Lenka Lee

The growing cultural attention to bees, exemplified by hives at the Museum of Modern Art in New York, raises the question of the extent to which they can be regarded as co-creators of art. This article interweaves György Lukács’s notion of ornament, Yuriko Saito’s aesthetics of care, and Gilles Deleuze’s concept of becoming-animal to examine interspecies collaboration. The work of Czech artist Jan Karpíšek shows how beekeeping and bee-art challenge anthropocentric notions of authorship. The article calls for rethinking animals as co-creators in art, highlighting respect and interspecies aesthetics as vital for understanding nonhuman agency.

The article presents a new reading of Gilles Deleuze’s philosophy, redefining the concept of ornament as a sensible outcome of a desiring, ruminating mindset. The article examines the role of stylisation in the immanent processes of organisation of chaos in everyday life. The authors argue that such stylising desire leads to a repetitive maintenance of various everyday territories, such as human bodies, households, and gardens. These three areas of everyday stylisation are compared to Deleuze’s distinction of three artistic styles – Masoch’s, Kafka’s, and Proust’s – understood as different ways of producing artistic animality through writing and maintaining artistic territories through repetition. Finally, the article distinguishes the artistic and everyday ways of stylisation as two similar means of maintaining territories by ornamental repetition.

The interplay between urban and rural lifestyles in the modern era, influenced by globalisation, technological advancements and societal shifts, underscores a complex fusion of cultures and behaviours. This convergence reshapes communal dynamics and territorial perceptions. Drawing from Deleuze and Guattari's philosophical framework, particularly concepts of territory, deterritorialisation and reterritorialisation, this study explores the emergence of urban subcultures resembling rural communities. Through ornamental behaviour and the repetition of cultural events, urban spaces undergo a transformative process akin to ritornello, establishing distinct territories marked by creative expressions. The territories are justified and consolidated by a repeated performance of the social ornament which is a set of rules, practices and material products. All these phenomena, infused with the event (Deleuze) and moments of awe (Leddy), intertwine aesthetics and ethics, promoting community unity and well-being. This inquiry not only clarifies social phenomena but also indicates pathways for a more fulfilling societal existence.

Education and the support for creativity are some of the functions of the new medias. The users utilize a lot of e-tools to create products with varying art quality. Because of this new ability to create they, fallaciously, consider themselves – from their new positions of becoming artists - having also become art critics but they fail to understand the complexity of creative process. We intend to exemplify with the art of the American painter Cy Twombly, that some works of art which seem to be easy to copy and therefore not worth enough are in fact a result of the author ́s erudition, talent, diligence and clear intention. Twombly ́s works are connected with topics such as sigh, ability to decipher, Apollonian and Dionysian principles and the dichotomy Eros/Thanatos. We will present the artist's original non-copiable way of taking inspiration from classical mytological stories and some interpretative approaches.

Education and the support for creativity are some of the functions of the new medias. The users utilize a lot of e-tools to create products with varying art quality. Because of this new ability to create they, fallaciously, consider themselves – from their new positions of becoming artists - having also become art critics but they fail to understand the complexity of creative process. We intend to exemplify with the art of the American painter Cy Twombly, that some works of art which seem to be easy to copy and therefore not worth enough are in fact a result of the author ́s erudition, talent, diligence and clear intention. Twombly ́s works are connected with topics such as sigh, ability to decipher, Apollonian and Dionysian principles and the dichotomy Eros/Thanatos. We will present the artist's original non-copiable way of taking inspiration from classical mytological stories and some interpretative approaches.

This study explores the potential of contemporary large language models (LLMs) to achieve Gilles Deleuze’s goal of integrating art into daily life. Deleuze’s philosophy, with its focus on creative repetition, finds a parallel in LLMs, which replicate and innovate artistic styles by transforming text prompts into various artistic expressions. Although LLMs can very effectively blend and mimic these styles, they remain mere tools – as suggested by the metaphor of a stochastic parrot; the true creative force remains the human artist. Currently, these models are experimental, and their artistic outputs, while impressive, are still viewed as pastiches rather than genuine art. Nonetheless, we can expect advances that may soon enable artists to use LLMs to create genuine artworks.

Studie se zabývá utopickými úvahami brněnského augustiniána Františka Matouše Klácela (1808–1882), jejich zdroji a pokusy o uvedení do praxe a také možnými důvody, kvůli kterým své vize nedokázal realizovat tak, jak si předsevzal. Klácel v teoretických reflexích ideálního uspořádání lidské společnosti i při projektování návrhů utopických komunit (Svojanovů) čer­pal jednak z prací svých předchůdců, jež se snažili formulovat či uvést do praxe myšlenky sociální utopie (Saint-Simon, Fourier, Jednota bratrská, Komenský), z hlediska ontologického se ovšem opíral o svůj koncept vesměrnosti, jemuž se věnoval od počátku čtyřicátých let až do konce života.

The following text is inspired by a special issue of the journal ESPES vol. 10, no. 2 (2021) entitled _Everyday Aesthetics: European Perspectives _and returns to the theme of _flâneurie_. It focuses on the Czech environment and, after a brief outline of the artistic _flâneurism _associated mainly with Prague, it moves on to the specific phenomenon of the Brno _štatl _and _štatlaři_, which are to some extent related to _flâneurism_. The _štatl _community followed the tradition of the _plotna_, a more closed group of socially weaker inhabitants of the city in the first half of the twentieth century, whose features included a special dialect – _hantec_. _Štatlaři _recruited more from the milieu of the educated people, bohemians, and artists, adopted, and transformed. The aim of the study is to show which characteristics _flâneurism _and “_štatlař-ism_” have in common and in what ways they differ. Furthermore, we will address the question of how knowledge of the phenomenon of _štatlaři _can influence the perception of flaneurs when they are walking around the city of Brno.

Education and the support for creativity are some of the functions of the new medias. The users utilize a lot of e-tools to create products with varying art quality. Because of this new ability to create they, fallaciously, consider themselves – from their new positions of becoming artists - having also become art critics but they fail to understand the complexity of creative process. We intend to exemplify with the art of the American painter Cy Twombly, that some works of art which seem to be easy to copy and therefore not worth enough are in fact a result of the author´s erudition, talent, diligence and clear intention. Twombly´s works are connected with topics such as sigh, ability to decipher, Apollonian and Dionysian principles and the dichotomy Eros/Thanatos. We will present the artist's original non-copiable way of taking inspiration from classical mytological stories and some interpretative approaches.