![Носталгии. Леа Вайсова и колектив, „Портрети на изчезваща София“](/api/image/getissuecoverimage?id=picture_2014_23292.jpg)
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This paper is part of an extensive study of the dynamics in performing arts in an era of an explosive development of breakthrough technologies. Thе article deals with key terms such as ‘posthumanism’ (Steve Nichols, 1988; Donna Haraway, 1991; Robert Pepperell, 1995; Katherine Hayles, 1991; Manuel de Landa, 2003, etc.) in the sense of existing in a state beyond being human; ‘transhumanism’ (biotechnological development of human beings); ‘digimodernism’ (Alan Kirby, 2009); ‘cyborgism’ (David Krep, 2007); ‘hybridisation’ (Edward W. Said, 1978, Homi K. Bhabha, 1994, Philipp Stockhammer, 2012), etc. The critical discourses upon these newly coined terms are not homogenous, but are often, in fact, a series of contradictory ideas. Usually, issues of ethics and morality, language and communication between different types of social systems are also under consideration as well as of the intellectual efforts for interdisciplinarity. Some of the best examples are also considered towards creating new stage hybrids by using new technologies in Bulgaria and abroad.
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The article present one of the ways in which photographs can be employed in studies on everyday life. The purpose has been to recognize and describe elements of everyday life found in private photographs submitted to analysis. The personal documents method was used because amateur photographs belong to this category of documents. The visual data matrix elaborated by P. Sztompka was applied. The analysis of visual data suggests that the photographs document six contexts of social life (science, work, education, college holidays and celebrations, religion and religious holidays, and finally sports and recreation). Additionally, each context was interpeted from the perspective of the individuals involved, their actions and interactions, communities, culture and the surroundings.
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Author of this article discusses the various ways of the use of the film materials in the project “Invisible city” and their analysis (four short films about the makers of “Invisible city”, four kinograms of the studied places and one scientific film that is a form of self-reflexion of the researchers). Farther he presents a short historical and theoretical introduction to the scientific film and to his specific genre who is sociological film. For conclusion he undertakes the reflexion about the possibility of the next studies based on the film materials from the project “Invisible city”.
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Our concerns in the paper are the differences in the ways of recollecting personal past with mediation of digital vs. analog photographs. The technology of analog photography doesn’t allow to control the final image. The main impact of digital technology for non-professional photographer is a chance to see the image before it would be saved. Therefore, while using analog camera photographer seems to encode more additional and non controllable information. It may lead to the differences in the quality of memories. Participants of the study took photographs of the same event. They took 6 photos by analog camera and 6 photos by digital camera. Participants recollected the target event twice two weeks and a year later. In accordance with hypothesis those who took analog photos recollected significantly more details and narrated better stories of the past event than those who took digital photos.
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The purpose of the article is to show what knowledge on the ludic culture of Cieszyn Silesian residents at the turn of the nineteenth and twentieth centuries can be obtained through the resources of the Photography Section of the Museum of Cieszyn Silesia. The project required both preliminary research and an analysis of archival photographs. The research questions regarded the usefulness of old photographs depicting past games in the preparation of both online and offline museum classes on the local cultural heritage. In the article, the author discusses photographs documenting past toys and pastimes, divided into 10 thematic groups, and presents outlines of lesson scripts as well as other museum activities prepared on their basis. The research conducted during the lockdown caused by the COVID-19 pandemic required netnographic methods and the analysis of historical sources, while the application of methods of design thinking made it possible to prepare scripts of museum classes.
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Does to look mean to suffer? And do images cause suffering, can they be cruel? With the question posed by Judith Butler: “Does the photograph continue the event into the future?” as his point of departure the author ponders on images of the war taking place in Ukraine, their ability to mobilise but also to transfer violence and trauma, and to wound. The strange duration of a traumatic scene signifies a return to the same: the process of mourning thus remains not closed and constantly evades attempts at capturing suffering within frames.
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The Visibility of a City in the Interwar Period. Scopic Regimes in the Photographs of Lajos Orbán (1897–1972) from Cluj. Lajos Orbán was an amateur photographer, whose main body of work was produced starting from the 1920s when he became the employee of a local shop specialized in photographic equipment and member in local photographic societies, e.g. the Tessar Bowling Society. His photographs were displayed at international photo exhibitions, but he was organising regional photo contests and exhibitions as well. His photographs show the influence of the pictorialist photography, but traces of modernism or the new objectivism are present as well. These pictures became archival documents, and they are also important resources to the visual culture of Transylvania, the visual literacy of the people living in the interwar years. The paper offers an in depth analysis of the scopic regimes detectable in the photographic heritage of Lajos Orbán based on the ways human figures and spatial relations are represented in his pictures.
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The article presents various ways of using the production of Damian Bieniek Jan Kochanowski. Treny in Polish high school education. Suggestions enable the development and improvement of students’ skills included in the core curriculum, among which the most important are the reception of film as a text of culture and activities related to it, such as: analysis of the structure of the film, reading its sense, main idea, information, and explicit and hidden meanings, presenting proposals for one’s own interpretation of this text of culture (literary, historical and cultural contexts) and young people’s own experiences. This text is a voice speaking to the need to improve film education in a modern school. The production has been used in it as an independent text of culture, around which lessons are conducted, a didactic aid helpful in traditional discussion of trains and a tool enabling the development of students’ Polish language skills and supporting the didactic and educational process organised by the teacher.
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Review of: Lībiešu [kultūr]telpa. Zanes Ernštreites sarunās un Agneses Zeltiņas fotogrāfijās. [Ventspils:] LU Lībiešu institūta atbalsta biedrība / LI Līvõd institūt tigtimiz seļtš, Nodibinājums „Ventspils lībiešu apvienība Rānda”, 2023. 334 lk.
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The formation of self-image is part of being human. Human communication with the surrounding enviroment can occur in various ways. A specific kind of communication is the visual self-image. It is a specific kind of communication characteristic for visual arts and also for a group of young adult participants. This paper, on the theoretical and research levels, focuses on the presentation of young adults' self-image in their visual representations. The aim of the research was to explore self-image through portraiture in photography.The research was conducted not only through an analysis of visual data, i.e. photographs, but also through thematic analysis of the authentic reports given by the participants. The results highlight the self-image of young adults for whom the arts provide a medium for self-expression.
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The article treats photography as a medium of art and a medium of social influence. This perspective makes it possible to capture the essence of the photographic work, which form and content complement each other. The analysis of Ireneusz Zjeżdżałka’s photo-images from the album “Sedimentation” was based on the semiotic theory of information, with a particular emphasis on syntactics, in order to study the role of light in the photographic image: its influence on the form and on the content, including by performing a mediumistic function, i.e. mediating, between the spheres of the sacred and the profane. The purpose of the article is to pay attention to the visual language of the image, which is governed by different rules than the verbal language. To do this, an attempt has been made to present the basic principles of “imago linguae”, with particular reference to the role of light in the photographic image as a “sine qua non” condition for the existence of photography. Thus, the article is an attempt to answer the question of whether light is responsible for creating a message with a metaphysical basis, i.e. one that goes beyond the frames of ordinary sensory cognition.
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This study explores the meanings currently ascribed to family photographs and albums and aspects of photograph collecting and album making behaviour. Current ways of storing photographs are presented as well as highlighting perceptions of the durability over time of these new forms of storage. The study is exploratory in nature, based on empirical research through the conduct of ten (structured) interviews conducted between August and September 2021. The results of the study show the multitude of meanings attributed to family photo albums, namely: reminiscence of moments in family life, reconstruction of family biography, communication between generations, knowledge of ancestors (great-grandparents, grandparents, parents) in different stages of their lives, establishing a link with the past and building family identity, family history and, last but not least, emotional, nostalgic or joyful meanings, aspects that strengthen the family. At the same time, the study highlights new forms of photo preservation - the shift from print to digital photography, including digital albums. The research also reveals perceptions of the durability of digital albums over time by recognising both positive and negative aspects. The article contributes to the development of research on family photographs and albums in Romanian society, highlighting the importance of the family album and considering it as an object of sociological research.
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W projekcie Credo opowiadam o tym, co dla mnie ważne: o miejscu urodzenia, mojej ulicy, przyjaciołach, kolegach z ulicy, bliższych i dalszych znajomych, o nieznajomych mijanych na ulicach miasta, których twarze mnie fascynują – chcę je sfotografować i zapamiętać.
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The author situates the photographic and film project titled Dreamed History of Cinema in Podlasie in an autoethnographic and educational context. He highlights the increasingly important role of storytelling in educational activities and, against this background, provides a detailed description of the discussed project, drawing on his own experiences as the author. Additionally, in seeking its exegesis, he relates the process of realization to the critical fabulation method proposed by Hartman and the category of post-memory. In this context, referencing Belting’s concept of the image also proves helpful. Placing the discussed project in such a theoretical framework demonstrates its significant educational potential, as emphasized by the article’s author, who proposes specific actions based on the content related to the Dreamed History of Cinema in Podlasie.
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The aim of this paper is to present the possibility of using visual sociology method – photographic analysis – in geographical research. In this case study, the author analyzed photographs taken by tourists during their stay in Łódź which, according to them, “best reflect their stay in this city”. In addition to approaches typical for sociological research, the study was expanded by the spatial aspect including the places where the photographs were taken and their association with the most popular tourist attractions of the city. The outcome of this work is a map delineating the “tourism space of Łódź” (according to the visual criterion) which shows one of the possibilities of using analysis of photographs in geographical research. The paper presents the results that can be obtained from the analysis, using four different approaches and methods of interpretation (structuralist, hermeneutical, semiological and geographical).
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