BOOK REVIEW: PLAY THAT DADA
Review of: Dada se dă-n spectacol (Dada Shows Off), by Ștefana Pop-Curșeu, Ioan Pop-Curșeu and Ion Pop, Școala Ardeleană Publishing House, Cluj-Napoca, 2023
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Review of: Dada se dă-n spectacol (Dada Shows Off), by Ștefana Pop-Curșeu, Ioan Pop-Curșeu and Ion Pop, Școala Ardeleană Publishing House, Cluj-Napoca, 2023
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The collection of poems by the French author Sabi Mara, Cartes post‑ ales / Postcards, was published in France in a bilingual edition, with a translation of the poems by Dženana Salihović and a versification edited by the poet Asmir Kujović. In this paper, we examine the topic of genocide in this collection, especially through the question of why poetry was chosen as a literary genre, the questioning of language through poetic figures, forms and images, but above all the relationship between text and images. We interpret this relationship especially through the aesthetics of the postcard, more precisely through the question of why the author chose to call her poems from this collection that way, and then we explore different aspects of the strange metaphorical format of these texts and of the entire collection, which concern time and space, especially the relationship to distance in a travel situation, but also family and collective memory.
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Educational travel, both for literary and artistic purposes, has been known since antiquity. It is a valuable source in historical and social research. Apart from its informative value, it is also an important iconographic and documentary source. Along with the development of scientific sightseeing and historical research, extensive programs for documenting monuments were launched at the end of the 18th century. A significant role in this process was played by painters and graphic artists, and later by photographers, who systematically documented monuments and historical landscapes. This article is devoted to the artists who made watercolours and drawings documenting the most interesting – as they were then called – “monuments of antiquity”, with particular emphasis on today’s Lublin region. The author discusses the works of Zygmunt Vogel, Jan Nepomucen Głowacki, Antoni Lange, Marcin Zaleski, Adam Lerue, Napoleon Orda, and photographers Karol Beyer and Jan Bułhak. He also draws attention to the role of amateur draftsmen, such as Maciej Bogusz Stęczyński, in documenting monuments,. The examples presented in the article indicate the great value of the documentation work undertaken, as well as the need for continuous documentation of monuments and the cultural landscape, which is undergoing rapid transformation before our eyes.
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This article proposes a comparative analysis of two novels: Les Funambules (Gallimard 2020) by Mohammed Aïssaoui and Beyrouth-sur-Seine (Stock, 2022) by Sabyl Ghoussoub. The subject of research is the relationship between novelistic techniques and forms of journalistic discourse. By examining the relationship between the literary text and the socio-cultural context, this study is interested in the presence of various forms of discourse in a literary text, such as the interview, the testimony, the report, the document and the photo.
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This article examines the shift from analogue to digital transmission of information, the metaphor of virtual community, and the everyday life of social networks. It also studies the construction of virtual identity taking place under the influence of the influencer system on the Internet. Viewing fashion as a process of constant production and reproduction of the social, of imitation as a means of social adaptation, the text examines the transformation of fashion into a primarily digital representation through influencer marketing. The analogue and digital evolution of codes is distinct, and the need of media and digital literacy are a growing challenge for modern society. This work will provide a clearer delineation of the fluid nature of identity and social belonging as well-articulated behaviors.This article examines the shift from analogue to digital transmission of information; the metaphor of virtual community, and the everyday life of social networks. It also studies the construction of virtual identity taking place under the influence of the influencer system on the Internet. Viewing fashion as a process of constant production and reproduction of the social, of imitation as a means of social adaptation, the text examines the transformation of fashion into a primarily digital representation through influencer marketing. The analogue and digital evolution of codes is distinct, and the need of media and digital literacy are a growing challenge for modern society. This work will provide a clearer delineation of the fluid nature of identity and social belonging as well-articulated behaviors.
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Pracownia Fotograficzna Biblioteki Kórnickiej została utworzona w 1992 r.; swoją siedzibę znalazła w pomieszczeniach nowo wybudowanego magazynu. Organizację pracowni powierzono Zdzisławowi Nowakowskiemu, który w latach 1975–1992 kierował Pracownią Fotograficzną Ośrodka Informacji Naukowej poznańskiego oddziału PAN. Biblioteka przejęła z Ośrodka sprzęt potrzebny do wykonywania mikrofilmów. Były to kamery mikrofilmowe DOKUMATOR DA V (z 1975 r., produkcji NRD), maszyna do wywoływania taśmy mikrofilmowej DEIGHTON oraz typowe wyposażenie laboratoryjne niezbędne do powiększeń fotograficznych. W późniejszych latach stopniowo unowocześniano pracownię; zakupiono lampy studyjne, stół bezcieniowy do fotografowania martwej natury oraz urządzenie do reprodukcji marki KEISER.
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The article deals with the problem of the literary image presented in the research by Stefania Skwarczyńska. The conception of the ‘image chains’ [polish: ‘łańcuchy obrazowe’] is analysed in Skwarczyńska’s theoretical works and monographs about J. Słowacki and A. Mickiewicz. The author argues that the Polish theorist’s conception of a literary image is shaped by the impact of two complementary media lines. The first is the meaning of the static and petrified in language formula of culture tradition. The other, is the problem of visual perception. Romanticism is interpreted as a general example of this process in Skwarczyńska’s monographies. The reference of the “isomorphism” notion by R. Arnheim is used to explain how Skwarczyńska’s works present this process of shaping literary image. The artistic categories of a colour and shape and the emotional aspects of poetic language are presented as the predominant problems for Skwarczyńska’s theory. These elementary aspects of poetic language can be interpreted as the phenomena that represents the activity of observation. The author reveals how these selected categories let Skwarczyńska construct the preliminary aspects of the visual problems of contemporary culture. Such theoretical perspectives, as observed in the works of the Polish theorist, results in Romanticism appearing as an example of a new way of seeing which results in aesthetic and perceptual changes in contemporary culture. Thus, Romanticism is shown as the example that leads Skwarczyńska to elaborate on the concept of “applied literature” as well. It shows how her theoretic take is linked to the description of culture changes or non-linguistic perception and the cultural phenomena of the likes of photography and film.
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V letech 2007 až 2010 byl Národní archiv řešitelem výzkumného úkolu s názvem „Zpracování postupu na záchranu světlocitlivých archivních dokumentů na skleněné podložce (deskové negativy), jejich ošetření, archivaci (dlouhodobé uložení), zabezpečení a zpřístupnění.“ Primárním důvodem pro zahájení výzkumu byl špatný fyzický stav deskových (skleněných) negativů, které jsou součástí významných archivních souborů a jejich historická, společenská i kulturní hodnota je nevyčíslitelná. Skleněné desky lze snadno mechanicky poškodit, manipulace s nimi je obtížná. Skleněná podložka, vlivem špatného uložení i zacházení křehne, mění svou krystalickou strukturu; světlocitlivá vrstva, která je na ní nanesena degraduje, loupe se, vytvářejí se na ní nejrůznější „závoje“, které postupně halí obraz, až se stane nečitelným. Archiválie tohoto typu nelze předkládat badatelům ke studiu a je tedy třeba informace v nich obsažené zprostředkovat veřejnosti jiným způsobem – kvalitní reprodukcí. V rámci řešeného projektu bylo naší snahou předložit pracovníkům paměťových institucí komplexní materiál, který by řešil problematiku dlouhodobého uložení a zpřístupnění skleněných negativů, a proto jsme se pokusili…
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Cette exposition saisonnière appartient à la série de celles que le Musée Juif d’Etat de Prague organise afin de rassembler l’iconographie de la Cité Juive de Prague et la documentation de ses monuments historiques ainsi que celle du patrimoine des communautés juives des banlieues de Prague.
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Photography is a peculiar and powerful medium, based on an inherent rhetoric of the image capable of influencing the viewers. This article conceptualizes and problematizes such power of the image, addressing to a critical and reflexive perspective on the visual rhetoric language of photography. Following a theoretical and conceptual approach in the framework of a philosophy of photography, the purpose of this article is a) to argue the relevance and the practical and social effects of visual rhetoric and its relation to press photographs, i.e. understand visual rhetoric applied to photographic images in journalism; and b) to understand the repercussions of this approach on visual communication to the relevant and emergent perspective of a philosophy of photography, when the cultures are more and more visual in a civilization of the image, which is mixed with the social phenomenon of misinformation in a digital age.
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In his work, the author primarily focuses on the urban landscape and its impacts on human life. His entire documentary work is linked by a unified authorial idea. In the “Jungle City” cycle, he works with the visual counterpart of the current form of the Bratislava metropolis, full of transportation routes, dense modern development, and concrete surfaces. The means to create unexpected views of the city for him are carefully selected locations on the urban peripheries surrounded by dense vegetation – trees and wild grasses. He thus achieves a completely new view of Bratislava, in which it returns to the wilderness. The project “Quiet Sunday Afternoons in the Town by the Refinery” is the author’s reflection on the impacts of industry in the rural surroundings. The focal point is the technical structure of an oil factory, which covers a significant part of an otherwise tranquil landscape of a small Austrian town. However, through austere visual expression, Korček delivers an urgent message about the adverse impact of the factory on the ecosystem. As part of the series “Here Is Our Paradise”, which unifies the theme of lawns and trees, Korček addresses the disruption of the stereotype of urban housing estates through the small self-help interventions of their residents. While walking with a camera, he supplements these plants with various found mixtures of folk interventions placed in front of panel buildings. In the “Searching” series, he adopts the position of an observer of urban movement, consisting of figures of pedestrians in narrow rays of the low-lying sun. This time he works in the environment of New York, but unlike the previous series, he does not specify this location, only utilizing its elemental potential. Korček does not work with photographic effects; he fully utilizes the poetics of the chosen locations. He skillfully works with perspective, multiple plans, or the selection of a location. Through their specific combination, he succeeds in creating authentic images of the location, in which we still find a lot of personal fantasy.
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The article reviews Martina Lukić's exhibition "Kronos," which juxtaposes analog and digital photography, specifically the historical anthotype technique with AI-generated visuals. Lukić explores the relationship between subject and object, creating anthotypic portraits using AI tools like Stable Diffusion and DALL-E. The process involves generating negatives, applying natural dyes like turmeric and cherry juice to paper, and exposing them to UV light. The exhibition reflects on themes of time, power, and the ephemeral nature of images, questioning the distinction between human and AI perception of wisdom and emotion.
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