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Монографія присвячена розгляду та аналізу специфіки функціонування електромузичного інструментарію у сучасній музичній культурі. Дослідження адресоване професіоналам та любителям електронної музики, мистецтвознавцям та культурологам, викладачам та студентам мистецьких навчальних закладів.
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This work defines the creative principles of Michel Butor’s less-known writings that are based on experiment, poetizing and interaction with fine arts. It analyses hundreds of texts and art sources and focuses on the five-part Illustrations cycle, pointing out Butor’s most important creative techniques: intertextuality, which deals with an innovative use of citations and rewriting not only other authors’ but especially his own texts; and intermediality, dealing with an interaction between fine arts and literature. It presents Butor’s transposition of an aesthetical effect provoked by an artwork into a poetic language. The analyses and theoretical reflections are placed into the broad context of Butor’s work, with an emphasis on theoretical issues and on the continuity of procedures throughout his work.
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The land of Cieszyn Silesia has been inspiring artists, composers, and other creators of culture for years. In particular, the musical folk culture has been a stimilus for activity in the field of collating, analysing, and researching folklore material (songs, intrumental melodies), but also for creating based on the said folk music of new pieces, both following “classical” esthetics (stylizations) and “transformed” esthetic (among others, contemporary folk music along with its derivatives). Cieszyn Silesia is a place of scholarly research most of all due to its rich historical and cultural past, to which the text composing this publication testify. (A fragment from the Introduction)
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The art theory discourse is in lack of terminology regarding the analysis ofconnections and interactions between nature and contemporary art – especiallyartworks that are in connection or are created in a natural environment. Theaim of this book is to introduce and define starting points and terminology inthe analysis of man-made interventions in natural environments that have someaesthetic value and artistic intentions. These terms are interdisciplinary and areused mostly in the realm between theatre and visual arts. I argue for exampleterms like: performativity, performative space, viewer, site-specific, aura, atmosphere,etc. The dimensions of the research do not allow a large number ofartworks to be discussed. Therefore, it can only include specifically illustratedand underlined subjects.
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Świat to skomplikowane miejsce, a my jesteśmy w gruncie rzeczy dość prości. Jak proste istoty radzą sobie z narastającą złożonością świata? Oto pytanie, które stawiamy sobie, prowadząc badania nad kulturą wernakularną. Obszarem zawartych w tym tomie analiz jest właśnie przestrzeń rozciągająca się pomiędzy złożonością współczesnej kultury (relacji społecznych, ekonomii, polityki itd.) a prostotą narzędzi, którymi dysponujemy, by urządzić się w niej i działać sprawnie. Interesowały nas procesy upraszczania rzeczywistości, w ramach których jednostki ją postrzegają i opisują, planują i podejmują działania, a także budują swoją tożsamość i synchronizują wysiłki w większych grupach. Kultura wernakularna, jaką opisujemy w tej książce, stanowi próbę radzenia sobie prostymi środkami w skomplikowanym świecie. Ze Wstępu Jest to praca o solidnej podbudowie teoretycznej i metodologicznej, równocześnie odwołująca się do najnowszych ustaleń faktograficznych. Zawodowi naukowcy, przyzwyczajeni do suchych jak kurz, opasłych tomów, znajdą w tej lekturze miłą odmianę. Ze względu na swój język książka może zyskać odbiorców poza wąskim gronem profesjonalnych humanistów. Powinna trafić do studentów i doktorantów, którzy odniosą z niej duże pożytki, ale także do szerszej czytającej publiczności. dr Piotr Majewski, Uniwersytet SWPS
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Taking the position of the manager of Teatr Śląski in Katowice in 1992I was aware of the fact that it was the only theatre in Poland named after StanisławWyspiański. The patron himself and his thinking about art, especiallyan interdisciplinary nature characterizing him, imposed the project of an artisticprogramme on this stage for 11 years. Wyspiański’s connections with Silesiacover both an artist’s interest in an Old‑Piastdistrict, including fascination withHenryk Pobożny, and his contribution to the shape of the intellectual formationof Poles who, after 1918 dictated a socio‑politicalnature to Katowice. MichałGrażyński, a voivodship and Marian Sobański, a long‑standingmanager, sawStanisław Wyspiański as both the theatre patron, and a starting point for anartistic level they dictated to the very institution. Giving the name to the theatrein 1936 was connected with Józef Piłsudski’s death. For many Poles the marshalwas the embodiment of Konrad from Wyzwolenie, and his death determinedmany spectacular events.The theatre in Katowice offered Stanisław Wyspiański’s biggest masterpiecesin the 1930s. They only lacked Akropolis. The adaptation of this play, consideredby many the most difficult one written by an author of Wesele became a greatchallenge for the Silesian stage at the end of the first century of its existence. Thedecision was reinforced by the fact of Poland’s entry to the European Union andintensification of talks on civilization roots of our country. A biblical area andthe world of Greek and Roman mythology, very much present as the two mainconstituents of Akropolis, allowed the theatre to enter into an important socialdialogue. The task to by performed by producers and, mainly a director, washow to stage the play. The basic conception was solved by means of buildingthe person of the Poet, mainly from the stage directions inspired by the authorhimself when writing Akropolis, his struggles with disease and fascination withPolishness. Next, the person of the Poet became the source of inspiration forWhiting a play on Wyspiański. Chryje z Polską by Maciej Wojtyszko was basedon a little known fact from our history, namely one meeting between Wyspiańskiand Piłsudski on 1 March 1905. Its leading theme was support for an ideaof treasure in favour of the Polish army to be. Stefan Żeromski was engaged ingetting into touch. Wyspiański considered the possibility of taking the positionof the manager in Teatr Miejski. Piłsudski wanted to use a February resolution inRussia to start yet another uprising in Poland. The work by Maciej Wojtyszko,presenting a confrontation of both characters, shows possibilities of a dialogueof art and politics, reveals painful wounds in the history of mentality of Poles.The image of a character Stanisław Wyspiański becomes in both positions isa food for thought.
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Trzeci tom publikacji zbiorowej Muzyka religijna stanowi przede wszystkim świadectwo rozmaitych badań nad sferą sacrum, sferą religijności, sferą inspiracji duchowych, badań prowadzonych w obrębie „sztuki dźwięku”. Autorami zamieszczonych artykułów są polscy muzykolodzy, etnomuzykolodzy i teoretycy muzyki. Wśród poruszonych zagadnień znalazły się m.in. twórczość o. Amanda Ivanschiza, muzyka Tadeusza Kasserna, Karlheinza Stockhausena i Krzysztofa Pendereckiego. W pracy ukazano również aspekty działalności muzycznej parafii bielsko-żywieckich oraz dziedzictwo muzyczne braci czeskich w Zelowie.Książka z pewnością zainteresuje wszystkich tych, którzy chcą odnaleźć sygnały religijności w muzyce, ale także osoby poszukujące informacji na temat muzyki lokalnej – na Śląsku (Górnym i Cieszyńskim) i w regionie bielsko-żywieckim.
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The aim of this book is to indicate and characterize the relationship between the phenomenon of agency and the aesthetics of the video game medium. The author analyzes the properties of interactive texts that allow their users to feel the pleasure of influencing the virtual spaces or the course of events taking place within them. Therefore, the book has been divided into two parts: theoretical, which organizes the existing definitions and types of agency typical for video games, and analytical, that presents a layered model of agency. Author presents four levels that organize player experience: simulation, narration, rules, and meta-agency, which gathers numerous activities beyond gameplay. The following chapters explore issues such as: reception and transformation of the gameplay aesthetics, user experience and emotions, differentiation of player’s agency, interface functions, agency mechanics, and agential dissonance. The book also contains extensive analyzes of three high-budget mainstream games: “The Legend of Zelda: Breath of the Wild” (Nintendo, 2017), “Witcher 3: Wild Hunt” (CD Projekt RED, 2015) with “Blood and wine” expansion (CD Projekt RED, 2016) and “Grand Theft Auto V” (RockStar Games, 2013).
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The book does not only attempt to reconstruct the architectural and theoretical oeuvre of Antoni Jabłoński, but it also explores how Jasieńczyk, who spent his whole professional life working for Russian state institutions, operated in his Warsaw environment. Jasieńczyk’s most important architectural projects, including the buildings of the University of Warsaw Library, the Anatomopathological Institute and the Main Post Office in Warsaw were commissioned by state institutions.
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The present collection, prepared in memory of Academician Petar Dinekov on the occasion of his 90th anniversary, contains the reports of the participants in the scientific conference held in Sofia from October 26 to 28, 2000. In addition to participants in the conference, the collection also includes additional presented materials. In total, the collection contains 71 articles by various scientists from Bulgaria, Russia, Serbia, Greece, Germany and Poland. The articles are arranged thematically in several sections in accordance with the issues of the sectional meetings of the conference.
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The book presents the artistic biography and some productions of Wojciech Kościelniak, the director and scriptwriter behind a number of novel and very well received music shows ("Les Misérables", "The Phantom of the Opera", "Notre Dame de Paris", "Dance of the Vampires"). His works are usually called musicals but to stress their uniqueness, commentators sometimes use a more whimsical name, "the kościelniaks". The shows by the artist are juxtaposed with analyses of famous musicals from other countries to demonstrate that "the kościelniaks" are not only fascinating artistic experiments but also the author’s original response to key trends in global musical theatre.
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This book analyzes through theoretical research the field of art creation in special education, art education, art therapy and visual art. The work is divided into three chapters. The first chapter contains analytical study focusing on disability images in visual arts in selected periods of European art history. The second chapter deals with art work creation in education and therapy and presents outcomes of an action research. It aims to compare and interpret new theoretical foundations of art therapy, special art education and inclusive art didactics. The final chapter focuses on establishment of authors with disabilities as artists and art creation as a specific strategy for social inclusion. At the same time it values artistic creation as a specific strategy of social inclusion.
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The book about the transcendent cinema of Darren Aronofsky takes the reader on a journey through the selected filmography of this outstanding American director. A monograph devoted entirely to his extraordinary work, which among film experts and film audiences has both a group of devoted admirers and critics. A strong, even anarchist accent falls here on the type of film hero presented, living on the margins of society and consciously rejecting its normative structures. The films, as well as the literature to which the book refers, are an expression of a critical attitude towards symbolic violence and the imposition of creatively limiting cultural norms on the individual, requiring such ordering such and no other understanding and experiencing the surrounding world. An astute observer of Darren Aronofsky's work will notice the existence of metaphysical problems in it, sometimes directly directed towards religious issues. We can call this kind of cinema transcendent. This cinema is only seemingly pessimistic in its meaning. It is worth looking for mythical stories to try to hear and understand what they have to offer us. It is worth turning to transcendence and trying to express the inexpressible, also in the art of film, as does Darren Aronofsky, who wants to be a trustee of great mythical narratives. These features, so characteristic of the director, can be seen, to a greater or lesser extent, in all his films, especially those referred to in this monograph. It will be interesting for the reader who expects from contemporary cinema something more than unsophisticated entertainment and wants to go beyond its ludic dimension.
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The play highlights the history of the Replika Educational Theater Center, a space that has gone through several conversions, starting in 1903, when it housed the first Italo-Romanian Hat Factory, and since 2015 it has become a studio theater.
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This book is a proposal to identify and take a closer look at selected aspects of the functioning of modern culture, in which the growing importance of games (especially video games) and the broadly understood ludicity, or "game-like" qualities, are clearly manifested. The key point of reference for the considerations undertaken are gamers, understood as a specific type of cultural participants. As the foundation for the argument, the examples of an academic reflection on the subject-matter are recognized and the field of this reflection is outlined, highlithting mainly the links between games and culture. This is followed by a discussion of issues related to the specifics of experiencing video games (mainly in a technological context), but also to the competencies of gamers, and to the fact of their diverification as a group, including some taxonomies. Further on, the perspective broadens, turning to the culture of games/gamers (among other things: venues designed for gamers, specialized media, events and other phenomena shaping the "gaming culture"). The argument concludes with an attempt to look at culture (as a whole) through the prism of its "gamification". Thus, the manifestations of "game-likeness" beyond the core "gaming culture" itself are discussed – the influence of games on other branches of culture (including entertainment industries or the arts), cultural protocols, everyday life, etc., and therefore on the competencies desired for modern cultural participation.
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Stanisław Bareja (1929-1987) was a Polish film director born in Warsaw. After the war, the family moved to Jelenia Góra. Staszek had great intellectual passions from the beginning and after graduating from high school he decided to continue his education at the film school in Łódź. In 1960 he made his debut with the comedy “The Man of His Wife. ” The 1960s were successful with the comedies “Wife for an Australian” and “Marriage with Reason. ” His films, in which popular actors appeared, moved to cinemas and attracted increasing criticism from the press and parts of the film world. In the late 1960s, Kasimir Kutz, an old friend of Barei’s, used the term “ba reizm” for artistic mediocrity. This helped to block further projects of the director for four years. Bareja returned in 1972 with the movie “Wanted Wanted. ” A new, more mature period of his work began. His comedies will now consistently brand the absurdities and humiliations of life under real socialism. That’s why there’s always trouble with censorship and crowded public halls. In the 1970s, criticism of Bareia remained ambivalent. On the one hand, he was still under condemnation, but on the other hand, there were positive voices on “What are you gonna do with me when you catch me” and “Bär” that put his films in a circle of moral discomfort. Since the late 1970s, Bareja had been a member of the Democratic Opposition, and his house had an illegal print shop. In the 1980s he produced two series “Alternative 4” and “Changer. ” The fight against censorship affected the health of the director, who died in the Federal Republic of Germany in 1987. Bareja’s wife didn’t have time to reach the dying man. The power of that time prevented them from doing so. Bareja left two children: the daughter Kasia and the son Janek. Today, the director’s work belongs to the permanent work of Polish film art.
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Książka Psychologiczna praca z filmem zawiera pogłębione analizy psychologiczne wybranych filmów oraz gotowe scenariusze zajęć i ćwiczeń. Dzięki przystępnemu językowi może być inspiracją zarówno dla specjalistów różnych dziedzin, jak i laików. To podręcznik, ale przede wszystkim materiał zachęcający do refleksji nad problemami ukazanymi na ekranie. Tytułową psychologiczną pracę z filmem mogą podejmować uczestnicy szkoleń, studenci, uczniowie, ale też wszyscy zainteresowani poszerzeniem swojej wiedzy.„Potrzeba takiego kompendium dydaktycznego jest oczywista, a jej dostrzeżenie i inicjatywa, aby ją zaspokoić, jest ze wszech miar godna uznania. Podręcznik pomoże jednocześnie kształcić studentów w zakresie wiedzy psychologicznej oraz pobudzać ich wrażliwość na sztukę.” Prof. dr hab. Zofia Ratajczak, fragment recenzji„Wśród dostępnych podręczników brakuje pozycji, które wskazywałyby możliwości, jakie daje film w poszerzeniu warsztatu pracy psychologa i w zawodach pokrewnych. Publikacja będzie służyła prezentowaniu trudnych i ważnych tematów psychologicznych, które wiążą się z lepszym rozumieniem siebie i swego otoczenia.” Dr hab. prof. UG Anna Maria Zawadzka, fragment recenzji
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Monografia utrzymana jest w duchu postmodernizmu. Prezentuje z różnych stron problem twórczości, oryginalnie i twórczo ujęty przez autorów. W tomie znalazły się teksty dotyczące rzadko omawianych problemów w psychologii twórczości, np. inspiracji twórczej, otwartości dzieła, twardości jako cechy osobowości istotnej dla aktywności twórczej. Autorzy włączając się w dyskusję psychologiczną dotyczącą złożonego fenomenu twórczości, podkreślają znaczenie aktywności twórczej w wymiarze kulturowym i jednostkowym. Zamierzona różnorodność ujęć i stanowisk w prezentowaniu twórczości rzuca światło na wieloaspektowość tego zjawiska, wymagającego właśnie takiego systemowego i interdyscyplinarnego ujęcia.
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Written at the turn of 2021/2022, the monograph From Sublimity to Arbitrariness. Painting in the Tragic Time summarises numerous reflections and comments contained in two previous books: Pamięć czasu – malarstwo w czasie bankructwa duchowego [Memory of Time – Painting in a Time of Spiritual Bankruptcy] and Malarstwo jako egzystencja – tożsamość osobista a postawa twórcza [Painting as Existence – Personal Identity versus Creative Attitude]. The new publication, written in the context of the ongoing COVID-19 pandemic and, above all, the barbaric war in Ukraine, addresses the fundamental challenge of the present time concerning the foundations of the collapse of man's spiritual condition at the turn of the 20th and 21st centuries. The striking disappearance of moral and ethical content at the present time results in an exceptionally repulsive manifestation of numerous attitudes, where the pursuit of material goods effectively eliminates from our lives everything that is connected with a deep reflection on the meaning of human existence, its universal values, rigours, principles without which our life irretrievably loses its human dimension, turning into a hostile space of numerous threats, fears, frustrations, traumatic experiences and emotions. All this results in a growing avalanche of depressing arbitrariness and the striving for so-called freedom from everything, which only deepens the feeling of the current chaos and entropy in interpersonal relations, where the possibility of communicating with another human being becomes a fundamental problem.
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