KENYA HARA – WYSTAWA JAKO NOŚNIK WIEDZY
KENYA HARA: THE EXHIBITION AS A VEHICLE OF KNOWLEDGE
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KENYA HARA: THE EXHIBITION AS A VEHICLE OF KNOWLEDGE
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The intricate relationship between doujinshi (self-published amateur works often inspired by pre-existing texts in various media) and copyright law in Japan presents a compelling area of investigation in legal studies. Doujinshi, often perceived as derivative works, constitute a sig- nificant portion of Japan’s media culture. This article explores the legal ambiguity surround- ing doujinshi, discussing both the legal doctrines and cultural norms that have contributed to a generally tolerant stance towards what might otherwise be considered copyright infringe- ment in other jurisdictions. Through an investigation of the historical, cultural, and legal contexts, this article provides an insight into how Japan’s copyright law interacts with doujin- shi, reflecting a nuanced balance between intellectual property rights and creative freedom. The findings offer a deeper understanding of how copyright law operates in the unique socio-cultural landscape of Japan.
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The Tamburitza Extravaganza, a musical event in the United States organized by the Tamburitza Association of America (TAA), has presented tambura-based ensembles for over 50 years. At the event, American stylistic variants of Croatian and Serbian music are performed to exuberant diaspora audiences, and musicians are honored for sustaining tamburitza music. Drawing on the author’s experience as an Extravaganza performer, interviews with TAA members, published TAA documents, and published tamburitza sources, the Tamburitza Extravaganza is analyzed as a sui generis music festival using the musical ecosystem model.
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The Music in Serbia festival (Muzika u Srbiji – MUS) was held in Belgrade and other Serbian cities from 1976 to 1991. Presenting contemporary creativity of composers from the former Socialist Republic of Serbia and its two provinces (Socialist Autonomous Province of Kosovo and Socialist Autonomous Province of Vojvodina), as well as works by Serbian authors of older generations, MUS existed as a unique place of valorization and revalorization of domestic art music. Through the analysis of program and organizational strategies, financial aspects, repertoire policy, and forms of dissemination and promotion, this article points not only to the artistic scope but also to the socio-political implications of the Music in Serbia festival.
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The following article analyzes Ubisoft Montreal’s art game Child of Light (2014) as an adaptation of the eighteenth-century fairy tale Beauty and the Beast (1740) by Gabrielle-Suzanne de Villeneuve, the less famous original of Jeanne-Marie Leprince de Beaumont’s Beauty and the Beast (1756). While Villeneuve drew from the late seventeenth-century French salon fairy-tale tradition, her novel-length tale represented an ideological turning point, ultimately subordinating women’s independence and freedom to act in the public sphere, propagated by older upper-class sa- lonnières in their fairy tales, to the bliss of love and family, typical of the bourgeois private sphere.2 As the designers announced prior to the release that the game was meant to concentrate on growing up to adulthood, self-sufficiency, and independence, instead of marriage (it thus does not feature the character of the Beast/Prince),3 it could be assumed that Child of Light should enter into an intertextual dialogue with Villeneuve’s text by interpreting and transforming its women characters, concentrating on women empowerment and the ability to act in the public sphere/outdoors. I focus on the game’s transposition of Villeneuve’s caste of powerful, independent fairies and, somewhat surprisingly, of the self-sacrificing heroine, or a “docile” daughter,4 trained to abdicate her desire. Aurora, the player character, may not sacrifice herself for the sake of the man, but still must sac- rifice her longing for a family to become an egalitarian ruler devoted to public service, which, in the end, appears to peculiarly disempower her. Thus, Child of Light may be seen to nonetheless reiterate conservative values rather than propose a tale of women empowerment.
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MUSICAL TRANSGRESSIONS, INVERSIONS, BRICOLAGES. ABOUT THE CULTURAL DIMENSIONS OF POPULAR MUSIC
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The article is an overview of the most important concepts in the field of musical semiotics, and at the same time an indication of which of them have potential in relation to the study of metal music. Particular attention was paid to the method of musematic analysis, consistently used and devel- oped for almost half a century by Philip Tagg, but also appreciated and practiced by other researchers. The starting point for the author is the state of research in the field of “metal musicology” and theory of music ‒ there is still no adequate, new methodology, and at the same time a common space and a thread of understanding between disciplines and methodologies. Such an interdisciplinary perspective can be semiotics, especially musical, which is a valuable alternative and supplement to sociological, literary and cultural studies, etc. It has potential both where music is a (subordinate) medium of the message and a “amplifier” of the text, and where, through its structure and dramatur- gy expresses “itself” in a way, constituting an abstract play of sounds and timbres.
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The subject of this article is the artistic work of the Los Angeles-based (heavy) metal group Otep, founded in 2000, in which frontwoman Otep Shamaya plays a special role. In the do- mestic music media there is still little material on the work of this singer, songwriter and performer. The female artist creates an original stage and media image. She often makes uncompromising use of verbal and non-verbal means of artistic expression. In the lyrics of expressively performed songs, Shamaya raises issues such as war violence, institutionalized religions treated as forms of oppression, pathologies in social life, the problem of access to firearms or abuse of power in politi- cal arrangements. The singer also takes up a polemic against the hegemonically patriarchal system of metal culture. The purpose of this article is to attempt to characterize the artistic articulations and manifestations of the group Otep, capturing the specifics of the components of the band’s original bricolage. Attention was also paid to the “inversion” covers created by the band, led by multidisci- plinary artist Otep Shamaya.
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: In this article, I would like to focus on covers that reveal their strongly transgressive function, forcing the recipient to rethink and reinterpret the canon of popular music. Covers that I analyze in terms of music, text, image, etc., although they formally “reverse” only one specific song, become an opportunity to polemicize with the output of a given artist, the entire genre or style, or finally with the attitude and worldview represented by the original. Transgression on the aesthetic level is also accompanied by transgression on the level of sexual, class or racial identity. For the purposes of the article, the material will be limited to the covers from the 1970s (Ramblin’ Rose by Jerry Lee Lewis / MC5, Love Is Strange by Mickey & Sylvia / Trash by New York Dolls, Helter Skelter by The Beatles / Siouxsie and the Banshees), because in this period (on the basis of punk and post-punk music) similar practices were the most intense.
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The starting point for the article are unique fabrics that expose the broadly understood spiritual element in art. All of them were made as diploma works completing the education process on the “artistic textile” specialisation at the Cyprian Kamil Norwid State Secondary School of Fine Arts in Lublin. The aim of the text is not to collect them in the form of a catalogue but, based on eleven selected examples, to indicate the artistic paths followed by young people, discovering various ways of depicting spirituality. Even a cursory review of the research material reveals a multitude of solutions, among which there are two dominant strategies. One draws inspiration from the Christian iconosphere, from specific works, from art produced in specific years and in the style typical for them. The other is looking for an alternative language of artistic expression, sometimes closer to abstraction than to mimetic representations. Both do not shy away from material and technological experiments. Next to fabrics understood as textile products, obtained in the process of weaving with various techniques, there are projects closer to soft sculpture, installations. The latter part of the article discusses the past significance of decorative fabrics in the interior design of churches and their role in the liturgy of the Western Church. In their context, an attempt is made to indicate the reasons for the contemporary elimination of this artistic field from the sacred interior and for the depreciation of this discipline of art, the status of which is closer to a craft than to the so-called pure arts. In the 1970s, the Church in Poland was one of the patrons of artistic textiles: in the form of purchases and commissions as well as organising large exhibitions presenting the art of fabric. The paper is concluded with reflections on whether a change in this field is possible, because this unique art has a huge ideological potential: it is a carrier of meanings no worse than other art disciplines.
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Boris Asafiev, pen name Igor Glebov, was a Russian musicologist, composer, music critic, pedagogue, public figure, publicist; author of works devoted to the music of Igor Stravinsky. The article examines A Book about Stravinsky (1929), one of the earliest monographs on the composer in any language and the first one in Russian. It is characterized as an outstanding musicological study of Stravinsky’s works that had appeared by that time, that is, from the early period to the works completed in 1927 (Oedipus rex, Apollon musagète and The Fairy’s Kiss).
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The Fifth Hellenic Week of Contemporary Music (Athens, 1976) has been mainly considered in the context of a major political event: the fall of the military dictatorship in 1974. However, it may also be seen as a landmark for the transition to a postmodern era in Greece. The musical works presented during the Week, as well as their reception by the musical community are indicative of this transition. This paper aims at exploring those two perspectives and places the emphasis on the second, through an analytical comment on Le Tricot Rouge by Giorgos Kouroupos and the critiques in the press.
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Of particular importance for the artistic commitment and maturation of Kornelije Stanković, was his training in Vienna, which at that time represented the center of the Slavic elite. The whole cultural and social atmosphere of Vienna left a strong imprint on the young artist: a rich cultural and political life of the city, contacts with Serbian and Slavic circles and their ideas, especially studies under distinguished professor at the Conservatory – a composer, pianist and theorist Simon Sechter. By studying the inscriptions in the Serbian press from the 19th century (Srbski list, Vidovdan, Južna pčela, Danica, Trgovačke novine, Šumadinka) and preserved posters of Stankovic’s concerts, we have selected the compositions that were part of the Kornelije Stanković piano repertoire. Besides his own compositions, his repertoire included some works of Franz Liszt and Sigismund Thalberg, and even, then popular and now forgotten salon composers-pianists: Jacob Blumenthal, Louis Lacombe, Rudolf Willmers, Eduard M. Pirkhert, and a certain man named Wald. It is possible that this selection of works was influenced by Sechter himself. Blumental and Lacombe were his students. However, the fact remains that the compositions of those authors, which Stanković performed, also represented the most famous works of those composers, as well as the standards of the salon repertoire at the time. The aim of this paper is to highlight the equal importance and representation of the foreign composers within Stankovic’s piano repertoire, as well as the actuality of performed compositions, which has allowed us to gain an insight into the German press of the considered period.
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In this article I explore the possibility of being able to hear the sound of a quantum superposition of two sounds. What would it mean and is it feasible to explore performing an experiment that would allow us to test this notion?
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Quantum Music is the title of a research project that opened up an opportunity to investigate the relationship between art and science – to be precise, between music and quantum physics. Te idea was to create a platform for innovative work with musical composition and musical instruments inspired by the theories of quantum mechanics. Te further development was carefully put into the hands of the different members of the project with such different competences as sound design, physics, musical live performance, composition, light design and musicology. In this connection, I fulflled the role and interest of the composer as well as representing the performing arts (dance and acting). Te aim of my participation was to show how collaboration between music and science could result in a development of different functional approaches to compositional strategies in general and give a new perspective for the artistic thinking in music as well as in the performing arts in general. Tis article is writen as a part of an artistic research and the ideas, statements and conclusions presented in it are to be understood as being directly linked to creative work. But indeed, I also hope this text will provide inspiration to approach music in a new way, both for listeners, musicologists, musicians and other performing artists.
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As members of the LP Duo, for the past 14 years we have experimented with various possibilities of playing on two pianos. Our artistic curiosity and the desire to gain new knowledge and freedom led to our involvement with the Quantum Music project and the creation of a new instrument – the hybrid piano. In this paper we elaborate on our experience with using the new hybrid pianos within the Quantum Music project, but also discuss our ensemble as an artistic embodiment of duality, entanglement and other quantum phenomena. Hybrid piano is a combination of a traditional piano and digital synthesizer with analogue controls that allows diferent processing of acoustic and digital signals in real time and enables the pianists to continue to use concert pianos whilst equipping them with new colours and new, hitherto unexlplored expressive possibilities.
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Vera Stanojević’s timbrally-driven compositions, both acoustic and electro-acoustic, have increasingly garnered international recognition over the past two decades. A brief biographical overview, supported with commentary from the composer, is followed by a series of analytical vignetes of select repertoire. Te analyses provide brief sketches of the style and compositional approach taken in each work. Works discussed are posted on the composer’s Soundcloud website, allowing readers to directly engage, with audio, timbral complexities addressed within.
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In this article the author does not consider crisis a threat, but in a modern sense, an auto-motive drive of art. Therefore, crisis does not affect the art from the outside, it does not hit it as an illness or a storm, but it always produces itself, which is considered to be a condition for movement in art. First of all, the author analyzes the notion of representation and the four roots of the sufficient reason as a conservative and conserving element of art, to which he opposes crisis and its self-production as something that resists sclerotization of art forms. In music, the relation between the ossified, ˮnaturalizedˮ structure and that which decomposes that structure, manifests itself as the relation between harmony and disharmony. The moment when harmony shows a tendency towards naturality, understanding eternity and truth, an alarm is activated to show that music is being paralyzed and it needs a deconstructive intervention of disharmony, atonality and dissonance.
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The text focuses on rap music and some issues of biographicity, biography and biographic learning. The author’s interests oscillate around the educational potential of rap, from the point of view of both its creators and audience. It is possible due to biographisation of rap, expressed in biographical content present in rap music and connected with biographical learning of rappers. Polish hip-hop culture, including rap, began to emerge in 1990’s and is associated with the system transformation. Since then, the genre has been constantly evolving, resulting in the development of many types of rap music. Rap lyrics tell the stories of people living in these years, and the most important characters of these events are musicians themselves who build their narratives around their own, personal experiences. In her analysis, the author focuses on the following research problems: What can we say about biographic learning of Polish rappers based on the analysis of the selected rap works? What biographical aspects are exposed in the works of the selected rappers? What events and situations that illustrate the rappers’ life are mentioned in their lyrics? What images of childhood (pre-school, school), adolescence and adulthood are presented in the rappers’ works? How do they describe overcoming difficult situations and crises? In what sense is it biographic learning? In order to answer the above listed questions, the author applied the interpretative paradigm, using the qualitative study and the document analysis method.
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Every artist or the recipient of a work of art temporarily detaches himself or herself from objective reality through a process that psychoanalysts call regression. They unconsciously (re)construct the experiential world using verbal, visual or auditory form depending on the type of art. The last case involves the deepest creative regression, which involves the most archaic form of presentation: the primary processes of mental functioning. Dream is a typical manifestation of these processes, so the regressive aspect of music can best be demonstrated through isomorphism between music and dream. Auditory representations constituted according to primary processes set powerful affects in motion, thereby securing discharge and producing aesthetic pleasure.
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