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The painting of Édouard Manet has often been analyzed by art historians, philosophers and sociologists. What mainly stays in the scope of that analysis is Manet’s role in autonomization of the art field, his ability to portray the experience of blossoming modernity and his groundbreaking ability to depict XIXth century social relations. The most recognized analysis of Manet’s heritage is the one of Pierre Bourdieu. The sociologist raises questions such as relation between „heretics” and academic art, the process of destabilizing the power of consecrated art or finally the process of institutionalization of autonomy. At the same time, Michel Foucault’s view on Manet’s revolution is barely recognized. The aim of this article is to follow three main issues which appear in Foucault’s research on Manet undertaken between 1966–1968 in Tunis. First of all it is playing with the physical properties of the painting (canvas, size, shape, relation between the art work and the exhibition space). Second of all it is the way of using light (starting from the natural lighting to the lighting created by the painter). What is most important, the question of yet emerging relation between the viewer and the XIXth century art work will be undertaken. On the one hand the author discusses the changes in humans’ perception of that time. On the other hand she elaborates the problem of involving art in disciplinary processes. In that context the article also tries to reflect on possible ways of analyzing issues such as power or discipline.
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In the following paragraphs, I investigate the inclusion of Ravenna’s 5th and 6th century mosaics and architecture in the category of Byzantine art, as opposed to their labelling as late Roman art. Without any claim to solve this very complex issue, I nonetheless approach it tentatively. I start by situating the ravennate churches in the late Antique political context which catalyzed their construction. I then give a brief account of the ongoing debate in art historiography, on the Levantine or Roman inspiration behind ravennate art. I subsequently proceed to approach this controversial issue myself, from two distinct perspectives: as far as architecture is concerned, I list the general features of ravennate edifices, in order to determine how the 5th and 6th century churches in Ravenna relate to Roman models, and especially to the Constantinopolitan ones put forward by the architects of emperor Justinian. Then, regarding the mosaic decoration, I attempt to highlight, using two small case studies, the coexistence and partial interweaving, in Ravenna, of two distinct traditions of mosaic art: one being late Roman, the other, early Byzantine.
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The presentation of posters at scientific conferences to visually represent research projects is a widespread international practice. The main purpose of this paper is to offer reflections relating to posters as visual representations of research studies conducted by PhD candidates. As the basis for our reflections, we consider the main purposes and intended learning outcomes linked to posters and reflect on some of the design and assessment issues associated with the multi-faceted purposes of posters in contexts such as postgraduate research conferences. Notably, the paper includes a set of illustrative vignettes written by a group of PhD students from the Faculty of Humanities at the University of Manchester who were required to design and exhibit posters at an annually held postgraduate research conference. This reflexive dialogue raises a series of issues for consideration by those who are actively involved with the design, presentation, observation and assessment of posters produced by PhD candidates.
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This reflective article explores the use of Soft Systems Methodology (SSM) Rich Pictures within the learning design. It introduces SSM as part of a broader interest in systems within education and positions SSM as part of a broader family of participatory approaches within a range of fields. Based on learning design practice with organisations looking to (re)connect with learners, the paper sets out a scenario where participants are asked to draw of a Rich Picture of the “ideal learner”, where questions of future selves and ideal forms highlight are used to highlight the non-representative nature of representative forms. It reflects on questions of power on deliberative decision-making tools like Rich Pictures and suggests ways of addressing this in practice. It argues that care needs to be taken lest the value of Rich Pictures is the visual representations made rather than the process, and suggests that practitioners should remember that the image is not the outcome.
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This paper is a reflective account of using Sketchnotes both within Academic Practice and as a PhD Student. A brief summary of different types of Sketchnotes is discussed, together with details of how these have been used in practice, and evolved through practical experience. Examples are shared that highlight how Sketchnotes have been used within PhD studies and scholarly practices. Creating Sketchnotes have enabled an understanding of thought processes and facilitated open communication to others in terms of PhD research. Sketchnotes have also helped with retention of information and engagement. Through incorporating Sketchnotes into everyday practice, this has fostered connections with others and enabled communication of complex ideas visually. This reflective piece contributes to insights and deepens understanding in the area of visual representation in learning and teaching.
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What could a visual-led approach to the learning and teaching of complex issues look like for a short online synchronous session? Through a playful performance-lecture exploring concepts in diversity, interdisciplinarity and social change entitled "What could a neurodiversity-led 2050 look like?", this paper outlines the possibilities of visual-centred approach, using the ubiquitous Microsoft software PowerPoint (or open-sourced equivalents like Google Slides and Prezi). It seeks to contribute to discourses and practices around role of visual approaches in Higher Education (HE) to address ‘difficult’ topics like power and inequality in an engaging manner, and to empower learners as active participants, including those who may be think visually, such as dyslexic learners. Such approaches will be urgent in a reality characterised by profound socio-political injustice highlighted by Black Lives Matter (BLM), and amid a global pandemic, where teaching occurs online, and where learners and teachers alike may be short of time, attention and resources. Highlighting techniques and perspectives from art, film and neurodiversity, it invites the consideration of the PowerPoint performance-lecture as a simple yet engaging and responsive process for higher order learning and creative thinking. A secondary point of the article to call for HE to itself apply a degree of critical and creative thinking about its own position, to use self-knowledge to do better, in order to move forward. It welcomes feedback and challenges, and calls for the creation of yet more playful, innovative, visual-led approaches in the learning and teaching of complex issues in Higher Education.
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The humor press, which had gained acceleration in the last periods of the Ottoman Empire with the Tanzimat (Reorganization, the period of reform in the Ottoman Empire) in particular, exhibited more expansion after the declaration of The Second Constitutional Era. During this period, many humorous newspapers and cartoon magazines were published, and especially with the proclamation of the Republic, it is seen that also liberation in this area increased. Although many cartoonists produced several works during these periods, Ramiz Gökçe (1900-1953) appears to be the cartoonist who produced the most works. Having made important contributions to Turkish cartoon art, Ramiz Gökçe, with his bold drawings, also undertakes a task of an important memory that tells about social change and conveys periodic events in the transition period from the Ottoman Empire to the Republic of Turkey. In addition to these, he popularized and imposed the cartoon to the Turkish people. In this study, a descriptive analysis was made on the art life of Ramiz Gökçe, one of the period masters who influenced the early period of the Republic of Turkey with his drawings, with the method of systematic organization of data.
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The film Broken Lullaby ([1932] Ernst Lubitsch) and the novel L’Homme que j’ai tué ([1921, 1925, 1930] Maurice Rostand) are seen to be the main inspirations for Frantz (2016) by François Ozon. On the basis of methodology broadly understood as the concept of bringing into relief (Domański, 1992, 2002), this article aims to demonstrate the means by which the French director expanded upon the literary-film material, imbuing it with a totally singular meaning. Ozon’s inventiveness did not limit itself to transformations typical for adaptations, but ventured towards feature film understood as a synthetic work of art that by exploiting the audiovisual properties of the medium itself, acts as a unifying force of poetry (Verlaine, Banville), music (Chopin, Debussy) and painting (Manet). The famous poem recited by the heroine, Ann, Chanson d’automne (Paul Verlaine), serves as the analytical starting point for the above. It is thus used as a pivot for the entire film, a veritable lodestar for guiding motifs, allowing important aspects of the film to be highlighted and consequently, bring its main theme to the fore.
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The article is an attempt to analyze drafts as an artistic form crossing the boundaries between what is literary and what belongs to the visual arts. The material undergoing interpretation here is Tadeusz Kantor’s Drafts series, which consists of the artist’s notes, staging remarks, and notes intended for display in the form of enlarged photocopies. Kantor’s drafts represent the type of thinking about passing, art and the past characteristic for this artist and for the contemporary nostalgic, historical imagination. That is why the topic of the archive in the context of Kantor’s art also enables discussion of Derrida’s archive fever, the problem of traces and the paradoxes of modern memorial discourse.
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This article aims to indicate universal cognitive diagrams for the process of interpreting and creating works of art. This text deals primarily with issues such as visual perception, neural representations and mental maps. Each of these concepts has a direct connection with the reception of works of art (painting, sculptural and literary). A certain scope of cognitive processes may constitute a cognitive universe with respect to works of visual art. In every field of art, a set of similar, if not identical patterns with regard to a specific realization is noticed. We can therefore speak of generalizations, mutations and emanations in culture. This article is only a research proposal, which requires a wider study.
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This article presents the essays and poems of Aleksandra Olędzka-Frybesowa, who was a renowned translator from French and also English. In her essays, Olędzka-Frybesowa specialises in the Romanesque and Gothic architecture and sculpture of Western Europe as well as European painting from Medieval Ages onwards. She is also familiar with the art of South-East Europe. Her essays cover literary criticism devoted especially to poetry, with a particular interest in French and mystical poetry, as well as haiku, which was also her own artistic activity. The author of this article analyses Olędzka-Frybesowa’s ten volumes of poems, which follow a thematic pattern, especially the theme of wind (air). The analysis provides various insights into a variety of functions of this particular theme, from reality-based meanings to mystical and ethical features. This variety of funtions of the wind theme is supported by a particular melody of the poem and its abundant use of metaphors.
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The purpose of this text is to review and conduct preliminary analysis of visitor evaluations of the museum offer with particular emphasis on their views on exhibitions. This will help identify the needs of the museum guests and make an attempt to determine the mechanisms for constructing a hierarchy of the importance of their expectations regarding museum activities. The term «opinion» in the title has been used as the equivalent of a judgment that is not necessarily substantive not necessarily formulated on the basis of the knowledge of the subject. It is based on strong, first impression caused by a museum visit. The value, in turn, is defined here as something precious, in the context of the organization and in relation to what is socially expected, defined as «this should be», and what is good. This is the value that is determined by the type of social mentality, and at the same time recognizing what has the characteristics of autotelic validity. It applies to the civic, aesthetic and organizational dimension. Values take the form of not always explicitly expressed preferences, interests, norms. The value indicator is any offer assessment included in the guest notes entered in the exhibition book in Museum Varmia and Masuria in Olsztyn.
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This text will discuss the activities of the National Museum of Agriculture and Food Industry in Szreniawa (abbreviated to the Museum in Szreniawa) in the field of research, documentation of intangible cultural heritage and the dissemination of knowledge about it. This is only a presentation of findings which in the future may become the basis for deeper analysis or broader synthesis. The research mainly focused on the role the facilities play or are to play in the museum. Today, it is important to classify and present various undertakings of this institution.
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The Praga Museum of Warsaw formally exists as a branch of Museum of Warsaw since 2006. Since 2015, having its place of residence renovated and main exhibition opened, it is fully active on a local ground of Praga district. Briefing main programme assumptions this text concentrates on three most important questions: why does the museum exist, is it relevant to the needs of the local community and what are its main tasks in that context.
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The article deals with issues related to the exhibition „Kayko and Kokosh - Comic Archeology”, which presents comic frames and archaeological artifacts. The organizational, substantive and visual character of the exhibition was different from the nature of the exhibitions previously presented at the Archaeological Museum in Gdańsk. The exhibition was very well received by visitors. Presented in eleven museums in Poland, it has been seen by over 200,000 people. Part of the museum environment took it negatively, and the main accusation was „frivolity”, i.e. the fact that the nature of the exhibition allegedly does not match the seriousness of the place, which is the museum. Two main arguments were formulated against the exhibition: that the subject of the presentation was a comic, and that the character was „childish” and therefore devoid of seriousness.
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Photo-documentary exhibition “Hungarian traces in Shumen” was opened at the Hungarian Cultural Institute in Sofia. It was produced by the Regional Library “Stilian Chilingirov” – Shumen in partnership with the Hungarian Cultural Institute at the Embassy of Hungary, in which it was exhibited.
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The Irish Embassy in Bulgaria and the National Library “St. St. Cyril and Methodius” presented a different perspective on the life and work of the renowned Irish writer Bernard Shaw – with a movie and an exhibition.
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Sue Coe, an English artist, said that animal slaughter has become normalized because it was hidden. Plastic-wrapped pieces of meat on supermarket shelves do not resemble living beings. Meat intended for mass consumption is no longer real, while in the contemporary art we can find examples of the reverse. Meat art puts viewers in an uncomfortable situation because what the food industry conceals (killing animals, blood, guts), they can experience directly in an art gallery. It seems that meat in the contemporary art enables symbolic reference to many issues. In my text, I would like to show examples of the use of animals/meat by artists to shock and collide viewers with the Real, as well as to ask them ethical questions.
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Art and the notion of beauty related thereto are both disciplines and states which are quite unobvious and thereby requiring us to ask the question: Why is it that human beings have in their minds an inherent need to witness the beauty along with — resultant — need to create and receive art? The author of the text — by devising some neurobiological tools — attempts to elicit relative laws of beauty reception, and simultaneously she utilises the instruments of neuroaesthetics, which is a field of science that investigates the impact of art on processes taking place in the human brain. She explores, among other things, mechanisms put to use, consciously or otherwise, by artists in order to make their works a peculiar stimulus. The author describes a series of “tricks” used by visual arts creators who model the particular ways the visual perception processes function.
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