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‘How We Behave’ is a research project undertaken by curator Grant Watson. Based on the research for his PHD in Curating and Visual Cultures at Goldsmiths College in London, this interview project and its resulting video portraits are the outcome of a commission by the arts organisation If I Can’t Dance, I Don’t Want To Be Part Of Your Revolution within its Performance in Residence programme. After its ‘première’ with If I Can’t Dance in Amsterdam (2014), How We Behave has been presented at Nottingham Contemporary (2015), The Showroom in London (2015), MIMA, Middlesbrough (2015), and State of Concept in Athens (2016). An upcoming presentation will take place in Whitechapel Gallery, London. A key document for the ‘How We Behave’ project is an interview with Michel Foucault of the same name, published in a 1983 issue of Vanity Fair. In this interview Foucault poses the question: “What if life itself was a material of art making?” This provocation is taken as the departure point for an extensive and ongoing series of interviews commenced in 2012, and traversing a number of cities around the world including New York, São Paulo, Amsterdam, Los Angeles, San Francisco, London, Athens and most recently Mumbai. ‘How We Behave’ addresses the different ways that contemporary individuals experiment with unconventional life patterns – at work, through alternative family structures, through new forms of intimacy, sexual behaviour, sociality and political engagement. Foucault’s concern was not with ‘lifestyle’ but with what he considered to be the politically urgent question of our time how we model our subjectivity and invent new ways of life and relations to others that can be understood as resistance to power.
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The idea of “the human soul” is usually seen as a proto-psychological concept, and not as a basic aesthetic category. From the perspective of psychology, we find it quite natural that the idea of the soul is destined to die with the demise of the idea of immortality. In art, however, in the modern era, the idea of immortality remains fundamental. The modern idea of art is built on the idea of visual immortality. It can speculate that art is a historically variable concept which functions as a substitute term for visual immortality of the soul. In the 20th century, the conversion of the soul into a complex image of human inner mental life led to a radical change in the attitudes, expressed in the visual arts, towards immortality. The demand for a new unifying center that replaces the notion of soul is driving modern and contemporary art to visualize new ideas regarding modern man’s personality structure and distinct types of consciousness.
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The article discusses Plato’s concept of eidos in its aspect of image, as the self-identical repetition of the same, and the casting away of the simulacrum as a non-identical semblance in gradation to difference. By drawing a parallel between Plato’s eidos-image and the total image in Bogdan Alexandrov’s works, and establishing an analogy between simulacrum and pareidolia, the author attempts to “read” the “Pareidolia” exposition through Deleuze’s view of the identical (eidos) and difference (simulacrum).
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The article traces some aspects of the impact of augmented reality technology on the perception of the mirror image in the media context. The study is focused on so-called magic (or smart) mirrors, which can be interpreted as a new stage in the cultural evolution of the mastering of our reflection. With new magic mirrors, the screen of mobile devices functions as a mirror with a utopian function – it allows a continuous improvement of the image in search of perfect beauty. In this sense, the body (and also the world) is perceived as an endless field for aesthetic experimentation.
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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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The purpose of this article is to highlight the peculiarities of the influence of the state's ideology on the artists work during the Soviet period. The methodology of this study involves the application of methods of historical, systematic, biographical and art-study analysis. The application of such methods enables one to study minutely and objectively the causes of the censorship of artistic works during the time of the existence of the USSR, the specifics of the introduction of socialist realism in the culture of the country by examining it on the example of the work of one of the artists. The scientific novelty of this research results in study of the influence of dominant ideology and socialist realism on the creativity of the particular author as well as the observation of the changes in his works of different periods. Conclusions. Each artist always exists in a certain social environment, reflecting to a greater or lesser extent in his work both the influence of the environment and the socio-political situation in the state. However, in the history of Ukraine there were periods when such influence turned into pressure, limiting the freedom of creativity of the artists, as well as the freedom of the representatives of other types of art. In particular, these were the decades of the existence of Soviet power, when the regulation of the creative process was perhaps the most rigid, not only subordinating the work of artists to the ideological needs of the ruling party, but also determining even the stylistic principles of the solution of works. The confrontation of modernist trends and socialist realism was visible already in the early 1930s, as both the official documents of that time and the works of artists evidence. The study of this topic allowed to determine the manifestations of stylistic changes, in particular, in the work of the Chernivtsi author Leon Kopelman, whose work clearly demonstrates the transition from the trends of European modernism to the art of socialist realism with the characteristic ideological reflection of historical events and the modern life of the country.
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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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he religious radio and television channels play an important role for every believer - they introduce to the viewers various aspects of the spiritual life, trying to help also those who, for some reason, are unable to attend the temples. In this study, an attempt will be made to follow the development of the radio and television channels of religious organizations, as well as the current challenges facing them in relation to digitalization, convergence and Internet-based media. We will also look at the religious media positioning in our country, the appearance of the first radio and TV shows dedicated to the religion, as well as the current trends and problems faced by today's native media channels of the believers.Keywords: media, religion, radio, television, Internet
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In the production and performance of pop music, one of the mechanisms to “measure” and generate statistics, ratings and conclusions, are the charts. Do we have them, in the late 80s at all? A whole new generation of musicians declared its presence and art in this period but is it recognized in the printed media, or it is ignored? In case there is any trace in the press, is it still available in Internet today? In order to be present there, these events needs to be archived in old printed media first, then they need to be transferred in the Net.
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The multimedia journalism includes the media content (audio, video, text), which is created by the traditional and online media via internet. The multimedia content concerns the websites’ interface and navigation, use of animation and flash images, online advertising, use of applications for online gaming, listening of music or watching movies by steaming platforms, social networking communication. The research presents the multimedia journalism features in Bulgarian TV and online media for the news production, created by the audience participation.
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This paper looks into the particular leisure time activities and popular sports of pleasure in secular life of rural Pakistani Punjab which is the main reason for the production of popular posters. The methodological foundation for this research study is based on ethnographic surveys. This research study takes an interdisciplinary approach with close observation of public spheres where visual data was found. The popular posters discussed in this study provide a delightful sight for the viewer with a basic sense of the narrative through frozen images whose form is derived from different sources of popular, traditional and modern art cultures. Though naïve, such posters are actually a complex maze of cultural, aesthetic and social values that have shaped the way the poster functions as an object of art, as an icon and a commodity. This study argues that on one hand, the popular posters and advertisements are not only the frozen images of our lived culture but they also evoke a sense of nostalgia and on the other hand they develop an understanding of how economic, political and ideological systems utilizing a similar field of cultural production ultimately create a rich heritage of “cultural capital”.
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Predmet ovog opsežnog istraživanja je zagrebačko Hrvatsko narodno kazalište između 1945. i 1955., u jednom sumornom razdoblju u hrvatskoj i općenito jugoslavenskoj kulturi. Doba je partijskog rigidizma, dogme ‘partijine’ umjetnosti socijalističkog realizma, velike cenzure i općeg siromaštva. Euforija oslobođenja 1945. za HNK trajala je kratko, tako reći samo nekoliko dana i autorica je predočava kroz susrete s preživjelim članovima kazališta koji su u NDH spašavali glavu i vratili se ‘iz šume’, dakle partizana ili zbjegova. Olovni poklopac brzo je pao. Kao i u Sovjetskom Savezu, o kreativnoj slobodi ili bilo kakvoj samostalnosti ubrzo nije moglo biti riječi, pa ni u toj velikoj kulturnoj radionici. Kazalištu je nametnuta stroga komesarska kontrola partije i stil socijalističkog realizma. Ključne poluge u kući preuzeli su pravovjerni partijci oboružani zaleđem u partijskim centralama i s njihovim uputama u džepu. [...]
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This text was created by a photo shoot made by Rosen R. Malchev, Dr. of Sci, during the field research of the fishing community in Oryahovo in the summer of 2019. It has documented elements of urban tissue, many slabs and monuments, significant exhibits in the museum, thus describing various forms of local heritage.The Images of heritage are elements of the life of local communities; they are necessary for the building of individuality, as well as for presentation to your own and others. They fit into the local forms of identity and in the present have basic functions in communication process with the past. The elements of local heritage registered here are valorized by our respondents – places and images are most resilient part in stories, part of urban orientation, as they have established themselves as visual memory markers.
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