This article attempts to reinterpret the work of Mario Klingemann, one of the leading representatives of generative art, in light of the concept of dé-coïncidence formulated by François Jullien. The focus is on the question of how artistic practices utilizing artificial intelligence can constitute a contemporary realization of the philosophy of a rupture form, identity and meaning. By analysing selected works by Klingemann, such as Neural Glitch, Memories of Passersby I and Imposture Series, the author shows that generative art not only blurs the boundaries between the author and the system, intention and chance, but also becomes a space of rupture, a discontinuity in which something new emerges. Jullien’s thoughts, combined with the aesthetics of glitch, the ephemerality of the image and the dispersion of authorship, allow us to understand generativity not as a technology, but as a philosophical category of creative separation. In this sense, the article suggests that generative art can be read as a practice of dé-coïncidence, as a space where form “ceases to be itself”, opening to the unknown and unpredictable.

First, the text introduces the notion of the ‘Polish idea,’ which is presented as metaphys-icality in art and metaphysicality of art. In this context, the de-coincidence between the Polish idea and the Polish ethos can be perceived as criticism in contemporary art, as in the work of Artur Żmijewski. De-coincidence causing a ‘thrill of transcendence’ can be perceived as a threat, which Jerzy Bereś and Piotr Uklański warn against in their works. It can also reveal a ‘margin of transcendence’ (including that of the Polish idea), inspiring thereby innovative artistic explor-ations (Jakub Różalski, Jakub Woynarowski, Adu Karczmaczyk). They are pursued thanks to various forms of dialogue that revive affirmative views on ideas and the metaphysics of art.

This study explores the return to national origins in contemporary Chinese art and design through the revitalisation and reinterpretation of traditional cultural symbols, aesthetics and compositional methods. Drawing on François Jullien’s concept of dé-coïncidence, the authors contrast Western ideals of fixed adequacy with Chinese process-oriented aesthetics, high-lighting the role of spontaneity, interrelation and symbolic dynamism. The article analyses how traditional elements, such as motifs from Dunhuang murals, national colour symbolism, garden aesthetics and iconic forms, are adapted in modern graphic design, architecture, product brand-ing and university logos. By examining these developments, the study demonstrates that modern Chinese visual culture maintains a dialogue with its cultural heritage, blending innovation with reimagined continuity of tradition.

Every photo album has its own unique character, and reflecting on family albums allows us to rediscover their significance for culture, for family members, and for the individual. Faded, fragmented, or blurred photographs reveal a simultaneous process of fusion (coincidences) and disintegration (de-coincidences), capturing the continuous “noiseless” transformations of human life.These reflections do not aim to formulate yet another theory on the role of family albums or photographic memory. Rather, they invite us to consider the themes of transience and disap-pearance, resumption and recurrence – whether in a personal dimension (processing of grief, as discussed by R. Barthes in Światło obrazu [Camera Lucida] and by T. Różewicz in Matka odchodzi [Mother Departs]), in familial dimension (traces of existence preserved in photo albums, a motif explored in the TV series Dom [Home]), or in individual meditations on duration and impermanence (e.g., J. Janczewska’s photographs taken by S. I. Witkiewicz).Photographs from family albums or private collections enable us to process grief and guide us from an internal “rupture” to what François Jullien calls a gradual “clearing of pain” after the loss of a loved one.

In the second half of the 20th century, dynamic social, cultural, economic and political transformations sparked criticism of theories that viewed cities and their architecture as static, normative and materially fixed forms. At the same time, there emerged a need to acknowledge the importance of continuously evolving relationships and processes, along with diverse mean-ings and interpretative possibilities.By viewing buildings as processes in constant interaction with contemporary society and its needs, we also challenge the notion that they are materially fixed and inviolable. Emphasis on architectural interactivity leads to a redefinition of traditional practices and attitudes, opening up new possibilities, diverse pathways and modes of action. Shifting the focus from permanence and immutability toward dynamism and transformation undermines stability and clarity, while fostering creative thinking and greater flexibility. Openness to changing contexts and needs results in the creation of more sustainable and userfriendly places that also respect the environment. Questioning architecture as a static structure paves the way for a multiplicity of approaches, interpretations, and the multidimensional complexity of dynamic interactions.In this article, we will undertake a closer examination of the potential unleashed by embracing change and abandoning values such as permanence and immutability in favour of the dynamization of architecture, viewed as a compelling example of de-coincidence.

The study analyzes the unique phenomenon of one of the varieties of Petrykivka painting – paintings on paper, based on continuity with folk traditions of wall painting and ornamentation. Versions regarding the origin of Petrykivka painting are analyzed, using the example of the works of the master Pelageia Hlushchenko, and the techniques of using paintings and materials are described. The concept of the “ideal natural world“ in flower compositions is characterized. Petrykivka painting is inherently connected with folk traditions of paintings based on the convention of images and specific techniques of execution. The original appearance of such compositions is due to the use of egg tempera, which gives the effect of transparency of colours, homemade tools and techniques of the four basic strokes.

At the turn of the 1990s, the term "visual arts" gained popularity among the Polish art community and began to replace "plastic arts". However, it seems that this change was not instigated solely by factors related to art, but primarily by political and social ones. The above assumption is prompted by the fact that the expression "plastic arts" may have very broad meaning – in the tradition of Western humanities it referred to both the material as well as intellectual and spiritual dimensions of creative work and may encompass a variety of artistic practices. This is indicated, among other things, by the continuing presence of the phrase "les arts plastiques" in French, where it is commonly used to this day, signifying traditional art media as well as media and art practices used only since the 20th century (e.g. installations or performance). The author of the article argues that the relinquishing of the expression "plastic arts" in the Polish language had an imitative dimension and resulted from the need to demonstrate the fact of belonging to Western culture after the change of the political system in 1989.

In applying the concept of de-coincidence to artistic creation, François Jullien speaks, among other things, of transcending imposed frameworks, established patterns and forms of communication. This evokes the modernist art theories of Wilhelm Worringer and Theodor W. Adorno, in which artistic practice takes on a transcendental character. Worringer, by introducing the distinction between abstraction and empathy, elevated art that is not bound to the imitation of reality, treating it as a manifestation of the creator’s inner tension in relation to the world. Adorno, in turn, in his aesthetic theory, emphasized that true art resists reification and dominant cognitive schemes, offering an experience that exceeds the established bounds of discursivity. Worringer’s art of abstraction and Adorno’s critical art can thus be seen as prefig-urations of Jullien’s de-coincidence. In the present article, we juxtapose Worringer’s theory with that of Adorno in order to highlight the parallels between them – parallels in which art emerges as an act of stepping beyond the horizon of routine experience of the world.

The avant-garde maintains a dialectical relationship with history. On the one hand, it is oriented toward change, and on the other, it strives to establish an eternal now – a utopia, the achievement of which would end all history and the need for any further change. In this context, Yves-Alain Bois analyzes the historicism of Katarzyna Kobro and Władysław Strzemiński, concluding that the system they created, Unism, was destined to fail because, despite taking into account the workings of history, it did not break with the utopian ideal of unity, towards which art and the social world were ultimately intended to strive. This text is a polemic against this thesis and, at the same time, an expression of doubt regarding François Jullien's suggestions that utopian thinking, associated with projecting great change, is counterproductive and, in fact, counteracts the possibility of a genuine transformation of the world. In this text, I propose a pragmatic approach to the relationship between change and utopia, invoking the concept of the prototype for this purpose. I approach the work of Kobro and Strzemiński as successive iterations of the prototyping process, demonstrating the positive relationship between utopian vision and practical action in history.

The origins of dé-coincidence in traditional Chinese architecture and art lie in the specific worldview of the Chinese, which was formed over thousands of years under the influence of local beliefs – Taoism and Confucianism, and borrowed Buddhism. It is significant that in China, as well as in Japan, these three teachings did not oppose each other, but formed a specific religious syncretism, since they were all built on a similar basis – the belief in the variability of phenomena in the universe, nature as a model of perfection, as well as the absence of the image of the Creator, present in the monotheistic religions of Christianity and Islam.The essence of dé-coincidence in traditional Chinese and Japanese art is to endow the hidden essence of the phenomenon with the properties of ideal beauty. Therefore, this hidden essence can only be felt "from heart to heart", with the heart, not with the mind. Thus, the sacredness of the act of the artist's creativity lies in the "moment" of merging of the artist with nature and transferring through artistic means how the energy of nature turns into the energy of creativity and from it into the energy of a work of art.