Wyobraźnia : sztuka i design

Abstract

The book is an analysis of the conceptions of imagination (in aesthetic theories) that have still been inspiring and become important for the history of the philosophy of art, and are being interpreted anew. It determined the choice of (representative) philosophers and their works, staring from Kant who gave art autonomy (and an important role of imagination). These are also theories that could inspire an interpretation of artistic practices (especially the modern ones), and designer ones, as well as show their specificity. The author shows how imagination in various conceptions (chosen because of different assumptions in which it is still imagination that is important) supports art, and even conditions it. Thus, she goes through various characteristic philosophical-aesthetic conceptions of imagination, chosen also in order to present imagination in its multidimensionality and multifacetedness. Such a horizon allows for considering this category in a broad way, and showing its co-actions with many mental dispositions, as well as its influence on mental processes and reality, especially in terms of art and design. The theories of imagination within the scope of the philosophy of art and aesthetics in question show the unchangeability of the functioning of this category, naming imagination, on the one hand, and, its evolution on the other. Imagination evolved out of capturing and matching sensual forms, to notional and abstract forms. In this sense it broadened the scope of its activity. From supporting contemplation it changed into co-creating involvement. Thus, imagination has a big potential, and can co-work with senses and mind. The aspects concerning imagination have been divided into two parts mainly to show a dissonance of power as well as function that imagination is in reference to the category of subjectivity. It means its source and application that can influence consciousness and co-work with it or be dependent on unconscious aims. In both cases the role of imagination is to create either an image alone without a real reference or a given real subject. A motif combining the two parts is yet another function or imagination disposition, i.e. a creating function. The very disposition, in an aesthetic dimension, is reflected and manifested in arts (from fine to modern ones). It is imagination co-creating „cultural objects”, subjects (phenomena and situations) of an artistic and often aesthetic value. This capability in reference to modern times is referred to in the last „stop” of this book concerning new perspectives in creating art and design in the twentieth century, i.e. the so called modern arts.