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Монографія присвячена розгляду та аналізу специфіки функціонування електромузичного інструментарію у сучасній музичній культурі. Дослідження адресоване професіоналам та любителям електронної музики, мистецтвознавцям та культурологам, викладачам та студентам мистецьких навчальних закладів.
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This work defines the creative principles of Michel Butor’s less-known writings that are based on experiment, poetizing and interaction with fine arts. It analyses hundreds of texts and art sources and focuses on the five-part Illustrations cycle, pointing out Butor’s most important creative techniques: intertextuality, which deals with an innovative use of citations and rewriting not only other authors’ but especially his own texts; and intermediality, dealing with an interaction between fine arts and literature. It presents Butor’s transposition of an aesthetical effect provoked by an artwork into a poetic language. The analyses and theoretical reflections are placed into the broad context of Butor’s work, with an emphasis on theoretical issues and on the continuity of procedures throughout his work.
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The art theory discourse is in lack of terminology regarding the analysis ofconnections and interactions between nature and contemporary art – especiallyartworks that are in connection or are created in a natural environment. Theaim of this book is to introduce and define starting points and terminology inthe analysis of man-made interventions in natural environments that have someaesthetic value and artistic intentions. These terms are interdisciplinary and areused mostly in the realm between theatre and visual arts. I argue for exampleterms like: performativity, performative space, viewer, site-specific, aura, atmosphere,etc. The dimensions of the research do not allow a large number ofartworks to be discussed. Therefore, it can only include specifically illustratedand underlined subjects.
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The academic-education centre in Bąkowice near Chyrów is a phenomenon encompassingmany problems. Its 50 years of existence should be considered not onlyat the material level, although it is most interesting for an art historian. Making anattempt to deal with this type of object one cannot forget many issues going beyonda tightly-understood history of art, entering the area of the history of culture, pedagogyand even theology. However, the most primary and leading thought of the bookwas “to save it from being forgotten”, not the phenomenon of Chyrów as such (becauseaccording to the author of the text it is still alive, though it will have to be remindedyounger generations more and more often with time), but a material basethat underwent devastation and disperse. This is an inventorying issue to find,undust and describe each, even the least valuable thing that belonged to the equipmentof the centre or chapel, reconstruct the appearance of the rooms, chapels andbuilding surroundings on the basis of the photography, to bring a former grace ofthis place back at least in this way.The second, equally important aim of this work is to present the object of the19th century architecture which has become a satisfying subject of research formany art historians these days. In the case of the centre in Chyrów, we deal withthe work that is not easy to analyse in a formal-genetic way. Experiencing the objectsof the 19th century art, in the case of which traditionally understood aestheticcategories are not sufficient, we face broader problems that focus the phenomenonof the 19th century as such – its art, philosophy, education, pedagogy, spiritual lifeand, above all, socio-economic problems taking a lead at this time. A presentation ofcentres such as the one in Chyrów also aims at propagating a different perspectiveon the 19th century works of art, and the inclusion of them into the world of valuesand filling the apparently empty crust with a meaning.A broad spectrum of issues raised in the very work was determined by the veryresearch subject, which, as has already been mentioned, is a phenomenon. The authorhad to enter the areas usually unknown to the art. Historians, such as pedagogyin general and Jesuit pedagogy in particular. She also had to, at least in anoutline, present the system of the functioning of the centre and a daily life of its fosterchildren. This way, despite no ambitions to exhaust the topic, the attention thatin the case of a traditional perspective focuses on the work of art, was dispersed.What is more, the obligation required a wider presentation of the profiles of the authorsof the architecture of the centre: Antoni Łuszczkiewicz and Edgar Kováts.The book consists of six parts in general. The first presents the history, organizationand functioning of the academic-education centre of Jesuit fathers in Chyrówcovering the period of almost 50 years of its existence. It also describes a pedagogicsystem used in this institution. The next chapters are devoted to the issues connectedwith an architectural frame of the centre, The history as well as a descriptionof the main building, accompanying buildings and the surroundings as well assculptures and small architecture situated within its scope. Further on, the profilesof and architectural activity of the authors of the material tissue of the centre, i.e.Edgar Kováts, a professor of the Lviv Technical University and the author of the socalled Zakopane measure (sposób zakopiański), and Antoni Łuszczkiewicz,a slightly-forgotten architect from Cracow were presented. Selected realizationswere described and artistic as well as aesthetic attitudes of both architects werepresented. A summary of the parts of the book in question is a chapter devoted tothe academic-education centre of Jesuit fathers in Chyrów as an architectural workof art. It provides a formal-genetic analysis of the team. An important element ofthis publication is appendices including little-known sources presenting the historyof the centre and the history of its authors. These are regulations and rules of thecentre from 1905, a report from the scholarship of the countin Joanna Ledóchowskafoundation made by Antoni Łuszczkiewicz, a list of often very precious and currentlylost books from the centre library, a programme of the very centre from the1880s, an introduction to Sposób zakopański from 1899 by Edgar Kováts and hiscorrespondence concerning the foundation of the Sacred Heart of Jesus Christchurch in Cracow illustrating the archirect’s views on art.When working on the history and architecture of the academic-education centreof Jesuit fathers in Chyrów the source materials from the very epoch and archivematerials derived from among others the collections of the Archive of the MałopolskieProvince of the Association of Jesus, the Archive of the Jagiellonian Universityand the State Archive.
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Trzeci tom publikacji zbiorowej Muzyka religijna stanowi przede wszystkim świadectwo rozmaitych badań nad sferą sacrum, sferą religijności, sferą inspiracji duchowych, badań prowadzonych w obrębie „sztuki dźwięku”. Autorami zamieszczonych artykułów są polscy muzykolodzy, etnomuzykolodzy i teoretycy muzyki. Wśród poruszonych zagadnień znalazły się m.in. twórczość o. Amanda Ivanschiza, muzyka Tadeusza Kasserna, Karlheinza Stockhausena i Krzysztofa Pendereckiego. W pracy ukazano również aspekty działalności muzycznej parafii bielsko-żywieckich oraz dziedzictwo muzyczne braci czeskich w Zelowie.Książka z pewnością zainteresuje wszystkich tych, którzy chcą odnaleźć sygnały religijności w muzyce, ale także osoby poszukujące informacji na temat muzyki lokalnej – na Śląsku (Górnym i Cieszyńskim) i w regionie bielsko-żywieckim.
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The aim of this book is to indicate and characterize the relationship between the phenomenon of agency and the aesthetics of the video game medium. The author analyzes the properties of interactive texts that allow their users to feel the pleasure of influencing the virtual spaces or the course of events taking place within them. Therefore, the book has been divided into two parts: theoretical, which organizes the existing definitions and types of agency typical for video games, and analytical, that presents a layered model of agency. Author presents four levels that organize player experience: simulation, narration, rules, and meta-agency, which gathers numerous activities beyond gameplay. The following chapters explore issues such as: reception and transformation of the gameplay aesthetics, user experience and emotions, differentiation of player’s agency, interface functions, agency mechanics, and agential dissonance. The book also contains extensive analyzes of three high-budget mainstream games: “The Legend of Zelda: Breath of the Wild” (Nintendo, 2017), “Witcher 3: Wild Hunt” (CD Projekt RED, 2015) with “Blood and wine” expansion (CD Projekt RED, 2016) and “Grand Theft Auto V” (RockStar Games, 2013).
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The book does not only attempt to reconstruct the architectural and theoretical oeuvre of Antoni Jabłoński, but it also explores how Jasieńczyk, who spent his whole professional life working for Russian state institutions, operated in his Warsaw environment. Jasieńczyk’s most important architectural projects, including the buildings of the University of Warsaw Library, the Anatomopathological Institute and the Main Post Office in Warsaw were commissioned by state institutions.
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The present collection, prepared in memory of Academician Petar Dinekov on the occasion of his 90th anniversary, contains the reports of the participants in the scientific conference held in Sofia from October 26 to 28, 2000. In addition to participants in the conference, the collection also includes additional presented materials. In total, the collection contains 71 articles by various scientists from Bulgaria, Russia, Serbia, Greece, Germany and Poland. The articles are arranged thematically in several sections in accordance with the issues of the sectional meetings of the conference.
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The book presents the artistic biography and some productions of Wojciech Kościelniak, the director and scriptwriter behind a number of novel and very well received music shows ("Les Misérables", "The Phantom of the Opera", "Notre Dame de Paris", "Dance of the Vampires"). His works are usually called musicals but to stress their uniqueness, commentators sometimes use a more whimsical name, "the kościelniaks". The shows by the artist are juxtaposed with analyses of famous musicals from other countries to demonstrate that "the kościelniaks" are not only fascinating artistic experiments but also the author’s original response to key trends in global musical theatre.
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This book analyzes through theoretical research the field of art creation in special education, art education, art therapy and visual art. The work is divided into three chapters. The first chapter contains analytical study focusing on disability images in visual arts in selected periods of European art history. The second chapter deals with art work creation in education and therapy and presents outcomes of an action research. It aims to compare and interpret new theoretical foundations of art therapy, special art education and inclusive art didactics. The final chapter focuses on establishment of authors with disabilities as artists and art creation as a specific strategy for social inclusion. At the same time it values artistic creation as a specific strategy of social inclusion.
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The book about the transcendent cinema of Darren Aronofsky takes the reader on a journey through the selected filmography of this outstanding American director. A monograph devoted entirely to his extraordinary work, which among film experts and film audiences has both a group of devoted admirers and critics. A strong, even anarchist accent falls here on the type of film hero presented, living on the margins of society and consciously rejecting its normative structures. The films, as well as the literature to which the book refers, are an expression of a critical attitude towards symbolic violence and the imposition of creatively limiting cultural norms on the individual, requiring such ordering such and no other understanding and experiencing the surrounding world. An astute observer of Darren Aronofsky's work will notice the existence of metaphysical problems in it, sometimes directly directed towards religious issues. We can call this kind of cinema transcendent. This cinema is only seemingly pessimistic in its meaning. It is worth looking for mythical stories to try to hear and understand what they have to offer us. It is worth turning to transcendence and trying to express the inexpressible, also in the art of film, as does Darren Aronofsky, who wants to be a trustee of great mythical narratives. These features, so characteristic of the director, can be seen, to a greater or lesser extent, in all his films, especially those referred to in this monograph. It will be interesting for the reader who expects from contemporary cinema something more than unsophisticated entertainment and wants to go beyond its ludic dimension.
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Family Offline is the show of fractured childhood between border parents (parents who go to work abroad) and children who stay at home. Whose parents are the children and how do they mature when mom and dad become a voice on the phone? Who is mother when mother is gone?
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The play highlights the history of the Replika Educational Theater Center, a space that has gone through several conversions, starting in 1903, when it housed the first Italo-Romanian Hat Factory, and since 2015 it has become a studio theater.
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This book is a proposal to identify and take a closer look at selected aspects of the functioning of modern culture, in which the growing importance of games (especially video games) and the broadly understood ludicity, or "game-like" qualities, are clearly manifested. The key point of reference for the considerations undertaken are gamers, understood as a specific type of cultural participants. As the foundation for the argument, the examples of an academic reflection on the subject-matter are recognized and the field of this reflection is outlined, highlithting mainly the links between games and culture. This is followed by a discussion of issues related to the specifics of experiencing video games (mainly in a technological context), but also to the competencies of gamers, and to the fact of their diverification as a group, including some taxonomies. Further on, the perspective broadens, turning to the culture of games/gamers (among other things: venues designed for gamers, specialized media, events and other phenomena shaping the "gaming culture"). The argument concludes with an attempt to look at culture (as a whole) through the prism of its "gamification". Thus, the manifestations of "game-likeness" beyond the core "gaming culture" itself are discussed – the influence of games on other branches of culture (including entertainment industries or the arts), cultural protocols, everyday life, etc., and therefore on the competencies desired for modern cultural participation.
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Stanisław Bareja (1929-1987) was a Polish film director born in Warsaw. After the war, the family moved to Jelenia Góra. Staszek had great intellectual passions from the beginning and after graduating from high school he decided to continue his education at the film school in Łódź. In 1960 he made his debut with the comedy “The Man of His Wife. ” The 1960s were successful with the comedies “Wife for an Australian” and “Marriage with Reason. ” His films, in which popular actors appeared, moved to cinemas and attracted increasing criticism from the press and parts of the film world. In the late 1960s, Kasimir Kutz, an old friend of Barei’s, used the term “ba reizm” for artistic mediocrity. This helped to block further projects of the director for four years. Bareja returned in 1972 with the movie “Wanted Wanted. ” A new, more mature period of his work began. His comedies will now consistently brand the absurdities and humiliations of life under real socialism. That’s why there’s always trouble with censorship and crowded public halls. In the 1970s, criticism of Bareia remained ambivalent. On the one hand, he was still under condemnation, but on the other hand, there were positive voices on “What are you gonna do with me when you catch me” and “Bär” that put his films in a circle of moral discomfort. Since the late 1970s, Bareja had been a member of the Democratic Opposition, and his house had an illegal print shop. In the 1980s he produced two series “Alternative 4” and “Changer. ” The fight against censorship affected the health of the director, who died in the Federal Republic of Germany in 1987. Bareja’s wife didn’t have time to reach the dying man. The power of that time prevented them from doing so. Bareja left two children: the daughter Kasia and the son Janek. Today, the director’s work belongs to the permanent work of Polish film art.
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The work depicts artistic output of Francisco Goya y Lucientes as a source of inspirationin the Spanish cinema by basing on the examples of 81 films from the years1926—2011 (among which only 14 were distributed in Poland). Most of them arefeature film, but there are also documentaries, TV series’ as well as animations. Theaim of the book is to show — on the ground of film studies — how the perception ofGoya in his homeland has been changing in consecutive stages of history, and how,also thanks to the cinema, he has been transfromed into an icon of Spanishness.The methods applied by the author are typical for comparative cultural studies,and they can be inscribed in the current of studies on intertextuality in film. A comparativeanalysis gathering the disciplines of cinema and painting, concentrates on boththe meaning of an artwork, functioning in various socio-cultural contexts, and thestructural aspects that are pertained to its aesthetic layer.Contrary to previous research, the book is the first attempt at such a broad depictionof the subject in question. Up until now, only papers on a short-term basis havebeen written. Their authors focused on the renderings of the painter on screen. Whatis dominant among the studies referred to in the book — altogether 350, mainly writtenin Spanish — are works describing the oeuvre and life of Goya and outlining therole of an artist in the Spanish culture as well as socio-political conditions of theepoch he lived in. It was essential to refer to first of Goya’s biographers, and confronttheir relations with survived letters of the painter. The publications on film andpainting correspondence also appeared useful. The same can be said about monographsfrom the field of history of Spanish cinema.The introduction of the film references’ peculiarities would have been impossiblewithout outlining the context of Goya’s works and their reception in the epochs thatfollowed. Therefore, the first of the book’s three parts constitutes an attempt to highlightthose features of oeuvre and life of the artist that became magnetic to filmmakers.The conceptions seeking the origins of film visual imagination in the master’slate works were presented together with the roots of his romantic legend that echoedin all of his on-screen depictions. Also, the issue of national identity has been touchedupon, the complex character of which found its expression in Goya’s paintings and hismajor cycles of graphics. Aside from the map of diverse references that prove constantpresence of the painter in the culture of his country, the inspiration of Goya inthe areas of visual arts, literature and music has also been shown. The purpose of theabove was to depict the references in the films as a part of particular cultural continuity.On thus drawn background the subsequent parts of the work has been presented,which were devoted to film studies research as such. In the second part, three maincurrents according to precise source of inspiration have been distinguished. The firstone concentrates on the figure of Goya himself, recurrent on screen as a main characterof biographical films, but also as a supporting character in historical films. Thesecond one is the war of independence, iconography of which is frequently present intales about other conflicts as well, especially the Spanish Civil War. The third area ofinspiration is constituted by varying social contexts — ranging from the images ofmonarchs and aristocracy to that of poverty and superstition, through bullfighting,scenes of folk’s life, religious motives, Inquisition, marriage, prostitution, and insightfulanalysis and critique of morals.From such a division of film thematic reminiscences result three main functionsof painting inspirations in cinema. Aside from biographical aspect, they are: usingoeuvre in rendering the climate of a given epoch in historical films, and placinga painting or a graphic in another contexts, in which they gain new, often surprisingmeaning and prove the universality of the artistic vision.The analysis of the film material have let us concurrently highlight the changes inperceiving Goya reflected by the cinema largely connected to transfromations in thesphere of politics. In the age of silent cinema, before the civil war, a given artists’works helped to build a colourful image of Spain from the period of the 18th and 19thcenturies, intertwined into national and political threads. The films created after 1939were subdued to Fracoist ideology in both presenting the painter image and selectiveversion of his oeuvre, restricted in that time to pastoral images from the folk’s life andearly religious paintings. On the other hand, Goya’s later works were a source of inspirationto opposition directors who created their films at the twilight of dictatorshipor in the first years after Franco’s death. The period after establishing democracy didnot put down the need to confront works of the great painter from Aragon, stillaccompanying filmmakers in their reflection on past and contemporary Spain.The last part of the book, similarly as in the case of thematic threads, can betreated as kind of general conclusion devoted to aesthetic issues. Thus, the followingtopics have been discussed: utilizing portraits by Goya in depicting historical figures,the role of requisites taken from his paintings and graphics, the scenery functions inthe artist’s oeuvre and its influence on shaping filming space. The question of shotcomposition has been discussed as well as the problem of frame, colour andchiaroscuro nuances, and the particular types of references — the formula of “alivepainting”, intertextual punctum, quasi-quotes and cinema-painting. The above haveundergone metamorphosis in the subsequent decades of the film history — from beingprimarily blatant as a painting re-created on screen, towards less and less literal andmore and more veiled references.The present studies, designed to show Goya as a painter still relevant today —witness of his epoch, at the same time transcending far beyond it with his thoughts —open a field for further, more precise researches, directions of which were marked outin the book’s conclusion.
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Książka Psychologiczna praca z filmem zawiera pogłębione analizy psychologiczne wybranych filmów oraz gotowe scenariusze zajęć i ćwiczeń. Dzięki przystępnemu językowi może być inspiracją zarówno dla specjalistów różnych dziedzin, jak i laików. To podręcznik, ale przede wszystkim materiał zachęcający do refleksji nad problemami ukazanymi na ekranie. Tytułową psychologiczną pracę z filmem mogą podejmować uczestnicy szkoleń, studenci, uczniowie, ale też wszyscy zainteresowani poszerzeniem swojej wiedzy.„Potrzeba takiego kompendium dydaktycznego jest oczywista, a jej dostrzeżenie i inicjatywa, aby ją zaspokoić, jest ze wszech miar godna uznania. Podręcznik pomoże jednocześnie kształcić studentów w zakresie wiedzy psychologicznej oraz pobudzać ich wrażliwość na sztukę.” Prof. dr hab. Zofia Ratajczak, fragment recenzji„Wśród dostępnych podręczników brakuje pozycji, które wskazywałyby możliwości, jakie daje film w poszerzeniu warsztatu pracy psychologa i w zawodach pokrewnych. Publikacja będzie służyła prezentowaniu trudnych i ważnych tematów psychologicznych, które wiążą się z lepszym rozumieniem siebie i swego otoczenia.” Dr hab. prof. UG Anna Maria Zawadzka, fragment recenzji
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Monografia utrzymana jest w duchu postmodernizmu. Prezentuje z różnych stron problem twórczości, oryginalnie i twórczo ujęty przez autorów. W tomie znalazły się teksty dotyczące rzadko omawianych problemów w psychologii twórczości, np. inspiracji twórczej, otwartości dzieła, twardości jako cechy osobowości istotnej dla aktywności twórczej. Autorzy włączając się w dyskusję psychologiczną dotyczącą złożonego fenomenu twórczości, podkreślają znaczenie aktywności twórczej w wymiarze kulturowym i jednostkowym. Zamierzona różnorodność ujęć i stanowisk w prezentowaniu twórczości rzuca światło na wieloaspektowość tego zjawiska, wymagającego właśnie takiego systemowego i interdyscyplinarnego ujęcia.
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Written at the turn of 2021/2022, the monograph From Sublimity to Arbitrariness. Painting in the Tragic Time summarises numerous reflections and comments contained in two previous books: Pamięć czasu – malarstwo w czasie bankructwa duchowego [Memory of Time – Painting in a Time of Spiritual Bankruptcy] and Malarstwo jako egzystencja – tożsamość osobista a postawa twórcza [Painting as Existence – Personal Identity versus Creative Attitude]. The new publication, written in the context of the ongoing COVID-19 pandemic and, above all, the barbaric war in Ukraine, addresses the fundamental challenge of the present time concerning the foundations of the collapse of man's spiritual condition at the turn of the 20th and 21st centuries. The striking disappearance of moral and ethical content at the present time results in an exceptionally repulsive manifestation of numerous attitudes, where the pursuit of material goods effectively eliminates from our lives everything that is connected with a deep reflection on the meaning of human existence, its universal values, rigours, principles without which our life irretrievably loses its human dimension, turning into a hostile space of numerous threats, fears, frustrations, traumatic experiences and emotions. All this results in a growing avalanche of depressing arbitrariness and the striving for so-called freedom from everything, which only deepens the feeling of the current chaos and entropy in interpersonal relations, where the possibility of communicating with another human being becomes a fundamental problem.
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The book covers the findings of research on the 21st century Polish film and photography. For the purposes of this study, the terms film and photography are broadly understood and rooted in the culture studies perspective. Due to such framing, the author combines studies on fiction, documentary, short and feature-length films as well as documentary and staged photographs. The presented readings are created around three main categories of images, which are: spectres, shadows of the anthropos and banners.
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