replace consciousness of past and present recipient, even if they live in the same place. Given article is based on som...
Article
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The end of art is one of the central issue of history and theory of aesthetics, and also history and theory of art. When something begin, it also must end, or at least it must transform in another shape. The question how and if this end already happens, respectively how the transformation occurs and where it‘s going remains problematic. The issue o...
Chapter
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Richard Shusterman follows up John Dewey, he demonstrated that the pragmatic aspect of live and everyday affairs does not have to be necessarily the opposite of fine art and aesthetic experience. In his effort to connect pragmatism and aesthetics, he goes further, when he published a well known paper Somaesthetics: A Disciplinary Proposal in 1999,...
Conference Paper
http://www.pulib.sk/web/kniznica/elpub/dokument/Gluchman4 Contemporary art has unclear position against society, its own history and also against recipient and author very often. Art theorists are confronted with the uncertainty and v ery significant distinction in the opinions of the classification of artistic artefacts. It is a natural response t...
Book
Full-text available
http://www.pulib.sk/web/kniznica/elpub/dokument/Makky1 Each phenomena, each event or object hides several moments and levels of understanding in itself: it supposes several approaches towards the understanding. The selection of levels of verification should not fully depend only on the will and the decision making of the researcher, but even on th...
Chapter
Full-text available
Jan Mukařovský offered a “guidance” how to work with the aesthetic phenomena of the non-artistic aesthetics in the text Aesthetic function, norm and value as social facts. He offer the space for aesthetic exploration and reflection of civilizations that dates back to antiquity in perception of aesthetic function, norms and values as social facts. H...

About

57
Publications
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24
Citations
Additional affiliations
September 2011 - August 2015
University of Presov in Presov
Position
  • PhD Student
Education
September 2009 - June 2011
Department of Aesthetics, Arts and Cultural Studies
Field of study
  • teaching of combination: Aesthetic - History
September 2006 - June 2009
Department of Aesthetics and Art Culture
Field of study
  • teaching of combination: Aesthetic - History

Questions

Questions (8)
Question
I´am wondering if we need any kind of definition of Art. In the last period of time, the Fine Art lack any boundaries, or rather should I say any bounderies that couldn´t be falsified. For example if some artist make sincerely a piece of Art and react on something, and some years later, somebody else make something simmilar but inspired only by succes of the first artist and we recognise him, is the second artist also real artist and maker of Fine Art? So I think, there should be some ground rules, and we couldn´t just agree with everything. What I am trying to say, is that despite the overcome normativity in art there should be some rules.
Question
Do you prefer to use the term "prehistoric art" or do you disagree with such a conclusion? And also, where is the line between art and tool in prehistory, is there any criterion? I personally think despite the fact, that we could not state or create one universal definition of art, we still need to appoint some main features on art of each period of prehistory.
Question
We are preparing Conference (The Art on the Periphery and the Periphery in the Art) and according to abstracts it looks to be very interesting evening (for example there are abstracts about: fashion blogs, illustration in ABC books, about unrecognized artists, alternative theatres and music groups etc.). This question is just the output of my curiosity. So I would like to ask, if the notion of periphery and center is still actual, and what is known or understood as periphery in your countries. Or rather, how do you understand periphery in the field of fine art or art in general.
Question
I really don't want aesthetics of politics, because I am well aware of this field of research. What I am really searching for is the connection of aesthetics and power. There were always some artwork which deals with the theme of gaining or misuse of power, and I believe that aesthetic interest plays some role of the understanding, recipe, attraction, worshiping or decline of power (as such and as the main theme of some works). A very good example is Faust.
So What I am asking for, are there some papers or researches of aesthetic reception of Power. Or am I mistaken to think that there is some relation (of course I continue to ask myself and am still trying to find a pattern)?
Question
I don´t want to solve the meaning of notion Fine Art or Art, either to ask if we could create a sufficient definition of art at all. I was just curious, what is the place of Fine Art in the human life? It´s pretty common that recipients (all recipients in general, the small group with fine taste in art looks on it different) look on the art as pragmatists and ask themselves every time, if they could the concrete work of art bring to their living room. It may sound fancy but that’s the common opinion. The second question could be: “What should be its rightful place and what are the differences?” The distinctions in discussion between these two questions would be huge, but the answers would differ more if we add the request of the role of present and modern art. Everybody says that the art should play important role in the life, so I ask what are and what should be these roles?
Question
Faustian motifs in aesthetics, ethics, philosophy, literature and art of past and present
Question
Which one of London's history museums has a good (not necessarily the largest) collection of Celtic Coins?
Question
By the term "aesthetics of Celts" I don't mean some theories directly written by them, although there is a possibility of those, written by Celts in the Roman Empire, or under the influence of Germans in the centuries AC or rather, in the Middle Age by some Irish pilgrim. What I'm asking for are possible sources and theories based on research of the aesthetic value or aesthetic experience and reception of celtic artifacts (coins, jewellery, weapons ...). If there would be some supplement sources analysing the originate thoughts of Celts, it will be very helpful, but I'm more interested in concrete aesthetic analysis of above mentioned artifacts.

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