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Aesthetics, the field of philosophy, is understood as the science of aisthesis – the sensual cognition, but also as a reflection on beauty, art, experiences and criticism. In both cases, the esthetician can learn a lot from blind people, because their use of senses other than eyesight is peculiarly precise and even amazing for sighted people. The senses of hearing, smell and especially touch play a cognitive role, which is often forgotten today, particularly in times when they are separated from their sources or even prepared in an artificial way. Reflection on the perception of the world by blind people may lead to the conclusion that it is much more concrete and “more powerful” than the seeming world of sighted people as Johann Gottfried Herder noted in the eighteenth century. This causes problems for people who try to translate reality perceived mainly with the help of sight to the language of other senses. Understanding and feeling these kinds of cognition requires the efforts and, above all, it takes time.
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The article deals with an issue of audio description (AD), verbal description of visual content, transmitted with the use of the auditory system to visually impaired people. The analysis covers audio description of works of art. The paper presents the origins of AD of fine arts in Poland and across the world. It describes types of audio description in museums and principles of its creation. Another discussed issue of borrowing visual sensations through haptic, kinesthetic or olfactory senses that accompany AD. The reader may find examples of audio description from Łódź museums: the Museum of Art in Łódź (ms1, ms2, Herbst Palace Museum) and the Museum of the City of Łódź.
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Social integration and activation of people with visual impairment is one of the most important challenges in modern democratic countries. Due to the rise of awareness, there has been an increase in number of projects undertaken by cultural institutions to enable visually impaired consumers receive culture in a broad sense. The process is vital because, culture has become more and more visually oriented. Audio description (a way of translating visual to auditory) is one of the best ways to enable blind people to receive sport and theatrical events but also exhibitions and works of art. The main problem discussed among specialists in the field right now is the question of objectivity, that should be the main rule to follow, while creating a description and what how it should be used. Another vital issue is the participation of people with visual impairment in the cyber environment and exploring the ways in which state of the art technology can help the efforts of audiodescribers, museums and art galleries in matters of enabling. For several years prof. Aneta Pawłowska from the Department of Art History at University of Łódź, has conducted a research project which main aim is to provide audio descriptions for a number of museums in Łódź. The main aim of constant drive for improvement, interdisciplinary character of the works and the cooperation with Department of Spanish and Faculty of Physics and Applied Informatics is to research audio description as a method of enabling, teach it’s basics to the students and create descriptions for cultural institutions in Łódź.
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The article points out some dangers that stem from the comparison of audio description (AD) to ekphrasis. The comparison has been proposed by Robert Więckowski and since then used in the Polish literature concerning the topic. Emphasized are the differences in the reception of the two literary forms: ekphrasis encourages mental visualisation based on the recipient’s own experience, while AD is to evoke aesthetic experience also among people whose imagination is devoted of visual qualities. The two forms of description have other goals as well: ekhprasis aspires to become an autonomous literary work, whereas AD is only a tool directing to the art piece. The reflections proposed are initiated in the practical experience of a text-writer, but come back to the general problems concerned with the goal of AD and its relation to the work of art.
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The key issue of this article centers on the proposal of the translation of audio description of works of art as a method of creating a new script of the work of art. The inclusion of audio description in the scope of Translation Studies and, in particular, within intersemiotic translation in line with the triadic division of Jacobson, gives the possibility of using translating strategies to transfer culture-specific elements denominated here as cultureme. The aim being to explain to the recipients occurrences that are foreign to them. Our starting point in this analysis are the audio description extracts of work of art of cultural values which a featured in the virtual guide of the Museum of Julio Romero de Cordoba. The translated audio description fragments contain specific culturemes, which can evoke doubts or incomprehension in the Polish recipient of the translated script. Key words:.
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Hearing persons have a free touch with World of the Culture and Art. The article deals with the problems of Deaf and hard of hearing persons, who through the partial or complete lack of the hearing have a limited access to culture (theatre, exhibitions with the guide, museums, libraries, etc.)? It results in lack of interest with involvement in the culture, even if the cultural offer is interesting and rich. However, the situation is changing on better. What effective action should be ta ken? The article is taking issues of excluding deaf persons from information about cultural actions of cultural institutes in Poland, is discussing essential stereotypes of the approach towards deaf persons, diversity of the deaf community and is taking into account statistics of the involvement of deaf persons in the culture.
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Art allows artists to express emotions, their outlook on the world. It depicts both the undiscovered and uncharted soul of each artist, and each ordinary viewer. For many Deaf artists it is a means by which they try to present the viewer their attitude toward the outside world. By art Deaf people show their distinct identity. The beginning of contemporary Deaf art is associated with the 1960s, yet it still remains unknown. Thus it is justified to study it and present its beauty to the hearing majority.
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The quality of people’s life with disabilities for some time has been one of the leading social issues. There is a conviction, that people with disabilities in order to fully participate in social life, should have access to the enjoyment of all social goods, spiritual and material, what civilization offers. There are more steps nowadays to change the image of people with disabilities and allow them enjoying the art, culture or politic. Launching a wide range of this kind of mechanisms represents a major step towards social integration between people with or without disabilities and communion with art reveals the meaning of life, giving it a new value.
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The paper discusses the issues related to the provision of cultural texts (art, literature) and the content of the museum exhibition to people with intellectual disabilities using augmentative and alternative communication, especially picture systems. At the present time, museums are places where people with disabilities can come into contact with art in an accessible way. These are institutions that try to abolish barriers in access to culture and have a strong imperative of inclusion of everyone. Such openness was brought about by a two-hundred-year history characterized by gradual widening of the public. A special place among spectators with intellectual disabilities, take those who use augmentative and alternative communication especially picture systems. PCS System (Picture Communication Symbols) is one of the most popular and understandable systems of this kind. PIC (Pictogram Ideogram Communication) is also popular. The paper discusses the goals, methods of work, resources, dictionaries used during classes using AAC at the museum. He also points out the importance of cooperation between the museum and the support person (teacher), describes the planning and conducting schedule of museum activities. Paper also presents the project „Pan Tadeusz” for people with intellectual disabilities, which is addressed to people with intellectual disabilities, using augmentative and alternative communication.
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EU directives or the need to build a wide audience are the main reasons why museums take action to make their exhibitions available to people with disabilities. However the experience of the Museum of City of Łódź related to the dissemination of fine arts, shows that cooperation with people with disabilities is not only a need to adapt to top-down requirements, but also creates a number of educational opportunities for employees and museum guests without disabilities. Projects presented in the paper – implemented by the Museum of the City of Łódź in 2013–2016 – are an example of efforts to adapt the museum’s space to the needs of people with visual and hearing impairments, as well as other types of disabilities. Their analysis – made both from the perspective of a museologist and an educator – presents the opportunities and difficulties associated with cooperation with disabled people and the potential of using the museum space in special pedagogy. Critical evaluation of the tasks carried out may be a commentary on the problem of hidden segregation and inadequate integration of disabled people and thus underline the advisability of applying the principles of universal design and inclusive education.
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In connection with the transition from traditional education to the usage of new technologies in the context of the modernization of education, the need arose to revise the theory and methodology of professional training of future teachers. The significance of the artistic and creative training of future teachers is explained by the fact that in the condition of the development of vocational education, the modern requirements of society for the future teacher have changed, and the problems of teacher professionalization and individualization, the integration in its training, connecting theories with practice, are actualized.
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Digitization and digitalization have become fundamental means of transformation of memory institutions and their role in the information society. Not only the collections of artworks, literature, and documents, but also majority of social representations have turned to data formats. Digital media and institutional critique have transformed knowledge processes and organizational ecologies. Archives and galleries have become content providers for digital distribution channels. While they became primarily providers of digital content, the indicators according to which their performance is evaluated are quantity of digital content they produce, its reach, and consumer engagement on digital platforms.
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This chapter attempts to negotiate the contradictions of synthetic curating machines and the resulting exclusion of dominance as a form of synthetic curating of text through semantic and semiotic manipulation itself. The counter-aesthetics of this text are created by intentional structural machine refractions. Content and style reveal the text’s spaces and bends the all too rigid – if not laughable – notion of reality and logic. Processing deforms, transcribes, and transforms this text from its German source, fragments it via automatic translation software, and then translates and optimizes it with the Grammarly digital writing assistance tool.
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This article provides the conceptual basis and examples of the implementation of the group exhibition project AI: All Idiots, which was part of the Other Knowledge exhibition series at the MeetFactory Gallery in Prague in 2021. (for a view of the exhibition, see Figures: 1 and 2). The purpose of the project was to bring the subject of modern artificial intelligence to the attention of the general public while still being artistically stimulating. In lieu of the conventional strategy of curating a selection of artworks created by artists working with AI, we opted to start from scratch by gathering online digital copies of selected artworks by Czech artists, which served as a training dataset for our original AI software. The artists were also involved in the data’s interpretation. The experiment addressed the widespread use of AI for web content analysis, artists, curators, and the art community as a whole, as well as the question of whether AI operates as a source of information to generate stereotypical products that cannot do more than statistically confirm and continously repeat what is already known.
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This publication is a follow-up publishing project initiated by the online curatorial venture Black Box / Černá skříňka, which combines the search for alternative approaches to fulfilling the social and cultural role of brick-and-mortar exhibition institutions, the experience of transforming curatorial practice at a time of the pandemic, but also an experiment with the use of AI as a non-human curator of the exhibited artworks. These three aspects, which have merged within the Black Box project, are discussed separately in this publication from the broader perspective of international online curatorial practice and the use of artificial intelligence (AI) in various art projects in recent years.
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With the advent of social media and the digital landscape, mainstream activism is a distinguishing feature of young Americans today, referred to as millennials and Generation Z, i.e., those born between 1980 and 2012. However, this perspective overlooks the depth and authenticity of social involvement among these younger individuals, particularly through their embrace of literature and art—particularly spoken word poetry. Spoken word, rooted in oral tradition and championed by previous generations for its social impact, is finding renewed vigor among youth as a genuine means of articulating their societal concerns. This paper will examine the usage of spoken word poetry by contemporary Americans as a means of civic and political engagement. This exploration is contextualized through a modern lens, where digital platforms are amplifying voices traditionally marginalized in mainstream narratives, allowing spoken word poetry to evolve beyond its historical confines into a dynamic form of expression. This study extends the discussion to contemporary poets such as Amanda Gorman, Danez Smith, and Donald Glover who have harnessed the art form to address society’s most pressing issues. This analysis underscores the genre's burgeoning role within popular culture, evidenced by its integration into the music and public personas of artists who have traditionally not been associated with spoken word, thereby marking its reentry into the popular consciousness. At its core, the revival of spoken word among the youth, fueled by social media and digital platforms, represents a recent renovation to an old art form at different levels of pop culture. It is a testament to the enduring power of the spoken word to inspire, challenge, and mobilize. By embracing this tradition, today's generation is not merely participating in an act of revival but is actively redefining civic engagement and artistic expression.
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How to Asiye Nasıl Kurtulur?, written by Vasıf Öngören, the work tells about the social corruption and collapse of economic life through a woman. The work, which was adapted into a movie by Atıf Yılmaz in 1986, is considered a rich work because it can turn into another art form in this sense. The character of Asiye was dragged into a life other than what she wanted and could not establish herself as a woman. In this work, society’s wrong perspective towards women is also questioned. A general content analysis of the play, which is centered on the women’s issue, was made. It was produced from my doctoral thesis titled ‘Adaptations from Theater to Cinema and a Model Writer: Vasıf Öngören’. When evaluated under the title of Women and Art, women’s problems have been expressed in world theater texts for centuries. In this subject, which is handled in a completely objective manner by a male writer, not only a woman’s inability to realize herself, but also the criticism that she has no choice in the face of life is made. In the general plot of the play, Asiye resisted not to become a prostitute like her mother, but she failed. Her right to education was also taken away. With the deprivation of a woman’s right to education, her difficulties in working life in social life are described. The issues such as harassment and discrimination that she was unfairly exposed to in the jobs she worked before becoming a prostitute are conveyed to the reader in a clear language. In the play, which has a critical attitude on the axis of exploitation and marketing of the female body, the cruelty of the industrial and capitalist world is expressed. This play supported this critical attitude with songs.
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Typography, the backbone of graphic design and founded by Gutenberg, gained a different perspective from the modernist trends in the 20th century. As a result of the effects of the Industrial Revolution that took place in the 19th century, artists who approached art and design with a questioning attitude began to seek more aesthetic, experimental, and innovative designs—this period also brought about very important developments in terms of graphic design. It distanced the design aspect from traditionalism. It changed the course of the development process in graphic design and caused it to experience changes in terms of form and content. Artists also created their works by acting with a more aesthetic way of thinking. Paula Scher, one of these artists who showed herself in the 90s, is referred to as “the most influential female graphic designer on the planet” by Ellen Lupton. Paula Scher created a new design perception thanks to the impressive typographic uses in her designs. Scher stands out with her colorful, limitless, and architectural works. Scher attracted attention by creating a revolutionary design perception by combining architecture and graphic design. This unique perspective of Paula Scher evaluates the perception of design by reconsidering it innovatively.This research aims to examine the change in typography design, which has become a part of graphic design, in the modern period. Typography has been evaluated experimentally and innovatively in terms of aesthetics. It will conduct a detailed examination by focusing on the innovative approaches of Paula Scher, who has become one of the pioneers of this field, to typography design and examine her contributions to the field.
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Women have undertaken various roles and responsibilities in society from past to present. While these roles, which change and diversify under the influence of traditions, cultural norms, economic structure and social environment, sometimes bring to the fore areas of action where women are more active, they sometimes bring about discrimination and inequality of opportunities against women, and therefore their separation from action areas. This understanding, in which men and women are evaluated separately, has brought about a significant separation, especially in professional acquisition and business life, and certain sectors have been socially accepted as areas where women cannot take on a role. In this context, the construction sector, which is generally accepted as a business line in which men predominantly work, was evaluated within the scope of the study.Engineering and architectural services, which stand out as professions that require qualified education within the construction sector, were examined within the scope of the study in the context of women’s duties as a business line, their opportunities to use their potential and the difficulties they experience in the sector. In this context, the difficulties experienced by women who work within the architectural professional organization in office work and also in construction site / field work, both during their education periods and in business life, have been analyzed analytically within the scope of statistical data based on survey studies, as well as theoretical and conceptual evaluations in the context of gender equality / inequality.
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