Myśli, zmysły i emocje. Próba dyskursu o syntezie sztuk i jej percepcji

After defining the term synthesis and possible use of this word in the theory of art, the author concentrates on various visions of the „Community of Arts”. Description of the philosophical conception of the primeval syncretistic culture, destroyed by – among the others – partition of art into selected domains introduces the ideas to reconstruct universal art especially in the theatre (e.g. Richard Wagner, theatre reformers at the beginning of the 20th century, happening). Afterwards the author demonstrates the basic artistic elements uniting arts and proper to investigate the synthesis of arts phenomenon. Concentration on an artist, turns the attention not only to multitalented creators but also to a problem of the different or similar ways of expression in various domains (e.g. poetry and painting), as well as to the issue of a „creative impulse”. The artwork constructed in a chosen place and specific time, in one style and with one iconographic program, is the most visible base of the synthesis (e.g. in architecture and applied arts, understood as the cooperation of artists or in the contemporary, transgressive and multimedia installation). The situation indicates also the elementary aesthetic problems of the most common determinant of artistic character of the work and the role of the reception and interpretation by the recipient. This element of an artistic process reminds about the role of the aesthetic experience as the final „common place” of every artistic activity (e. g. represented in the romantic considerations on synaesthesia, in the issue titled „ut pictura poesis” or in the „fusion of horizons” conception). Finally, the author stresses the role of recipient’s intellectual activity and cognition as the necessary element and the proper space of the synthesis of arts. The text ends with the reflection about the advantages of the investigations of the synthesis problems for the general questions concerning the art.