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Following the call of Kazimierz Twardowski, who in 1936 spoke of “the dignity of the university”, this essay is an attempt to examine the extent to which this idea is still valid. By distinguishing between “governance” (critical analysis of the situation and advocating adequate means not only for describing, but also for changing the world) and “management” (serving primarily not to renew or change the world, but to achieve quantifiable results in the application of well-known and thoroughly elaborated administrative and financial measures), we show that one of the main problems in the academy today is the lack of a proper critical distance to the accepted ways of organizing the world, recognized, too hastily, as uncontested. This is why universities have had imposed on them a discourse of economics as the only means of conducting and describing their activities. Without neglecting in any way economic factors, it is necessary to refuse to follow the techno-bureaucratic policies being applied in universities as a means of “forcing” results in research. The task and role of the university are rooted in a deep conviction that the problems of today's world cannot be solved solely through the belief they are purely economic in nature. The University has always demanded we recognize the moral causes of the difficulties that place a strain on our common existence. What is forgotten by the techno-bureaucracy currently “managing” science and education, is, as Leszek Kołakowski summed up perfectly, fact that: “(...) for at least some of the great problems facing mankind there are no purely technical or organizational solutions”, because they require, above all, a “spiritual transformation”.
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The article discusses the artistic work of Alain Badiou, a philosopher and political activist. The text highlights Badiou’s surprising combination of modes of existence – the artist and the lover. Long before he earned acclaim for his philosophical doctrine of events, he published several short stories and popular plays, which penetrated into the bloodstream of his philosophical doctrine in many amazing ways.
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The article compares the doctrine of events and the “hysteria” of politicized art, which attempts to circumvent the miracle of creation, blurring the boundaries between what is political and what the aesthetic. This link permanently subordinated art to politics, leading art to function in subservience to the demands of politics. Yet, politics should also learn from art, especially since twentieth-century politics was the least innovative in terms of creating a vision of reality. It is therefore worth moving back towards prepolitical work on the subject of truth, looking at ways in which art can make sense of the non-places from which emerges all creativity.
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The article analyses dramatic divergences in events and the field socioaesthetics through a new perspective on the legacy of the Italian student revolts in 1977, when it was necessary to deal with theoretical demands for innovation and truth by means of specific practices. The Bologna Uprising was an extremely important historical precedent in the fight for autonomy, both in Europe and beyond. The ways of being that were disseminated in the contested space of capital accumulation in the 1970s in Italy remind us that we should not commemorate 1977 as an extraordinary event, because its reverberation has not yet become history. The intensivity of the forms of life from Bologna remain with us, clearly demonstrating the validity and value of autonomy.
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Articulating the political and emancipatory potential of creative practice, and focusing on the relationship between the visual arts and the student protests in 1968 can be described as the emergence of the aesthetic-political. An example is the work of Wolf Vostell and Jean-Jacques Lebel, whose artistic practice during the late 1960s and 1970s was intended to merge the boundaries of art and life. Such an approach to the event is dictated by various forms of artistic and political activity, political demonstrations and their hybrids – happenings. Events perpetuate the impossibility of exhaustive analysis, which means that their expression itself become a form of event.
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Since 1980 many empirical studies in diverse fields have used Hofstede’s [1980] framework and have tried to show that variation in cultural values leads to a variation of the researched outcomes. The purpose of this paper is to review existing literature on longrange planning and culture. This literature review shows the areas on which research has been concentrating, reveals gaps and provides directions for future research. Additionally, by scrutinizing research design issues, the aim of this paper is to guide researchers who are interested in doing studies in this area on methodological grounds as well. A general conclusion is that we still have very little knowledge of the influence of cultural values on long-range planning systems. Long-range planning as a subsystem of MCS has generally been studied in isolation from other controls and other contingency factors. Also, most of the studies are characterized by a simplistic interpretation of cultural dimensions. Thus, in the future more studies in this field should be conducted.
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A growing number of works of visual art and activist practices can be described as “situation-specific” art. The article describes three representative examples among the works of the author – "Patrol of Time" (2004–2007), "Wash Your Dirty Money Through My Art" (2008), and "I’m Sorry" (2004–2013).
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The “plural subject” is a term taken from the philosophy of Alain Badiou, which in the article serves to follow the development of art after the financial crisis in 2008. In accordance withBadiou’s philosophy the “plural subject”, both love and revolution are valid procedures for reaching the truth. Through the prism of this concept, we can read the works of artists such as Kay Eske, Sharon Hayes, Franciszek Orłowski and Claire Fontaine, and thanks to such a reading analyze how various forms and manifestations of it serve to criticise capitalism.
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The article discusses media events in the context of Greece before the rise of Syriza. Contemporary cases of political violence have been instrumentalized as a “war against anomie”. This makes it possible to analyze its highly medialised context, within which the discourse of an emergency situation has been formulated in Greece. The article discusses the broad impact of media events on voters outside of Athens, with particular attention being paid to the hunger strike chance of a young anarchist named Nikos Romanos, the media coverage of which serves as an example of counter-hegemonic media practices.
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This article aims to explore the legacy of significant happenings from the 1960s, especially the way in which various Argentinean artists combined their creative work in intense politically arenas with the emerging forms of mass media and avant-garde attempts to blur the boundaries between art and life. Argentinean happenings are a reminder about the crucial role played by mediation in debates about art and politics anchored in the event.
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A gesticular inventory of political and artistic events. While the revolutionary spirit can never be arrested by the idea of representation, we can trace it in what it defines as “the difference of repetition” – from hand movements during assemblies to the tragic contortions of the body during therapy. The body is a highly functionalized membrane of reason and its extension. The body of the revolution – similarly – is primarily a type of work that is post-individual in form, and involves collective dedication and responsibility.
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The Anthropocene, a new geological era – this is a proposition which in recent years has been increasingly discussed in the scientific world, among scholars of culture, as well. McKenzie Warka’s books "Molecular Red" and "Minimal Ethics for the Anthropocene" analyse the new situation in which humanity finds itself in the early twenty-first century, and proposes we start searching for new theories, practices and ethics that would be adequate for the Anthropocene era. These books also show how the Anthropocene is a cultural text, and its impact on literature, film and the visual arts. It raises the all important question of how new theories, ethics, and, above all, politics of the Anthropocene can become a force for real potential change.
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The text introduces the reader to the contents of the recently released Polish translation of the work of the eminent historian D. Ehrman Barth, entitled "The New Testament. A Historical Introduction to the Early Christian Writings" (2014). This study gives a clear picture of the historical germination of Christianity and its original diversity, preserved in written sources, and presents sound knowledge on the development of early Christianity. According to the author, however, what is most important is that this work teaches us how to interpret biblical texts by questioning fundamentalist usurpations. As he proves, this temptation is deeply rooted in the evolutionarily development of human nature, and evidence of the dangers deriving from this today include the phenomenon of the popularity of ISIS’s ideology, even among Christian converts.
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Andrzej Warminski’s "Material Inscriptions" is not only a tribute to the writings of Paul de Man, but also develops his method of “rhetorical reading”. This is possible thanks to a nuanced interpretation of the late deconstructive works, with particular emphasis on the enigmatic concept of “materiality”, which allows us to write about what precedes the figuration of language itself. Warmiński’s essays are both varied (the author addresses the methods of poets, novelists and philosophers of different epochs) and monotonous, due to a characteristic excess of methodological rigor. This makes leads all interpretations to similarly sceptical conclusions regarding the impossibility of pinning down any symbolic system, whether poetic or philosophical.
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