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This paper is part of an extensive study of the dynamics in performing arts in an era of an explosive development of breakthrough technologies. Thе article deals with key terms such as ‘posthumanism’ (Steve Nichols, 1988; Donna Haraway, 1991; Robert Pepperell, 1995; Katherine Hayles, 1991; Manuel de Landa, 2003, etc.) in the sense of existing in a state beyond being human; ‘transhumanism’ (biotechnological development of human beings); ‘digimodernism’ (Alan Kirby, 2009); ‘cyborgism’ (David Krep, 2007); ‘hybridisation’ (Edward W. Said, 1978, Homi K. Bhabha, 1994, Philipp Stockhammer, 2012), etc. The critical discourses upon these newly coined terms are not homogenous, but are often, in fact, a series of contradictory ideas. Usually, issues of ethics and morality, language and communication between different types of social systems are also under consideration as well as of the intellectual efforts for interdisciplinarity. Some of the best examples are also considered towards creating new stage hybrids by using new technologies in Bulgaria and abroad.
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The article present one of the ways in which photographs can be employed in studies on everyday life. The purpose has been to recognize and describe elements of everyday life found in private photographs submitted to analysis. The personal documents method was used because amateur photographs belong to this category of documents. The visual data matrix elaborated by P. Sztompka was applied. The analysis of visual data suggests that the photographs document six contexts of social life (science, work, education, college holidays and celebrations, religion and religious holidays, and finally sports and recreation). Additionally, each context was interpeted from the perspective of the individuals involved, their actions and interactions, communities, culture and the surroundings.
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Author of this article discusses the various ways of the use of the film materials in the project “Invisible city” and their analysis (four short films about the makers of “Invisible city”, four kinograms of the studied places and one scientific film that is a form of self-reflexion of the researchers). Farther he presents a short historical and theoretical introduction to the scientific film and to his specific genre who is sociological film. For conclusion he undertakes the reflexion about the possibility of the next studies based on the film materials from the project “Invisible city”.
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Wood is one of the most widely spread building and manufacturing materials, which has been used from antiquity till nowadays. Having irreplaceable technological and operational qualities, it is applied in different fields of architecture, design and art. In terms of sustainable design, timber with defects, arising in the process of tree growth or due to mechanical or insect interventions, is still applied while the defects are underlined and thus turned into effects. Often these defects (turned into effects) determine the structure and the shape of the product.
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Our concerns in the paper are the differences in the ways of recollecting personal past with mediation of digital vs. analog photographs. The technology of analog photography doesn’t allow to control the final image. The main impact of digital technology for non-professional photographer is a chance to see the image before it would be saved. Therefore, while using analog camera photographer seems to encode more additional and non controllable information. It may lead to the differences in the quality of memories. Participants of the study took photographs of the same event. They took 6 photos by analog camera and 6 photos by digital camera. Participants recollected the target event twice two weeks and a year later. In accordance with hypothesis those who took analog photos recollected significantly more details and narrated better stories of the past event than those who took digital photos.
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28 ноября 2012 года в Музее промышленности и искусства состоялось открытие выставки «Иваново- Вознесенск. На стыке времён», приуроченной к празднованию 95-летия Иваново-Вознесенской губернии. Уникальный облик города, созданный историей, реальностью и воображением, представлен двадцатью тремя живописными работами начала XX века московского художника Михаила Константиновича Ефимова и более чем пятьюдесятью фотографиями Иваново-Вознесенска 1920 – 1930-х годов.
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С 5 октября по 5 ноября 2012 года в Одессе проходил арт-проект «Образ мысли. 2012», созданный при участии разнообразных институций города (Одесский националь- ный университет имени И. И. Мечникова, Всеукраинский центр болгарской культуры, Одесский музей западного и восточного искусства, Одесская областная организация На- ционального союза художников Украины). Основой развернувшегося в проекте диалога стала, прежде всего, объемная выставка (из 90 работ) талантливого фотохудожника Фе- ликсы Ковальчик, кандидата физ.-мат. наук, доцента ОНУ имени И. И. Мечникова.
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This paper deals with a phenomenon of selfie, its popularity and relation to auto- observation and ego ontogenesis. The aim of this paper is to identify its originality (versus banality) and describe relation of selfie to identity and creativity in digital media space together with excursion into the history of a photograph. It also presents results of empirical excursion into the issue and describes a relationship of selfie to identity and creativity of its creator.
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Since the middle of the 1990s the so-called pictorial turn or visual turn in human, cultural and social sciences has been in full swing. After two decades, we recognize the emergence of new research centres in visual studies, the foundation of pertinent journals and the conception of interdisciplinary university courses and doctoral programs on visual culture. The humanistic, cultural and social science research on and in Southeast Europe has reacted to the challenge of the visual rather reservedly. Therefore, the question whether the visual turn will establish itself in Southeast European Studies or not is not merely rhetorical. My prognosis is that it will occur because it has to occur. The digital age will not pass by without having touched Southeast European Studies and without having relieved them from the responsibility to study historical, social and religious practices and performances as well as the power and cogency of the visual.
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The “High Heels” project is an interdisciplinary and intermedia action of an international range. It has been inspired by the graphic art of Bruno Schulz and a Ph.D.dissertation "Schulz’s Women" [Kobiety z kręgu Schulza], completed by the author at the Academy of Fine Arts in Warsaw.
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The essay is an attempt to describe and interpret three recently discovered photographs taken on October 2, 1938 during the so-called “anti-aircraft and anti-gas defense week”organized by the paramilitary League for Anti-Aircraft and Anti-Gas Defense. In each of the photos one can hardly notice Bruno Schulz hidden among about a dozen people.
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The paper attempts to study ‘studium’ and ‘punctum’ proposed by Roland Barthes in Camera Lucida with reference to the prominent photographers, Steve McCurry and Raghu Rai. It deals with the orientalist and occidentalist photographic gaze that primarily investigates the imaging of India. Steve McCurry delves on the intersubjective cultural spaces that diffract from the reciprocal exchange of images and Derridian notion of ‘interiority/exteriority’. For McCurry, photography is not a technological miracle, rather it is an extension that is evoked from the consensual relationship between the photographer and the photographic subject. Raghu Rai on the other side chooses to acknowledge reflections of the societal attitude that transform the art of living. He depicts the subject’s expression that explores the objective view of images. Hence, the paper focuses on the cultural longing and intricate relationship between cultural paradigms of the referential signs of the photographic image.
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In this article, I present Jacques Derrida’s reflections on melancholy in the context of histhought of mourning and juxtapose them with ethical dilemmas regarding the image ofthe (dead) other by focusing on the mournsome character of photography. By adoptingDerrida’s conclusion that the work of mourning cannot be successful and melancholyalways marks both its teleological failure and structural impossibility, I demonstrate whymelancholy as an abnormal yet necessary condition of egoic life should presuppose origi-nary non-presence of the (dead) other. Furthermore, I argue why melancholy, rather thanbeing treated solely as a pathological condition, must be thought of in terms of survival,ethical revolt, and a militant challenge to memory.
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The author analyses the role of visual materials in museum spaces dedicated to the Second World War and traumatic experiences involving children. He asks about the photographs and their importance in the narrative lineage of sites documenting the history of the Holocaust and commemorating its victims. He is seeking answers to the following questions: How are photographs showing children used in museums dedicated to the Holocaust? What events do they refer to? and what are the consequences of their use in the Holocaust commemoration process? an analysis of the photographic collections on display in exhibitions at the following establishments is used in the search for answers to these questions: Yad Vashem – The World Holocaust Remembrance Center, The Vilna Gaon Jewish State Museum, The Riga Ghetto and Holocaust in Latvia Museum, and The Estonian Jewish Museum. Using observation of selected museums and the exhibitions presented in them – the author concludes that the main roles played by photography in such places can be described as follows: 1. Documentation.This is undoubtedly one of the main tasks that we notice in this area regarding photography. It is a source providing information and, at the same time, evidence of the occurrence of certain events. 2. Supporting cognitive processes. Photographs assist us in reconstructing the past. Either they illustrate the story presented or they provide a starting point for a story beyond the content coverage of the photographic image. In doing so, they inspire us to use previously acquired knowledge, extending it or confronting it. 3. Emotional involvement.The images recorded in photographs motivate certain actions in the area of emotions, support an empathetic approach towards the individuals or groups represented in them, and motivate reflection and initiate processes related to the reconstruction of the past.
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The article is devoted to the work of the outstanding photo artist, one of the first masters of photography in Podolia, Mykhailo Greim. The review of publications of Ukrainian and foreign authors about the artist’s activity is presented, the purpose of the article is defined. It is noted that the studies almost do not mention a whole selection of images dedicated to the Bessarabian lands, which were closely adjacent to the Ukrainian Podolia. The life path, the formation of Greim as a photographer, the scope of his professional interests are considered. The range of genre photographic compositions of the master is presented, attention is focused on selfportraits. The article is complemented by archival photographs found by the authors in Ukraine and Poland, they demonstrate close household and family ties, which in turn were reflected in the formation and existence of the folk multicultural traditions of the region. The master’s photographs are perhaps the only photographic record that, carries important information about the way of life, appearance, environment and occupations of the Moldavian population of Bessarabia bordering the Ukrainian Podolia. Greim’s creative heritage is a significant contribution to the study of the national identity of the Ukrainian and Moldovan nations.
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The text reflects on the relationship between cinema andmemory. The author starts from the ontology of AndréBazin, searching in the French critic’s famous essay foran answer to the question about the function of cinemaas a tool for ‘embalming time.’ The theoretical frameworkof reflection is Alison Landsberg’s concept of prosthet-ic memory (image as a memory prosthesis) and VivianP. Y. Lee’s post-nostalgia (image as a record of textualizedmemories). The author draws attention to the role of pho-tography, which she treats – along with Edgar Morin andRoland Barthes – as a source of cinematic hauntology. Thereflection was inspired by Damien Chazelle’s film Babylon(2022), especially by its self-reflexive finale, made in thespirit of Jean-Luc Godard’s essayistic Histoire(s) du cinéma(1988-1998), which the author treats as an epitaph for cin-ema, or rather for its traditionally understood dispositive.
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