Minimal music as a Problem of Figure and Background
When the first music and sound loops trends appeared in the 1960s USA, there was much more at stake than simple substitution of an evolutionary type of music by a non-evolutionary, relatively static structure. The influence of Eastern Zen Buddhism on the American experimental music scene marked a shift from listening to the intentional music typical of Western culture, to freeing stream of consciousness typical of meditation techniques. Thus the key to understanding minimal music lies in psychological processes that endeavour to eliminate perception of the flow of time and dismantling of intentional listening. From this perspective we can understand minimal music more as functional music that inverts the standard schema relating figure to background in the Western European musical tradition. In contrast to this original designation, minimal music is today undergoing a process of objectization, with its motoric pattern shortened to the extent of traditional musical themes, thus merging into the tradition of melodic/harmonic composition.
PhDr. Martin Flašar, PhD. is a member of the Department of Musicology, Faculty of Philosophy at Masaryk University, Brno. His areas of specialization include contemporary music and media, multimedia and electro-acoustic music. His dissertation “Le Corbusier, E. Varèse, I. Xenakis: Poème électronique (1958)” won first place in the competition for the best interdisciplinary work at master’s and doctoral level (Palacký University, Olomouc, 2011) and in its book form was nominated for the 2012 F. X. Šalda Prize. He has co-authored many monographs (including Sound exchange: experimentelle Musikkulturen in Mitteleuropa, PFAU Verlag, 2012; Zvukem do hlavy, NAMU, 2012; Umění a nová média, MUNI Press, 2011; Mosty a propasti mezi vědou a uměním, Tomáš Halama, 2010; Electronic Music Today, JAMU, 2014). He was a member of the classical music grant commission of the Czech Ministry of Culture, and cooperated with Czech Radio 3 and journals and newspapers. From 2004 to 2011 he edited Opus musicum journal, and presently is an editor of the journal Musicologica Brunensia.
PhDr. Martin Flašar, PhD., Department of Musicology, Faculty of Philosophy, Masaryk University Arna Nováka 1, 60200 Brno, Czech Republic, e-mail: firstname.lastname@example.org.
Series, Space and Freedom
When philosophers cite examples from music, it is symptomatic that these examples as a rule make reference to time and how it passes (Bergson, Patočka). It is no accident that musical melody serves as the paradigmatic model. The aim of the lecture is to show how music post-Schönberg opens our eyes to a much more complex question, for which space is a non-trivial aspect. Schönberg himself, in connection with twelve-tone composition, speaks explicitly of musical space, and it is serialism that transports this further, in its effort at the total organization of this space. Debates on the freedom of composer with significant philosophical accent, and staged in literary form by such as Thomas Mann in Doctor Faustus, relate closely to the question of this organization. In conclusion we will attempt to mark a path from this organized space to space that is – at least partially – undetermined, on the paradigmatic model of the maze. A starting point will be the prodigious Boulez text “Sonate, que me veux-tu?”, in which one model of musical space becomes – with a reference to Butor’s novel L’emploi du temps – the plan of a town, among other things. The development of musical language thus logically harmonizes with certain tendencies in period thought, as represented by such philosophers as Michel Foucault and Gilles Deleuze.
Doc. Josef Fulka, PhD. completed studies in philosophy at the Comenius University Faculty of Philosophy in Bratislava (completing his doctorate in 2003). He is currently a member of the Institute of Philosophy at Charles University’s Faculty of Humanities and the Undergraduate Program in Central European Studies (CERGE-EI) in Prague. He spent 2013 – 2014 on a Fulbright grant at the Department of Communication Studies, University of Austin, Texas. His scholarly research concentrates mainly on 18th- and 20th-century philosophy and literary theory. He translates from French and English (works by R. Barbaras, J. Kristeva, R, Barthes, E. Laclau, L. Althusser, M. Foucault, J. Butler, L. Harlan, C. Lévi-Strauss, J. Ranciér, M. Richir, A. Badiou, G. Didi-Huberman, P. Klossowski, and M. Maffesoli among others). He has published in the journals Souvislosti, Svět a divadlo and Analogon. He is the author of the books Zmeškané setkání (2004), Psychoanalýza a francouzské myšlení (2008) and Roland Barthes (2010).
Doc. Josef Fulka, PhD., Faculty of Humanities, Charles University, U Kříže 8, 158 00 Prague 5 – Jinonice, Institute of Philosophy, The Czech Academy of Sciences, e-mail: email@example.com
The Critical Potency of the Time-Lapse Method in Contemporary Art
The lecture is on art projects created using the method of time lapse. These are special cases applying the seriality principle in the sense of building sequences of pictures; on the one hand they are held together by a common theme, and on the other, since they are projects made over a period of time, they represent a structure that cyclically repeats. A model work is the time-lapse project by Eva Filová titled Sladké zajtrajšky (Sweet Tomorrows, 1992 – 2002), which can be read as a sarcastic pictorial history of recent Slovak politics. It germinated over decades, during which Slovak society underwent dramatic changes, when after 1992 post-revolutionary developments trended away from the fragile, newly-constituted democracy toward authoritarian governance. The project, in which the artist commented artistically on unused ballot papers, is a peculiar mix of a conceptual approach and refined work with spectators’ emotions; the artist tests this threshold of sensitivity through humorous, ironic and even sarcastic aphorisms in text and pictures.
Mgr. Jana Geržová completed studies in art history at the Comenius University Faculty of Philosophy in Bratislava. In her historical, critical, curatorial and editorial work, she specializes in a range of aspects of contemporary art. For years she has been the chief editor and a contributor for the journal Profil súčasného umenia; she also wrote the first monograph on Otis Laubert (2001), and the books Slovenské výtvarné umenie 1939 – 1989 z pohľadu dobovej literatúry (2006), Rozhovory o maľbe. Pohľad na slovenskú maľbu prostredníctvom orálnej histórie (2009), and with a co-author the first monograph on Daniel Fischer (2016). In 2010 – 2012 she prepared the Czecho-Slovak symposium Maľba v kontextoch, kontexty maľby (2010), the international symposium Painting in the Postmedial Age (2012) and the interdisciplinary symposium Rodové aspekty súčasného umeleckého diskurzu (2012). In the 1990s she initiated publication of the first art terminology dictionary Kľúčové termíny výtvarného umenia druhej polovice 20. storočia. Gramatická a sémantická charakteristika (in cooperation with the linguist I. Hrubaničová, 1998) and Slovníka výtvarného umenia Od abstraktného umenia k virtuálnej realite (in cooperation with J. Mojžiš, 1999). Her studies Konceptuálne umenie and Citácia, interpretácia a apropriácia v súvislostiach analýzy médií were part of the publication Dejiny slovenského výtvarného umenia – 20. storočie (ed. Z. Rusinová, SNG 2000). Her study Art and the Question of Gender in Slovak Art, written for the British feminist journal n.paradoxa (2001), was included in the book Gender Check: a Reader (ed. B. Pejić, 2010).
Mgr. Jana Geržová, editor-in-chief of journal Profil súčasného výtvarného umenia (www.profilart.sk), firstname.lastname@example.org
Staging Unmaterialized Space
The project Biely priestor v bielom priestore (White Space in the White Space,1973-1974), by the three artists Stanislav Filko (1937-2015), Miloš Laky (1948-1975) and Ján Zavarský (1948), which was one of the signal pieces of Slovakia’s neo-avant-garde, had the ambitious aim of transcending the bounds of the objective world into infinite space. In the accompanying Manifesto, its artists stated that “The dynamics of infinitude is expressed in every original work created by us from an infinite amount of possibilities.” They manifested their idea of unmaterialized and infinite space primarily through repetition of individual installation components, and through a composition of an “infinite” white band in fabric and painting. Every realization of the Biely priestor v bielom priestore installation consisted of a concrete real space, of white fabric strips and cylindrical objects painted in white latex; and this opened the space to contemplation of whether the principle of repeated compositions with an “infinite” painting was or was not a constitutive means of setting out the transcendence of the world of reality.
Mgr. Beata Jablonská, PhD. completed studies in art history at the Comenius University Faculty of Philosophy in Bratislava. Until 2009 she was curator of the Slovak National Gallery’s 20th-century drawings collection in Bratislava. From 2009 to 2014 she was a researcher in the Division of Visual and Cultural Studies of Research Centre at the Academy of Fine Arts and Design in Bratislava, where since 2014 she has been a lecturing member of the Department of the Theory and History of Art and lectures on contemporary visual art. Her concentration is primarily on neo-avant-garde and contemporary painting, but also gives attention to other media. She wrote the chapter “Maľba v postmodernej situácii” for the synthesizing publication Umenie 20. storočia (SNG, 2000, ed. Z. Rusinová), “Lži dilemy a alternatívy obrazu” for the catalogue Slovenské vizuálne umenie 1970-1985 (SNG, 2003, ed. A. Hrabušický), and was the main exhibition curator and editor of the accompanying catalogue for Osemdesiate: Postmoderna v slovenskom výtvarnom umení 1985-1992 (SNG, 2009). As a curator, she has prepared many group and monographic exhibitions at home and in the Czech Republic; she has written studies for journals and compilations domestically and abroad. In 2014 she defended her dissertation Prítomnosť a význam maľby v stratégiách slovenského konceptuálneho umenia, which she is preparing for publication under the title Transcendentné, Absolútne, Nekonečné. Skryté kapitoly slovenského konceptuálneho umenia.
Mgr. Beata Jablonská, PhD., Department of Theory and History of Art, Academy of Fine Arts and Design, Bratislava, Hviezdoslavovo nám. 175/18, 814 37, Bratislava, Slovakia, e-mail: email@example.com
Polytypes and Multitypes
Seriality and repetition in contemporary architecture go beyond the traditional domain of prefabrication in the form of producing standardized elements and their multiplication horizontally or vertically. To linear design processes, new computing tools add non-linear iterations, i.e. generative search for what is possible. Where prefabrication’s aim was mainly to economize the construction industry in the direction of maximal efficiency, a motivation for iterative methods might be greater openness in architecture by means of actualization, integration and differentiation for specific user demands – all with an awareness of soft radical architectural visions, which hold that questions lie less in the form of buildings of the future, and more in future uses of buildings that already exist.
Ing. arch. Jakub Kopec graduated from the Faculty of Architecture of Brno University of Technology. He currently heads the “n-1” architecture office, and is a member of the journal ERA21’s editorial board and the 4AM/Forum for Architecture and Media association. He is presently a doctoral student at the Department of Architecture of Bratislava’s Academy of Fine Arts and Design, where he is focusing on researching movement and its choreography in architecture. He edited the compilation Compact City/Kompaktní město and ZIN 1 – Introspekce, and curated exhibition and lecture projects of the same name, as well as the ERA21 1/2015 issue on curating architecture and other events (including “Exposition of One Project: Domografia”; “Abstraction, Iteration, Application”; and “Pavilion 1”). He has designed a number of temporary installations and realized building projects, in particular the “PRAHA/Forum for Architecture and Media” cultural space and an adaptation of a house in Brno’s Kamenná kolonie.
Ing. arch. Jakub Kopec, Department of Architecture, Academy of Fine Arts and Design, Hviezdoslavovo nám. 175/18, 814 37 Bratislava, Slovakia e-mail: firstname.lastname@example.org, http:www.n-1.cz
Reproduction, Variation, Interpretation
In my lecture I will analyze works that came about or were presented as part of Bratislava Championships in the Shift of Artefact (Majstrovstvá Bratislavy v posune artefaktu, 1979 – 1986 ). These are works that made use of a reproductive medium (primarily photography), whether to chronicle an event or to replicate and develop the narrative aspect of a work. Interest in the reproductive side of a medium (such as photography, xerox, and computer graphics), and the phased observing of a work’s transformation or a cycle’s creation, was a frequent approach taken in interpreting a theme. Starting points can be seen in the striking interest many of the artists took in the pop-art aesthetic, and the influence and possibilities in what was technically reproducible (V. Kordoš, P. Meluzin, M. Mudroch). Seriality, and the development and transmutation of motifs in cycles, is conveyed through photographic activity as a form of chronicling the transformation of a reality or a work. Photography intervenes in the relationship between original and copy, between a live action and the chronicle that conveys it. At the same time, it makes possible the creation of sequences, of photographs as fields that the artists often put together into a story or variations thereof.
Mgr. Ján Kralovič, PhD. completed studies in art history at the Faculty of Hilosophy of Trnava University. In his historical, critical, curatorial work, he specializes in a range of aspects of contemporary art. From 2012 to 2016 he undertook scholarly research in the Division of Visual and Cultural Studies of Research Centre at the Academy of Fine Arts and Design in Bratislava, where he currently lectures in the Department of the Theory and History of Art. He lectures on the history of Slovakia’s 20th-century art and of new media, and leads seminars on the theory and interpretation of works of art. He regularly publishes reviews and studies in journals (Jazdec, Ostium, FlashArt, artalk.cz, Profil súčasného umenia, Vlna and others). In 2014 he published Teritórium ulica (Umenie akcie v mestskom priestore v rokoch 1965 – 1989 na Slovensku) and at the beginning of 2017 monograph on exhibitions in homes and activities in the “normalizations” period, titled Majstrovstvo bez víťaza.
Mgr. Ján Kralovič, PhD., Department of Theory and History of Art, Academy of Fine Arts and Design, Hviezdoslavovo nám. 175/18, 814 37, Bratislava, Slovakia, e-mail: email@example.com
The Issue of Differentiation and Repetition in Sociological Theories of Art by M. M. Bakhtin and P. Bourdieu
This lecture focuses on sociological concepts of M. M. Bakhtin and P. Bourdieu, and on the possibilities of development and mutual comparison of results that may arise for art theory and aesthetic thought that draws on accentuating the role of the social environment’s dynamic. The basic perspective we will consider in presenting this conception lies in the principle of differentiation and repetition. It is this that appears to be the primary element in producing and reproducing social environments, and thus it is an “elementary action” in the dynamism of environments for artistic production, which are variations of and simultaneously constituents of the social environment. Understanding art through the principle of differentiation and repetition in both of the concepts presented makes possible a reconfiguration of conceptions and working methods: a) of visual art theory (e.g. the concept of “authorship”), b) of aesthetics (e.g. the issue of the social construction of perception), and c) of the methodology of art history, in which two varying patterns of “the philosophy of art history” form around the centre of this question.
Mgr. Norbert Lacko completed studies in Slovak language and literature at Prešov niversity in Prešov’s Faculty of Philosophy (1993 – 1998), from 1996 to 1998 on scholarship from Bratislava’s Výberový vzdelávací spolok association. He started as an external member of the Department of Theory and History of Art at the Academy of Fine Arts and Design in Bratislava in 2001, where since 2011 he has been an internal lecturer. He teaches the subjects Fundamentals of Philosophy and History of Aesthetics. His work is in structuralist and post-structuralist initiatives in thought on visual art, and possible applications of sociological theories of art and issues in critical thought. He has published in the journals Filozofia, Slovenská literatura, Profil, Kino-ikon, Ostium and Romboid. Since 2004 he has also worked systematically in curating projects, among which he especially prizes “Rožňavské radiály” (a cycle of contemporary art exhibitions for the Mining Museum Gallery in Rožňava), realized every year since 2013 (in cooperation with Silvia Lacková Čúzyová).
Mgr. Norbert Lacko, Department of Theory and History of Art, Academy of Fine Arts and Design, Bratislava, Hviezdoslavovo nám. 175/18, 814 37, Bratislava, Slovakia, e-mail: firstname.lastname@example.org
Seriality in the Nine-Square Grid
The lecture is on the serial potential in the geometric figure of nine squares, as one of the possible fractal series of a divided square. If we accept the research statements of Rudolf Wittkower and comparisons by Colin Rowe, we might formulate a hypothesis of transhistoric seriality. This might result among other things in the historicization of the modern or the modernization of history. In addition to this hypothesis, the lecture will address various later types of “period” seriality, based on diverse uses of the geometric figure of nine squares as an analytical scheme, disciplinary matrix, diagrammatic field and interpretational key in the work of American architects from Louis Kahn, through Robert Venturi, to the New York Five particularly as regards John Hejduk, as well as contemporary architects in Slovakia. The lecture will thus endeavour to present the possible consequences of choosing a single geometric, intra-series figure for serial thinking.
Doc. Ing. arch. Monika Mitášová, PhD. completed studies in architecture at the Faculty of Architecture at the Slovak University of Technology in Bratislava (1993). In 2003-2004 she was at the Center for Theoretical Study of Charles University and the Czech Academy of Sciences in Prague doing post-doctoral research, where with Ivan M. Havel and Michal Ajvaz she prepared the anthology Prostor a jeho člověk (Prague 2004); in 2015 she completed her habilitation at the Faculty of Architecture of Czech Technical University in Prague. She has lectured at schools of architecture in Bratislava, Liberec and Prague. At present she is a member of the department of art history and theory in the Faculty of Philosophy of Trnava University. Her concentration is on the theory of architecture, on which she has published a number of studies in such domestic and foreign journals as Aspekt, Projekt, Architekt, Stavba and Era. On a Fulbright grant at New York’s Columbia University (2009-2010) she addressed issues of critical and projective theory in architecture. This research served as the basis for her published anthologies Oxymorón a pleonasmus. Texty kritické a projektivní teorie architektury (Prague 2011); Oxymorón a pleonasmus II. Rozhovory o kritické a projektivní teorii architektury (Prague 2012); and Oxymoron and Pleonasm. Conversations on American Critical and Projective Theory of Architecture (Barcelona – New York – Prague 2014). She and Jiří Ševčík published the anthology Česká a slovenská architektura 1971 – 2011 (Prague – Bratislava, 2012). She is the author of the book Vladimír Dedeček. Stávanie sa architektom (Bratislava, to be published 2017) and co-author of Vladimír Dedeček. Interpretácie architektonického diela (Bratislava, to be published 2017, with Marian Zervan, Benjamín Bradnanský, Vít Halada and Hertha Hurnaus). She has curated and co-curated numerous art and architecture exhibitions, most recently for the Czech and Slovak Republics’ exhibit at the Venice Biennale of architecture (2016). She collaborated with Viliam Dočolomanský’s physical theatre Farma v jeskyni on the project’s choreographic interpretation in the DOX gallery in Prague (2017).
Doc. Ing. arch. Monika Mitášová, PhD., Department of art history and theory, Faculty of Philosophy of Trnava University, Hornopotočná 23, 918 43, Trnava, Slovakia, e-mail: email@example.com
Series and Repetition in Associations of Sequential Narrative
The lecture’s starting point is the conviction that creating pictures – like all other artistic expression – resides in our ability to put smaller pictures together into larger units, and fragments into narrative structures. Such a serially-conceived work comprises a succession of pictures, syntagmatically linked as determined by a narrative plan of a certain story. This is a non-hierarchical juxtaposition of varied and repeating iconic, index or symbolic elements that share meaning because of their relationship. In such a case a series can either be generated in a loosely linear structure of succession – i.e. the individual pictures that comprise it arise over time, and are inevitably a work of art in themselves – or may take the form of a closed sequential serial arrangement presented as a whole work, the individual elements of which are not stand-alone artefacts. Using the example of analyzing the work of several artists, we endeavour to demonstrate and confront interesting creative approaches, and to define typologically different repetitive structures within this particular type of series.
Prof. PhDr. Zora Rusinová, PhD. completed studies in art history at the Comenius University Faculty of Philosophy in Bratislava. Her focus is on issues in modern and contemporary art. While on staff at the Slovak National Gallery (SNG) in Bratislava (1992-2007) she conceived some of its main exhibition projects and accompanying catalogues, presenting a view of 20th-century art revised after 1989: Šesťdesiate roky v slovenskom výtvarnom umení (1995); Umenie 20. storočia – Dejiny slovenského výtvarného umenia (2000); and Umenie akcie 1965 – 1989 (2001). She has been the main curator for projects at home and abroad (Pars pro toto, 1995; Epikurova záhrada, 1996; Limitlos 1997; Barok a súčasnosť, 1998; Autopoesis, 2006 and others). She has published dozens of studies in domestic and foreign journals. Additionally, she has collaborated on synthesizing and monographic exhibitions for the SNG and joint publications. She wrote the monographs Vladimír Popovič (2002), Karol Baron (2003), Autoportrét v slovenskom výtvarnom umení 20. storočia+ (2009) and Súdružka moja vlasť (2015). She has served on the international jury of the ESSL AWARD CEE (2009, 2011, 2013), and participated in the international project Gender Check (MUMOK, Vienna, 2009; curated by Bojana Pejić, PhD.). At present she lectures in 20th-century history at the Faculty of Philosophy of Trnava University and visual cultural studies at the Academy of Fine Arts and Design in Bratislava, where she is a member of the Department of Theory and History of Art.
Prof. PhDr. Zora Rusinová, PhD., Department of Theory and History of Art, Academy of Fine Arts and Design, Bratislava, Hviezdoslavovo nám. 175/18, 814 37, Bratislava, Slovakia, e-mail: firstname.lastname@example.org
The Reflexive and Critical Potential in Repetition in Videos and Video-Projections of Selected International Contemporary Artists
In her lecture, the presenter will focus on analysis and interpretation of specific formal and semantic aspects of creative strategy of repetition. She concentrates on the projection of pictures representing the so-called cinematic turn dating to the mid 1990s, caused by progressive digital technologies. The crux of the proposition is explication of selected examples of video-projections and videos by four foreign artists (Douglas Gordon, Philippe Parreno, Chris Marclay and Shirin Neshat). Their common denominator is a variety of operations utilizing a rich scale of repetition and other related creative methods (multiplication, appropriation, found footage, post-production, remake, recycling and remediation), which pertain to a range of current connotations, wherein a role is played by the thematization of time, its manipulation (deceleration) and duration (time readymade). These creative methods are analyzed in connection with the experimental approaches that Andy Warhol foreshadowed in his 1960s underground films.
PhDr. Katarína Rusnáková, Ph.D. completed studies in art history at the Comenius University Faculty of Philosophy in Bratislava (1983). She served as art historian for the chief architect’s office of the city of Žilina (1986 – 1990), curator and later director of the Museum of Art in Žilina (1990 – 1997), an independent critic and curator, director of the modern and contemporary art collection of the National Gallery in Prague (1999-2000), and a researcher in the Division of Visual and Cultural Studies of Research Centre at the Bratislava’s Academy of Fine Arts and Design (2003 – 2005). Since 2006 she has headed the Department of Theory and History of Fine Arts at the Academy of Arts in Banská Bystrica. She focuses on research in international and Slovak visual art of the later 20th and the 21st centuries, particularly video-art, digital art and gender issues. She has been the curator of more than 55 exhibitions at home and abroad, such as Aspekte/Positionen 50 Jahre Kunst aus Mitteleuropa 1949 – 1999 at the Museum Moderner Kunst Stiftung Ludwig in Vienna (1999); Pozvanie na návštevu (Ilona Németh, Jiří Surůvka) at the Czech and Slovak Pavilion of the 49th Venice Biennale (2001); and Jiří David – Apotheosis at the Czech and Slovak Pavilion of the 56th Venice Biennale (2015). She has written a number of books, including 5 x New York. Mapovanie aktuálnych výtvarných trendov v múzeách umenia, súkromných galériách a neziskových inštitúciách v New Yorku v rokoch 1993 – 1997 (2003); V toku pohyblivých obrazov. Antológia textov o elektronickom a digitálnom umení v kontexte vizuálnej kultúry (2005); História a teória mediálneho umenia na Slovensku (2006); Dve štúdie: Rodové aspekty v súčasnom vizuálnom umení na Slovensku / Gilles Deleuze a myslenie o filmovom obraze (2009); and Rozšírené spôsoby diváckej recepcie digitálneho umenia (2011). She is also the co-editor (with Jiří Přibáň) of the reader: Jiří David. Apotheosis, Apocalypse, Apocryphon: Deified Nations, Deified Art. (2015).
PhDr. Katarína Rusnáková, PhD., Department of Theory and History of Fine Arts and Design, Academy of Arts, J. Kollára 22, 974 01 Banská Bystrica, Slovakia, e-mail: email@example.com
Rhythm as Suggestive Principle and Rhythm as Principle of Suggested Life: on Bergson’s Ideas on the Role of Rhythmic Arrangement in Aesthetic Sensibility
This lecture concentrates on Bergson’s consideration of the meaning of rhythm in artistic suggestion. On the one hand it draws attention to Bergson’s emphasis on using rhythmic arrangement in artistic suggestion of sensibility, associated with the surprising consequence of that sensibility’s “perpetuation”. On the other hand it indicates that Bergson attributes a rhythmic character to the suggested sensibility itself. Withing these perspectives, the lecture focuses on how artistic suggestion and an aesthetic event can be generally interpreted as a issue of moving between various levels of rhythmic tension or of multiplicity.
PhDr. Miloš Ševčík, Ph.D. completed studies in aesthetics and philosophy at the Faculty of Philosophy at Charles University in Prague (1998), where he later continued through post-graduate study in aesthetics (2003 Ph.D., 2004 PhDr.). Since 1999 he has been a member of the Department of Aesthetics, and since 2004 he has also lectured in the Department of Philosophy at the University of West Bohemia. In addition to his studies at home, he was also at Universidade de Coimbra on a research grant (2001). His main focus is 20th-century French and Czech aesthetics. He has published dozens of studies in domestic and foreign journals and compilations. He is the author of the scholarly monographs Umění jako odkaz na realitu času (2004); Bergsonova koncepce komické představivosti a smíchu (2008); Aisthesis: Problém estetické události v myšlení E. Levinase, J.-F. Lyotarda a G. Deleuze a F. Guattariho (2014); Umění jako vyjádření smyslu: Filozofie umění Jana Patočky (2014); and Patočkovy intepretace literatury (2014, with Daniela Blahutková). As an editor he has participated in the publication of the journals Acta Universitatis Carolinae Philosophica et Historica. Studia Aesthetica and Kuděj. Časopis pro kulturní dějiny.
PhDr. Miloš Ševčík, Ph.D., Department of Aesthetics, Faculty of Philosophy, Chales University, Prague; Department of Philosophy, Faculty of Philosophy, University of West Bohemia, e-mail: firstname.lastname@example.org, email@example.com
Forms of Seriality in the Work and Writing of Peter Eisenman
The lecture addresses the various forms of seriality the architect Peter Eisenman used in his architecture: from his series of houses given only numbers from the late 1960s and the 1970s, whose aim was to reconsider the potential in conceptual architecture; through the seriality of processes beginning with probing palimpsest architecture and the architecture of artificial excavations from the 1980s; to seriality in a single piece, as manifested in his Memorial to the Murdered Jews of Europe, whose aim was to put together a “monument of the future” at the new millennium’s beginning. Besides these “piece-based” forms of seriality, in Eisenman’s case one can find various serial strategies in his writing and interpreted architecture. The lecture will endeavour to show a relationship between these piece-based and written forms of seriality, and to how they differentiate.
Prof. PhDr. Marian Zervan, PhD. completed studies in aesthetics at the Comenius University Faculty of Philosophy in Bratislava. From 1980 to 1990 he was an academic member of Bratislava’s Academy of Fine Arts. From 1990 to 2003 he taught at the theory of architecture, art and design of the Faculty of Architecture at the Slovak University of Technology in Bratislava, heading it from 2001. He currently heads the department of art history and theory in the Faculty of Philosophy of Trnava University, also lecturing at the Academy of Fine Arts and Design in Bratislava. His focus is on architecture and art theory, and on sacred iconography in the art of the early modern. For years he has focused on spatial theory in architecture and the theory and work of P. Eisenman. He co-authored the publications Životy svätých. Ikonografia (1994, with I. Rusina); Príbehy Nového Zákona. Ikonografia (2000, with I. Rusina); Príbehy Starého Zákona. Ikonografia (2006, with I. Rusina); Postavy a príbehy svätcov a svätíc strednej Európy/ Svätci, svätice, blahoslavení a vyznavači z knihy Ungaricae sanctitatis Indicia (2016, with I. Rusina); Impulse und reflexion. Architektur der Slowakei (2003, with M. Dulla, Dana Bořutová and Henrieta Moravčíková); and Vladimír Dedeček. Tri interpretácie diela (to be published 2017, with Monika Mitašová, V. Halada, B. Bradnanský and H. Hurnaus). He has written a number of textbook chapters and scholarly studies. At the same time, he was co-author and co-curator of many domestic and foreign art history and iconography exhibitions, twice of the Slovak and Czech Republics’ exhibit at the Venice Biennale.
Prof. PhDr. Marian Zervan, PhD., Department of art history and theory, Faculty of Philosophy of Trnava University, Hornopotočná 23, 918 43, Trnava, e-mail: firstname.lastname@example.org