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The secretarybird dilemma: identifying a bird species from the Temple of Hatshepsut at Deir el-Bahari

Author(s): Kamila Braulińska / Language(s): English Issue: XXVII/2018

Known from a few representations in Predynastic Egyptian art, the secretarybird has otherwise been elusive, in the art of Pharaonic Egypt as well as the scientific discourse on iconographic imagery of birds in ancient Egypt. The author’s studies of the animal decoration at the Temple for her doctoral dissertation identified three images of birds belonging most likely to the same species, depicted in the context of the expedition of Hatshepsut shown in the Portico of Punt. The zoological identification of the species as the secretarybird (another possibility is the African harrier-hawk) derives from an in-depth analysis of the bird’s systematics, appearance, distribution and habitat, as well as behavior, which are essential for proper species recognition and instrumental for understanding the rationale behind bringing this particular bird from the “God’s Land”.

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Tito’s Villas in Herceg Novi – Regional Contexts and State Residences

Author(s): Veljko Radulović,Sanja Paunović Žarić,Ema Alihodžić Jašarović / Language(s): English Issue: 1-2/2021

Considering the growth trends of cities within specific regional contexts, the focus of this paper is the contemporary architecture of the bay of Boka Kotorska, a World Heritage region protected by UNESCO. The youngest and largest town is Herceg Novi located at the entrance of the bay. Against the attractive setting of the coastal and inland landscape, its dynamic cultural and historical context directly shapes the formulation of the architectural environment, which cannot be reduced simply to the set of formal relations with the local site. The main research subject of this paper is the architectural discourse from the last decades of the 20th century as well as the perspective of physical architecture, through the research optics of analysis of this specific region. Its focal point consists of two architects which were among the most significant practitioners in this area and involved in the key urban definitions of Herceg Novi in the second half of the 20th century. The review is given with special reference to two state residences, villas built for Josip Broz Tito in Herceg Novi: Villa Galeb and Villa Lovćenka. The nature and architectural scope of these buildings is identified, the concept design methodology is examined, predominantly in decoding the relations with relevant influential factors, not excluding the highly specific socio-political context. The general goal of this paper is to specify the character and the scope of the work and authors who implemented a clear and discernable design approach at the end of the 20th century in Herceg Novi. The state residencies built for Josip Broz Tito in this town have not been the subject of critical research so far. As such, they have provided a worthwhile case study for the identification of design methods in the creation of impressions on the representatives of state power and their role in urban landscape of a coastal town. A secondary goal of this paper is additional accumulation of knowledge on the relevant architectural history of the Adriatic coast, as well as highlighting the significance of an architecture displaying evident regional qualities.

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Slika "Suzana i starci" nepoznatog umetnika iz zbirke umetnika iz zbirke Narodnog muzeja u Beogradu

Author(s): Ljubica Vujović / Language(s): Serbian Issue: 11/2021

Rad se bavi slikom Suzana i starci nepoznatog umetnika iz depoa Narodnog muzeja u Beogradu koja do sada nije bila predmet naučnog istraživanja. Cilj ovog rada nije atribucija dela, zbog nemanja mogućnosti da se utvrdi autor. Zato će akcenat u radu biti stavljen na poziciju slike i teme u kontekstu barokne vizuelnosti XVII veka, potencijalne umetničke uzore, kao i stilsku i ikonografsku analizu dela. U radu će se razmatrati i tema predstavljanja ženskog akta i nasilja nad ženama u kontekstu rodnih i feminističkih studija o kojima se adekvatno može raspravljati na primeru starozavetne priče Suzana i starci.

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Menininkas Saulius Kruopis

Author(s): Saulius Kruopis / Language(s): Lithuanian Issue: 108/2021

Saulius Kruopis (b. 1960) is a Lithuanian painter, photographer, and organizer of plein air paintings. After graduating from Šiauliai Children Art School, in 1975–1980, he studied art design and photography at the Kaunas S. Žukas Applied Art Technical School (now Kaunas College, Faculty of Arts and Education) under the guidance of passionate orientalist photographer Mindaugas Dapkus, photography master Povilas Karpavičius, and painter Donatas Valatka. Later, in 1987–1993 Kruopis continued his studies at the Department of Painting of the Vilnius Academy of Arts (VDA) under the supervision of Linas Katinas. In the period from 1988 till 1991, he regularly participated in the creative activities of the artists’ group “EA” (later known under the title – “Good Evils“). The spiritual evolution of Kruopis had been significantly influenced by two creative visits abroad. The first one had happened in 1992. It was a three months long internship in Loburg Castle, Münster, Germany. It encouraged Kruopis to revive Nida’s Artist Colony. The second three months creative scholarship visit he spent in India, in the cities of Maya, Jaganatha Puri, Vrindavan, and Madhura. These cities with their splendor of marvelous temples reinforced the orientalist orientation of the artist. This visit happened in 1996. Since 1995, Kruopis started annual international plein air paintings in Nida. In 1999, he established the expressionist artists’ association “Bridge”, which continues the traditions of the German expressionist group “Brücke”. Eventually, he became a member of other organizations: Lithuanian Artists’ Union (since 1995), the Lithuanian-Indian Community (since 1996), the Esslingen (Germany) Painters’ Guild (since 2006), the Europa-Focus Artists’ Association (since 2013), and the ARS Arrakoski Gallery of Baltic Artists in Finland (since 2014). Kruopis also writes diaries, philosophical essays on issues of artistic life and publishes them in the Lithuanian as well as the international press. Kruopis took part in over fifty plein airs in various countries and arranged more than ninety personal and 570 collective exhibitions. His paintings adorn many interiors in Lithuania and abroad. They can be seen in many private and public art collections such as the National Art Museum of Armenia, the Kaliningrad State Art Gallery, the Pope John Paul Museum in Krakow, and the Darsa History Museum in Prerow, Germany.

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Interpreting Eisenstein’s Ivan the Terrible

Author(s): David Brandenberger / Language(s): English Issue: 34/2021

This critical analysis of Joan Neuberger’s book This Thing of Darkness (Cornell University Press, 2019) hails the monograph for its exhaustive research and thorough analysis. Eisenstein stands out in the pages of This Thing of Darkness as the quintessential non-conformist — an exception to everything we know about Soviet subjectivity. Neuberger argues that the question of whether Eisenstein was pro-Soviet or anti-Soviet is effectively a reductionist dead end. Eisenstein, she suggests, was an exception — someone who defied categorization, whether by his cinematographer contemporaries or by Stalin himself, for that matter. The article contends that Neuberger’s reading of Eisenstein as an imaginative, stubborn, risk-taking and subversive director challenges recent scholarship on the restrictive nature of Stalinist subjectivity. The author also investigates Neuberger’s contention that Stalin banned the second part of Ivan the Terrible in part because of the film’s homoeroticism by reexamining the fragmentary historical record. In so far as there is no reason to think that Stalin would have hesitated to articulate to Zhdanov or to Eisenstein and Cherkasov any specific objections he had to the film’s homoeroticism, the author suspects that the best explanation for the dictator’s banning of the film remains the historical license that Eisenstein took with the official Stalinist line on the terrible tsar.

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Продуктивное триединство

Author(s): Naum I. Kleyman / Language(s): Russian Issue: 34/2021

This Thing of Darkness by Joan Neuberger, about S. M. Eisenstein’s film “Ivan the Terrible”, is the result of enormous work by a professional historian, a serious art critic, and an experienced teacher. The most important features of this productive trinity were manifested in it: a deep knowledge of the history of Russia (equally in the 16th and 20th centuries); a subtle understanding of the specifics of art in general and cinema in particular; the ability to clearly and easily present one’s observations, hypotheses, and conclusions; and finally (last but not least), the successful penetration into the creative world of Sergey Eisenstein, a director and theoretician, draftsman and psychologist, connoisseur of classical world culture and courageous experimentalist-modernist, but at the same time an honest person and a politically minded citizen of his own country in the tragic period of its history, that of Stalin’s tyranny. The author was lucky enough to witness the long-term evolution of this work, from earliest experiments to the publication of a fundamental monograph. In the process of researching archival materials and as we penetrated into the film itself, the circle and type of questions changed. The author expresses confidence that from now on, not a single serious specialist in the history of Soviet cinema, not a single biographer or researcher of Eisenstein’s work can do without the wonderful work of Joan Neuberger.

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Roundtable Discussion: This Thing Of Darkness: Eisenstein’s Ivan The Terrible In Stalin’s Russia, By Joan Neuberger (Ithaca: Cornell University Press, 2019)

Author(s): Joan Neuberger / Language(s): English Issue: 34/2021

Eisenstein’s Ivan the Terrible is hardly an obscure film, but it has attracted much controversy and many misconceptions. The goal of this book is to re-examine the film in light of everything Eisenstein wrote about it. The introduction to the roundtable establishes the historical, political, cinematic, biographical, and cultural contexts that shape the book’s multi-disciplinary approach to Eisenstein’s work on Ivan the Terrible. The director structured the story of Ivan’s life and reign in an “interrogative mode” in order to raise profound questions about the nature of violence and tyranny and the psychology of political ambition in Russia’s past, in the Stalinist present, and in the history of state power more broadly. Eisenstein conveyed the history and psychology of power and the inner life of the powerful with a profusion of new cinematic methods that represented the evolution of his thinking about montage. “Polyphonic” montage — the weaving together of audio, visual, sensory, emotional, and intellectual voices—was intended to activate and intensify the spectator’s experience of watching a film; to touch, move, and enlighten the audience in an all-encompassing, transformative way. By approaching Eisenstein’s dynamic theories of history, visual perception, and cultural evolution in relation to one another, this study uncovers a decisive piece: Eisenstein didn’t only want to show the tragic depredations of absolute rule or the universality of power hunger, and he didn’t only want to create a moving emotional experience for viewers.

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Response to Roundtable Comments

Author(s): Joan Neuberger / Language(s): English Issue: 34/2021

In her response, Neuberger elaborates and extends a few of her key arguments as discussed by Brandenberger, Kleiman, Petrone, Platt, and Tsivian. She focuses on questions involving Eisenstein’s exceptionality, the general reception of Ivan the Terrible, Stalin’s response to the film and its homoeroticism, and fundamental questions about Eisenstein’s interpretation of Ivan and his reign, its application to the present and to all rulers. She clarifies fundamental questions about Eisenstein’s conception of dialectics, and shows his commitment to dialectics as something more than more than binary conflict. Eisenstein not only saw all phenomena as “unities of opposites”, but contrasted the dialectical contradictory with a unitary definitive, giving us neither a simpler dualism nor a permanent state of contradiction. The categorical doesn’t cancel out the contested (or vice versa): together the categorical and the contested create another level of complexity, making it possible to see Ivan the Terrible as a film that repeatedly poses questions about power, violence, and human perception, and a film that is a radical critique of Stalinism and Soviet ideology. The author underlines, that in This Thing of Darkness she tried to show that the search for “meaning” in Eisenstein (and in my reading of Eisenstein) was no simple path toward a definitive truth, but is something like the way we experience films: seeing, hearing, intuiting, sensing, learning, feeling, wondering, learning a little more, and eventually thinking through what we have seen and experienced in order to make it meaningful for us.

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ŞANLIURFA HARBETSUVAN TEPESİ’NDEN BEZEMELİ TAŞ PLAKALAR

Author(s): Bahattin Çelik / Language(s): Turkish Issue: 52/2021

Research within the borders of Şanlıurfa Province in recent years has increased the number of Pre-Pottery period centers, among which cult central settlements have come to the fore. In particular, these settlements, which appeared in the late 10th and early 9th millennium BC, are usually small in scale and have a size between 6-10 decares. Studies so far have identified only three locations from large-sized ones of these settlements. These are Göbekli Tepe, Karahan Tepe and Ayanlar Höyük settlements. Small-scale settlements include Sefer Tepe, Kurt Tepe, Hamzan Tepe, Taşlı Tepe, Sayburç Höyük and Harbetsuvan Tepe. The common feature of these large and small settlements is that they contain obelisks shaped like "T." Archaeological excavations on Harbetsuvan Tepe, conducted in 2017 in conjunction with the Şanlıurfa Museum, continued for three periods until 2019. Architectural findings and archaeological explorations have emerged in this rescue excavation, which was mainly conducted to understand the extent of the destruction caused by the illegal excavation sites. The decorated stone vessels that were recovered from excavations on Harbetsuvan Tepe will be evaluated in this study. In general, the decorated stone plaques captured in Neolithic excavations come across as ornamental and statue objects. They are thought to have been used sometimes to fix flint or obsidian tips or arrowheads, like sharpening stones. The decorated stone plaques that come across as archaeological finds also provide crucial symbolic insights into the Neolithic Period, with motifs and figures on them. In this study, the three decorated stone plaques captured in the Harbetsuvan Tepe excavation were examined and compared with other finds explored in Neolithic period settlements. Furthermore, a dating was tried to be made based on similar decorated stone plaques.

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Existential Definition at the End of the American Road: Zabriskie Point (1970), Vanishing Point (1971), The Gauntlet (1977)

Author(s): James J. Ward / Language(s): English Issue: 2/2021

This article discusses three films that helped landmark American cinema in the 1970s. Although differing in inception and reception, all three belong loosely to the genre of the road movie and are linked by protagonists whose stances of rebellion and alienation were characteristic of the counterculture of the 1970s and by the broader theme of existential self-definition that still influences moviemaking today. A critical and commercial failure on its release in 1970, Michelangelo Antonioni’s Zabriskie Point has been revalorized as an ambitious attempt to represent the political and cultural conflicts that seemed to be fracturing American society at the time. In contrast, Richard Sarafian’s Vanishing Point soon overcame the disadvantage of studio disinterest and established itself as a cult favorite. Arguably the definitive anti-hero of 1970s cinema, the amphetamine-fueled renegade driver played by Barry Newman achieves iconic stature through an act of defiant self-destruction that still leaves viewers of the film stunned. Finally, Clint Eastwood’s The Gauntlet, in which the actor-director breaks with his ‘Dirty Harry’ persona to depict a burned-out cop who redeems a ruined career, and enables himself a new start, not by making his own law but by enforcing the law on the books, and against all odds. In all three films, the still unspoiled landscape of the American Southwest, crisscrossed by its skein of highways, provides the tableau for escapist fantasies that may in fact be real, for high-speed chases and automotive acrobatics that defy the laws of physics, and for vignettes of an ‘outsider’ way of life that was already beginning to perish.

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Ф.И. Шмит в Ленинградском университете на рубеже 20-30-х годов ХХ века

Author(s): Vitaly G. Ananiev / Language(s): Russian Issue: 3/2021

This paper discusses an episode from the academic biography of Fyodor Ivanovich Shmit (1877– 1937), a prominent Russian art historian and art theorist, museologist. The history of F.I. Shmit’s teaching at Leningrad State University during the 1920s and 1930s was covered. The scholar was an alumnus of the university and renewed the relationship with the alma mater following his return from Ukraine to Leningrad in the mid-1920s. Until 1932, F.I. Shmit taught here various disciplines of art history and theory. Since 1930, he had worked as the head of the Department of General History of Art and taught here such courses as History of Byzantine Art, History of Art in Feudal Europe, History of Ancient Art, History of Western European Art of the Age of Primitive Accumulation of Capital. He actively presented the results of his research in the form of academic reports. The analysis of F.I. Shmit’s curricula shows that, on the one hand, he tried to adapt them to the needs of the changing time, but, on the other one, he tried to preserve the traditional academic content. In many ways, his activities during this period helped to uphold the traditions of the St. Petersburg-Petrograd School of Art History. However, F.I. Shmit was deprived of the opportunity to continue his teaching due to the changes in the structure of higher education, which were typical for that period, as well as because of the growing pressure of the totalitarian state. In 1933, he was arrested, expelled from Leningrad, and murdered.

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„...mi ketten rettentő veszedelmesek vagyunk egyik a másra...” Buday György szerelme: Bauer Lilla. Életrajzi vázlat

Author(s): Katalin Varga / Language(s): Hungarian Issue: XII-XIII/2018

In accordance with photographer Marian Reismann’s (1911–1992) wish in her last will, her legacy came into the possession of the Hungarian Photography Museum, Kecskemét in 1992. While processing the heritage, a thick folder was found with a further instruction from the photographer, saying that after her death the folder should be handed over to the Petőfi Literary Museum. The folder contained 245 letters by György Buday (1907–1990), woodcutter, book designer and set designer. The letters written between October 1933 and March 1938 were addressed to eurythmic dancer Lilla Bauer (1912–2011 or 2012). Although we could not find Lilla Bauer’s replies in either Marian Reismann’s or György Buday’s legacy, Buday’s letters themselves amount to a sort of diary, recording not only his art work and the events of his life in Szeged, but also the phases of Lilla Bauer’s artistic development and career. Up to the early 1990’s, Lilla Bauer’s person, art, and romantic relationship with Buday were scarcely known, since she spent most of her adult life outside Hungary. However, the emergence of Buday’s letters made it possible to do research and get to know more and more about her life and art. Provided her heritage returns to Hungary from England, where the dancer died a few years ago, or at least it becomes accessible, researchers will be able to survey her life and work as a whole, thus contributing to the history of eurythmics both in Hungary and worldwide. Lilla Bauer was born into a well-to-do middle-class family. After finishing her secondary education, from the late 1920s on she attended a eurythmics school run by eurythmic dancer and choreographer Olga Szentpál (1895–1968), who used the Dalcroze method. The annual school exams were public events and several papers published reviews about them, each mentioning Lilla Bauer’s development and outstanding performance, anticipating a bright career for her. It is clear from the reports that the students of the school performed in events outside the school as well as at theatre performances, moreover, the most talented ones, such as Lilla Bauer, gave solo dance performances and took part in international competitions. Having graduated in 1933, she immediately gave a solo performance on March 14, participated in a dance competition in Warsaw with huge success in June and, in August, she danced with the Szentpál Company at the Szeged Open Air Theatre Festival, taking part in the production of The Tragedy of Man, a drama by Imre Madách. It was then that she met Buday, the set designer of the production, and they fell in love with each other. In the autumn of 1933, in order to obtain further training and experiences, Lilla Bauer joined the ballet company of Kurt Jooss, world famous choreographer of the dance production The Green Table. The company fled Germany following Hitler’s rise to power; and, after a short stay in the Netherlands, in the spring of 1934, they settled down in Dartington Hall, Dartington, Devon, England, on the estate of philanthropists Leonard and Dorothy Elmhirst. The dance company was based there for rest and rehearsal, and set out for tours from Dartington. Lilla Bauer appeared on stage in Hungary again in 1937 and 1938 as a member of the Dance Theatre of Kurt Jooss. She trained the dancers as well as performed in the production of The Tragedy of Man, and also gave a two-hour long solo dance performance. By then her relationship with Buday had terminated. Curiously, however, both of them ended up living in England. Apart from the numerous considerable letters, there are several wood engravings and woodcuts depicting Lilla Bauer by György Buday to commemorate the short-lived relationship of two exceptional artists.

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Avant-garde art display recreations historised: Muzeum Sztuki in Łódź as a referential case?

Author(s): Jesús Pedro Lorente / Language(s): English Issue: 3/2021

Museums can no longer pretend to be mere containers of art or other cultural treasures; their fascinating legacy for posterity is definitely not just the respective collection, but also its idiosyncratic articulation and ulterior resignification. This essay surveys sifting trends in the re-staging of modern museographies; but instead of using New York’s MoMA as the obvious paradigm, pride of place is given here to the Muzeum Sztuki in Łódź (Poland). Its original Neoplastic Hall survived only from June 1948 until October 1950; but it was reconstructed ten years later, prefiguring other museographical remakes of avant-garde art displays. Thereafter, it also became, in many ways, a typical example characterising postmodern museological trends. All in all, it could perhaps be discussed nowadays in the light of critical museology as a referential case in the history of heritagised museographies.

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How to exhibit a human mummy in a former monastery? The case of the body of Michael Willmann (1630–1706)

Author(s): Andrzej Kozieł / Language(s): English Issue: 4/2020

This paper discusses the mummified body of Michael Willmann (1630–1706) – one of the most outstanding painters of the Baroque period in Central Europe. Willmann’s mummy was preserved in the crypt of the former Cistercian monastery church in Lubiąż, Silesia (Poland). The article presents the history of the mummy and possibilities for opening the crypt and displaying it to the public, following the example of similar expositions in Europe which have found respectful and sensitive solutions for presenting the bodies of the deceased (e.g. Capuchin Crypt in Palermo and Capuchin Church in Brno). Willmann’s mummy is not only the body of an artist, but also a part of the cultural heritage of the Lubiąż Cistercians, making it worthy museification. This issue is particularly important in the context of the plans for establishing the Michael Willmann Museum in the former Cistercian monastery church in Lubiąż.

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African Art: The Journey from Ethnological Collection to the Museum of Art

Author(s): Aneta Pawłowska / Language(s): English Issue: 4/2020

This article aims to show the transformation in the way African art is displayed in museums which has taken place over the last few decades. Over the last 70 years, from the second half of the twentieth century, the field of African Art studies, as well as the forms taken by art exhibitions, have changed considerably. Since W. Rubin’s controversial exhibition Primitivism in 20th Century Art at MoMA (1984), art originating from Africa has begun to be more widely presented in museums with a strictly artistic profile, in contrast to the previous exhibitions which were mostly located in ethnographical museums. This could be the result of the changes that have occurred in the perception of the role of museums in the vein of new museology and the concept of a “curatorial turn” within museology. But on the other hand, it seems that the recognition of the artistic values of old and contemporary art from the African continent allows art dealers to make large profits from selling such works. This article also considers the evolution of the idea of African art as a commodity and the modern form of presentations of African art objects. The current breakthrough exhibition at the Bode Museum in Berlin is thoroughly analysed. This exhibition, entitled Beyond compare, presents unexpected juxtapositions of old works of European art and African objects of worship. Thus, the major purpose of this article is to present various benefits of shifting meaning from “African artefacts” to “African objects of art,” and therefore to relocate them from ethnographic museums to art museums and galleries.

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A Painting Exhibition as a Personal Multimodal Diary: Example of the Facebook Page “Guy De Montlaur”

Author(s): Marina Zagidullina / Language(s): English Issue: 1/2021

Technological facilitations of current communication exchange are considered as a basement of emerging media forms. For example, Facebook allows users to publish multimodal content and to organize it in long-lasting projects. In the “Guy de Montlaur” Facebook-page example, one can see how the classic format of a painting exhibition can be combined with a “personal diary”. Three aspects of such a form will be analyzed: (1) regularity (as a basement of periodicity); (2) principles of the choice of paintings (art-historian aspect); (3) principles of comment (art-critical aspect). In this example, the mechanisms of multilayered communication can be identified. The research approach can be fruitfully applied to other emerging forms and formats of user communication.

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Media Platforms of Discussion about the Aesthetics of the 1920s Photography in Czechoslovakia within the Contexts of Europe

Author(s): Jozef Sedlák,Petra Cepková / Language(s): English Issue: 1/2021

The objective of the article is to analyse the background of dramatic discussions about the aesthetics of academic naturalism and the programme of New Objectivity in photography and possibilities of their media reflection. This turbulent opinion period was primarily accompanied by attempts on separation from the academism of fin de siècle, mainly through reflection in professional journals of the interwar period of the 20th century that discussed the visual language of the photographic medium within amateur photography, the retreating influence of the impressionist and naturalistic photography, and the ever-growing dominant programme of New Objectivity that combined elements of expressionism, dadaism, and surrealism. The study compares disputes in Czechoslovak journals to disputes within Europe (England, Germany). However, to a certain extent, these aesthetic disputes also stemmed from personal preferences of a programme that individual authors professed. The main objective of the article is to clarify and examine the principles of the disputes, as well as the period in question, which was significantly affected by technological progress of the press and especially by the arrival of the cheap and new system cameras.

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War with a Thousand Faces: “Militainment” in American War Films

Author(s): Jana Radošinská / Language(s): English Issue: 1/2020

The paper offers a reflection on the phenomenon of “militainment” in mainstream film production. The present theoretical outlines are followed by an overview of contemporary (mostly American) war movies containing various spectacular portrayals of warfare, displays of human suffering during war conflicts and/or obvious elements of military propaganda. The text is particularly focused on topics and ideas disseminated by films portraying war events. The author works with the assumption that the term “militainment” refers to a wide spectrum of media products or events, which often merge military images and entertainment in order to engage media audiences’ attention. As much as this portmanteau expression seems to result from contemporary scholarly views on cultural imperialism and media propaganda, it is, in fact, connected to various communication phenomena dating back to the beginning of the 20th century.

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A Dead Letter is a Good Start: a Study on Literary Genealogy of Emerging Genres in New Media

Author(s): Snježana Barić-Šelmić,Hrvoje Mesić / Language(s): English Issue: 1/2020

The development path, starting with the first handprints and cave drawings of Lascaux or Altamira, which denote that someone was occupying the space, to the development and use of the new media, which range from 3D video mapping and levitating displays to holographic screenings of films, sport events, or music, serves the purpose of creating a culture. The mass use of technology has affected the educational purpose of connecting different cultures; furthermore, virtual and augmented reality, media consumerism and production serve as symbols of the so-called ‘culture power’ and they also act as proof of its transformation into the ‘Culture of Power’. This novel, virtual reality has undoubtedly captivated the interest and attention of the general public and integrated itself into interpersonal relationships. It should be noted, however, that this interest does not derive solely from the fact that this dimension represents something new but also from the human need to escape the mundane reality and seek fun, excitement, or simply to satisfy a habit, according to Inglis. The development and use of the new media have affected today’s society immensely; moreover, this can be observed in the example of constant paradigmatic changes, as well as the reach the technology has when it comes to wide and diverse audiences. The Internet, being the most influential technological innovation, has introduced the society to a new world, a new space called cyberspace. McLuhan has heralded the rise of the ‘Global Village’ that will come as a result of technological and media innovations. Today’s existence is not exclusively limited to the real world since the virtual realm has become essential to the entire humanity. To illustrate, numerous literary works have been created in cyberspace of the Global Village; furthermore, these works, which are bound to become part of the literary canon, should be genealogically classified, described to the fullest extent, as well as regulated.

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Experimental Image Creation Through Imagination

Author(s): Martin Engler,Andrej Trnka / Language(s): English Issue: 1/2020

The paper focuses on visual ideation in the creative process of visual development, i.e. concept art. It describes the process of idea formation and its transposition into visual information. The text analyses ideation approaches in the process of creating game and movie content. Explains context through history and art. The authors also describe experimental methods dedicated to usage and control of imagination. The paper thus tends to describe a part of art creation which is notably absent in the education processes in art schools and which is equally important.

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