2016/3–4 (25)


Ingrid Ruudi.
Tõnis Vint’s Vision for Naissaar Island: An Extraterritorial Utopia Zone of the Transition Era
7–33; >Summary 34–37<

The article is focused on a conceptual vision for Naissaar Island (1992–1996) by Tõnis Vint in the context of the public sphere in the making. The project may be seen as an intersection of a conceptual utopia and a pursuit of actual social intervention. The article considers the project in the context of the artist’s creative output in general, as well as in relation to contemporary international economic policies and trends, and the New Age ideology, highlighting the incoherence and ambivalence characteristic of the transition period.

Margus Vihalem. What is at Stake in Everyday Aesthetics? Towards a New Discourse of Aesthetic Experience
38–56; >Summary 57–61<

In this article, I intend to examine the concept of aesthetic experience. More specifically, the concept of aesthetic experience is examined from the viewpoint of everyday aesthetics. In order to evaluate the concept of aesthetic experience in this regard, I will first turn to John Dewey, who offers an inspiring but certainly not conclusive examination of aesthetic experience. Next, I will consider some more recent approaches in order to see how the concept of aesthetic experience has been taken into account in the context of everyday aesthetics. However, by avoiding reducing aesthetic experience to what has been traditionally considered aesthetic appreciation, i.e. to a set of established aesthetic values, I intend to show that aesthetic experience is not so much about appreciating and judging as about living through, both actively and passively, certain processes of our everyday life-world. By including multiple aesthetic experiences, irreducible to any universally acknowledged faculty or transcending set of values, everyday aesthetics contributes to examining life from the aesthetic point of view.

Raivo Kelomees. Corporeal Cinematic Environments and the Expansion of the Viewer’s Experience: Spatiality, Tactility and Proprioception in Participatory Art
62–88; >Summary 89–91<

The purpose of the article is to prove that the extension of the viewer’s experience in cinematic environments and audiovisual art includes corporeal and tactile experiences. In these works, audiovisual and spatial experience is connected with the viewer’s corporeal activity or reactions. The artworks which are made from tactile, proprioceptive and biofeedback experiences are made with experimental and research purposes in mind.

Johannes Saar. Comparative Reception Study of Architecture and Visual Arts in Estonian Cultural Journalism. Quantitative and Qualitative Analysis
92–112; >Summary 113–115<

The article presents a comparative study of the receptions of architecture and visual arts in Estonian cultural journalism. The aim of the study is to examine market-resilient media representation policies of architecture and visual arts, with the premise that this will also reveal how market rationalist values are implied and reproduced in public cultural parlance as the commonsensical background for everyone’s own value judgements. Based on a qualitative survey, the commensurability of the studied media receptions with the creative industries doctrine is considered in the final discussion of the article.

Karin Hallas-Murula. State and Architecture. Konstantin Päts’ Building Policy of 1934–1940 in Estonia
116–137; >Summary 138–140<

The aim of the article is to highlight the general trend of the strengthening of state control over building activity and architecture in the second half of the 1930s under the ‘strong-hand’ state leadership of Konstantin Päts in Estonia. It was exemplified in the restructuring of building administration, the implementing of new building regulations, in creating new state organisations for architects and engineers, and in the reorganisation of architecture, education, etc. The article examines the personal initiative of the state leader and points out the main promoters of his building policy among architects.

Moonika Teemus. From Penny Magazine to Kopek Magazine: The Lives of Fifty Wood Engravings, 1832–1876
141–169; >Summary 170–173<

The article examines the wood engravings which illustrated the Estonian enlightening magazine Ma-ilm ja mõnda, mis seal sees leida on, compiled by Friedrich Reinhold Kreutzwald in 1848–1849, and which mostly were drawn from the English Penny Magazine. The article explores when the wood engravings arrived in Tartu, how they circulated between publishers, different usage practices, and how they influenced Estonian art history and literary history overall.