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The Question of Cinema: Myth, Prophecy and Technology
This essay uses the method of Tensegrity – a means of dynamic methodological triangulation that allows for open threads and poetic interventions.
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This essay uses the method of Tensegrity – a means of dynamic methodological triangulation that allows for open threads and poetic interventions.
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Considering art in the context of a game might clarify some troublesome questions related to so-called „contemporary“ art. By this approach, certain installations and actions acquire new interpretations. In this playful interaction between the artist and the public, meanings emerge and vanish.
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This article presents the music as an object of sociological analysis and the focus is on two musical genres – rock music and electronic music. The idea of writing this article was engendered from my personal commitment to the subject of study, as my aim was to examine technique and technology in the process of creating music. The basic theory used is the actor-network theory (Bruno Latour), complemented with the concepts of “taste of public” (Antoine Hennion), and the analysis of the contact between author and audience (Alfred Schutz). The article refers to empirical evidence of fieldwork from 10 to 30 October 2013.
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The essay overlays Michael Joyce’s 2015 novel, Foucault in Winter in the Linnaeus Garden – a polylingual, operatic fantasy comprised of invented letters— upon Foucault’s work, especially Madness and Civilization, as an existing topography that overlaps with the physical and emotional territories of the authors’ own lives. They meet at several locations, from New Hamburg and Nyack, to Marcel Broodthaers’ exhibition at MoMA, New York; while Daniel Bozhkov separately travels to Sweden, Spain, Germany, Bulgaria and Texas, in order to visit various locations mentioned in the novel, as well as ones not mentioned, but relevant to Foucault. The seemingly fragmented text, perforated by the authors’ letters to each other, exists in a non-stop costume ball of famous shadows – Goya, Dürer and Bosch meet Magritte, Deleuze and William Kentridge. A hand drawn map accompanies the essay as a parallel, Deleuzian fold that aims to further unravel the authors’ developing connection to each other (who first met through this project), and their relationship to Michel Foucault’s unsettling and foreverprovocative endeavor.
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The short essay “Dream Kitsch” (“Traumkitsch”) is a controversial comment by Walter Benjamin on surrealism, which the author sees as the “last snapshot of the European intelligentsia”, as a crisis of art that aims to mobilize dreaming and thereby risks missing the essence of things and turning them into kitsch.
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The article considers how prototype is established through a dialectical construction of artistic form. The conception of prototype is presented through a long dialectical examination of the relation between subjective sense and its material counterpart as a topos of symbolic being. The prototype is a regulative ideal pattern of maximum expression in artistic form. The image and its prototype establish each other simultaneously. In artistic experience, we encounter a phenomenon of correspondence. Losev presented a detailed structure of likeness in image, and showed how it involves the disclosure of the prototype.
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This text deals with the dynamics and dialectics of the street as a special space of multifaceted impacts and transformations, which are in many cases of a borderline and ecstatic kind. From the viewpoint of the authors under consideration, the street is seen and experienced as a topos of crisis, of revelations, but also of secrets, of apocalyptic visions revealed primarily in the depths of affect, but also through morbid expressionistic reflection; visions that seem to come together and unite within hypnotic prophecies...
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The purpose of this contribution is to show how deep and valuable is the cultural heritage of a people and how dynamic, especially in difficult times. One basic concept used is the cultural style, which differs from the individual style in art. We shall mention the philosophical contribution of a Romanian philosopher of culture, Lucian Blaga, who, under the influence of Jung’s “collective unconsciousness” wrote about the cultural heritage and how it is transmitted from generation to generation through an unconscious structure called by Lucian Blaga “the stylistic matrix”. We shall apply this philosophical theory to some artistic productions of the Romanian art of the period 1960–1980. We will also use some specific mythological and ritual meanings connected to the vegetal world, especially to wheat, flour, paste, bread.
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The work is devoted to different forms of body art, where the author uses his own body as a material for making art. These art practices are related to questions about their ontological nature and the criteria for defining and distinguishing art and reality, object and subject, author and work of art. An Identification of different components of the art process - author, work, public, as well as the relationship biological–mechanical–virtual have also been considered.
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The purpose of the work is to reveal the essence of the process of introduction of corporate culture in the system of aesthetic orientation of professional training of TV presenters. The research methodology involves a comprehensive approach with the use of analytical, systematic, and comparative methods, which makes it clear that the ideal of art education needs a meaningful content, creating optimal conditions for corporate culture in the system of aesthetic life of students of higher education and arts. The scientific novelty of the work lies in updating the concept of corporate culture in the context and in connection with the formation of professional training of broadcasters. Conclusions. As a result of the conducted research it is established that in the conditions of creative higher education the implementation of the aesthetic orientation of professional training of students is carried out by forming the personality of the artist with harmoniously combined professional, moral and aesthetic, psychological qualities and is provided with purposeful educational activities. The most important aesthetic qualities in the process of forming the corporate component of the aesthetic preparation of future TV presenters are the following: respect for the history, culture, dignity, ethical ideals of each people; interest in the national language, customs, traditions, as well as feelings of mutual tolerance and delicacy as to the national "other" mentality, spiritual values, and carriers of another culture and opinions that do not coincide with one's own.
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The letter of the Holy Father John Paul II written in Rome in 1987, in the tenth year of His pontificate, on December 4th, on the day of memorial of Saint John Damascene, the doctor of the Church, on the Twelfth Centenary of finishing the controversy over the icon, is of great importance for the Pope’s program of ecumenism. The Holy Father indicated various directions of the dialogue, however, the one of the utmost importance concerned the agreement with the Orthodox Church, which was confirmed in the letters and in His other documents quoted in this paper. The image used to be essential for religious practice, for illustrating the word of prayer and of the song, in order to preserve the tradition of the Church. The strict prohibition introduced by the iconoclasm depreciated not only the artistic tradition of paintings but also the basic dogmas of Christ’s Incarnation and the one which introduced Virgin Mary as the Theotokos (the God-bearer). The ban constituted a threat not only for the icons but also for the Christian faith. In His Letter, the Pope underlined the important role of the Second Council of Nicaea which reintroduced icons and maintained and deepened the meaning of the cult in the faith of believers. Furthermore, the Holy Father indicated the connection with the Second Vatican Council in understanding the function and form of images in contemporary Church. Contemporary trends are overwhelmed by the impotence of the spiritual expression of sacral art, which is a great concern for the Pope. The Letter is, therefore, a dramatic warning of the threats for religious art in contemporary time, expressed by the Holy Father with these words: ‘The rediscovery of the Christian icon will also help in raising the awareness of the urgency of reacting against the depersonalizing and at times degrading effects of the many images that condition our lives in advertisements and the media.’ (DS, 11).
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W artykule omówione zostały dwa opracowania kantyku Magnificat powstałe w I połowie XVII wieku na potrzeby celebracji liturgicznej protestanckiego kościoła św. Marii Magdaleny we Wrocławiu. Autorem kompozycji jest Sebastian Lemle związany wówczas z tą wrocławską świątynią. Przedstawione kompozycje stanowią przykład recepcji polichóralnej twórczości na Śląsku. Jednocześnie są świadectwem zachowania kantyku Magnificat w celebracji wspólnot protestanckich, a także potwierdzają zasadę jego wykonywania zgodną z praktyką alternatim.
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La recherche d'un certain métier ne peut plus être menée méthodologiquement dans la perspective d'une seule discipline, aussi complète qu՚elle soit. Il s'agit d'une approche complexe et interdisciplinaire (ethnographie, ethnologie, histoire, archéologie, sociologie, esthétique, connaissance de technologies spécifiques). La volonté d'analyser autant que possible les données nous a conduit à l'idée de combiner la perspective synchrone avec la perspective diachronique, à partir d'une documentation bibliographique et de terrain approfondie pour la capitalisation des résultats, y compris avec l'aide de disciplines connexes. Les recherches de ces dernières années ont révélé des réalités insatisfaisantes, similaires à celles d'autres domaines où l'artisanat est touché, comme: la restriction du nombre d'artisans, la disparition totale des métiers dans de nombreux centres, le manque d'intérêt des jeunes pour apprendre et pratiquer la poterie, la régression quantitative due au remplacement de plus en plus accentué des objets traditionnels par les objets industriels, la diminution de la circulation des produits. L'ornementation de la poterie obogène, si l'on se réfère à des décors déjà reconnus comme des classiques, tels que: coq, aigle, poisson, feuille d՚erable, chérubin, toile d'araignée, plume de paon, chemin perdu et fer de labour, dépend d'un autre domaine de l'artisanat traditionnel, les œufs décorés. La migration de ces décorations symboliques sur des récipients en argile a commencé avec le maître Marin Diaconeasa, le grand-père du décorateur d'œufs Tudor Diaconeasa, également concerné par les deux métiers. Le chemin perdu, motif ornemental reconnu dans les deux métiers traditionnels analysés, est en fait une métaphore qui définit l'orientation actuelle de la céramique et de la décoration des oeufs.
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The paper draws attention to some scenes of sea journeys, symbolic or actual, found on various kinds of Roman funerary monuments from the territory of Bulgaria. Herе will be discussed some images of members of the marine thiasos, considered companions in journeys over water. Analysis focuses on the funerary monuments from Odessos, Philippopolis, Novae and Nicopolis ad Istrum featuring the above mentioned depictions. The overview concludes with a monument from Odessos, referring to an actual sea voyage.
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This essay analyzes emotionally-charged descriptions of the Holy Land’s locations, composed by Byzantine and Slavic pilgrims, from the 12th to the 15th century. The author considers that such episodes were meant to assist the audience in their imaginary journey. By concentrating on curiosities, dangers, beauties of landscape, or physical efforts, the authors created a feeling of presence at the sites, here-and-now. On the other hand, the accounts of pious, bodily performances and the Erlebnisse of encounters with the Divine facilitated the audience’s access to the spiritual experiences and helped them to conduct the transformative journey mentally.
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The big canvasses called “Jerusalem icons” (Jerusalimija) by the Eastern Orthodox Slavs were at first topographic depictions of Jerusalem and the sacred places around it being sites of worship, sometimes with the inscription: Η ΑΓΙΑ ΠΟΛΙΣ ΙΕΡΟΥΣΑΛΗΜ ΚΑΙ ΤΑ ΠΕΡΙΧΩΡΑ ΑΥΤΗ. In the late 18th c. some new elements appeared in the complex composition which point out to other sacred places in the Eastern Mediterranean: the miraculous icon of the Holy Mother of God from the Kykkos Monastery in Cyprus, the Holy Mother of God of the Life-Giving Spring from Constantinople, the Mount Athos monasteries, Mount Sinai. There are relatively few similar examples that can be defined as total proskynetaria and they probably appeared made to special order of pilgrims. The Jerusalem icons in Bulgarian collections with depictions of St. John of Rila and his monastery and of St. St. Cyril and Methodius as well as the appearance of St. Sava of Serbia in canvases ordered by Serbian pilgrims are also interesting. The very road of pilgrims is marked by the port of Jaffa and the caravan of camels heading to the holy city of Jerusalem.
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The work of Theodor Anton Ippen (1861–1935), Orientalist and Consul of the Habsburg Empire in Scutari, presents a special interest for the Christian topography of north and central Albania. This article is a short critical approach on Ippen’s reports on six churches, with emphasis on their fresco decoration (Byzantine, Late Gothic, and Post-Byzantine one). Ippen’s contribution is still valuable, as it brings out documentation on previously unnoticed monuments and frescoes of medieval Albania, some of which have not even survived.
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The image from the prothesis niche of the St. George Church in Arbanassi, which has reached us thanks to archival photographs, is an illustration of a troparion from the first song of the canon of Holy Saturday “Up on the Throne and Down in the Grave”. The composition of the church in Arbanassi follows a non-traditional iconographic model, which is relatively rare in wall paintings of the 16th?17th centuries. As a selection of its elements, the image is closest to the visualization of the troparion in the Piva Monastery (1603-1605) in Montenegro. On the other hand, an iconographic detail ? the posture of the Virgin embracing Christ in the composition Christ in the grave, brings together the example of the Arbanassi church with monuments from the region of Epirus during the 17th century. The frescoes in this part of the altar of the St. George Church are not dated by a donor inscription or other information. I hope that this article, as well as further research, will contribute to a more accurate placing of the frescoes in the Balkan art from the Post-Byzantine period.
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This article deals with the existing assumptions about the occurrence and the layers of murals and construction works at the Chapel of the Holy Archangels in the Monastery of Bachkovo. Two Greek inscriptions found while carrying out restoration work are published for the first time: one above the window in the south wall, and the second inscribed on the basement of the drum on which the dome rests. The former is a donor’s inscription and the author deems it to have contained the name of the founder along with that of the painter, while the latter is hymnographical/liturgical and though surviving and uncovered fragmentarily until mid-2020, its content refers to the Archangels. Both inscriptions are palaeographically dated to the fourteenth century and are associated with the donation activities of King Ivan Alexander in the cloister. The deciphered inscriptions confirm the correctness of the assumption of some researchers that by the mid-fourteenth century the church was dedicated to the Archangels. The author inevitably addresses the question of the function of the chapel in the medieval period and how it correlates with the lower floor, the catholicon and the old gates. Here once again he argues that the Chapel of the Holy Archangels was not a mortuary one. In addition to the overall argumentation, Emmanuel Moutafov draws a number of parallels from the historical, theological, philosophical and artistic contexts of the age.
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