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Тракийското мегалитно светилище „Кара кая“ като символ на космическата планина

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Тракийското мегалитно светилище „Кара кая“ като символ на космическата планина

Author(s): Vassil Markov / Language(s): English,Bulgarian Issue: 25/2020

The Thracian megalith sanctuary Kara kaya is located in the Western Rhodopes Mountains. It occupies a dominant peak over the surrounding terrain, ending with a natural stone pyramid. The rock cuttings are concentrated on the top of the slopes and at the foot, near the Visteritsa river. This structure, combined with the semantics of the rock cuts, make it a classic symbol of the cosmic mountain.

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Тракийското наследство в българския графичен дизайн: пощенска марка от втората половина на 20 век

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Тракийското наследство в българския графичен дизайн: пощенска марка от втората половина на 20 век

Author(s): Sasha Lozanova,Stela Tasheva / Language(s): English,Bulgarian Issue: 25/2020

As is well known, postage stamps now have existed in Europe for about 160 years. They are a type of applied graphic (or graphic design) artifacts – small paper elements with visible prints, which are intended for wide, public use. Postage stamps were introduced in Bulgaria in 1879 – immediately after the state Liberation. Until 1980, over 3000 stamps had been issued. Following the laws of the genre, they reflect a rich register of themes, motives and images, and were created by talented Bulgarian artists. Here, we explore the images on stamps, representing the ancient material heritage of Bulgarian lands. A number of them reproduce and promote specimens of Thracian artifacts. The focus of the study is on the systematization of these images, traced in the second half of the 20th century in Bulgaria. We looked for the answers to the following questions: Who are the artists – authors of such stamp images? When (and how) do they depict motives and images from our Thracian heritage? What are the semantic and symbolic messages of these graphic artifacts? The base of our report is traditional: art samples from ancient Thrace. The chosen perspective on them however, is new: their inclusion in contemporary graphic design, and their massive circulation in stamps. Their images have an administrative (documentary, commercial, etc.) application, but also significant social functions: informative, educational, artistic, advertising. Traditionally, postage stamps also make a significant contribution to the global knowledge and culture dissemination network.

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Трансформации и метаморфози на термина „дизайн“

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Трансформации и метаморфози на термина „дизайн“

Author(s): Dimitar Dobrevski / Language(s): Bulgarian Issue: 16/2018

The term “design” has already become an element of our daily vocabulary. From novelty, design has become something ordinary and ordi¬nary, losing some of its original charm unfortunately. The basic term of several professions – “design” – in the 1960s and 1970s was still an “ex¬otic” word, mainly found in some more spicy jokes, and today it is being used not only by specialists but also in everyday speech and has already become a part of the everyday vocabulary and of the most uninformed cit¬izen. Everyone says: “What design .. !!!” when a shiny new car passes by, or you see a new audio video device or a garment. Popularity often does not prevent the term from being misunderstood and the worse – interpreting quite a bit. For many journalists designers are mainly fashion cutters and seamstresses. This shows that the clarification of the emergence and semantics of this basic concept is still relevant.

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Три кінорежисерські майстерні професора Ю. Г. Іллєнка

Author(s): Oleksandr Viktorovich Bezruchko / Language(s): Ukrainian Issue: 1/2011

The article is devoted to research of pedagogical activity of the prominent Ukrainian film director, director of photography, teacher Yuri G. Illenko (09.05.1936, Cherkassy – 15.06.2010, v. Prokhorivka of Cherkassy reg.). The author reconstructs the process of Yuri G. Illenko’s formation as a pedagogue and an artist. The researcher has defined the factors that had influenced formation of Illenko’s pedagogical and creative views, the list of students of the first operator’s, the first film director-screen player’s and two film director’s workshops.

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Увод у антропологију фотографије у Србији

Author(s): Slobodan Naumović,Marija Brujić,Katarina Mitrović / Language(s): Serbian Issue: 1/2021

Despite significant strides from the beginning of the 20th century, there was no systematic or institutionalized reflection on photography in Serbian ethnology and anthropology until the 1980s. Until then, photography was mainly used as an additional technical tool for field recording, documenting, and presenting field materials in museums or scientific institutions. However, since the end of the 20th, and especially at the beginning of the 21st century, an increasing number of social scientists have included photography in their works, either through historical and theoretical reflection or through practical use in specific research. This step can be related to the institutionalization of the sub discipline of visual anthropology in Serbia. The paper presents the assumption that both flows are part of a broader process called the visual turn, and the associated flourishing of systematic thinking about visual culture. In this paper, we aim to reconstruct the main features of the visual turn in the local academic community and point out some of its consequences. In addition, our goal is to present the most important achievements related to the mentioned turn, and consider their impact on recent examples of thinking about photography, i.e. its use in ethnological and anthropological research in Serbia. This paper emphasizes the examples that are important in the theoretical, methodological, or applied-scientific framework.

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Уеб телевизиите в България през 2017: от мечтата за кабелна телевизия към мечтата за високо дигитално качество

Author(s): Zhana Popova / Language(s): Bulgarian Issue: 3/2018

The text presents the state of the web TV in Bulgarian based on the results from the project ‘Web radio and TV in Bulgarian language’ funded by the Research fund of Sofia University with supervisor prof. DSc Snezhana Popova.It is hard to show precise data about the number of web TVs in Bulgarian or with Bulgarian addresses in 2017. The platforms do not use the term web TV, ‘online TV’. In 2017 three types of web TVs prove to be sustainable: regional, lifestyle and radio and TV. The announcement style TVs that present service information as well as the only regional station ‘Epohi’ TV have disappeared. The sports TV projects do not function (with the exception of the TV of FC ‘Levski 1914’). At least formally the ‘music online TVs’ are the largest number. However, the research showed that behind this title on some of the platforms exist websites with pornographic content. Most of them are announced as pop-folk music TVs. The main problem in making web TVs in Bulgarian is the ambiguity of who is expected to watch them. Apart from regional TVs everyone else say they a looking for their audience instead of building a message for a specific group.The text presents the state of the web TV in Bulgarian based on the results from the project ‘Web radio and TV in Bulgarian language’ funded by the Research fund of Sofia University with supervisor prof. DSc Snezhana Popova.It is hard to show precise data about the number of web TVs in Bulgarian or with Bulgarian addresses in 2017. The platforms do not use the term web TV, ‘online TV’. In 2017 three types of web TVs prove to be sustainable: regional, lifestyle and radio and TV. The announcement style TVs that present service information as well as the only regional station ‘Epohi’ TV have disappeared. The sports TV projects do not function (with the exception of the TV of FC ‘Levski 1914’). At least formally the ‘music online TVs’ are the largest number. However, the research showed that behind this title on some of the platforms exist websites with pornographic content. Most of them are announced as pop-folk music TVs. The main problem in making web TVs in Bulgarian is the ambiguity of who is expected to watch them. Apart from regional TVs everyone else say they a looking for their audience instead of building a message for a specific group.

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Украинските бежанци в българските медии (25 февруари-10 май 2022 г.)

Author(s): Author Not Specified / Language(s): Bulgarian Issue: 12/2022

The text presents results of research carried out by students of European studies (Simon Weil graduation, academic year 2021/2022), centered on the image of Ukrainian refugees and the ways in which it is constructed in the Bulgarian media. The results of the study refer to the first two and a half months of the war in Ukraine. 35 online and Internet-based media were tracked. Basic aspects of media representation are summarized in concluding text

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Унгарски следи в Шумен

Author(s): Kalina Nikolova / Language(s): Bulgarian Issue: 6/2019

Photo-documentary exhibition “Hungarian traces in Shumen” was opened at the Hungarian Cultural Institute in Sofia. It was produced by the Regional Library “Stilian Chilingirov” – Shumen in partnership with the Hungarian Cultural Institute at the Embassy of Hungary, in which it was exhibited.

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Университетски практики за създаване на студентски подкаст

Author(s): Stela Angova,Ivan Valchanov / Language(s): Bulgarian Issue: 8/2020

The study aims to identify university practices for creating a student podcast. The hypothesis is that there is a paradigm shift, but not a rejection, regarding the first steps of students in journalism and they rather attempt producing podcasts than creating a newspaper. The knowledge for creating print media products is upgraded through all media elements and digital communication strategies. This results in a real multimedia practice consisting of generating ideas, teamwork, script writing, editing, recording, publishing in online platforms and social media promotion. Empirical material has been collected from American, Australian, Western European, and Bulgarian universities. The case studies seek to discover the reasons for the increased interest in podcasts as a modern audio format. The study aims to outline the main characteristics of a successful student podcast and to examine the tendencies for production and listening to podcasts among the younger audience.

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Устойчив дизайн за функционални пространства

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Устойчив дизайн за функционални пространства

Author(s): Banko Bankov / Language(s): Bulgarian Issue: 4/2015

One of the main obstacles which modern industrial and product designers have to face is the mass production driven by contemporary culture and way of life. The faster, the design evolves the more dependent to everyday object it gets. More designers are trying to find alternative solutions for simplified way of living which is becoming more urgent because of social, environmental, economic and often personal reasons. The article examines products designers Ahmed Fewzy, Rolands Landsbergs, Feviz Karaman and analysis of the creative sequence for functionally and conceptually forming of design products.

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Устойчив дизайн и креативни практики

Author(s): Bilyana Kaloyanova / Language(s): Bulgarian Issue: 4/2015

The article explores the application of the sustainable method in design. It defines what is sustainable design, along with the connection of the definitions for sustainable, green and eco design. The principles and criteria to define design practices are elaborated. The different aspects of sustainable design are presented by examples showing the diversity of creative practices included in this category.

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Ф. М. Достоевский: биография в фотографиях

Author(s): Maria Alekseevna Zusmanovich / Language(s): Russian Issue: 3/2020

The collection of photographic materials of The Vladimir Dahl State Museum of the History of Russian Literature, related to the life and work of F. M. Dostoevsky, is the largest such collection and currently includes 2540 items. The collection of photographs is based on the memorial collection of A. G. Dostoevskaya from the Memorial Museum of F. M. Dostoevsky. In the 1930s, it was transferred to the F. M. Dostoevsky Museum, established in Moscow in 1928, and after its merge with the State Literary Museum in 1940 (since 2017 — The Vladimir Dahl State Museum of the History of Russian Literature), it became a part of its photography collection. The compendium of photographs related to the life and work of Fedor Dostoevsky continued to grow in the following years. The article provides a comprehensive description of the collection of photos based on two main criteria: by the type of material — original photos, reshot photos, duplicate photos; by genre and thematic content of the images — portraits of F. M. Dostoevsky, portraits of relatives, portraits of children of F. M. Dostoevsky, nephews, descendants, portraits of friends, acquaintances, contemporaries, sights of places related to the biography of F. M. Dostoevsky. The article analyzes the accompanying inscriptions and autographs on the photographs, specifies the dating and location of the images, which allows to make corrections and additions to the Chronicle of the life and work of F. M. Dostoevsky. Based on a comparative analysis of the translator’s gift autograph on his photo, the facts of F. M. Dostoevsky’s biography, and the analysis of F. M. Dostoevsky’s letter to an unidentified person dated December 5, 1863, an assumption is made that the addressee of the letter is W. Wolfzon.

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Феноменът „Абстрактно“ – изобразително или реално, асоциации и функции в изграждането на съвременната предметно-материална среда. Пътните знаци

Author(s): Rumen Kozhuharov / Language(s): Bulgarian Issue: 5/2018

Speaking about the phenomenon of abstract art, we often credit the merits of the first "founder" or "pioneer" in this genre to Vasily Kandinsky. Being one of the earliest artists who used the term "abstract" in the period of development of fine arts, Kandinsky is an artist - theoretician who recreated the Renaissance idea of feeling, the vital, the terrestrial and self-knowledge in his works - distinctive and innovative for the period. Noting the foundations of perception of the abstract and spatial structures, Kandinsky wrote the book "On the Spiritual in Art. Point and line to plane" It will not be a mistake to say that he was the first "pure" artist, who had entirely focused his work on cleansing and simplifying images to the plane, depriving himself of the image due to his belief that excessive specificity prevented his paintings and self-expression. In his theories, Kandinsky offered to the general public a summary of the way in which the work of art is created and put it in the frame of visual composition consisting of two basic elements - the inner - emotional and the outer - accessible element.

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ФОТОГРАФИЈА

Author(s): Krsto Perović / Language(s): Serbian Issue: 2/2018

(Веле)градски призори Зорислава Паунковић делују као срећан спој случајности документарог приступа на ивици хиперреализма и концептуализације саме уметничке визуелности. Ту естетичку противречност (документаризам нас приближава предмету, чини да се његов садржај перципира превасходно ван форме коју му медиј неминовно намеће, док концептуалност тежи осамостаљивању оних аспеката предмета који га такорећи укидају на рачун оних његових формалних квалитета који су сродни језику искоришћеног медија) Паунковић наглашава неуређеним, слободним низом сличица уловљених, онако уз пут, најједноставнијим и свима доступним објективом јефтиног мобилног телефона.

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ФОТОГРАФИЈА И ПРОПАГАНДА

Author(s): Dragan Ćalović / Language(s): Serbian Issue: 122/2006

Review of: Milanka Todić (2005) "Fotografija i propaganda: 1945–1958"; Banja Luka: JU Književna zadruga, Pančevo: Helicon by: Dragan Ćalović

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Фотография на улицата

Author(s): Antoan Bozhinov / Language(s): Bulgarian Issue: 8/2018

One of the most popular photographic practices is that of street photography. It has an impressive history, representatives whose names have become legends and millions of fans around the world. This text is an attempt to create a summary of the photographic activities associated with the street. The aim is to systematize this observation throughout the past 180 years (the time of existence of the phenomenon of photography)with the help of diachronic analysis and to reach the first stage in its typology.

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Фотографията като документ. Временна скулптура и празнична украса за 1 май 1945 г. в София

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Фотографията като документ. Временна скулптура и празнична украса за 1 май 1945 г. в София

Author(s): Maria Miteva / Language(s): Bulgarian Issue: 4/2020

This article is based on photographic images as the sole evidence of the visage of temporary artworks. An object of interest is the monumental decoration put up on the occasion of May Day, International Workers’ Day in 1945, in Sofia, Bulgaria’s capital. A parallel is drawn between the images of sculptures, captured in nine photos from the photographic archive of Todor Slavchev (1900–1992), and information in records from the archives of the Union of Bulgarian Artists and major publication on the subject. This paper focuses on problems of art commissioning (mainly public) and art-commission relation, as well as on the structures and the organisation of art practices in the decade preceding 9 September 1944. The article seeks to trace the ‘evolutionary’ line in the development of the processes, rather than the ‘revolutionary’ one, proclaimed under socialism. The facts of the report by the evaluating commission on the artwork performed on the occasion of Labour Day are provided in detail, citing the teams and their artworks. The subject of labour was visualised by presenting the main sectors of the then Bulgarian economy: farming (figures of a “Sower” and a “Female harvester”), crafts (“Smith”), mining (“Miner”), industry (“Industrial worker” and “Female tobacco worker”) and construction (“Builder”). War, an undesired, yet existing reality, was also included in the statuaries (“Warrior”) and the still discernible role of intellectuals (“Mental Work”). A figure of a “Partisan” pointed towards the hero of the new era.

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Фотографията като илюстрация в българската художествена литература. Няколко примера от втората половина на ХХ век

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Фотографията като илюстрация в българската художествена литература. Няколко примера от втората половина на ХХ век

Author(s): Katerina Gadjeva / Language(s): Bulgarian Issue: 3/2016

The paper focuses on the complicated interaction between text and image in fiction and poetry. Unlike literature that tries and clears readers’ minds of anything familiar, material or ‘possible’, photography is going just the other way around constantly bringing them back down to earth, binding them up with the existing. For this reason both authors and publishers oriented towards experiments and challenges would resort to it. Though there were few isolated cases in Bulgaria of photos used in book design early in the twentieth century, the earliest books intentionally designed with photographic illustrations were published as late as the 1960s, when fine art photography made its comeback in this country. In 1966, Narodna Mladezh publishing house released two dozens of books with photographic illustrations made exclusively for a series of crime and adventure novels. In 1973, Pavel Matev’s book of poetry Spoils of Silences came out with photos by Peter Bozhkov; in 1987, Labyrinth, a poetry book by Blaga Dimitrova and photos by Stanka Tsonkova-usha, was released. Though just a few, these publications show that photography and literature stand shoulder to shoulder and ‘technical pictures’ rather stimulate than put the brakes on the imagination.

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Фотографските конкурси – пречка или стимул за развитието на българската фотография? Фокус върху 70-те и 80-те години на ХХ век

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Фотографските конкурси – пречка или стимул за развитието на българската фотография? Фокус върху 70-те и 80-те години на ХХ век

Author(s): Katerina Gadjeva / Language(s): Bulgarian Issue: 2/2019

Tens of photographic competitions were held in Bulgaria in the 1970s and 1980s. These activities were presented like an opportunity for comparison, improvement, evaluation. Their development was purposely stimulated by the authorities as a tool to control the media. Participating in such competitions was a major concern not only of amateurs, but also of professionals. The evaluation criteria for both were the same, and this led to a number of problems. This paper focuses on whether competitions helped Bulgarian photographers or rather hin-dered them and what their real impact on the photographic life in Bulgaria was.

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Фотографските материали – евристичност и архивиране

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Фотографските материали – евристичност и архивиране

Author(s): Chavdar Vetov / Language(s): Bulgarian Issue: 3-4/2014

The article addresses the issue of photographic materials as sources of information about the past and draws attention to their storage in the Bulgarian archives. During the Renaissance written records were considered key evidence for the Bulgarian past. In this era national emancipation processes developing in Bulgarian society found expression not only in texts, but also in images. Fine art also became a means of preserving historical memory, and later this trait was transferred to photography too. Photography correctly and accurately reflects reality; photos can be reproduced, printed and distributed. Therefore, photographs became valuable bearers of information about the most prominent Bulgarian revolutionaries, participants in Church – national struggle, writers and enlighteners. After the liberation the range of documents that were considered valuable evidence of the past expanded. Interest in photography appeared. Photos can be found not only in personal funds, but also in institutional archives. Photographing valuable archaeological sites to preserve them for the next generations became common practice. The article looks at some of the specifics of preservation of photographic materials in institutions such as the Scientific Archives of BAS, Bulgarian historical archive at the National Library „St. Cyril and Methodius”, and Central State Archives. Searching, collecting and keeping photographic materials in the biggest Bulgarian repositories is a testament to the fact that society perceives them as a valuable means of preserving historical memory. They, along with the works of historical painting, present our past in images. But unlike the artistic images, photographs due to their accuracy have significantly greater documentary value.

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