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This article discusses the interpretative approach of the German conductor Otto Klemperer towards Beethoven’s Third Symphony Eroica. It attempts to analyze the distinctive features of his interpretation in relation to the concepts of Classicism and Romanticism. These are further elaborated by comparisons with several other interpretations. It concludes with acknowledgment, that the overall continuity flow is what makes this interpretation aesthetically coherent and appealing to the listener.

Recently, increasing awareness of the impact of human behavior on the natural environment has brought international attention to the importance of sustainable development entailing a boost in the research into the subject. Within artistic fields including the fields of glass craft and design, a demand for aesthetic autonomy and innovation is still paramount. I have completed this project to contribute to sustainable development in consideration of this demand for aesthetic autonomy and innovation within glass craft and design. Hence, the central issues in the research are if and how introduction of sustainable principles in creative processes may influence expansion of aesthetic spaces of opportunity, and how glass craft and design may contribute to sustainable development.To connect scientific and artistic research with glass craft and design practice and education, I have engaged in a practice-based research method in combination with elements of education-based research and action research. The dissertation presents a discussion of theories, methods and practices around glass craft and design and sustainability in relation to a series of activities including personal experiments, teaching, interventions in public spaces and collaborative experiments together with students, colleagues and users. I have conducted the project over a four-year period, as a combined faculty qualification and Ph.D. program, a format specific to The School of Design at the Royal Danish Academy of Fine Arts. In order to ensure relevance within this format, a premise for the project has been to develop as holistic a foundation as possible for creative experimentation using the facilities and resources available at this institution.The outcomes of the project include practical, artistic and scientific knowledge and insight. The contributions are manifest in a range of epistemic artifacts, i.e. outcomes of my own experiments with recycled glass as well as a series of creative outcomes of collaborative activities. Through the creation of these works, my collaborators and I have developed tacit as well as explicit knowledge and insight about sustainability in glass craft and design. Along with these epistemic artefacts, I have proposed a theoretical model for addressing issues of aesthetic content, a theoretical framework for understanding the unique qualities of scientific-artistic practice-based research, along with a technique for experimenting with pressed glass and a strategy for making molds for casting glass. AbstractRecently, increasing awareness of the impact of human behavior on the natural environment has brought international attention to the importance of sustainable development entailing a boost in the research into the subject. Within artistic fields including the fields of glass craft and design, a demand for aesthetic autonomy and innovation is still paramount. I have completed this project to contribute to sustainable development in consideration of this demand for aesthetic autonomy and innovation within glass craft and design. Hence, the central issues in the research are if and how introduction of sustainable principles in creative processes may influence expansion of aesthetic spaces of opportunity, and how glass craft and design may contribute to sustainable development.To connect scientific and artistic research with glass craft and design practice and education, I have engaged in a practice-based research method in combination with elements of education-based research and action research. The dissertation presents a discussion of theories, methods and practices around glass craft and design and sustainability in relation to a series of activities including personal experiments, teaching, interventions in public spaces and collaborative experiments together with students, colleagues and users. I have conducted the project over a four-year period, as a combined faculty qualification and Ph.D. program, a format specific to The School of Design at the Royal Danish Academy of Fine Arts. In order to ensure relevance within this format, a premise for the project has been to develop as holistic a foundation as possible for creative experimentation using the facilities and resources available at this institution.The outcomes of the project include practical, artistic and scientific knowledge and insight. The contributions are manifest in a range of epistemic artifacts, i.e. outcomes of my own experiments with recycled glass as well as a series of creative outcomes of collaborative activities. Through the creation of these works, my collaborators and I have developed tacit as well as explicit knowledge and insight about sustainability in glass craft and design. Along with these epistemic artefacts, I have proposed a theoretical model for addressing issues of aesthetic content, a theoretical framework for understanding the unique qualities of scientific-artistic practice-based research, along with a technique for experimenting with pressed glass and a strategy for making molds for casting glass.

This work has two purposes. The first purpose is to investigate how politicians, in the Planning- and Buildingcommitee, affect the aesthetics of buildings in Uppsala city center. The second purpose is to document the thoughts of politicians and officials about how politicians acted during the process. The overall method of work is a case study based on qualitative interviews. The interviewees are members of the current Planning and Buildingcommitee and officals who are or have been employed by the City Planning Administration. The case is; the impact of the Planning and Building Board on the aesthetics of buildings in Uppsala city center. The result shows that politicians have had an influence on the facades and volumes of buildings, and a number of examples of buildings that have been affected are provided. Due to the nature of the influence and the method's risk of subjectivity, it has not been possible to identify the impact in detail.

L’article montre, par l’analyse de la référence à la fille de Dibutade dans l’Essai sur l’origine des langues, les limites de la lecture qu’en donne Jacques Derrida en le réduisant à un geste expressif. Cet exemple est porteur d’une esthétique de l’expression de la sensibilité aux signes ; il évoque la production d’une trace, sorte d’écriture, à l’opposé de la thèse derridienne selon laquelle Rousseau serait porteur de la croyance naïve en une expression immédiate dont la parole ne serait qu’un substitut., Through an analysis of Rousseau’s Essai sur l’origine des langues’s quotation of the myth of Dibutade’s daughter, this article shows the limits of Jacques Derrida’s reading of it as no more than an expressive gesture : the example is about expressing a sensitivity to signs. It tells us about producing a trace, and a sort of writing, in opposition with Derrida’s idea of Rousseau being a prisoner of the metaphysical illusion of an immediate expression for which language would be nothing but a pale substitute.

By referring to the fundamental question of how we unite aesthetics and technology – tectonic theory is necessarily a focal point in the development of the architectural discipline. However, a critical reconsideration of the role of tectonic theory seems necessary when facing the present everyday conditions of the built environment. We see an increasing number of square meters in ordinary housing, in commercial buildings and in public buildings such as hospitals and schools that are dealt with as performative structural frameworks rather than qualitative spaces for habitation and contemplation. On the occasion of the Second International Conference on Structures & Architecture held in July 2013 in Portugal the authors organized a special session entitled From open structures to the cladding of control bringing together researchers from the Nordic countries to discuss this issue. Likewise the initiative to establish a Nordic Network for Research and Teaching in Tectonics is currently forming. This paper seeks to jointly reflect upon these initiatives in order to bring them further, with the intention to clad a discourse on the future of tectonic architectural research that addresses the conditions of everyday architectural practice. In this matter the paper focuses on the need to juxtapose theoretical studies, to bring the present vocabulary of the tectonic further, as well as to spur further practical experiments enabling theory to materialize in the everyday of the current practice. By referring to the fundamental question of how we unite aesthetics and technology – tectonic theory is necessarily a focal point in the development of the architectural discipline. However, a critical reconsideration of the role of tectonic theory seems necessary when facing the present everyday conditions of the built environment. We see an increasing number of square meters in ordinary housing, in commercial buildings and in public buildings such as hospitals and schools that are dealt with as performative structural frameworks rather than qualitative spaces for habitation and contemplation. On the occasion of the Second International Conference on Structures & Architecture held in July 2013 in Portugal the authors organized a special session entitled From open structures to the cladding of control bringing together researchers from the Nordic countries to discuss this issue. Likewise the initiative to establish a Nordic Network for Research and Teaching in Tectonics is currently forming. This paper seeks to jointly reflect upon these initiatives in order to bring them further, with the intention to clad a discourse on the future of tectonic architectural research that addresses the conditions of everyday architectural practice. In this matter the paper focuses on the need to juxtapose theoretical studies, to bring the present vocabulary of the tectonic further, as well as to spur further practical experiments enabling theory to materialize in the everyday of the current practice.

Afhandlingen undersøger effekten af voldelige billeder med den syriske Facebook-side "We are all Hamza Alkhateeb" som case.

Nagrinėjama Lietuvos metalinių tiltų architektūros ir konstrukcijų estetika. Apžvelgiami pagrindiniai architektūros teorijos aspektai ir ypatybės, taikomos tiltų architektūros klausimams nagrinėti. Aptariami architektūros linijos, kontūro, formos, spalvos ir tekstūros aspektai bei tvarkos, proporcijos, ritmo ir harmonijos ypatybės. Nagrinėjamas tektonikos ir bionikos bruožų taikymas tiltų architektūroje. Analizuojami tiltų pavyzdžiai., Santrauka anglų kalba. The aesthetics of Lithuania metal bridges and constructions is analysed. The main aspects and features of architecture’s theory concerning questions of line, shape, form, colour and texture are reviewed. The dimensions of architecture’s line, shape, form, colour and texture are discussed, characteristics of rhythm and harmony. Architectural tectonics and bionic techniques which are used to harmonize aesthetics of bridges are analysed. Exam-ples of bridges are analysed.

Lietuviškoji meno samprata, kol tapo adekvati esmei, yra nuėjusi ilgą plėtojimosi kelią. Jos puoselėtojų gretoje rikiuojasi skirtingomis pasaulėžiūromis ar filosofinėmis nuostatomis besivadovaujantys kultūros kūrėjai. Garbinga vieta modernios lietuviškos meno sampratos kūrėjų būryje priklauso prelatui Aleksandrui Dambrauskui-Adomui Jakštui (1860-1938). Lietuva 2010-aisiais minėjo 150-ąsias šios iškilios asmenybės gimimo metines, tad šio intelektualo estetinės sampratos bruožus pristato literatūrologas Rimantas Skeivys. Lithuanian art concept, until it became adequate to the main issue, has travelled a long road of development. Alongside it’s upholders line up creators of culture, who entertain different worldviews and philosophical determinants. Honourable place in the circle of creators of modern Lithuanian art concept is awarded to prelate Aleksandras Dambrauskas-Adomas Jakštas (1860-1938). In 2010, Lithuania celebrated 150th birth anniversary of this outstanding personality, therefore the features of aesthetical concept of this intellectual are presented by literature researcher Rimantas Skeivys.

Depuis un certain nombre d’années, un nouveau courant de recherche est apparu en histoire de l’art : l’anthropologie des images. L’image semble une notion plus juste historiquement et anthropologiquement que l’art, trop déterminé par l’histoire récente de la culture occidentale. Le but de ce texte est d’abord de confronter l’anthropologie des images à d’autres champs disciplinaires qui réfutent la question de l’art : visual studies, iconologie. Dans tous les cas, l’image est conçue comme représentation porteuse de signification. Mais sur la fabrication, la création, ces études sur les images ont peu à dire. On cherchera finalement à établir les bases d’une autre approche des objets visuels, fondée sur l’anthropologie des techniques et de la philosophie deleuzienne de l’événement, où c’est moins l’image comme représentation que comme expression qui est étudiée.Many years have past since art history has witnessed the emergence of a new field of research: the anthropology of images. The word “image” seems more historically and anthropologically appropriate than “art,” a term too closely defined by the more recent history of Western culture. The first goal of this paper is to compare the anthropology of images and other disciplinary fields that refute the question of “art” per se, namely visual studies and iconology. In all of these cases, the image is conceived of as representation bearing meaning, but these studies have not much to say about production or creation. Finally, we will try to establish the foundations of another approach to the study of visual objects, based on the methods of anthropology. In addition, we will consider Deleuze’s philosophy of event, in which the image is studied less as representation, and more as an as expression.Sono ormai trascorsi alcuni anni da quando la storia dell’arte ha assistito all’emergere di un nuovo campo di studi : l’antropologia delle immagini. Il termine “immagine” sembra più appropriato, sotto il profilo storico e antropologico, di quello d’“arte”, termine dettato e legato alla storia moderna della cultura occidentale. Il primo obiettivo di questo articolo è di comparare l’antropologia delle imagini con altre correnti disciplinari che rifiutano analogamente la definizione di “arte”, in particolare i visual studies e l’iconologia. In tutti questi casi, l’immagine è concepita come una rappresentazione dotata di senso, ma questo tipo di studi si mostrano poco attenti al lato della produzione e della creazione. Infine, tenteromo di stabilire i fondamenti di un altro tipo di avvicinarsi allo studio degli oggetti visivi, fondato sui metodi antropologici. In conclusione, ci si riferirà alla filosofia deleuziana dell’evento, che considera l’immagine non in termini di rappresentazione bensì in termini di espressione.

Straipsnyje "Estetinė laisvė ir socialinės raidos ribos postmoderistiniame kontekste" analizuojama meno socialinės atsakomybės problema. Svarstomas socialinių meno ribų klausimas postmodernizmo kontekste. Reprezentuojantys postmodernizmą literatūros kūriniai, parodos bei performansai pasirinkti kaip šio filosofinio tyrimo objektai. Autorė atskleidžia patį postmodernizmo fenomeną ir ypač meno pasipriešinimą bet kokios rūšies apriorizmui. Pasitelkiant Heideggerio meno tiesos koncepciją, pripažįstama meno teisė į psichologinę - egzistencinę laisvę, kaip nevaržomą kūrybinės savirealizacijos išsklaidą. Sutinkama su netiesiogine meno atsakomybe: menas socialinę prasmę įgauna būdamas atsakingas pats sau, gelmiškai motyvuodamas save kaip tokį. Pripažįstant, jog menas ne vien deskripciškai atveria, bet ir formuoja adresatą, svarbu, kad tas menas nebūtų pernelyg imitaciškai priimimamas, - tuomet jis praturtins savimonę. The article "Art and Values: Aesthetic Freedom and Social consequences within the Postmodernist Context" analyses the issue of art’s social responsibility. An attempt is made to consider the limits of social individual art freedom, to clarify whether it is not a socially committing experience. Postmodernism and its artistic expressions in exhibitions, performances and literature have been selected as objects of philosophical research. The author reveals the very phenomenon of postmodernism, and especially art’s resistance to any sort of apriority. Artistic individual and social dimensions are distinguished – the article maintains the position, which believes in art’s ability to acquire the right of a discourse type of openness. Thus, it is important not to accept it too imitatively.

E. Dickie‘o institucinės meno teorijos pagrindu straipsnyje yra analizuojamos estetikos problemos. Šioje teorijoje uždarą meno grandinę, kurioje vyksta estetiniai mainai, sudaro menininkas ir publika. Vis dėlto ši teorija negali paaiškinti naujų meno vėjų. Institutams atiduodama lemiamą vaidmenį, ji žmogų paverčia jų klonu. Apie meną be uždaros meno teorijos siūlo kalbėti Weitzas. Greimas nagrinėja pavienius atvejus. Jo semiotikoje išryškėja žmogaus tragizmas ir artumas daiktams. Estetikos ir filosofinės poetikos atskirtį siūlo Šliogeris ir Gaižutis. Filosofinė poetika yra tik atskirų atvejų interpretacija, priešingai nei estetikos teorija. Menininkas yra priklausomas nuo visuomeninės aplinkos. Pastaroji maitina jo pasaulėžiūrą. Kiekvieno visuomenės nario dalyvavimas mene yra lygiai toks pat svarbus. Dėl šių priežasčių siauresnė ir platesnė už estetiką yra filosofinė poetika, kuri neapsiriboja estetinėmis (meno, grožio ar genijaus) kategorijomis, o yra grindžiama žodiniu menu bei žodiniu supratimu. The author analyses the problems of aesthetics according to Dickies' institutional theory of art. The author criticizes the closed theory of aesthetics refering on Weitz, Baudrillard, and the some examples of art. Aesthetics don't explain the new cases of the art and treatises the individuals as the dons of the culture. In contrast to the closed aesthetics theory the author brings out philosophical poetics. Philosophical poetics is both narrower and broader than aesthetics because it is supported with poetical forms but has ethical and existential aspirations.

The present research work investigates the relation between physical objects, their materiality, understood as the physical substances they are made from, and the communication from the objects. In product design of physical objects the communicative aspects are just as important as the function of the object, and the designers aim is therefore to tune both in order to achieve a desired goal. To do so the designer basically has 2 options: Alteration of the physical shape of the object and the selection of materials. Through the manipulation of shape and materials can symbolic and sensory information be written into the object. The materials are therefore carriers of communication, even though this is dependent of the cultural context and the environment which the object will be part of. However the designer has only minor influence on those.