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Creativity management within the aesthetical situation regarding the in-real or digital form of participation in arts: art receivers’ perspective
(Vilnius Gediminas Technical University Press, 2024-01) Szostak, Michał; Sułkowski, Łukasz; Collegium Civitas; Uniwersytet Jagielloński
Because digitalisation of the aesthetical experience, a process speeded up by the not-yet-finished COVID-19 pandemic, should be considered in the context of growth or loss of artistry/creativity, this paper aims to assess the influence of the participation form in the aesthetical situation by receivers on the level of artistry/creativity potential loss. Assessment of the quality of participation by the receivers in each of five types of arts (musical arts, performing arts, literary arts, audio-visual arts, visual arts) was done using the same ten criteria for each type of art: satisfaction, pleasure, engagement, the possibility of experiencing catharsis, contact with the artwork itself, contact with the performer itself, comfort of participation, possibilities of shaping the aesthetical experience, own motivation to participate, easiness of participation. The literature review was run using NVivo Pro software. Data analysis (n = 221) was executed using IBM SPSS and MS Excel. Answering the research hypotheses: H1) The digital form of participation in arts determines the level of quality of participation in the aesthetical situation by receivers. H2) The form of participation in art shapes the level of quality of participation in the aesthetical situation by receivers of each type of art differently: in musical arts, performing arts, literary arts and visual arts, in-real participation gives higher quality than digital participation; in audio-visual arts, in-real participation gives lower quality than digital participation. The research results may be helpful for: art creators wanting to choose the optimal way of distributing their artworks; art managers to better understand art receivers’ perspectives and their opinion about participation in arts in real or digitally; art receivers to compare their private opinion about the ways of participation in arts with the general opinion of art receivers.
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Kitsch in Management: Characteristic Forms, Carriers and Propagators
(International Business Information Management Association, 2020-04-01) Szostak, Michał; Sułkowski, Łukasz; Społeczna Akademia Nauk; Uniwersytet Jagielloński
Motivation to deal with the problem of managerial kitsch was the natural consequence of our previous research about crossing the borders of art and management. Our own – both practical and theoretical – experience in the fields of art and management was the main argument for combining these areas with benefits to the science and practice of management. This approach in management literature is rare and fragmentary; we try to establish the main routes for the future research. The delicate edging and features of art lead to the phenomenon of kitsch as something opposite to art or. Applying the well-developed theory of aesthetical kitsch into management area was vital for understanding the real nature of the phenomenon of kitsch in management. The research methodology bases on a qualitative review of the literature; the methodological approach bases on interdisciplinary and multi-paradigm approach taking into account the publications from areas of art (aesthetics theories) and management (organisational kitsch). The main research questions were: 1) is there any set of factors/features constituting the management kitsch and 2) what type/types of organisational roles are main for kitsch transfer? After the broad review of the literature, a synthetic description of management kitsch forms (one best way claim, simplification, grandiosity, organisational cynicism functional stupidity, bullshit jobs, seeming management) and the main carriers and propagators of organisational kitsch (management gurus, narcissistic managers, mendacious CEOs and owners) were described and the management kitsch was defined. Management kitsch should be defined and reduced for quality improvement of organizational life.
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In Search of Praxeology of 'Improvised Art'. The Daoist Turn
(Academicians' Research Center, 2014-11) Mazur, Rafał; Uniwersytet Jagielloński; Jagiellonian University
The following essay is dedicated to free improvisation in music, and specifically to the search for tools to effectively carry out this activity. It concerns music, not in the sense of sound phenomena, but in the sense of creative practice, the method of its creation. That is why we can speak of a praxeology of free improvisation in music. In the case of 'improvised music/art', praxeology is unusually relevant due to the fact that the work/product of this art is not only an artifact coming into existence as the result of a creative process, but it itself is a process. The main thesis I would like to present can be formulated as follows: 'free improvisation in music (and in art generally) is an activity qualitatively different than the artistic practices previously used in Europe. Thus, it demands the finding/development/application of different tools/strategies of acting to generate musical pieces/works of art.' I will try to defend a thesis showing the ontological difference between works of art created in the traditional way for European culture and those works of art which are improvisational. Then, I will show that this difference in ontological status entails the use of different strategies to carry out these works. In the next step, I will indicate the direction in which I intend to go, in search of the aforementioned strategies. For clarity, I will now address a few terminological issues connected with the subject at hand. Henceforth, when I write about tools serving work with music, I have in mind any strategy of acting that can be of service to the playing of musical pieces, that is, in the case of European culture, the reading of sheet music, interpretation, preparation, and presentation. When I write about the 'Daoist Turn' I have in mind the possibility of adapting Daoist strategies of action to the act of free improvisation in music, strategies developed by Daoist philosophers concerning art and human activity in general. It is worth stressing that the specificity of Chinese culture makes a sharp division between different types of philosophies or methods of various schools. The Chinese see the world through a pair of complementary opposites, so the Daoist strategy of behavior was repeatedly adapted by Confucian circles, which resulted in the development of the so-called 'free expression' movement in art.
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Filozoficzny świat sztuki Arthura C. Danto
(Uniwersytet Jagielloński, 2006) Sosnowski, Leszek; Uniwersytet Jagielloński
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Mit Hellady a sztuka ogrodowa w Europie
(Universitas, 2008) Sosnowski, Leszek; Uniwersytet Jagielloński

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Affiliation: Uniwersytet Jagielloński Subject: aesthetics
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