Prawda wyrazu akuologicznego. Inspiracje hermeneutyczne

The contemporary hermeneutics, especially the gadamerian one, privileges art as a model of hermeneutic experience and as a particular place of experiencing the truth. The privilege is of great importance, because it implies reformulation of the concept of truth and the ontology associated with it: the hermeneutic truth consists in ambiguity whereas the so called linguistic turn in the philosophical hermeneutics is de facto the ontological turn in which the essential realation between word and thing is re-established. In such ontologic unity of the word – which is as well the expression of (the work of) art – and the thing (and as well of thinking or the understanding of a certain transmis- sion of the work of art), the hermeneutic dialectics (i.e. the search for the word from within language) is a creative (‘poetic’) process par excellence. In the article the author tries to show that the (fine) arts consist in a listening out for the thing and in listening learning. They are not restricted to affective aspects of experiences, but they are the real essence of the understanding the thing. Art is the way of (re)cognition and a participa- tion in a particular way of the understanding (and thus of the experience) of the reality. The understanding cannot be reduced neither to a „pure” rationality, nor to a „pure” expression of emotional experiences. So, in order to describe the experience of art, the author suggests to introduce to concept of acouologic expression. The term gives its due to the cognition essence of art and to its claim to the truth. At the same time it resists treating art as „the object of cognition” reporting to „the subject of cognition”. Just like the hermeneutic truth, the truth of art consists in ambiguity and an ambition to be a meaningful communication