Uśmiech kota. O twórczości Chrisa Markera

Author(s): Barbara Kita / Language(s): Polish Issue: 2/2016

Selected works of Chris Marker will be interpreted with respect to the presence of animals in his projects. An idiosyncratic bestiary, which may be visible in a number of Marker’s works – from his 1960s documentaries and filmic haiku, to cats inhabiting Second Life and public spaces – triggers reflection on his relationship with animals in general, and cats in particular. Marker’s works are analyzed from three different perspectives: the relation of technology to animals, the relationship between humans and animals, and the author’s own attitude towards the bestiary. The interpretation of Marker’s versatile works leads to the conclusion that his artistic continuum is to some extent guaranteed by the presence of a cat, which appears in different forms depending on the technology and type of medium used in a film. By becoming the author’s alter ego, the cat allows him to explore politically and socially sensitive issues and to appear without restraint in Second Life as well as on Poptronic platforms.

LUUK

Author(s): Lucia Novanská Škripcová / Language(s): English Issue: 1/2017

Modaliteti slikovnog pojavljivanja: temeljni pojmovi

Author(s): Krešimir Purgar / Language(s): Croatian Issue: 04/144/2016

The proliferation of digital technology requires from us to think about images in a new way. We should no longer refer to them only as Greek eikon, that is, reflection or representation, but as experiences, events and special kind of appearing. In contemporary digital culture pictorial appearing is the symptom of the most recent turn towards images, the one that is happening after the “original” pictorial turn that was described by W. J. T. Mitchell and Gottfried Boehm almost three decades ago as the epoch-making new kind of relationship between images and language. Today we witness a different kind of urgency: the one that will exemplify the relationship between analogue images and digital images, representations and post-representations, reality and virtuality, semiotics and phenomenology. In this article I will propose a “transitional” theory of the image that takes into account the wide gap between objects and perceptions, that is, between eikon and pure sensuousness. To this end, I will introduce the four basic modalities of pictorial appearing: temporality, transparency, mediality and referentiality.

Czerwiec 1956 wiosną 1981. Poznań 1956 (1981) Tadeusza Litowczenki i Mirosława Kwiecińskiego

Author(s): Mikołaj Jazdon / Language(s): Polish Issue: 29/2016

The article presents the making of the first documentary film depicting the traumatic events of the anticommunist uprising in Poznań in June 1956 as well as the difficult fate of the documentary after it had been completed. Its authors, Tadeusz Litowczenko and Mirosław Kwieciński, composed their Poznań 1956 (1981) of two interwoven narrative lines. Archive photographs with off screen commentary make the first narrative line while cinéma-vérité-like interviews with the participants of historical events make the other. The film analysis is aimed to underline the formal means employed in the film to present the opposing sites of the conflict. It also focuses on the historical context from the times when film was being made in the so called ‘festival of Solidarity movement’ in the early 1980s.

Medijske predstave roda u kulturi socijalizma

Author(s): Isidora Damjanović / Language(s): Serbian Issue: 10/2014

The time of single-party system that ocurred after World War II has set up the public frames which, especially in Montenegro –the most conservative former Yugoslavian state– have kept up their far-reaching and dominant influences till the Modern epoch and the emergence of popular culture. Basic characteristics of postwar Yugoslavia media practices are recognized in a more intensive media focus on social prosperity and its idealization, along with a more important role of photography in terms of promoting positive effects of Yugoslav Front, building a new society, its easthetization of ideology and the ideologization of aesthetics. The chosen examples suggest that press from that era is implicative of gender identities being created on the imaginary world of community, which acts as a manipulating connection between ideology and ordinary man. Dominant power via media images constructs ideals of mass society, their aesthetics, sensual experience of a world, consumer habits and the relation to the body of an individual. The purpose of this manuscript is also to hint at the very suggestive role of the public photography, as well as at the role of that kind of photography which through the front page of the newspapers carried the image of printed media and was the voice of new representations and understanding of social freedom. This paper is grounded on the motive of discussion inspired by a Slavoj Žižek’s statement that reality is never direct, never alone, but only mediated through symbols and apparatus.

All Roads Lead to Guča: Modes of Representing Serbia and Serbs during the Guča Trumpet Festival

Author(s): Marija Krstić / Language(s): English Issue: 2/2012

In this paper I research a famous Serbian music event, the Dragačevo Trumpet Festival, better known as the Guča festival, by analysing festival’s photographs. I use visitors’ photographs available on one of the websites dedicated to Guča, www.guca.rs and media data, in order to question how the festival’s photographs visually represent the Serbs by discussing several motifs found in the images: festival itself, carnivalesque, national(-istic) elements, and Roma and Serb dualism. The main goal of the paper is to explain and show how Guča festival found its place in modern Serbia and contributed inventing modern European Serbia in spite of its rural, folk, barbarian and sometimes nationalist representation.

Freud, Orzeszkowa i zimowe epifanie

Author(s): Małgorzata Czermińska / Language(s): Polish Issue: 5/2016

Review: Melancholia i poznanie: ‘Autobiografie’ Elizy Orzeszkowej [Melancholia and Understanding: Eliza Orzeszkowa’s ‘Autobiographies’], ed. and introduction by Danuta Danek, photography by Krzysztof Hejke, Terra Nova, Warsaw 2014

Literatūra Kaip Medijų Sistema Arba Kas Yra Medija Mariui Katiliškiui ?

Author(s): Saulius Keturakis / Language(s): Lithuanian Issue: 64/2010

This research paper has got two aims. The first is related to the idea by Wolfgang Iser, that is the so called medial turn which has dicplaced literature from the central position in the cultural paradigm and transformed it to media equal to all the other forms of it. Analysis of the novell „Mi kais ateina ruduo“ by Marius Katili kis is linked to the idea by German cultural theorist Oliver Jahraus about literature as the media system, which allows to interpret literature as a part of the theory of a modern subject. In this way literature has been restored to the dominating position in culture. The second aim of this research paper is to analyse an encounter of the tradition with the different technological linguistic, acoustic and visual media in the novel by Marius Katilikis, to show a reflection of human being in the mediated reality, which seems to be for the first time so consistently accomplished in the whole history of the Lithuanian critical thinking.

Многофункционалност и композиция на изображенията в графичния дизайн на книгата

Author(s): Vesselina Valkanova / Language(s): Bulgarian Issue: 1/2015

Multiple tasking of images makes them a major component of the design of the book: they attract, retain and maintain the attention of readers, transport messages, support, complement, extend, clarify messages and information of the verbal text, build dynamic and powerful compositions, shattering uniform arrangement of texts, bear mood. Whether you are a main focus in the publication, or are complementary to the graphic elements, visual elements play an essential role in communication, vitalize the design and are important resources of the graphic identity of the book.

Візуальна культура та повсякденність доби Постмодерну

Author(s): Olena Yuriyivna Pavlova / Language(s): Ukrainian Issue: 2/2015

The article analyzes the formation of a new historical form of everyday life in Postmodern situation. It is proved that the relativization of elite and mass culture opposition leads to cultural code's extrapolation of high culture in the context of civilization. Visual culture as a field of interdisciplinary research is a sign of cultural transformation paradigm. The article analyzed the development of the concept "visual culture" according to the American researchers Niсholas Mirzoeff and Irit Rogoff. The new research field shows three stages of visual culture. Early modern stage was the absolutization of fixed position of the transcendental subject. Modern stage represents the basis for "dialectics" of photograph image, which creates more democratic type of reality, using the tools of mass copying. Heidegger’s concept of "world picture" is not enough for the analysis of changing situation of Postmodern. Technology of Postmodern stage allows visualization of things that are not in themselves visual. Extraordinary expansion, extrapolation of images can’t be agreed into a single picture for the mind contemplation. Virtual culture needs to find research methodology of new (virtual) reality, points of support in crisis of information and visual overload of everyday life. Postmodern humanities technologies don’t make only copying, but – the correction of images in accordance with the tastes of a particular subject. Distinguishing of these three stages allows us to analyze the transformation of modern visual culture in Postmodern. Transitional forms were identified on the way of relativization reality. The advertising, which provided everyday regimes of representation of high culture works in every day life played the important role. Thus it was proved that the image and its contents do not define the specific reality. But the regime of vision, which has become the subject of study of visual culture, provides conditions of the text connection to the context and level of its emotional experience. The outstanding work of a famous artist is perceived absolutely in another when it used as the cover of the book. The third regime of vision can occur in case when we use the same works as a wrapper for sweets. Thus the vision regimes act as the basis of the image content. It is proved the implementation of the next stage of de-differentiation of postmodern everyday has become TV products. It provides transformation of knowledge into news, which modifies the meaning of the knowledge. Technology correction of visual images and the emergence of the genre of pseudo-documentary was the intermediary between artistic films and documentaries. The virtualization and its "effect of reality" is something more substantial than factual or imaginary. Reproduction technology has become an instrument for destruction of the reality. The result is an appearance of a new type of everyday life, where the immediacy of perception and intensity of emotions are created by visualization technologies. The pseudo-realities visual stereotypes of television melodramas and other sitcoms revive mythological settings of orientation in reality. TV reality replaces the solemnity of art galleries (elitist contemplation) and festive going to the cinema on weekend (mass consumption). Endless serials overcome the limitations of "picture frames" and provided story of eternal love. A several technologies of realities provocations, which presented in the works of Richard Prince, Winfrey Gail Oprah, is analyzed in the article. It is proved that visual images reproduction in industrial scale allows to transform the consumer of late modernism into postmodern perspective self-products subject. Thus, there is destruction of the subject-object opposition, which is the hallmark the Modern era .A gadget is not the object that opposes to the subject as a utility function or implement of subjective the principle of expediency. It is the continuation of the subject, because the gadget is the purpose and tool of reality converting. Postmodern criticism of reality relativization is analyzed in the works of different philosophical directions. Representatives of neo-marxism and conservatism have negative attitude to reality visualization of everyday life as aggression on the status of high culture works. Followers of the phenomenological school had positive attitude to the routine as acquittal of "the highest reality". The special role for the purpose of this article plays a postmodern concept of sublimations rehabilitation, which clarifies the unity grounds of a horrible and exciting. In this context using of the works of Immanuel Kant, Karl Otto, Jean-Francois Lyotrad is analyzed in the article. The article emphasized the importance of visual culture as a Western-style philosophy project and limitations of its research sittings. So the prospects of this research field depend on the power of the trans-cultural methodology. It is not just a visual dominant postmodern type ontology, it becomes a reality as a whole.

AN EMBLEMATIC SHOT OF THE HUNGARIAN REVOLUTION OF 1956: THE LIFE STORY BEHIND THE PHOTOGRAPH AND THE AFTERLIFE OF THE PHOTOGRAPH

Author(s): Eszter Balázs / Language(s): English Issue: 1/2006

Armed teenagers who fought in the 1956 revolution are preserved in the nation’s memory as “the kids from Pest”, among them, there were several girls who did not get a separate designation, however several photographs of them survived and some appeared widely in the world press. My fellow researcher, a French journalist Phil Casoar, and I selected a captivating photograph of an armed young man and a young woman wearing a red-cross armband that might be described as the extraordinary starting point of our research. In November 1956, numerous prominent western weekly magazines published the photo; subsequently books, documentary films and exhibitions made it widely known. It first appeared as the opening image in a series of articles about the Hungarian revolution, entitled “Budapest Heroes”, appearing in the magazine Paris Match. During the Cold War, the image became well-known in the west as well as the east, but it was placed on opposite poles. In the west, the characters were portrayed as heroes who defied the Soviet tanks; in socialist Hungary and in the east, they were officially considered to be criminals along with other armed rebels. Subsequently, the Hungarian political police used the photos as conclusive evidence during trials. In my presentation I use approximately 35 photographs and documents related to the Paris Match picture to discuss our investigation since 1999, the fate of the young woman appearing in that picture, and the different usages of the Paris Match picture.

Instagram addiction and the Big Five of personality: The mediating role of self-liking

Author(s): Mark D. Griffiths,Kagan Kircaburun / Language(s): English Issue: 1/2018

Recent research has suggested that social networking site use can be addictive. Although extensive research has been carried out on potential addiction to social networking sites, such as Facebook, Twitter, YouTube, and Tinder, only one very small study has previously examined potential addiction to Instagram. Consequently, the objectives of this study were to examine the relationships between personality, self-liking, daily Internet use, and Instagram addiction, as well as exploring the mediating role of self-liking between personality and Instagram addiction using path analysis. Methods: A total of 752 university students completed a self-report survey, including the Instagram Addiction Scale (IAS), the Big Five Inventory (BFI), and the Self-Liking Scale. Results: Results indicated that agreeableness, conscientiousness, and self-liking were negatively associated with Instagram addiction, whereas daily Internet use was positively associated with Instagram addiction. The results also showed that self-liking partially mediated the relationship of Instagram addiction with agreeableness and fully mediated the relationship between Instagram addiction with conscientiousness. Discussion and conclusions: This study contributes to the small body of literature that has examined the relationship between personality and social networking site addiction and is one of only two studies to examine the addictive use of Instagram and the underlying factors related to it.

Between reconstruction and interpretation

Author(s): Ladislav Čarný / Language(s): English Issue: 1/2018

Articles writen by three Slovak art theorists about the work of the artist and pedagogue Ladislav Čarný. Jana Geržová (study Between Reconstruction and Interpretation) is devoted to his work in the 80s and 90s - mirror objects, light objects and paintings, mimicrys (camouflages) for light and shadow, and processual installations. The study by Helena Markuskova (Alchemy of Media) deals with his cycles Hermeneutics, Reliquary (Homage to Duchamp) and video installation In the Epicentre. Zora Rusinová analyzes the author’s installation and exhibition in his article until the present, the latest exhibition in 2017 Schrödinger’s Cat / Cat’s Schrödinger.

Komunikacja społeczna według Oliviero Toscaniego – fenomen reklam realizowanych dla United Colors of Benetton w latach 1989–1994

Author(s): Aleksandra Żukowska / Language(s): Polish Issue: 3/2017

Oliviero Toscani is a photographer recognized all over the world thanks to his cooperation with United Colours of Benetton (UCoB), where he worked as an art director. The commercials that have been created by the photographer, where found to be very controversial, although they helped UCoB to became a very strong brand. In the article, the concept of the advertisement as a platform of social communication was presented. It was created by Oliviero Toscani with Luciano Benetton’s support and it will be presented in commercial advertising created from 1989 until 1994.

WALORY TURYSTYCZNE WYBRANYCH ZJAWISK LODOWYCH NA PRZYKŁADZIE POŁUDNIOWEGO WYBRZEŻA BAŁTYKU

Author(s): Józef P. Girjatowicz / Language(s): Polish Issue: 1/2015

The aim of the paper is to present selected ice phenomena occurring on the waters of the southern coast of the Baltic Sea which may be of tourism value. On the basis of his own observations and research over the period 2002-11, the author analysed interesting ice phenomena documented in 20 photographs showing in the main ice forms (grease ice ridges, ice hummocks, thrust ice). The photographs present the sea (8), lagoons (7) and lakes (5). The author has included brief descriptions of selected ice phenomena, focusing on interesting forms and their origins, which may encourage potential tourists to observe and explore ice-covered water bodies. Ice tourism could be a part of cognitive, environmental, specialist, hiking, winter, seasonal or even occasional tourism.

Filozofija medija mitovi i imaginacija: Damanhur vs. Cern

Author(s): Divna Vuksanović / Language(s): Croatian Issue: 10/2017

The article examines the relationship of science, art, philosophy and media in today’s era, exploring the role of myth and imagination in the creation of a corpus of knowledge. In this context, there are two cases; as well as two value paradigms in which today’s knowledge, impregnated by myths and imagination, it happens. One concept of research, referred to as institutional represented CERN (European Organisation for Nuclear Research), a second Damanhur (Federation of Damanhur).

Reading and feeling gender in perpetrator graffiti and photography in Turkey

Author(s): Beja Protner / Language(s): English Issue: 1/2018

During the urban clashes between Kurdish militants and Turkish state forces in 2015-2016, young politicized social media users in Istanbul witnessed and experienced political violence through their engagement with violent words and images on social media, without being anywhere near the armed clashes. These were photographs of militarized nationalist performances of masculinized domination and sexist graffiti, produced by the Turkish Special Forces and circulated in the cyberspace. Based on an ethnographic study among young educated pro-Kurdish viewers and an ethnographically situated textual analysis of the graffiti, this article illustrates the ways images are perceived in the particular cultural and sociopolitical context. It argues that the gendered meanings that relate to the core of the gendered and ethnicized structural violence in Turkey, enhance the affective cybertouchof political violence.

Характеристика на трансформациите в съвременния български театрален плакат

Author(s): Nenko Atanasov / Language(s): Bulgarian Issue: 3/2014

The Staging of Age. Images of Children on Bulgarian and Western European Postcards in the Early 20th Century

Author(s): Margarita Kuzova / Language(s): English Issue: 20/2017

Photos and postcards of the early 20th century reveal the staging of age as an interesting and unexplored problem. These postcards represent children in idealized and staged family relations that do not correspond to their age. The images show a synthesized representation of the adult experience and draw society’s attention to certain themes and values. Images of children on Bulgarian and Western-European postcards (mainly from private digital collections) have been selected for this study, and postcards with images of children that represent the relations of adults are analysed. Examples include family traditions or celebrations, such as children’s weddings, Christmas, and the celebration of April 1st. Some popular images and roles of the children from postcards of the International Red Cross, which is generally accepted as a guide for proper grown-up behaviour, will also be analysed. The images reveal not only the social status of the photographed characters, but also their staged age, staged urban society, and staged occupation. The main subject analysed in this type of postcards is the child’s wedding, which is presented in an urban environment. The postcards’ publishers were devoted mainly to staging and idealizing the children’s world as children were a more numerous and more interesting group in society in terms of the staged and presented century. The field of research of illustrated postcards as popular art has been situated amidst different disciplines: art theory, ethnology, anthropology of image, visual culture, und communication.

Fotoğraftan Metne Sızanlar: Orhan Pamuk’un “Resimli İstanbul” Kitabında Fotoğrafın Metinle Kurduğu İlişkiyi Okumak

Author(s): Pelin Erdal Aytekin / Language(s): Turkish Issue: 95/2018

This work focuses on the relationship between photography and literary text. In 2003, Orhan Pamuk published his book named Istanbul-Hatıralar ve Şehir with 200 photographs, but later the book added 230 more photographs and enlarged its dimensions and printed again in 2015 with the name of Resimli Istanbul - Hatıralar ve Şehir. Thus, by strengthening the relation of books, photographs, and texts and by increasing the effect created by the photographs, it becomes a book based on texts to a book based on visuality. The purpose of this study is to examine how visual and imaginative power created by photographs influences texts and how texts relate to photographs by moving from one point to the other. The fact that photographs and literature have different artistic frameworks in terms of the way they are produced even more important where they interact with each other. Within this whole study; how memory, history, recollection, and photography serve these areas, and how much artistic production that they feed researched. In particular, how the novel, Resimli İstanbul - Hatıralar ve Şehir, interacted with the image was tried to be examined in an interpretive social science approach. In this interaction, it seemed that two different areas intersect at many points, where the photos reinforce the narrative in a simultaneous manner with the text.