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Distinctive features of American culture European peculiarities in composing spatial layout can be traced in public spaces. Different ideals for space design and saturation of the environment with different visual noises are directly related to accumulated cultural values. Among the examples of restaurants, bars and cafés we have selected prominent establishments of rich history. Many of the presented venues have been part of storylines in the film industry, they have found place in world famous magazines and albums - as samples for successful design of interior of public establishments.
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Speaking about the phenomenon of abstract art, we often credit the merits of the first "founder" or "pioneer" in this genre to Vasily Kandinsky. Being one of the earliest artists who used the term "abstract" in the period of development of fine arts, Kandinsky is an artist - theoretician who recreated the Renaissance idea of feeling, the vital, the terrestrial and self-knowledge in his works - distinctive and innovative for the period. Noting the foundations of perception of the abstract and spatial structures, Kandinsky wrote the book "On the Spiritual in Art. Point and line to plane" It will not be a mistake to say that he was the first "pure" artist, who had entirely focused his work on cleansing and simplifying images to the plane, depriving himself of the image due to his belief that excessive specificity prevented his paintings and self-expression. In his theories, Kandinsky offered to the general public a summary of the way in which the work of art is created and put it in the frame of visual composition consisting of two basic elements - the inner - emotional and the outer - accessible element.
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In the time we live in, music is a cult. The musical style brings with it not only the worldview, but also the whole lifestyle of its listeners. Very often walking on the streets we can see girls with Rihanna's hair or boys dressed as Justin Bieber. But this is by no means a novelty or a fashion - the music that is listened to reflects on the appearance. The Beatles and the Rolling Stones, considered to be one of the symbols of the 60's and recognized as the most innovative and popular performers in the history of pop music, are considered to be one of the first major music waves to flood in and create their own style. As a period, the time in which the two bands quickly gained popularity coincided with the mass distribution of television. The performers quickly imposed their own lifestyle, behavior and dress, supporting the idea of avant-garde music of their time
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Regarding the scientific aspect of the anatomical drawing, when it does not correspond to the actual authenticity (anatomical truth), the author considers that such an illustration in itself has no didactic value. In this case, the creative (artistic) aspect is not essential. Even if the drawing has high artistic qualities, they are not able to compensate for the lack of scientific fact. To the extent that a wrong word in the text may confuse readers with insufficient experience and knowledge in plastic or medical anatomy, undoubtedly the same (even to a greater degree) applies to the wrong anatomical drawing.
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The article shows examples of paintings by Botticelli, Frans Hals and Delacroix, representatives of different eras and styles in the fine arts, in which the authors have made similar inconsistencies. Regardless of the reasons that led to these discrepancies in the spatial positioning of the longitudinal axes of the eyes, this in no way affects the aesthetic appearance, nor does it take away from the beauty of the works of the three world-famous artists.We cannot be sure of the reasons why the artist makes mistakes of this nature - and not once, but we must admit that in other cases he follows the rules of anatomically correct construction of the head.However, it turns out from art history that there are other examples of world-famous artists who make positional-spatial errors of the same nature in their works.
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The focus of the study is to track the extent to which video games allow religious organizations to spread their ideas, views and beliefs among young people and believers in general, as well as the extent to which games influence the formation of certain stereotypes in the player. Of particular interest to the researcher are the websites of the officially registered religions in Bulgaria and their preaching and educational activities
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The article introduces the adventure videogame, it’s features and sub-genres. The focus is on the narrative and how it’s change over the years. Seven video games, published between 2000-2019, were analyzed through a single matrix. The various narrative structures and their influence on storytelling are analyzed. In the last part an object of attention are the hybrid genre of action-adventure videogames and it’s spread in various media. The text is part of a thesis successfully defended at FJMC in 2019
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The current text introduces the idea of communicating through images. The tool is increasingly visible in companies' communication strategies. The prerequisites that lead to the development of this type of communication are discussed, focusing on one of the most used social media – Instagram. A parallel is drawn between the nature of the platform and the ability to find an intersection between visual content and storytelling. At the end of the text, two of the most successful examples from the corporate world are presented and their approach of engaging Instagram followers with the help of experiences in order to convert them into customers while demonstrating the company's philosophy and values.
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Hate speech can be used as an instrument preferred to exert political influence upon voters during election campaigns. This article provides two examples to support this assumption – the first one is related to a Kirk and Martin’s study on the way main presidential candidates in the USA ran their campaigns in 2016, while the other assumption is related to the current debate in Bulgaria on the National Child Strategy 2019-2030. The present article focuses upon possibilities to reduce the phenomenon’s influence as well as upon some of the challenges researchers and policy makers face in their attempts to limit it.
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The Internet gives people the illusion of freedom because connects quickly people all over the world. Connection speed and communication possibilities are real. But are we really free online? What other limitations there are besides marketing traps? Haw to be sure what is information and what is disinformation?
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Authoritative models of remembering Yugoslavia tend to exclude experiences of living people while often reproducing the memory trope of “totalitarian legacy.” Several theater performances that appeared in 2010 and 2011 challenged these memory models, as they centered on performers’ personal experiences and recollections as legitimate sources of understanding, imagining, and discussing the past. This article investigates how lived experience is (re)constructed in the theater and whether these performances differ from dominant narratives. Reception analysis of selected performances has shown that public and media appear to find affective memories of socialism more acceptable if told from the position of victims and “authentic” witnesses. Performances widened and diversified the cultural memory of socialism and directed attention to positively evaluated experiences of socialist culture and everyday life, such as multicultural and supranational interactions in Yugoslavia. Nevertheless, the dominant representation of Yugoslav state as totalitarian was not challenged, but rather sidestepped. The focus on popular and everyday culture thus remains the predominant memory model for remembering Yugoslavia in theater, which can be seen as a part of wider processes of gradual reevaluation of socialist life in post-socialist Europe.
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This study seeks to delineate the highly convoluted relationship between (rock) musicians and the state in late socialist Romania (1975–1985). By investigating extensive archival files originating from the Securitate records, Agitprop branches, and the ideological committees of the Romanian Communist Party, we examine how the Romanian regime employed its mechanisms of creative control and how it made sense of Romanian musicians’ attempt to navigate them. First, such intricate mechanisms ranged from rewards and penalties in order to ensure ideological compliance, to repression by means of surveillance, recruitment, and harassment. Second, in our exploration of the margins of consent and dissent, the relationship between musicians and the state fluctuated between one of duplicity (that proved beneficial for both entities) and (symbolic) resistance (through collective and individual forms of dissent). Successful dissent came mostly from abroad, while, domestically, musicians were much more rigidly controlled; without being able to articulate coherent forms of dissent through their music, musicians challenged the Securitate through issues of morality. Music also led to the formation of subcultures—csöves and punks—which practiced anti-proletarian rituals of dissent. Thus, this research throws considerable light on broader sociological debates, such as the role of musicians in totalitarian settings, the hidden mechanisms employed by the state, and the ongoing literature concerning the configuration of subcultural movements in the Eastern bloc.
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The article invites the readers to approach the city itself as a text of culture. We are to read it alongside other narratives/narrations (literary, artistic, and cinematic) devoted to it. The author traces how Katowice’s space has been transmuted into politically- and culturally-charged places, by distinguishing consecutive layers of the palimpsest (Polish village, building patterns of German and Polish times: the old and the new). The foregoing examples allow the author to indicate the traces of conceptions and ideologies reflected by architecture. He also includes some methodological recommendations/tips pertaining to reading the space.
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This article examines how the Warsaw Autumn International Festival of Contemporary Music facilitated mobility across socialist borders in the 1960s. The Warsaw Autumn was one of the most important zones of cross-border cultural contact during the Cold War, for its eclectic programming featured musical works and performers from both the Soviet and American zones of cultural, political, and economic influence. The article demonstrates that the festival enabled multiple connections to form across socialist borders. Some of these were top–down, international contacts among socialist state institutions, which resulted in carefully curated performances of cultural diplomacy that tended to reinforce prevailing notions of East–West opposition. Other connections involved informal, personal ties that facilitated the transnational circulation of musical modernism throughout the socialist bloc. The article proposes that the Warsaw Autumn’s advocacy of modernist music by unofficial Soviet composers exposed and encouraged the development of cultural affinities that challenged the socialist bloc’s presumptive hierarchies while also mitigating the Cold War’s broadly drawn divisions between East and West. The article further suggests that the significance of mobility at the Warsaw Autumn in the 1960s depended on the continued fixity of borders in other areas—between states, the Cold War’s geopolitical regions, and contrasting musical styles.
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In Gdansk, people with Down syndrome are finding jobs thanks to an innovative collaboration between NGOs and the private sector.
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Together with the rites of the spring cycle, such as Summer Day, St. George, Novruz, Rusticat, etc., it was practiced the rite of Llazore. This rite with pagan characteristics, often encountered in rural areas, is no longer practiced. This has happened due to a number of reasons that have affected the intangible cultural heritage. Despite this, we have managed to preserve and inherit through the archives many songs, sung dances and folkloric motives of this rite through in a digital form, at the archive of the National Center of Folkloristic Activities and the Institute of Cultural Anthropology and Art Research (Academy of Albanological Studies). This paper will preview the data that we find in the digital archives, where the rite of Llazore is included, treating this rite in the context of artistic performance. At the same time, we will try to reconstruct the rite, addressing the stages and form of organization of the rite. We will try to achieve this by comparing the archival material with the empirical data we have to collected during our expeditions focused on the rite of Llazore.
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The Jazz Section was one of the most remarkable cultural institutions in “normalized” Czechoslovakia. Established in 1971 as part of the official Musicians’ Union, the Jazz Section used its legal status to arrange jazz and rock concerts and to publish a variety of books without the permission or consent of the Communist authorities. From the late 1970s, the regime strove hard to close the Section; however, it survived until 1984. Only in 1986 did the regime find a way to prosecute its leading activists. This article investigates why persecution proved so troublesome. It focuses on the impact of the Jazz Section’s legalistic strategy, and on the role of legal concerns in regime behavior. It argues that references to “law and order” had a central legitimizing function in the social discourse of the Husák regime, and that the resulting need to translate policies of repression into legal measures inhibited the authorities in their assertion of power and created an ambiguous window of opportunity for independent social activism.
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The article uses a metamodern method of research with scientific and artistic techniques, which serves as a basis for the connection between science and fine arts. The results of the study of literature on the subject and newly discovered documentary sources are used to recreate the famine in Bessarabia in 1946–1947 in picturesque historical paintings. Visual images reveal the influence of the tragic consequences of the famine and support the understanding of the socio-cultural and moral-psychological state of the Bessarabian Bulgarians. The emotional artistic expression in the paintings is a means of deep penetration into the atmosphere of abuse of human dignity in Bessarabia, through purposefully provoked hunger.
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After the end of the communist regime in Albania, culture and its institutions were the areas which had to suffer the most extreme damages and transformations. It was not only the way of thinking for a new way of managing, but its infrastructure as a whole, on a regular basis has suffered from considerable damages. In a different point of view, there was also a further considerable departure of individuals and the artistic community with the phenomenon of emigration.In these conditions, the first step that was taken was the drafting and implementation of legislation through which cultural and artistic institutions could operate, as well as free private initiatives. Firstly was first introduced the concept and were taken steps for drafting an intellectual property legislation, the law on cinematography, theater, cultural heritage, libraries and the book, in accordance with the recommendations of the expert representatives of the European Union authorities. Further, the first efforts were made by setting up working groups to draft the first strategic drafts on art and culture as well as medium and long-term budget projections. Consequently, the first effects of a cultural policy aimed at implementing a new administrative-legal platform were felt. This policy would firstly respect the principles of decentralization and secondly the cooperation with the homologous structures of the countries of the Balkan region and further with those of Europe and beyond. The various phases of the reform did not always brought the expected expectations with the projected objectives. As a result, the transition to art and culture institutions lasted somewhat longer than in different sectors of Albania’s socio-political development.
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