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This paper discusses the image-text relations and puts forth the idea that visual experience is not fully accounted for by the model of textuality. A parallel is drawn between Henri Michaux’s work and Wittgenstein’s remarks about rule following in order to illustrate the pragmatic values of vision.
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Pottery in Banat is a rich and long tradition that dates back hundreds of years and is part of the cultural heritage of this region in western Romania. This craft has been passed down from generation to generation and has evolved over time, adapting to social and technological changes. The tradition of pottery in Banat is closely related to the needs of the local community, but it has also experienced innovations to meet current demands. Pottery in Banat represents an interesting synthesis between tradition and innovation, and potters continue to make significant contributions to the cultural and artistic heritage of this region. This craft not only provides practical objects, but also preserves and transmits the cultural identity of the local community. Features of pottery in Banat: Traditional materials: Potters in Banat mainly use clay and clay to create pottery. Traditional techniques: Banat potters use traditional techniques for shaping, decorating and baking clay vessels. Functionality and aesthetics: Banat pottery generally has a dual functionality - utilitarian and aesthetic. Innovations in Banat Pottery: Modernization of Techniques: In recent decades, Banat potters have incorporated modern technologies into the production process. Diversification of products: In addition to traditional cooking and serving vessels, Banat potters began to produce decorative objects, souvenirs and contemporary art pieces from clay. Promoting tradition: Despite the introduction of modern elements, Banat potters are very dedicated to preserving and promoting local traditions. This is reflected in cultural events, exhibitions and workshops that celebrate the craft of pottery.
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The article presents how the Romanian feminine identity was „written”, negotiated and performed by the Romanian emigres to the United States in the first half of the 20th century, taking as an example the case of soprano Olga Cristoloveanu. Almost unknown today, she created a double-articulated persona, that of the “allegoric Romania/woman clad in peasant attire”, and that of the modern, Romanian-American New Yorker, with extensive social skills for balancing the perception of her public persona, and, consequently, of the Romanian woman. Her activity as a self-appointed educator of the U.S. audience in Romanian traditional music and culture also reflects the way in which the representation of Romania was negotiated in the U.S. at the time.
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The aim of this article is to indicate the benefits that ethnographic exploration of the design process can bring to social design studies. Drawing on the work of authors writing on the basis of pragmatic approaches, science and technology studies (STS), and actor–network theory (ANT), the text analyses design as a socio-technical and situated practice of “ordering things and people” and thus also of negotiating and shaping a common world. The text considers both ethnographic reports, in which researchers have tried to understand and describe how designers work, and a completely different research area – the anthropology of medical practices (in the spirit of ANT, as proposed by Annemarie Mol). The article tries to show that the findings from this field are quite similar to the reflections of ethnographic studies on the design process and offer promising insights for a relational ontology of design that can be studied empirically.
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Danish anthropologist Kirsten Hastrup has declared that if “We cannot experience the world from the perspective of others, we can still share their social experience.” My own perspective in the field of design – which involves sharing the social experience of anthropologists in a number of ways – encourages me to offer a phenomenological reflection on the “design process.” My position as an anthropologist and ethnographer combining her research with teaching at a design school has resulted in collaboration with designers in co-taught courses, research projects, exhibitions, and publications. The different pragmatics of ethnography and education have encouraged me to develop tools for a discursive rendering of the processes in which I partake: both for my own research purposes and for designers and design students to use in reflecting on their own activities while working on their projects. “Design process” is an emic, designerly expression, defined by the most prominent writers on the topic. I attempt to reflect on its non-hylemorphic understanding of creativity and its contextualisation within the Ingoldian sense of following the material.
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This paper argues for the emergence of a new art movement termed Co-Creativism, emblematic of the profound synergy between humans and artificial intelligence (AI) in shaping artistic narratives. Emerging as a successor to post-postmodernism and metamodernism, I propose Co-Creativism began its ascent around 2018 and has since solidified its prominence by 2023, notably influenced by the postCOVID landscape. The era transcends viewing AI as a mere instrumental entity, instead recognising it as an integral co-contributor in the creative realm. Through a methodical approach encompassing case studies and content analysis of artist statements, this paper aims to define the key characteristics and underlying themes of Co-Creativism. By examining the interplay between the global context, the art world, the notion of the artist, art-making practice, the audience, and co-creativist art, the goal is to provide a comprehensive understanding of Co-Creativism.
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Since the late 20th century, qualitative research has seen a rapid growth in visual research methods. This can be explained by the increasing role of the visual in our everyday life. This growth is also related to major changes taking place in various aspects of our lives. These changes come to challenge the subject to face multiple information, vast as interpretations, sometimes leading to the reinterpretation of some meanings of social phenomena. The given study is a theoretical reflection on visual methods. The work focuses on visual methods such as: drawing, visual media and photography, print media and online media as a means of qualitative research of social representations. Visual methods can be suitable tools in educating or rather in adjusting common knowledge about a certain social object. From the perspective of approaching this subject, we can deduce work techniques for the purpose of adjusting or partially correcting the elements susceptible to change within a social representation.
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The second half of the 1970s saw the birth of a trend in Polish cinematography later described as the cinema of moral anxiety. Films created as part of this trend grew directly out of a specific socio-political reality. On the one hand, they spoke of universal values such as truth and goodness, to which they owe their universality and topicality, and on the other hand, they showed the reality of Poland in the 1970s. Although not an absolute rule, the plot of films of moral anxiety was often set in intellectual, journalistic and artistic circles. However, the theatres, ballrooms and television corridors described in the films were a metaphor for the Polish People’s Republic. By setting the action in artistic and creative circles, especially rather mediocre ones, among small-town masters of ceremonies, heads of small student theatres, provincial actors, it was possible to circumvent the bans and slip under the censors’ radar. All the problems and conflicts occurring in the real life of all people living in a real socialist country were reflected in these films. They all faced similar situations, being oppressed by cliques and arrangements in the workplace and in public life.
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Whenever domestic art historiography handles the subject of Vladimir Lenin, it is only in the context of socialist realism. It is as if October 1956 contributed to the disappearance of the presentations of the leader of the Bolshevik revolution from the public space of the Polish People’s Republic (PRL). The preserved works of art and documentation of art competitions related to Lenin present a false image of the Polish history of the period from 1956 to 1989. The methodological assumption of this article was the adoption of symbolic caesuras that result from the dynamics of political events, not artistic ones, as it was politics that influenced changes in artistic life and art, not the other way around. The selection of October 1956 and the date of the restoration of the name “Rzeczpospolita Polska” (the Republic of Poland), along with the crowned White Eagle at the end of 1989, as terminus post quem and terminus ante quem is the result of two orders: in the earlier period, the point of reference for all images of Lenin and his presentations in Polish art was socialist realism; at that time, the subject of Lenin was dealt with rarely compared to that of Stalin, who was treated as the main person responsible for the success of the Soviet Union. The focus of the research on the years 1956–1989 is also a response to the attitude of denial, noticeable in the literature on the subject, towards the presence of “Leninists” in the communist art of that period. The author analyses the causes of that puzzling phenomenon by dealing with the issue of the memory of the participation of artists in the communist machine of visual propaganda.
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Theatre as “the most social of the arts” interacts with the audience, the surrounding reality and responds most quickly and accurately to social changes. Not infrequently, the stage itself prosecutes or catalyses these transformations. The article is devoted to the socio-political dimension of theatre in “People’s Poland” in moments of crises. In addition to the impact of the “Polish months” and martial law on the shape and content of the Polish stage, the article shows selected reminiscences of these events in the theatre, as well as the catalysing function of theatrical art, manifested in periods of breakthrough.
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The article presents results of examinations of the technology and technique of the creation of an 18th-century painting kept in the collections of the Castle in Kórnik. Th e structure of the painting was examined for the very fi rst time using a combination of non-invasive and micro-invasive techniques, including non-destructive imaging techniques such as roentgenography (X-ray), ultraviolet refl ectography (UVR), ultraviolet fl uorescence (UVF), visible refl ectography (VIS), infrared refl ectography (IR), as well as techniques of imaging using false colour: ultraviolet (UVFC) and infrared (IRFC). Th e chemical composition of the painting layers was checked with the help of microchemical and instrumental methods: X-ray fl uorescence (XRF), infrared spectroscopy (FTIR), electron microscopy (SEM-EDS) and gas chromatography (GC). Th e tests were aimed at the identifi cation of the pigments and binders used by the artist and determination of the state of preservation of the work.
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W „Pamiętniku Biblioteki Kórnickiej” z 2021 roku (zeszyt 38) na stronach 75– 90 ukazał się artykuł Korneliusza Kaczora pt. Kontrakt na budowę zamku w Kórniku z 1426 roku. Po obszernym wstępie autor zamieścił łaciński tekst kontraktu i jego nowy przekład na język polski. Jako pierwszy tekst kontraktu opublikował w 1885 roku Ignacy Zakrzewski („Sprawozdania Komisji do badania historii sztuki w Polsce”, t. III, z. II, s. 64–65, 1885, wyd. Akademii Umiejętności w Krakowie), a 21 lat później Maciej Moraczewski, korzystając z tego wydania, dokonał pierwszego polskiego przekładu (M. Moraczewski, Ugoda o budowę zamku w Kurniku, „Architekt” 1906, z. 5, s. 103–108). Ówczesny stan wiedzy o średniowiecznym budownictwie w Polsce nie pozwolił na zgodne z meritum odczytanie umowy z 1426 roku jako kontraktu na wykonanie prac ciesielskich (w tym postawienie dachów) na murach dwóch zamkowych skrzydeł zamku kanclerza Mikołaja.
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The paper discusses the distinctive features of Russian art at turn of 17th–18th centuries during the reign of Peter the Great. A special attention is paid to the gradual emergence of secular principles in painting in the late 17th century and development of historical stories. The genesis of portrait of Peter's time, originating in the Parsuna painting is observed. The effect of the Russian state on the development of different genres and a reflection of historical subjects in painting are revealed. The interrelation of Peter’s engravings and the scientific and educational activities are shown here. The analysis of works of art is carried out.
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This article concerns two vocal interpretations of the poem Dwa wiatry (Two Winds) by Julian Tuwim: one comes from an actor, the other from an amateur publishing educational materials on the Internet. The aim is to explain why the actor’s interpretation seems more suggestive than the amateur one. The subject of the study is the prosodic features of both performances of the poem (tempo, sound intensity, and tone changes), treated as an iconic indicator of its cognitive and emotional content. This article is a continuation of an earlier publication in which Tuwim’s Lokomotywa (Locomotive) was examined in a similar way. In both studies, the Praat programme for acoustic analysis of sound was used for research.
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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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Focusing on two iterations of the Anastasia topos – the 1997 animated musical movie produced and released by Fox Animation Studios and Takarazuka Revue’s Japanese theatrical musical live performance from 2020 –, this article analyzes the significance and impact of historical events and their dialectic renegotiation by means of mass entertainment in crosscultural cross-media perspective. Drawing on extensive fieldwork and archive research, the current analysis attempts a realistic diagnosis of future international developments based on live theatrical representations as well as their crucial reformulations of reality resulted from the empathic exchange between performers and audiences. Moreover, Japan’s attempts at reconfiguring geopolitical relations crisscrossing increasingly nationalist discourses in the public sphere during the 2010s are projected on the – likewise increasingly – polarized global narratives juxtaposing individual freedoms, rights, aspirations with collective expectations, pressures, anxieties.
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Through a profound analysis and comparison of Bernini’s Ecstasy of Saint Teresa (1647–1652) and Orlan’s The Reincarnation of Saint Orlan (1990s), the aim of this paper is to highlight distinct understandings of the idea of the sacrificial metamorphosis of the human body through the art of different cultural eras. Starting from the assumption that art is a political act, I will argue that Saint Teresa’s sacrificial transformation, in the sense of abandoning her human nature for her spiritualization, served the propaganda policy of the Catholic Church, while in Orlan’s work I aim to identify its connections to both feministic and philosophical issues. Furthermore, the quite violent character of the latter raises questions about limits in artistic expression.
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This paper explores the memory of the master builder of the Dečani monastery as it was “performed” through the inscription of the south portal of the monastery’s katholikon. Despite the confessional differences, Fra Vita, a Franciscan friar from Kotor, was allowed to place his name on the (Orthodox) church. Moreover, he was permitted to place it beside those of the royal founders, King Stefan Uroš III and his son Stefan Dušan. By focusing on the carved representation in the lunette of the south portal and through the devotional, confessional, and political contextualizations, this paper demonstrates the performative nature of the Dečani inscription and the nuanced complexity of the memory that it cherishes.
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