ŹRÓDŁO PRZEKŁADU: Wartości wieczyste w sztuce islamu
BURCKHARDT, T. (1967). Perennial values in Islamic art. Studies in Comparative Religion, 1(3), © World Wisdom, Inc. (www.studiesincomparativereligion.com)
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BURCKHARDT, T. (1967). Perennial values in Islamic art. Studies in Comparative Religion, 1(3), © World Wisdom, Inc. (www.studiesincomparativereligion.com)
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The aim of the article is to examine the aesthetic perception of figurative and abstract paintings by groups of naïve and experienced viewers with or without the knowledge of the information provided in the catalogue. The experiment was based on the theoretical concept of viewing the paintings from the perspective of form, content and axiology. The results of the research suggest that naïve viewers can find the reception of the formal level of contemporary art difficult. They are also inclined to experience difficulties in the interpretation of abstract paintings. This, however, can be facilitated by providing them with the catalogue description.
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A term "photo-text" emphasizes a contemporary change in visual culture researches, wherephotography is a link between a photographed object and its cultural meaning. In a book titled“Phototextuality” Andrea Noble and Alex Hughes stated that phototextuality plays “betweenthe culturally fabricated nature of photographic artifact and its fundamental indexality, thatis, its status as a trace of the real; and evidential manifestation of what has been”. Photo-texts characterised by critical, self-reflective and intertextual attitude towards culture go togetherwith contemporary interests with narration, memory and history.The text is divided into few parts. I consider a status of phototextuality in the first one andpresent basic researches on textuality of photography in the second. I compare RolandBarthes’s analysis to a John Berger’s and Jean Mohr’s project there. Part three is dedicated tovisual studies, where phototextuality is a field of discussion with models of art and popular culture (on an example of Gregor Brandler work). Finally, in the fourth part a critical attitudeof photo-texts towards history is presented. In conclusion, photo-texts are regarded as aneffective tool of contemporary culture analysis, both on the level of its production and on“reading” level. This reading is not a “free” or “mis” –reading, that tears the meanings off theobjects of reference, but rather which “anchorages” those meanings in represented object.
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Since we have handed over the manufacturing process to machines, the art-photographyreaches the limit where creation is identified with cropping. The article essentially focuseson works by Georges Rousse, who can hardly be placed in the indicated paradigm and whooften declares that his painting interventions in places of different architecture result fromhis drive for sanctification of the places that may disappear or become empty. In case of thistype of activities, we are not dealing with the reflection of the actual history of the placesor a narrative that can be presented, but with the exploration of the possible time orders –not so much logical as imaginary; we are dealing with a higher register of sensations – withheterotopia. Geometric and monochromatic paintings that Rousse creates, based on simplearchitectural patterns to better modify the perception, disappear along with the places thatcontain them. The explosive moment of this art-photography, its kairos, urges the audienceto learn the mystery of the documented places; to travel in search of their original shape andenergy.
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The article aims to present the results of the analysis of journalistic photography dedicatedto Smolensk air crash. The article contains the analysis of images from different segments ofthe Polish press: newspapers, opinion weeklies, magazines, the press addressed mainly towomen, tabloids.Journalistic photography can be divided into informational and persuasive. The results ofthe analysis are based on the order dictated by the dichotomous classification. As for thephoto information in the press, the author (who is ”invisible” and neutral) presents a pictureof the world without distortions, embellishments and deformation. Paradoxically, the Polishpress has published relatively little ”transparent” journalistic photography, for which thecrash in Smolensk was the theme. It occured that these photographs were read contrary tothe intentions of the authors, because the accompanying texts had changed the direction ofinterpretation.In case of persuasive images, the authors present their own point of view on thephenomena, and thus suggest the interpretation to the recipient. Because of the acceleratedpresidential elections photo journalism has become a tool of ideological struggle, and evena political struggle. This is demonstrated by the extraordinary popularity of photomontage –the journalistic genre, which has significant potential for propaganda.The involvement of the media in current political struggle draws attention to the phenomenonof political (nekro)marketing. This term means using the death of someone in politicalstruggle. Before April 10 Lech Kaczynski was unpopular politician. After the catastrophe, thepresident’s image was re-profiled. The image of Jaroslaw Kaczynski – the president's brother,as a candidate in presidential elections has been warmed in the result of these actions. Howis it possible that the public image of Jaroslaw became warmer? The articles in the presswere illustrated with photographs of the late President in the company of his wife – a personwho was, without exception, liked and respected. Furthermore, after a period of nationalmourning, Jaroslaw Kaczynski was often photographed surrounded by family of the deceasedbrother.
More...Na przykładzie twórczości Johna Ozzy’ego Osbourne’a
The article focuses on the music videos in the works of English precursor of heavy metal musicJohn Ozzy Osbourne. The author presented the key typologies on the examined phenomenon,and embarked on the activities of the British composer self-creation in the perspectiveof the image, mythologization activities and in the context of the creation of rock structuresof experience and feelings.
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The article presents the technology of eyetracking and the possibilities of using it in computer analysis of the perception of images in a photograph. The traditional method of reading emotions observed in a photograph is difficult and imprecise. Based on verbal relations and impressions of the viewers, it is possible to create an approximate model of perception of specific emotions conveyed by a given message. The subjectivity of perception signals related to many independent variables is often the reason for inaccuracy of the drawn conclusions. Modern computer techniques use the computer as the basic tool for processing large amounts of data in the form of text, images, sound and animations. Including computer in the research process considerably improves the quality and increases the likelihood that the achieved results are accurate. The fundamental factor influencing the changes is related to the mathematization of the results, having a direct impact on the increase of their objectivity. Eyetracking is a new measurement tool which proves effective in answering the issue how people perceive reality. The article presents a method of analysing photographs with the use of the eyetracker. The following issues are discussed: analysis parameters, the achieved results and the method of interpreting them. The whole description is presented on the example of particular photograph selected in order to carry out actual analysis constituting a part of the in-depth scientific research conducted by the authors.
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The text refers to ideological aspects of the collaborative photography project Świat. Fotografie dzieci z Jasionki i Krzywej. Communication ambiguity and plurality of authors and recipients of the text cause that it is a so called ”blurred genre”, in which the meaning is inconsistent.
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The author of the article focuses on the description of war photography which she classifies as journal photography. She points out that the development of this type of photography was considerably influenced by social photography. She argues that the image of unnecessary human suffering shows the senselessness and injustice of war which are strongly accentuated in photographs. Such emphasis affects emotions, compels the receiver to reflection and performs a propaganda function at the same time. On selected examples, the author presents the historical, documentary and artistic value of war photographs. She devotes a separate part of the article to the description of the beginnings of the Polish journal photography.
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The article deals with the works of Marcin Maciejowski in the perspective of intermedia connections of his works with photography, film and painting. The author of the article is particularly interested in tracing the intertextual and intermedia games in the space of culture as well as their informative, cognitive and ludic functions. A separate section of the article is devoted to the description of media realism
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What is death in contemporary world? “Faked”, multiplied by movies and games, it becomes standard, it doesn’t frighten. In contemporary world the second type of death is taboo. It is pushed out of consciousness. Man striving for immortality, striving for eternal youth doesn’t want to remember it. Death was always connected to art. Artists tried to depict the deceased. The idealistic paintings of the dead or preserving their bodies in best possible condition was a gateway to the afterlife. Masks and coffin portraits were heirlooms, they replaced the body of the deceased family member. The mediaeval tombstones called transi played a different role – they depicted rotting corpse eaten by vermin. They reminded of inherent death and of death’s mundane meaning. Contemporary photographers’ work (e.g. Jeffrey Silverthorne’s or Andreas Serrano’s) appeal to these mediaval examples. They show massacred human bodies photographed in a specific, almost excluded from our consciousness setting – the morgue. One should contemplate whether the art depicts a man or a corpse identified with litter. What is the purpose of depicting dead bodies that were secretly photographed in a morgue or were prepared, immersed in formalin and exhibited at an art gallery? The fascination of body and its secrets influenced the way of showing the dead. Bodies of anonymous people seen in the photos are treated by contemporary people as waste. By the means of camera the photographed deceased are depersonalized twice. Once by the camera that is killing them, the second time by abjecting them.
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The main thesis of my article is that Roman Ingarden’s concept of metaphysical qualities can be adapted to analyze and interpret artworks that represent some tendencies in abstract painting. I start by summarizing this concept, taking into consideration the elements of its reconstructions that are present in the source literature, especially those aspects that concern art. Although Ingarden’s idea can be used with many examples, I employ it to analyze chosen artworks by the outstanding Polish abstract artists Tamara Berdowska, Władysław Podrazik, Tadeusz G. Wiktor and Jan Pamuła. I do not intend to refer to these paintings strictly in Ingarden’s terms, but I use these criteria in a way that allows me to enrich the interpretation of these artworks by showing them in a new light. By recognizing the role of contemplation of art, I try to find the genesis of the analyzed examples and reveal how metaphysical qualities manifest in them and influence the viewer. I underline aspects that are distinctive of the presented artists and are related to the exceptional ability of abstract language to correspond to Ingarden’s idea. Subsequently, when developing my point of view I maintain the relationship between aesthetic and metaphysical sense that creates a kind of interdependence. These artists intentionally go beyond purely aesthetic effects to relate to transcendence. By adapting Ingarden’s concept to some contemporary abstractions, I try to link philosophical and critical ways of approaching these artistic phenomena with special regards to their metaphysical connotations that tend to be overlooked in contemporary discourses.
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The article is a proposal to apply the elements of Melody Jue’s wild blue media theory toanalyze documentary movie My Octopus Teacher (2020), as well as in the conceptual workon the artistic-research project of the digital Blue Humanities Archive, which I develop incooperation with the interdisciplinary artist, Justyna Górowska. In the first part of the text,the theory of media specific to aquatic environments helps to show the changing conventions of documentaries about the underwater world of nature. In the second part, I presenta project of a database based on this theory. The aim of the archive is to collect, conceptuallyand artistically develop various materials related to the representation of the disappearingbiodiversity of the underwater world. The theory of wild blue media is also situated in thelandscape of the non-anthropocentric humanities and the blue humanities.
More...5 Years of the Study of Metal (and Religion)
In 2022, the association of scholars interested in metal studies in Czechia, Czech Metal Studies, (CMS) celebrated its fifth anniversary. The article retrospectively looks at the origins of CMS in the context of the deficit of academic study of metal in Czechia and reflects on the development of metal studies abroad. The very origin of CMS was closely connected with the Department for the Study of Religions at Masaryk University in Brno, resulting in the primary research orientation of CMS toward the topic of metal and religion. The text surveys the current academic production of CMS members and other CMS activities, including the organization of Czech academic conferences on metal. Finally, the further direction of CMS is discussed in connection with the effort for greater ultidisciplinarity and internationalization. The multidisciplinarity of CMS is manifest in attracting scholars from outside the field of religious studies, and internationalization is apparent in the founding of the research network Metal Studies in Central and Eastern Europe.
More...Hungarian High Literature, History, and Folklore in the Lyrics of Dalriada
This article comprises a case study of the lyrical program of the Hungarian folk metal band Dalriada. I employ a close reading based method that relies on ideas drawn from reception studies, metal studies, history and literary studies toward an understanding of Dalriada’s reinterpretation of elements of Hungarian history (e.g., Medieval figures, the period of Ottoman occupation), folk traditions (e.g., folk songs) and high literature (the works of János Arany). I conclude by discussing some common patterns in these interpretations that run through Dalriada’s overall output.
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This is a report on the visual art collection WA(Y)ST(O)ED FREEDOM exhibited in the Centrala — Art Gallery and Creative Space in Birmingham, United Kingdom, 5th–25th November 2021. The authors discuss Małgorzata Drohomirecka’s series of works, Polonia 2020, which consist of collages that reinterpret national and patriotic symbolism. Polonia is a very important role model for Polish women as well as for the political devise. The authors discuss the artistic strategies involved in deconstructing the national myths and social stereotypes used by the artist. These strategies are called “the unreliable narrator”, namely the means to look at history as a repository of themes and material which is now in need of reinterpretation, sometimes ridiculing, and dismissal. The paper includes the artist’s commentary on her works.
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Review of: Paweł Gąsowski, Komiks i mit, Instytut Kultury Popularnej, Poznań 2021.
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Zofia and Władysław Jarema – the founders of the Groteska Theatre – from the beginning of their artitistic work in Krakow distanced themselves from perceiving the theatre of dolls as exclusively children-oriented. By gathering around themselves a group of distinguished artists, they consistently and reasonably built up the repertoire and Groteska stage for the adult audience. In their search, they included Konstanty Ildefons Gałczyński, Sławomir Mrożek, and Tadeusz Różewicz. This paper is an attempt at analysing and reconstructing the performance of Kartoteka (a drama by Różewicz), which was staged in Groteska Theatre (interpretation by Zofia Jarema, stage design by Kazimierz Mikulski) a few months after its Warsaw preview in the Drama Theatre. The author of the paper also discusses the type of influence which this performance and the Jaremas’ activity in general had on the contemporary theatre of dolls.
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The article presents the forms of repetition in the creation and reception of Tadeusz Kantor’s performances. Krakow cellars, Kantor’s home in Wielopole and school class in Bielkowo near Łazy in Pomerania connect here the topic of affective searching and finding sources of identity and memory. The process may refer to both the artist and the viewer, seeking in the memory, art and landscape the traces of himself, recorded in the past and projected onto the surroundings. The author’s discovery of the interiors of the cellars under the floor of the house in Wielopole, similar to the Krzysztofory cellars in Krakow where Kantor conducted the rehearsals of the famous The Dead Class, leads to the conclusion that the preexisting in Wielopole under the floor of a childhood room the space of Kantor’s play can be the source of director’s affective repetition. With the use of the repetition mechanism, numerous further artistic discoveries and meetings of the artist with the self and visions of his future performances have been made. The facilitation of this process for viewers of exhibitions and to the recipients of art, both in Bielkowo and Wielopole, seems to be the inclusion of another tool in theatrical and artistic education.
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On February 13, 2020, Dr. hab. died. Marek Karwala, professor at UP, an outstanding literary historian and art critic, our dear friend and editorial colleague. We publish the farewell speech delivered during the post-funeral ceremony by the director of the Institute of Polish Philology of the Pedagogical University of Krakow in the years 2016–2020, Dr. Hab. Ewa Mlynarczyk, prof. UP.Professor Marek Karwala; photo: Marcin Kania.
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