SUMMARY:
This paper is about the problem of representation of the negative light (the one that does not reveal and is not darkness) by artistic means, integrating philosophical/theological method and artistic practice. Unlike established practices, such procedure has nothing to do with a theoretical reflection on a work of art, nor with an artistic inspiration originating from a philosophical or theological idea; it is about the possibility of interconnecting theoretical thought and art practice in the context of creating a work of art. The philosophical-theological method of via negativa has had an application in the veryprocess of creating a work of art. To achieve this, it was necessary to translate the theological model into an artistic procedure. The results that have paintings as a manifestation, show and prove, as far as possible, the justification and efficiency of connection between the philosophical and artistic methods in the process of making a work of art.

SUMMARY:
This essay represents an inquiry concerning the method in the arts; as such, it is intended for the affirmation of its significance. Firstly, the concept of artistic method will be explained in view of its relations with poetic impulse and the technical aspect of art creation, and then associated to Longinus’s understanding of the sublime. In between these two opposites, artistic method is seen as dependent from poetical impulse, while governing technical side of the creation process. Since it defines the manner of their selection and use, artistic method gives meaning to the medium and technical practices constituting the making of the artwork. On the other side, artistic method springs from the poetic impulse and has to be in accordance with it. Such proposed meaning of the concept of artistic method will be, in the second part of this essay, illustrated with examples of my own artistic practice, being its place of origin.

SUMMARY:
What is the life of an artwork? In the view of the artist, it has its own life which springs out of incomprehensible and ineffable poetic impulse. However, stepping out into the public sphere, entering the culture, the artwork is faced with the unwelcoming surrounding, constituted by aesthetic criteria defining the visibility of the artwork in advance. Under such conditions, art has to be enslaved and subdued, while aesthetic criteria of reality become flattened and trivialized. Therefore, if the artwork is to survive, it has to rely on its own aesthetic criterion, the criterion which is its consequence; the aesthetic criterionof reality is, thus, poiesis as such. In this paper I will describe the whirling of the artwork into the reality and back, towards its own origin – the place of its birth. The paper brings forth an artistic-methodological analysis of the life of the artwork, grounded in artistic practice and translated into the theory.

SUMMARY:
Due to the decentralised nature of blockchain technology, NFT art has changed notions of authorship and ownership, diminished the role of art world experts, and influenced the global art market. However, the question of whether NFTs can be considered art at all remains open to debate. In order to distinguish NFTs from other digital and non-digital artworks, we will first provide an overview of what NFTs are and what kind of digital space they belong to. Secondly, we will analyse the conditions that an NFT must fulfil in order to be considered an artwork, according to its inherent characteristics. The results will show that, firstly, an NFT artwork depends on its artistic concept; secondly, its representational content has to be a visual interpretation of the NFT concept and related to data according to the concept; and finally, the concept defines the whole ecosystem and the aesthetic properties of NFT artworks.

SUMMARY:
This paper is about the embodiment of the art inhabiting the crypto space. Crypto art will be presented as an example of an essential feature of the artwork – to be the birthplace of a world. Because the crypto space is not institutionalized, but decentralized and still constituting itself, crypto artwork enters it freely, and therefore it is a good example for our purpose. As we will show, crypto artwork creates and encompasses both NFT entities and the surroundings (ecosystem) in which they appear, giving birth to the world (of its own), organized according to the essence of the artwork in question. The essence of the crypto artwork is its (artistic) concept, as a generic method of the full individuation of NFT entities. Finally, the world of the (NFT) artwork is proven as a point of the (re)constitution of meanings – the space of the organization and structuring of what is given (data), the way of seeing and understanding.

SUMMARY:
In this essay, we will address the relationship between aesthetics and progress by examining the nature of an artwork and its potential to influence the development of society. Every autonomous, wholesome, fulfilled, and originative artwork through its own manifestation witnesses and suggests a world. The gathering of various artworks is harmonious. Therefore, artworks are not to be cross-referenced, nor should any of them be ascribed a higher value. Also, addressing the progress of society and its inner constitution can be done through artwork. Artwork is originative for its (own) world that manifests specific meaning based on the artwork’s aesthetic principle comprehended through spirit. Therefore, a society based and organized through such artwork would be founded by the same principle and meaning that artwork embodies. Such a community is a higher poetical society, superior to the governing matrix of the culture.

SUMMARY:
This paper is dedicated to examining the modal description of the creation of an artwork. It first addresses how art and artworks are considered in contemporary modal epistemology, leading to conclusions on how the creation of an artwork should be understood within a modal context. A concise modal description of the creation process is then presented, alongside an explanation of the meanings and applications of modal categories as applied to the creation of artworks. From a modal perspective, the research focuses on the artwork as a world (possible, necessary, or actual). The study demonstrates that the creative necessity of a work implies its creative possibility and actualization. Finally, the description of the metaphysical modality of the artwork and its creation leads to conclusions about the epistemological aspect of the modal description of creation, i.e., the epistemological position of the artist during the creation process. The modal description of the creation process highlights an a priori reflection on modality: in creating a work, the process does not begin with empirical observation of the actual world or with imagination, but rather from an a priori given meaningful structure of the work that is to come into being.

SUMMARY:
In this paper, we argue for the thesis that the aesthetic evaluation is based upon the evaluation of the principle according to which the (art)work is created and not on the (art)work’s appearance. Recognition of the (art)work’s principle as the subject of aesthetic values provides a single criterion for aesthetic evaluation that excludes the relativization of aesthetic values and firmly relates aesthetic evaluation to the (art)work as such. Firstly, we will explain in which sense and how the (art)work’s principle is the cornerstone of aesthetic evaluation, and then we will differentiate and further analyse the inner and the outer-inner principle of the (art)work. The resulting conclusions prove that the authentic aesthetic value has only the autonomous (art)work with the inner creative principle. Consequently, the (art)work created with no principle at all has no aesthetic value whatsoever, while the (art)work created according to the outer-inner principle has borrowed aesthetic value.

SUMMARY:
This paper explores the process of creating artwork, with a particular emphasis on the artist’s role in that process. The concept of the ‘donkey’s dilemma’ is used to illustrate the artist’s position when faced with the act of creation. Specifically, the artist must decide whether to adhere to the inherent principle of the artwork, ensuring that all stages of its creation are aligned with this internal logic, or to conform to an external principle, thereby adapting the artwork to fit preexisting frameworks. The inherent, inner principle guarantees a coherent relationship between the metaphysical essence of the artwork and its physical form, ensuring that this principle is clearly expressed in the final work. In contrast, the external principle represents external ideas, ideologies, or cultural contexts that assign value and meaning to objects considered art within a given context. The artist, like the donkey, must bear the burden of his choice, and the dilemma lies in deciding which burden to accept - a dilemma we argue is ultimately false. In either case, the artist remains inextricably bound to the moral and ethical consequences of his choice regarding both the artwork and the principle guiding its creation. Art created in accordance with an inner principle possesses intrinsic value - a valor derived from the work itself, grounded in its own internal logic. By contrast, art tied to an external principle lacks inherent value, as its worth depends on the value system the artist adopts. This paper further argues that such external value systems, including widely accepted aesthetic standards, are context-dependent and therefore relativistic. By contrast, the genuine disposition for an artwork to possess value resides in its ontology - that is, in its inner principle. Accordingly, the decision between an inner or external principle in the creative process is, fundamentally, a choice between authentic value – that is, the valor, and imposed perceptions of value shaped by societal constructs.

SUMMARY:
In this paper, we will present the concept of creative knowledge. Creative knowledge is the notion that refers to the exertive knowledge that delivers, shows, and communicates the how of being of everything that has arisen and is coming into being. Creative knowledge is foundational knowledge that is directly shown in creation; it is an exertive grasp and perception that escapes established definitions and descriptions of knowledge. Such knowledge is formal and universally principled: the how of something's being, communicated by the creative knowledge, pertains to the entire class of such cases and to all relations at once. As exertive, creative knowledge precedes the establishment of any established and recognized theoretical framework and provides the basis for conceptual reflection. Consequently, creative knowledge is beyond the reach of explanation through science and the scientific method, and it precedes the established distinction between explanation and understanding. Creative knowledge has its own internal necessity and lawfulness, and it is revealed to consciousness as an answer to a raised question. Among forms of theoretical knowledge, creative knowledge is akin to metaphysical systems and the most general models of the physical world, as they concern the totality of reality. In this paper, we will present creative knowledge and its inherent internal necessity and lawfulness as the basis of metaphysical explanation: creative knowledge is the how and whence of the shaping and deriving of me-ta/physical understanding of reality.

SUMMARY:
This paper is about immediate experience of vivid emotions which come to be within the artist-artwork-recipient relations, where the artwork is the point of ‘embrace’. I will address the topic from the perspective of the personal experience and artistic practice, which reveals the nature of aesthetic emotions as the one of creation. Emotions induced and made alive through the artwork are ways and modes of participation in its originative truth; they are anything but mere mental events, or an expression of the needs of the audience. Therefore, the creative truth of emotions belongs to the artwork. Their origin and the origin of the artwork is one and the same, and it is independent of the artist. Emotions related to the artwork are creative because of their origin: if the emotions are separated from the creation and artist, if they are reflections of the audience’s projections or if they are products of the governing culture system, they are false.

SUMMARY:
Abstract: In this paper, I argue for the autonomy and independence of the artwork with regard to its meaning, and, subsequently, against the interpretation. The interpretation belongs to the theory, and, although it focusses on the artwork, it actually excludes it from the visibility in culture, because it translates the artwork into the theoretical order. The artwork is, thus, seen as an object of theory and exposed to the dissection of different theoretical paradigms; the artwork as such is suppressed, and its truth is relativized. The truth and meaning the artwork originally embodies in the most cases is not articulated theoretically, but in artistic medium and poetically. Therefore, the artwork is inscribed into the theoretical order without its original articulation, in favor of interpretative constructs which should define the understanding and the experience of the artwork. In this way the field of theory constructs an inclusive system of self-confirmation, encompassing rival platforms as its parts, which support each other. At the same time, the potency and the fertility of the artwork is constrained and channeled towards the simulation of so-called micro-utopias, where it gets its controlled and seeming freedom. Innovations in artistic practices and their impact on the culture are capitalized to the artefacts and market products exactly through the interpretation, which assigns the position and value in the field of culture to the interpretative derivate proclaimed to be an artwork. The existing system is so fortified, and the art is pushed into the a priori constructed framework of influence and existence, so that the true change is excluded. The originative artwork needs no interpretation; it manifests its inherent truth through itself and autonomously, organizing its own regime of visibility, which establishes the framework of the reception from within. The culture is, thus, defined by the tension between the originative artwork, its origin and self-defining visibility, and the theoretical readings imposed on it. Since the interpretation depends on the artwork, it being the confirmation of their legitimacy, the tension is resolved in favor of the artwork, and against the interpretation.

SUMMARY:
This paper deals with the explication of the artistic method of complete individuation. The method of complete individuation is a branch of the (artistic) method of exception. The method of exception allows for the univocal identification of a single event’s occurrence envisaged in time. The method of complete individuation, however, refers to events and occurrences within the (human) person, i.e. to events and occurrences within the spirit and inner time. Inner time, differing from the outer measurable and quantifiable time, eludes all restrictions and, consequently, all definitions and all measuring. Therefore, occurrences within the spirit, which are lived and through which one defines and individuates oneself, can be indicated and made visible only through the artwork, the ‘imprint’ of the spirit/soul. The artwork created according to the method of complete individuation, however, is not an artistic expression of personality, nor is this changeable personality (in development) the final source and origin of the artwork. On the contrary, it is about the possibility of making visible the meaning of inner events through the work of art and the application of the artistic method; such meaning is not restricted to any single individual, but is integral for all of them. The artistic method is a set of actions within the mind and the spirit of the artist, a particular way of the spirit, directing the unique meaning and the truth of the artwork to its fashioning and appearance. Therefore, the method directs the artwork’s making and provides a way of using the techniques and technologies so that their meaning and purpose are defined according to the method. Consequently, in this paper the method of complete individuation is considered starting from its direct application in the creation of an artwork; specifically, a painting series. Our presentation will accordingly address the topic of existence and creation from the perspective of the artistic creation focused on the authentic existential situation, revealed solely through creation and the artwork.

SUMMARY:
In this essay, we will reflect upon comparative aesthetics with regard to the thesis about so-called different art kinds, i.e. their comparison. The analysis shows that the thesis is based upon considering the art starting from the artwork’s appearance, as well as the artistic medium and the technology of making the artwork supported by the medium. The analysis also proves that the application of the same artistic method can result in artworks in different media; since their origin is one and the same, such artworks are akin despite the differences in the appearance. Finally, our results confirm that the thinking about the art has to start with the artworks, and that the art is one of the kind. On the other hand, the kinship, as well as the particularities of individual artworks can and should be explained by referring to the artistic method. The analysis is done on the example of making the artworks in real and crypto space, by applying the artistic method of exception.

SUMMARY:
The artwork has a life of its own. It comes to be from an ineffable and incomprehensible source, through the poetic impulse which strikes the artist; the artwork lives during its creation, but also after it has been completed. Finished artwork is not merely an object, it is not static and it cannot be reduced to a meaning ascribed to it by the author or the audience. On the contrary, the artwork is always in its own immanent movement, a live swirl though which the gift of the poetic impulse reaches and forms the culture and society. As the art is the origin of culture, so every true poetic artwork inscepts a radical change in understanding, experience, organization, and the feeling of reality. However, although the true poetic art is the source of life’s formation, and thus a proven alternative to constructive, consumerist, and anti-human model of civilization, contemporary culture and society exploit it, annulling its importance. In this paper, I will focus on the semblance of the artwork’s life, as it is seen from the governing matrix of culture, and in contrast with its true poetic life.

SUMMARY:
In the past few years crypto space and art are getting to know each other. Due to the decentralized character of the technology it is based on, crypto space is free from regulatory bodies of the art world, and thus free from prescribed aesthetic criteria and the tyranny of experts. Nevertheless, is NFT really an artwork, and if yes, what kind of artwork it is, is still an unresolved question. In this paper, we provide an answer by taking into account the nature of the entire space within which NFT is situated, but also by comparison of NFT with the essence and meaning of art as such. The analysis will show that NFT works, according to their nature, come to be out of design and according to the artistic concept, while fine art is created according to the spirit and as its expression.

SUMMARY:
In this essay, we will address the issue of the identity of the artwork in digital surroundings. The question about the identity of the artwork in digital surroundings should be the question of the ontological-aesthetical identity of the artwork. The question concerns the fact that in the crypto space artworks are mostly related to large series, encompassing several thousand members. The question of the ontological-aesthetical identity of the artwork will be analysed using the example of the long-form generative art. We will show that the entire series, all its particular generated members, as well as the code that generates the series, is considered to be one and unique artwork. We will analyze the ontological categories which could describe such unique artwork, but also the artwork’s aesthetic criteria. The analysis will confirm that the aesthetic criteria are based on the ontological constitution of the artwork.

SUMMARY:
This paper examines the concept of negation as a method through which artificial intelligence is employed to create artwork. Since AI algorithms function based on human-given instructions and parameters (known as prompts), such art is aptly called prompt art. These AI algori-thms are designed according to specific principles - a code that serves as a normative framework for creating prompt art by setting predefined guidelines and parameters for the algorithm's operation. Within these normative boundaries, positive instructions direct the algorithm's actions toward achieving the desired result. Conversely, negative instructions allow the algorithm to synthesize available forms by excluding those specified by the negative instructions. Negative prompt art eliminates forms selected based on their frequency in the algorithm's database, as well as assumed desirable forms. Therefore, negative prompt art uses this tool in its most intense form, except when the prompts pertain to the basic visual ele-ments shapeing the desired forms.

SUMMARY:
This paper explores the relationship between morals and art; more precisely, we will address the question of the ethical character of artistic creation. In contemporary aesthetics, ethical considerations of artworks are mainly relativistic, focusing on particular contexts and influenced by themes relevant to the prevailing cultural paradigm. In contrast, we argue that the ethical nature and value of artwork are absolute and do not depend on changes in socio-cultural circumstances or subjective opinions of the observer. In this work, we maintain the position that ethics and aesthetics cannot be separated either in the act of creation or in the reception of the artwork. The artwork must be ethically and aesthetically evaluated according to its creative principle, the principle by which the artwork comes into being. We base our contemplation of the artwork creation on the personal experience in artistic practice; in both creative-exertive and theoretical refletions and conclusions. We will conduct the consideration and examining of the ethical character of the artwork creation in dialogue with Kant‘s philosophy, invoking the categorical imperative.

SUMMARY:
This paper is about the nature of dance and creation, as two different
kinds of art. In my view, dance is the natural art, which arises from the body, while the origin of poietic (fine) art is the realm of the spirit. Thus, in dance spirit conforms to the body, while in poietic art body is directed through the spirit. If they are true to their nature, both of these arts are equally significant, both of them bearing fruit. However, in everyday understanding and cultural matrix, dance and poietic art are being aligned and both are considered to emerge from the same source. The culture deprived of spirit is, thus, denying their authentic truth. Equally violent towards both nature and spirit, such culture compares dance with poietic art in a vain attempt to grant it spiritual meaning, detaching it from the truth of the body, inception and birthing. Therefore, dance becomes merely a semblance and a lie; reduced to the deception and the pleasure of the senses, it is nothing but the beauty of vice. However, as the dance is leveled with poietic art, which is the point of the truth revelation, the consequences are devastating.

SUMMARY:
This paper is about the problem of representation of the negative light (the one that does not reveal and is not darkness) by artistic means, integrating philosophical/theological method and artistic practice. Unlike established practices, such procedure has nothing to do with a theoretical reflection on a work of art, nor with an artistic inspiration originating from a philosophical or theological idea; it is about the possibility of interconnecting theoretical thought and art practice in the context of creating a work of art. The philosophical-theological method of via negativa has had an application in the veryprocess of creating a work of art. To achieve this, it was necessary to translate the theological model into an artistic procedure. The results that have paintings as a manifestation, show and prove, as far as possible, the justification and efficiency of connection between the philosophical and artistic methods in the process of making a work of art.

SUMMARY:
This essay represents an inquiry concerning the method in the arts; as such, it is intended for the affirmation of its significance. Firstly, the concept of artistic method will be explained in view of its relations with poetic impulse and the technical aspect of art creation, and then associated to Longinus’s understanding of the sublime. In between these two opposites, artistic method is seen as dependent from poetical impulse, while governing technical side of the creation process. Since it defines the manner of their selection and use, artistic method gives meaning to the medium and technical practices constituting the making of the artwork. On the other side, artistic method springs from the poetic impulse and has to be in accordance with it. Such proposed meaning of the concept of artistic method will be, in the second part of this essay, illustrated with examples of my own artistic practice, being its place of origin.

SUMMARY:
What is the life of an artwork? In the view of the artist, it has its own life which springs out of incomprehensible and ineffable poetic impulse. However, stepping out into the public sphere, entering the culture, the artwork is faced with the unwelcoming surrounding, constituted by aesthetic criteria defining the visibility of the artwork in advance. Under such conditions, art has to be enslaved and subdued, while aesthetic criteria of reality become flattened and trivialized. Therefore, if the artwork is to survive, it has to rely on its own aesthetic criterion, the criterion which is its consequence; the aesthetic criterionof reality is, thus, poiesis as such. In this paper I will describe the whirling of the artwork into the reality and back, towards its own origin – the place of its birth. The paper brings forth an artistic-methodological analysis of the life of the artwork, grounded in artistic practice and translated into the theory.

SUMMARY:
Due to the decentralised nature of blockchain technology, NFT art has changed notions of authorship and ownership, diminished the role of art world experts, and influenced the global art market. However, the question of whether NFTs can be considered art at all remains open to debate. In order to distinguish NFTs from other digital and non-digital artworks, we will first provide an overview of what NFTs are and what kind of digital space they belong to. Secondly, we will analyse the conditions that an NFT must fulfil in order to be considered an artwork, according to its inherent characteristics. The results will show that, firstly, an NFT artwork depends on its artistic concept; secondly, its representational content has to be a visual interpretation of the NFT concept and related to data according to the concept; and finally, the concept defines the whole ecosystem and the aesthetic properties of NFT artworks.

SUMMARY:
This paper is about the embodiment of the art inhabiting the crypto space. Crypto art will be presented as an example of an essential feature of the artwork – to be the birthplace of a world. Because the crypto space is not institutionalized, but decentralized and still constituting itself, crypto artwork enters it freely, and therefore it is a good example for our purpose. As we will show, crypto artwork creates and encompasses both NFT entities and the surroundings (ecosystem) in which they appear, giving birth to the world (of its own), organized according to the essence of the artwork in question. The essence of the crypto artwork is its (artistic) concept, as a generic method of the full individuation of NFT entities. Finally, the world of the (NFT) artwork is proven as a point of the (re)constitution of meanings – the space of the organization and structuring of what is given (data), the way of seeing and understanding.

SUMMARY:
In this essay, we will address the relationship between aesthetics and progress by examining the nature of an artwork and its potential to influence the development of society. Every autonomous, wholesome, fulfilled, and originative artwork through its own manifestation witnesses and suggests a world. The gathering of various artworks is harmonious. Therefore, artworks are not to be cross-referenced, nor should any of them be ascribed a higher value. Also, addressing the progress of society and its inner constitution can be done through artwork. Artwork is originative for its (own) world that manifests specific meaning based on the artwork’s aesthetic principle comprehended through spirit. Therefore, a society based and organized through such artwork would be founded by the same principle and meaning that artwork embodies. Such a community is a higher poetical society, superior to the governing matrix of the culture.

SUMMARY:
This paper is dedicated to examining the modal description of the creation of an artwork. It first addresses how art and artworks are considered in contemporary modal epistemology, leading to conclusions on how the creation of an artwork should be understood within a modal context. A concise modal description of the creation process is then presented, alongside an explanation of the meanings and applications of modal categories as applied to the creation of artworks. From a modal perspective, the research focuses on the artwork as a world (possible, necessary, or actual). The study demonstrates that the creative necessity of a work implies its creative possibility and actualization. Finally, the description of the metaphysical modality of the artwork and its creation leads to conclusions about the epistemological aspect of the modal description of creation, i.e., the epistemological position of the artist during the creation process. The modal description of the creation process highlights an a priori reflection on modality: in creating a work, the process does not begin with empirical observation of the actual world or with imagination, but rather from an a priori given meaningful structure of the work that is to come into being.

SUMMARY:
In this paper, we argue for the thesis that the aesthetic evaluation is based upon the evaluation of the principle according to which the (art)work is created and not on the (art)work’s appearance. Recognition of the (art)work’s principle as the subject of aesthetic values provides a single criterion for aesthetic evaluation that excludes the relativization of aesthetic values and firmly relates aesthetic evaluation to the (art)work as such. Firstly, we will explain in which sense and how the (art)work’s principle is the cornerstone of aesthetic evaluation, and then we will differentiate and further analyse the inner and the outer-inner principle of the (art)work. The resulting conclusions prove that the authentic aesthetic value has only the autonomous (art)work with the inner creative principle. Consequently, the (art)work created with no principle at all has no aesthetic value whatsoever, while the (art)work created according to the outer-inner principle has borrowed aesthetic value.

SUMMARY:
This paper explores the process of creating artwork, with a particular emphasis on the artist’s role in that process. The concept of the ‘donkey’s dilemma’ is used to illustrate the artist’s position when faced with the act of creation. Specifically, the artist must decide whether to adhere to the inherent principle of the artwork, ensuring that all stages of its creation are aligned with this internal logic, or to conform to an external principle, thereby adapting the artwork to fit preexisting frameworks. The inherent, inner principle guarantees a coherent relationship between the metaphysical essence of the artwork and its physical form, ensuring that this principle is clearly expressed in the final work. In contrast, the external principle represents external ideas, ideologies, or cultural contexts that assign value and meaning to objects considered art within a given context. The artist, like the donkey, must bear the burden of his choice, and the dilemma lies in deciding which burden to accept - a dilemma we argue is ultimately false. In either case, the artist remains inextricably bound to the moral and ethical consequences of his choice regarding both the artwork and the principle guiding its creation. Art created in accordance with an inner principle possesses intrinsic value - a valor derived from the work itself, grounded in its own internal logic. By contrast, art tied to an external principle lacks inherent value, as its worth depends on the value system the artist adopts. This paper further argues that such external value systems, including widely accepted aesthetic standards, are context-dependent and therefore relativistic. By contrast, the genuine disposition for an artwork to possess value resides in its ontology - that is, in its inner principle. Accordingly, the decision between an inner or external principle in the creative process is, fundamentally, a choice between authentic value – that is, the valor, and imposed perceptions of value shaped by societal constructs.

SUMMARY:
In this paper, we will present the concept of creative knowledge. Creative knowledge is the notion that refers to the exertive knowledge that delivers, shows, and communicates the how of being of everything that has arisen and is coming into being. Creative knowledge is foundational knowledge that is directly shown in creation; it is an exertive grasp and perception that escapes established definitions and descriptions of knowledge. Such knowledge is formal and universally principled: the how of something's being, communicated by the creative knowledge, pertains to the entire class of such cases and to all relations at once. As exertive, creative knowledge precedes the establishment of any established and recognized theoretical framework and provides the basis for conceptual reflection. Consequently, creative knowledge is beyond the reach of explanation through science and the scientific method, and it precedes the established distinction between explanation and understanding. Creative knowledge has its own internal necessity and lawfulness, and it is revealed to consciousness as an answer to a raised question. Among forms of theoretical knowledge, creative knowledge is akin to metaphysical systems and the most general models of the physical world, as they concern the totality of reality. In this paper, we will present creative knowledge and its inherent internal necessity and lawfulness as the basis of metaphysical explanation: creative knowledge is the how and whence of the shaping and deriving of me-ta/physical understanding of reality.

SUMMARY:
This paper is about immediate experience of vivid emotions which come to be within the artist-artwork-recipient relations, where the artwork is the point of ‘embrace’. I will address the topic from the perspective of the personal experience and artistic practice, which reveals the nature of aesthetic emotions as the one of creation. Emotions induced and made alive through the artwork are ways and modes of participation in its originative truth; they are anything but mere mental events, or an expression of the needs of the audience. Therefore, the creative truth of emotions belongs to the artwork. Their origin and the origin of the artwork is one and the same, and it is independent of the artist. Emotions related to the artwork are creative because of their origin: if the emotions are separated from the creation and artist, if they are reflections of the audience’s projections or if they are products of the governing culture system, they are false.

SUMMARY:
Abstract: In this paper, I argue for the autonomy and independence of the artwork with regard to its meaning, and, subsequently, against the interpretation. The interpretation belongs to the theory, and, although it focusses on the artwork, it actually excludes it from the visibility in culture, because it translates the artwork into the theoretical order. The artwork is, thus, seen as an object of theory and exposed to the dissection of different theoretical paradigms; the artwork as such is suppressed, and its truth is relativized. The truth and meaning the artwork originally embodies in the most cases is not articulated theoretically, but in artistic medium and poetically. Therefore, the artwork is inscribed into the theoretical order without its original articulation, in favor of interpretative constructs which should define the understanding and the experience of the artwork. In this way the field of theory constructs an inclusive system of self-confirmation, encompassing rival platforms as its parts, which support each other. At the same time, the potency and the fertility of the artwork is constrained and channeled towards the simulation of so-called micro-utopias, where it gets its controlled and seeming freedom. Innovations in artistic practices and their impact on the culture are capitalized to the artefacts and market products exactly through the interpretation, which assigns the position and value in the field of culture to the interpretative derivate proclaimed to be an artwork. The existing system is so fortified, and the art is pushed into the a priori constructed framework of influence and existence, so that the true change is excluded. The originative artwork needs no interpretation; it manifests its inherent truth through itself and autonomously, organizing its own regime of visibility, which establishes the framework of the reception from within. The culture is, thus, defined by the tension between the originative artwork, its origin and self-defining visibility, and the theoretical readings imposed on it. Since the interpretation depends on the artwork, it being the confirmation of their legitimacy, the tension is resolved in favor of the artwork, and against the interpretation.

SUMMARY:
This paper deals with the explication of the artistic method of complete individuation. The method of complete individuation is a branch of the (artistic) method of exception. The method of exception allows for the univocal identification of a single event’s occurrence envisaged in time. The method of complete individuation, however, refers to events and occurrences within the (human) person, i.e. to events and occurrences within the spirit and inner time. Inner time, differing from the outer measurable and quantifiable time, eludes all restrictions and, consequently, all definitions and all measuring. Therefore, occurrences within the spirit, which are lived and through which one defines and individuates oneself, can be indicated and made visible only through the artwork, the ‘imprint’ of the spirit/soul. The artwork created according to the method of complete individuation, however, is not an artistic expression of personality, nor is this changeable personality (in development) the final source and origin of the artwork. On the contrary, it is about the possibility of making visible the meaning of inner events through the work of art and the application of the artistic method; such meaning is not restricted to any single individual, but is integral for all of them. The artistic method is a set of actions within the mind and the spirit of the artist, a particular way of the spirit, directing the unique meaning and the truth of the artwork to its fashioning and appearance. Therefore, the method directs the artwork’s making and provides a way of using the techniques and technologies so that their meaning and purpose are defined according to the method. Consequently, in this paper the method of complete individuation is considered starting from its direct application in the creation of an artwork; specifically, a painting series. Our presentation will accordingly address the topic of existence and creation from the perspective of the artistic creation focused on the authentic existential situation, revealed solely through creation and the artwork.

SUMMARY:
In this essay, we will reflect upon comparative aesthetics with regard to the thesis about so-called different art kinds, i.e. their comparison. The analysis shows that the thesis is based upon considering the art starting from the artwork’s appearance, as well as the artistic medium and the technology of making the artwork supported by the medium. The analysis also proves that the application of the same artistic method can result in artworks in different media; since their origin is one and the same, such artworks are akin despite the differences in the appearance. Finally, our results confirm that the thinking about the art has to start with the artworks, and that the art is one of the kind. On the other hand, the kinship, as well as the particularities of individual artworks can and should be explained by referring to the artistic method. The analysis is done on the example of making the artworks in real and crypto space, by applying the artistic method of exception.

SUMMARY:
The artwork has a life of its own. It comes to be from an ineffable and incomprehensible source, through the poetic impulse which strikes the artist; the artwork lives during its creation, but also after it has been completed. Finished artwork is not merely an object, it is not static and it cannot be reduced to a meaning ascribed to it by the author or the audience. On the contrary, the artwork is always in its own immanent movement, a live swirl though which the gift of the poetic impulse reaches and forms the culture and society. As the art is the origin of culture, so every true poetic artwork inscepts a radical change in understanding, experience, organization, and the feeling of reality. However, although the true poetic art is the source of life’s formation, and thus a proven alternative to constructive, consumerist, and anti-human model of civilization, contemporary culture and society exploit it, annulling its importance. In this paper, I will focus on the semblance of the artwork’s life, as it is seen from the governing matrix of culture, and in contrast with its true poetic life.

SUMMARY:
In the past few years crypto space and art are getting to know each other. Due to the decentralized character of the technology it is based on, crypto space is free from regulatory bodies of the art world, and thus free from prescribed aesthetic criteria and the tyranny of experts. Nevertheless, is NFT really an artwork, and if yes, what kind of artwork it is, is still an unresolved question. In this paper, we provide an answer by taking into account the nature of the entire space within which NFT is situated, but also by comparison of NFT with the essence and meaning of art as such. The analysis will show that NFT works, according to their nature, come to be out of design and according to the artistic concept, while fine art is created according to the spirit and as its expression.

SUMMARY:
In this essay, we will address the issue of the identity of the artwork in digital surroundings. The question about the identity of the artwork in digital surroundings should be the question of the ontological-aesthetical identity of the artwork. The question concerns the fact that in the crypto space artworks are mostly related to large series, encompassing several thousand members. The question of the ontological-aesthetical identity of the artwork will be analysed using the example of the long-form generative art. We will show that the entire series, all its particular generated members, as well as the code that generates the series, is considered to be one and unique artwork. We will analyze the ontological categories which could describe such unique artwork, but also the artwork’s aesthetic criteria. The analysis will confirm that the aesthetic criteria are based on the ontological constitution of the artwork.

SUMMARY:
This paper examines the concept of negation as a method through which artificial intelligence is employed to create artwork. Since AI algorithms function based on human-given instructions and parameters (known as prompts), such art is aptly called prompt art. These AI algori-thms are designed according to specific principles - a code that serves as a normative framework for creating prompt art by setting predefined guidelines and parameters for the algorithm's operation. Within these normative boundaries, positive instructions direct the algorithm's actions toward achieving the desired result. Conversely, negative instructions allow the algorithm to synthesize available forms by excluding those specified by the negative instructions. Negative prompt art eliminates forms selected based on their frequency in the algorithm's database, as well as assumed desirable forms. Therefore, negative prompt art uses this tool in its most intense form, except when the prompts pertain to the basic visual ele-ments shapeing the desired forms.

SUMMARY:
This paper explores the relationship between morals and art; more precisely, we will address the question of the ethical character of artistic creation. In contemporary aesthetics, ethical considerations of artworks are mainly relativistic, focusing on particular contexts and influenced by themes relevant to the prevailing cultural paradigm. In contrast, we argue that the ethical nature and value of artwork are absolute and do not depend on changes in socio-cultural circumstances or subjective opinions of the observer. In this work, we maintain the position that ethics and aesthetics cannot be separated either in the act of creation or in the reception of the artwork. The artwork must be ethically and aesthetically evaluated according to its creative principle, the principle by which the artwork comes into being. We base our contemplation of the artwork creation on the personal experience in artistic practice; in both creative-exertive and theoretical refletions and conclusions. We will conduct the consideration and examining of the ethical character of the artwork creation in dialogue with Kant‘s philosophy, invoking the categorical imperative.

SUMMARY:
This paper is about the nature of dance and creation, as two different
kinds of art. In my view, dance is the natural art, which arises from the body, while the origin of poietic (fine) art is the realm of the spirit. Thus, in dance spirit conforms to the body, while in poietic art body is directed through the spirit. If they are true to their nature, both of these arts are equally significant, both of them bearing fruit. However, in everyday understanding and cultural matrix, dance and poietic art are being aligned and both are considered to emerge from the same source. The culture deprived of spirit is, thus, denying their authentic truth. Equally violent towards both nature and spirit, such culture compares dance with poietic art in a vain attempt to grant it spiritual meaning, detaching it from the truth of the body, inception and birthing. Therefore, dance becomes merely a semblance and a lie; reduced to the deception and the pleasure of the senses, it is nothing but the beauty of vice. However, as the dance is leveled with poietic art, which is the point of the truth revelation, the consequences are devastating.