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The City in Ruins

Author(s): Vera Benczik / Language(s): English Publication Year: 0

The present essay focuses on post-9/11 films which present the cataclysm and the post-apocalypse implaced in New York. The central motif analyzed will be the effects of the conjunction of the iconographies of fictional catastrophe and historical trauma, how the September 11 attacks and their aftermath influenced and re-shaped the topicalization and visualization of widespread urban destruction, especially that of Manhattan, and how a narrative of historical trauma intersects and interweaves with narratives of spatial carnage regarded as entertainment.

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A magyar népi kultúra elemeinek megjelenése animációs filmművészetünkben

Author(s): György Szemadám / Language(s): Hungarian Publication Year: 0

The past fifty-two years of the art and production of cartoons, or animated films, in Hungary have been marked by the elements, motifs and influences of Hungarian folk culture in one way or another. Throughout these decades, numerous films were produced which, in their subject matter, formal design or music, clearly demonstrated an affiliation with those popular traditions which we could either call popular culture, folk art, or simply folk tradition in general.

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Entre fiction cinématographique et engagement littéraire : la banlieue parisienne se raconte

Author(s): Claudia Mansueto / Language(s): French Publication Year: 0

Paris suburb capture the attention of intellectuals for its heterogeneity: precipice or theater where survive genuine hopes, the banlieue become the pillar of a complex world, a schizophrenic universe where poetry and violence merge. Fascinated by the richness of this existential context, writers and filmmakers from the 80s, transforming the city of Paris in the ideal scenario tell the beauty of life, the dazzling magic of human existence. Mehdi Charef with the novel, Le thé d’Archi Ahmed, Abdellatif Kechiche with the film L’Esquive and Laurent Cantet with Entre les murs show peripheral existential universe.

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Stopka redakcyjna

Author(s): Andrzej Gwóźdź,Natalia Gruenpeter / Language(s): Polish Publication Year: 0

Masthead / Imprint

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Widzialność i wyzwolenie: wymarzony dyskurs o mediach

Author(s): Jan P. Hudzik / Language(s): Polish Publication Year: 0

The paper deals with the discourse of film and photography conducted by Walter Benjamin and Siegfried Kracauer in the 1920s and 1930s. Their reflection on visibility occurs in a time of upheaval or twilight of the cultural formation based on a medium of writing and the related linear, word-based logical thinking. It is responsible for modern science and technology, but it is also accused of the destruction and distortion of the world. According to the German philosophers new media, such as film and photography, offer an opportunity for changing this situation – they are supposed to have both emancipatory and eschatological power, consisting of restoring original condition of things, the condition prior to their conceptual arrangements. It is a narrative in the field of “dream discourse”, which combines reflection on media with politics, social revolution and Hebrew messianism. The question is what such thinking is based on, why the authors have faith in a causative, synergistic effect which is to arise as the consequence of interaction of the qualities incommensurate with each other such as language texts, social events and technical pictures. The description of the immediate philosophical context of this problem, consisting of diagnoses of the twilight of the western culture as well as of the return-to-the-“things-themselves” projects, where the things were occluded and forgotten by their cultural pictures-representations, serve to solve this problem.

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Viléma Flussera filozofia obrazu technicznego

Author(s): Przemysław Wiatr / Language(s): Polish Publication Year: 0

Vilém Flusser (1920–1991) was one of the most important figures in the humanities in the second half of the 20th century, especially when we consider theory of culture oriented towards media theory and communicology. Unfortunately, in Poland he remains relatively unknown. On the other hand, readers and academicians all over the world seem to discover his thought anew (recent number of translations and monographs proves it). The aim of this article is derived from the conviction of the importance of Flusser’s theory – it is to familiarize Polish readers with his thought, especially within the reflection on the technical image as a main culture-forming factor. First part of the article is devoted to essential facts of Flusser’s biography. In the second part, the author reconstructs necessary definitions: he explains terms such as “technical image”, “apparatus” and “functionary”. The third and the final part deals with the cultural context which was and is, in Flusser’s opinion, produced by technical images and the social practices related to it.

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Przeświecenie – o wizjach elektralnych i dalej (pilot)

Author(s): Janusz Bohdziewicz / Language(s): Polish Publication Year: 0

The purpose of this essay is to provoke a change in the way of thinking about the visual in the electracy (post-orality and post-literacy) era. The article draws inspiration from visual studies and media theory (Flusser, Hansen, Kluszczyński, Michera, Ulmer) and philosophy (Agamben, Nancy, Taylor, Saarinen). The author places considerations on contemporary visuality in the context of the earlier and dominant models of thinking which treat the images as views and representations (idols) or as symbols and signs (icons, spectacles). These models are not suitable for describing and analysing of visions circulating through the digital media. The article contains a brief and metaphorical list of novelties characteristic of the electral visions – these are portions of programmed energy, which are rather touchable than visual, more emotive than significant, virtual than representational. In conclusion, the author proposes a conceptual framework that may be useful in understanding the electral visions: ancient Greek notions of “kharis” and “daidalon” (as Michera wrote about them), speculation (as understood by Agamben and Flusser) and adoration (concept by Nancy).

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Kwantowe „oko w ogniu”. W stronę apofatycznej techno-ontologii

Author(s): Joanna Sarbiewska / Language(s): Polish Publication Year: 0

The author argues that one of the current challenges in the postindustrial “third culture” should be the re-reading (“relegere”) of the discourse of religion and the discourse of knowledge in a postsecular approach. The author, in relation to Derrida’s later reflections, states that the “media machine” may generate a new, mystical model of perception, that deconstructs the idolatry of metaphysics of presence: both the rational discourse of knowledge and the dogmatic discourse of religion. The author interprets audiovisual media technique as a phenomenological “epochè”. “The machine” that set in motion an intuitive mode of ecstatic work signifies the movement of transgression of the subject-object duality and “immersion” in the unconditioned (pure) Being, which is the Other. On the basis of modern quantum physics, we can assume that the techno-ontology status is a natural extension of the trans-media space: the apophatic ontology of reality itself, which is opposite to a “hard presence”. It can be characterized by a wave structure: it cannot be defined as being or non-being, it is rather a kind of perpetual motion of “photons of light”. The video-installations of Bill Viola (“Martyrs” and “Fire Woman”) are the examples of proposed here technostrategy of vision transformation.

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Generatywny dokument – „Clouds” Jamesa George’a oraz Jonathana Minarda

Author(s): Marcin Składanek / Language(s): Polish Publication Year: 0

The aim of the article is the analysis of “Clouds” (2014) by James George and Jonathan Minard – an interactive documentary (i-doc), which gained the status of a representative testimony of trans-medial intersections and hybrid strategies characterizing contemporary, digital and non-fictional narratives. In the analyses undertaken here, the crucial reference category is the concept of a “generative document”, which was suggested by two directors, as one of the clues of recognizing the identity and meaning of their film. Indeed, this category seems to properly define – as a consequence of the intentional decisions of George and Minard – the way of mutual balancing and synergic correlation between the experimental search for new forms of expression and the original approach to the presented reality. What is more, the figure of the generative document indicates a number of aesthetic qualities and structural solutions that have been transferred from the domain of algorithmic art/design giving “Clouds” unique formal characteristics. Finally, this category clearly manifests the primary purpose of the film, which is to construct a picture of contemporary creative coding practices – a complex, not obvious, mosaic portrait that emerges as a result of dynamic links within a relational database of short statements from over 40 renowned artists, designers, hackers and researchers. Detailed analyses of the generative strategies – revealed both in the visual and narrative layers – take data visualization as another reference point – a very important context for George and Minard’s project. Mapping techniques, methods of exploration and presentation of data collections not only correspond to the procedures of creative coding (through the use of an algorithmic generative process), but also shape current practices of the interactive documentary (due to the database organization).

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Designowanie kina w przestrzeniach miasta: wideomapowanie architektury

Author(s): Andrzej Gwóźdź / Language(s): Polish Publication Year: 0

The author analyses the practice of video mapping as a form of “augmented” cinema in the urban environment – between the pole of performance and the pole of design. In the analysis he refers to traditional orders of screening (magic lantern, cinema) and experiments with “the art of light” (Bauhaus). Then as well as today visuality seems to be the result of a trick which replaces a “deep” look with a superficial one. Particular attention is paid to the pragmatics of the phenomenon, which is based on relating a place of projection with a mobile viewer-flâneur who haptically experiences urban screens. The author demonstrates an installation nature of similar screening practices (Peter Greenaway) leading to the fusion of architecture and designed images. While referring to designing Berlin by means of “good” light of video mapping he notes the cleansing nature of such practices in the city filled with the memory of “bad” light (the Second World War). As a result nowadays cinema triumphs as a transitive medium certifying a circulatory character of a light spectacle whose 120-year-old film history is only a short evidence of the continuity of the projection techno-culture.

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Niebezpieczeństwa wyzwolonych spojrzeń. Obrazy macierzyństwa „Urodzonej w Berlinie” Joanny Rajkowskiej

Author(s): Matylda Szewczyk / Language(s): Polish Publication Year: 0

The author analyses Joanna Rajkowska’s art project “Born in Berlin” (2012), which consists of multimedia and multidimensional narration about the birth of the artist’s daughter, Rosa, in the German’s capital. The article reflects on the question of images of motherhood – both those present in Rajkowska’s project and those functioning within our culture – and the way the artist confronts images, with special attention being paid to the images of Berlin. The challenges faced by the artist, such as the story of her own pregnancy and labour and the life of her newly born child, are also discussed.

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Rozszerzenie – kondensacja – implozja. Zwiastun (trailer) filmowy jako nowy metajęzyk sztuk (audio)wizualnych

Author(s): Ewa Wójtowicz / Language(s): Polish Publication Year: 0

The eponymous notions: expanded – condensed – imploded, describe changes in presentation and promotion of (audio)visual artworks, taking place when cinematic criteria (such as composing trailers) are applied to the artworld. The discussed examples are: trailer of a documentary about an artist (Gregory Crewdson), an “artworld trailer” (visual identification of Transmediale and TateShots), a trailer of a critical film project (Doug Fishbone, “Elmina”) and a subversive and performative Internet-bound trailer (Jennifer Lyn Morone [TM]). An expanded (after G. Youngblood) form reaches beyond the framework of a singular art genre. Therefore an exhibition may be a trailer of a full-length movie (Norman Leto). The condensed form operates with intensified message, which leads to its implosion because of multi-modal form and a dispersed contents. As a result, the trailer may be considered as a new meta-language of (audio)visual arts, that contributes to creating an image of an artist or an art institution, as a brand, in the era of attention economy. The continuous reduction of form to the shortest time unit (David Antin) and a progressing acceleration of circulating contents (Paul Virilio) transforms the trailer into a singular frame, not even supposed to be played.

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Pośród (fikcyjnych?) obcych. Mobilne media w relacyjnej przestrzeni miasta

Author(s): Blanka Brzozowska / Language(s): Polish Publication Year: 0

Contemporary urban social phenomena are formed within physical space, architecture and “urban media territories”. It requires redefining the concept of “public” space which exceeds the physical dimension of the city. Hence the “public” is determined by a social activity in the hybrid space. In digitally mediated urban spaces social relations are being actively constructed in the process of participation taking place within complex spatio-temporal frames. The aim of the article is to present some examples of using screens as “social interfaces” in the hybrid urban space. They not only change the nature of social communication in the urban space, but also transform it into a “relational space”, thus creating new forms of the urban social experience.

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Paradoksalne obrazy Błękitnej Planety. Od „Blue Marble” do DSCOVR:EPIC

Author(s): Anna Nacher / Language(s): Polish Publication Year: 0

The article elaborates on the transformation affecting the digital imagery production evolving along with the processes of saturating the physical space with various forms of data processing. Such procedures often are fully automated and carried out with minimal or no human intervention. One of the particularly significant examples in this regard are sensor-based communication networks aimed at generating the digital images based on the data taken directly from the physical environment. The adequate way of understanding such imagery sees it as the phenomena bridging the heterogeneous ontological realms and the plural modes of existence. The article argues that to adequately render their nature, the significant re-examination of the theoretical apparatus is needed, as the one currently in use is still grounded in the description of traditional media forms (including the early network culture). The process in question is exemplified by the trajectory between the first photograph of the Earth taken from the Apollo 17 in 1977 and the variety of twitterbots automatically generating the visual streaming based on the current data available from the space probes and satellites.

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Dotyk i dotykalność: ekranów, obrazów i widzów

Author(s): Piotr Celiński / Language(s): Polish Publication Year: 0

The article is a media studies analysis that focuses on the concept of tactility and the tactile in relation to forms of media and imaginaries driving it within the switch from analogue to digital media environment. Starting with a map of possible theoretical frameworks conceptualizing main categories, by raising questions regarding cultural consequences, shapes and meaning of tactile actions and technologies, it concludes with analysis of possible consequences of tactility for contemporary media culture.

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Archeologia nowych mediów (wystawa intermedialna)

Author(s): Janusz Musiał / Language(s): Polish Publication Year: 0

The “Archeology of new media” is an example of multidimensional and multifactorial action designed for many media (the junction of photography, film screening, poetry, the world of cinema, theatrical performance and contemporary art). The narrative (its dramaturgy is organized by the poetic text layer) and the story have secondary importance here. They are only an excuse to show the various components of the undertaking. Large-format photographs illustrate individual chapters arranged in the gallery space, and the exhibition of each chapter is complemented by a film projection, accompanied by the voice of the narrator in the headphones, reading the poetry to individual chapters. Film sequences displayed in darkened gallery halls integrate individual components (accompanied by a narrator) that determines the individual rhythm of watching and listening. One of the main goals of the project “Archeology of new media” is a research in the field of successive generations of media storage devices that have been created and used since the 19th century, through the 20th and in the first decade of 21st century. In this case we can talk about the archeology of the contemporary world or the archeology of the present. Part of the archeology of the new media deals with the impact of time and natural elements on particular media generations (photosensitive paper and negative, magnetic tape, hard drive, optical disc, memory card). Another important problem is the matter of devices, programs and access to the right tools necessary to read content recorded in the media.

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Streszczenia

Author(s): Andrzej Gwóźdź,Natalia Gruenpeter / Language(s): Polish Publication Year: 0

Abstracts in Polish

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Abstracts

Author(s): Andrzej Gwóźdź,Natalia Gruenpeter / Language(s): English Publication Year: 0

Abstracts in English

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Noty o autorach i redaktorach

Author(s): Andrzej Gwóźdź,Natalia Gruenpeter / Language(s): Polish Publication Year: 0

Notes on Authors and Editors

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Notes on Authors and Editors

Author(s): Andrzej Gwóźdź,Natalia Gruenpeter / Language(s): English Publication Year: 0

Notes on Authors and Editors

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