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There is the chronicle of project Cultural heritage of dissolved monasteries on the territory of former Poland and in Silesia in 18th and 19th c.: fate, significance, cataloguing. Programme of the Ministry of Science and Higher Education (Republic of Poland) under the name of the ’’National Programme for the Development of Humanities” in the years 2012–2016.
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The paper poses a question why creative processes are more and more often related to technologies and that is clearly visible in institutionalized scientific, cultural and political discourses. It is noteworthy that technologies, creative technologies including, are becoming instrumental mind-based methods, which aim to perform everything more efficiently, more economically and more advantageously. This way creative activity loses its essence and becomes a commodity easily defined in economic categories, and thus it is employed as an effective means used to control, influence and even manipulate the human consciousness. It is likely that modern technologies push everything that is essential to human life to periphery, everything that joins people for shared activities and has intrinsic values. The paper attempts to show that even the so-called “scientific axiology” based on formal social technologies is unable to deal with axiological problems of creative human essence if personal or subject-related intrinsic values are not taken into account. This way it is most likely to happen that such evaluation which emphasizes individual and unique emotional and spiritual human reality tends to be downplayed. This fact corroborates intuitive understanding that technologies employed in creative activities should serve only as a supplementary tool but not become a self-contained tool which overshadows transcendental human creative powers.
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Review of: PEARL, J.: Becoming a Video Game Artist: From Portfolio Design to Landing the Job. Boca Raton: CRC Press, Taylor & Francis Group, 2017. 219 p. ISBN 978-1138824935.
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In the period between the two world wars foreign artists in Yugoslavia represented the false glamour of the stage, pretentious artistic names, and open erotic charm on the one side, and miserable wages and the moral disapproval of society on the other side. The public longed for entertainment but was at the same time apprehensive of the criminal activities, which it was generally held, too frequently accompanied the world of night shows. There was also an obvious hostility to the increasing number of foreign newcomers in the ranks of the domestic artists. It is not surprising that in such an atmosphere the authorities, and artists’ associations, felt it necessary to keep a close watch on artists, some of whom did occasionally resort to illegal means to boost their incomes. Over a thousand foreign artists appeared in various Yugoslav stage shows between 1935 and 1941. Local theaters that engaged foreign artists existed in practically every part of the country, with the exception of Kosovo and Metohia and Montenegro.
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This paper is an attempt to understand the intersections between the internet, global cultures and technology, and the material object, the Indian sari. The Indian Sari, like other ethnic clothing, has always acted as a means of affirming position and agency for Indian women. Even today it is a significant part of the communicative grammar for its offline avatar. But its online presence makes this garment even more discursive. Typically online communities, in linguistic terms, are ‘cultural communities’ (paradigmatic) where knowledge is shared to deepen expertise, and offline communities are ‘communities of practice’ (s yntagmatic) where people share concerns, passions, and problems to deepen interaction. But as Umberto Eco says, more and more paradigmatic communities are becoming syntagmatic, and the Indian Sari is in an interesting intersection of offline and online contexts as the wearer, the garment, and the transactions all create discursive spaces that implicate the global and local in identity formations. It also forces us to relocate the Sari as a signifier and reexamine its materiality in relation to its floating presence
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The article deals with the history of development of the Old Russian defensive architecture after Mongolian invasion: in the second half of the 13th — mid 14th century. The construction of stone fortresses at this time was sporadic. Two main traditions can be distinguished, one of which is characteristic for Western Rus’, and the other for North-Western Rus’. Most likely, the earliest fortifications of Western Rus’ were wood-earthen walls, with individual stone defensive towers within the ring. In North-Western Rus’, at the end of the 13th century, we can find irregular fortresses with stone walls, but apparently without towers. Fortifications with a fairly clear, almost regular plan (Orlets, Oreshek) appeared in the 1340—1350s. The middle of the 14th century seems to be a new turning point in the development of ancient Russian fortification.
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It is possible to consider the situations that encompass all areas of art and in hold the dynamic relationship between the artist and the audience as a reflection of economic, social, cultural and technological conditions. It is observed that this mutual reflection and dynamic relationship between the artist and the audience gained momentum especially through the academic and artistic productions after the second half of the 20th century. This structure, which is specifically built on the reflection of scientific developments and the artists experiencing the new opportunities; also reveals an interdisciplinary process in the field of plastic arts. From this point of view, the familiar dynamics established especially between the artist, its production and the audience leave its place to the experiences that cover all fields of plastic arts and in which the boundaries/limitations are eliminated and all art/science fields are intertwined. All constructions made by focusing on all kinds of materials, techniques, applications and ideas used in contemporary art, in hold the mutual communication/interaction between painting and printmaking in the field of plastic arts. In this context, especially this research; focused on the individual discourses / works of Zeliha Kayahan along with the works of Ergin İnan and Seydi Murat Koç specific to status of presenting new and different expression opportunities to the artist/audience through the works that covers unique individual applications on the convergence of painting printmaking that have productions in the context of interdisciplinary works.
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Regional cultural associations operate in every bigger town. In Piotrków Trybunalski, two circumstances favoured it, namely the increasing number of inhabitants with at least secondary education and the possibility to receive budgetary subsidies for statutory activity. According to the Act on the Education System of 7th September 1991, No. 1 art. 56, a music school can host associations and other organisations, with the exception of political parties and organisations, whose statutory aim is an educational activity or broadening and enrichment of forms of teaching, educational and supportive activity of the school. They assist the schools in propagating musical culture in the region by organising musical courses and workshops, co-organising concerts of invited artists, purchasing instruments and teaching aid. They also make it possible to organise, finance and conduct interesting, alternative forms of education in the school. The Ignacy Jan Paderewski 1st and 2nd Degree State Musical School in Piotrków Trybunalski is such a school, as it has co-operated with the Friends of Artistic Centres Association since 1951 and with the Franciszek Lessel Piotrków Musical Society since 1984. It is worth mentioning that the seats of both these non-governmental institutions are located in the school building. The aim of this article is to present the role and importance of both social organisations in the development of musical education of young people from Piotrków.
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In this paper, I am questioning the opinion that the Liberal Arts are traditionally perceived as a necessary instrument for “shaping culture”. In this context, it is not by accident that in the last two centuries one of the widespread ideas is to link the development of the Liberal Arts with the concept of culture itself. This view clears the path for the interpretation of egkuklios paidea (Εγκύκλιος Παιδεία) as a common culture, which pre-empts the authentic notion of culture. It prompts the development of a point of view on Liberal Arts, which presents them as part of a self-legislating and self-deploying process known as ‘culture’. In my view, though, a different philosophical analysis of the Liberal Arts reveals that during the Antiquity they primarily assisted the individual in contemplating the structure of being and partially in developing a specific mode of knowledge – phronesis, i.e. practical rationality. Practical rationality is both a way and a condition for personal achievement of moral virtues and personal improvement, rather than some sort of a cultural integration. It is therefore of significant importance to open the possibility for examining phronesis as ground for objective interpretation of the Ancient philosophical ethical and political consciousness.
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Author's songs, written in folk spirit, have a rich tradition in Bulgaria and are persistently present in Bulgarian musical history and culture from the mid XIX century to this day. Circulated through media, they gain the status of privileged, popular and attractive specimens, which influence their audiences. The constructed popularity and attractiveness of these songs is a result of the soft power of media, which is dependent on political and socioeconomic context, as well as on the existence of goodwill and sympathy in the interpreters and audiences. At their peak, the most popular author's songs in folk spirit impact the forming of dominant values, tastes and attitudes in Bulgarian society
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This article explores the development of the Bulgarian practice in podcasting for 2014-2019. It compares it to recent trends in the USA where professionalization and commodification have settled in. The article presents research data on topics, genres and formats, as well as a portrait of the Bulgarian podcasters and their motivations. After identifying the adoption of some global practices (podcast networks, advertising, audio documentary), the article places an emphasis on the late entrance of traditional media which would determine the direction of future changes.
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This article is an attempt to determine whether the successful film Snake Spring, directed by Nikolai Lebedev, can be considered the first slasher of Russian production. Slasher, as a subgenre of horror films, is not a typical phenomenon in Russian cinematography (or even more so Soviet), and its roots should be sought primarily in American culture and filmography.In this text, the author, first of all, focuses on the slasher as such, presents his distinguishing features and lists the most important pictures of the world’s cinematography representing this par-ticular subgenre.
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