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Video is among the youngest media formats currently used as a means of artistic expression. At the same time, it has become one of its most important paradigms, influencing the contemporary image of art to the greatest extent. In its history – lasting more than half a century – video has undergone substantial evolution, morphing from an instrumentation of creative experiments in the electronic medium and radical political interference into a new sphere of cultural activity, a contemporary field of creative transmedia, comprehensively present in current social practices. Video in the Visual Arts offers a reflection on this evolution and on the variable relations between the medium and different artistic concepts which create the image of visual arts today. The authors put forward theoretical considerations defining the scope and forms of video found in art, and analyse its historical manifestations. The texts contain analyses of communicative and cultural aspects of video, of metamorphoses it has undergone in its lifetime, of its variegated sets of aesthetics, contents and circulation, but also of its relations to different art disciplines. A broad overview of video as a means of expression has been provided throughout the book.
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The art theory discourse is in lack of terminology regarding the analysis ofconnections and interactions between nature and contemporary art – especiallyartworks that are in connection or are created in a natural environment. Theaim of this book is to introduce and define starting points and terminology inthe analysis of man-made interventions in natural environments that have someaesthetic value and artistic intentions. These terms are interdisciplinary and areused mostly in the realm between theatre and visual arts. I argue for exampleterms like: performativity, performative space, viewer, site-specific, aura, atmosphere,etc. The dimensions of the research do not allow a large number ofartworks to be discussed. Therefore, it can only include specifically illustratedand underlined subjects.
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The book Ameryka. Rewizje wizualnej mitologii Stanów Zjednoczonych [America. Revisions of the Visual Mythology of the United States] is a critical analysis of the formation and the subsequent revisions of what the author describes as American visual myths. These myths are embedded in the vast field of visuality, models of vision, images, art and other objects of visual culture, such as film. Ameryka was written, first of all, from the perspective of an art historian, but also an Americanist, hence it offers an interdisciplinary scholarly proposition combining reflections in the fields of art history, visual culture studies and American studies. Following an extensive theoretical introduction, all the chapters are separate but correlated with the book as a whole: there are case studies of the creation of myth-images, particularly in the 19th century, in their diverse forms and media and, more importantly, of how they were revised in art and visual culture in the 20th and 21st centuries. Throughout the book, the author draws an important distinction between the United States and America, which is understood as a symbolic-imaginary field or screen within which American mythology is formed, primarily to neutralize difference and unify the heterogenous American nation. The extensive analyses of artworks, popular images and films demonstrate the way American mythology was gradually deconstructed, especially from the mid-20th century, as a result of the awakening of political consciousness of the marginalized groups, the surge of civil rights struggle and changes within the broader social-cultural landscape of the United States. At the same time, despite these internal interventions and the subsiding economic and cultural hegemony of the USA on the global scene during recent decades, by referring to specific cases and issues of American visuality, the author claims that the basic coordinates of the myth continue to serve as a lasting frame of reference.
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The book is a monograph of Lodz theater festivals, including festivals organized in drama, off, puppet, children’s and youth theaters, as well as in the opera theater, as well as in other cultural institutions. These reviews took place in Lodz in the period from the 1960s to 2016. The festivals, initiated by regional artistic circles and fitting into the history of Lodz and Polish culture, are watched by students – today graduates – of the theater specialization at Cultural Studies at the Institute of Contemporary Culture at the University of Lodz.
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Taking the position of the manager of Teatr Śląski in Katowice in 1992I was aware of the fact that it was the only theatre in Poland named after StanisławWyspiański. The patron himself and his thinking about art, especiallyan interdisciplinary nature characterizing him, imposed the project of an artisticprogramme on this stage for 11 years. Wyspiański’s connections with Silesiacover both an artist’s interest in an Old‑Piastdistrict, including fascination withHenryk Pobożny, and his contribution to the shape of the intellectual formationof Poles who, after 1918 dictated a socio‑politicalnature to Katowice. MichałGrażyński, a voivodship and Marian Sobański, a long‑standingmanager, sawStanisław Wyspiański as both the theatre patron, and a starting point for anartistic level they dictated to the very institution. Giving the name to the theatrein 1936 was connected with Józef Piłsudski’s death. For many Poles the marshalwas the embodiment of Konrad from Wyzwolenie, and his death determinedmany spectacular events.The theatre in Katowice offered Stanisław Wyspiański’s biggest masterpiecesin the 1930s. They only lacked Akropolis. The adaptation of this play, consideredby many the most difficult one written by an author of Wesele became a greatchallenge for the Silesian stage at the end of the first century of its existence. Thedecision was reinforced by the fact of Poland’s entry to the European Union andintensification of talks on civilization roots of our country. A biblical area andthe world of Greek and Roman mythology, very much present as the two mainconstituents of Akropolis, allowed the theatre to enter into an important socialdialogue. The task to by performed by producers and, mainly a director, washow to stage the play. The basic conception was solved by means of buildingthe person of the Poet, mainly from the stage directions inspired by the authorhimself when writing Akropolis, his struggles with disease and fascination withPolishness. Next, the person of the Poet became the source of inspiration forWhiting a play on Wyspiański. Chryje z Polską by Maciej Wojtyszko was basedon a little known fact from our history, namely one meeting between Wyspiańskiand Piłsudski on 1 March 1905. Its leading theme was support for an ideaof treasure in favour of the Polish army to be. Stefan Żeromski was engaged ingetting into touch. Wyspiański considered the possibility of taking the positionof the manager in Teatr Miejski. Piłsudski wanted to use a February resolution inRussia to start yet another uprising in Poland. The work by Maciej Wojtyszko,presenting a confrontation of both characters, shows possibilities of a dialogueof art and politics, reveals painful wounds in the history of mentality of Poles.The image of a character Stanisław Wyspiański becomes in both positions isa food for thought.
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Zamieszczone w niniejszym tomie materiały stanowią pokłosie sesji naukowej: "Rzeźba na Śląsku w 2. połowie XVII w." zorganizowanej 20.01.2017. w Muzeum Miedzi w Legnicy. Przedsięwzięcie to miało szczególny charakter, bowiem rzeźba barokowa - potraktowana jako temat przewodni - rzadko staje się obiektem zainteresowań badawczych. Niniejsza książka nie pretenduje do prezentacji kompleksowych dziejów rzeźby na Śląsku na przestrzeni 2. połowy XVII w. Omawiane przez autorów zagadnienia dotyczą jednak obiektów, artystów, lub problemów pomijanych do tej pory, bądź słabo rozpoznanych, w istotnym stopniu uzupełniając i korygując stan badań, zawarty przede wszystkim w w wydanej przed ponad trzema dekadami syntezie rzeźby barokowej na Śląsku pióra prof. Konstantego Kalinowskiego. Śląsk - który w tym czasie wchodził w skład Monarchii Habsburskiej - pomimo peryferyjnego położenia względem Wiednia oraz Pragi poszczycić się może zabytkami rzeźby stojącymi na wysokim poziomie wykonania, łączącymi różnorodne inspiracje. Oprócz związków artystycznych z Czechami oraz Austrią działali tu również rzeźbiarze pochodzący, bądź posługujący się formami charakterystycznymi dla rzeźby południowoniemieckiej, morawskiej, flamandzkiej, czy francuskiej, czego owocem jest bogata mozaika artystyczna o szerokim spektrum stylowym. Znalazło się w niej miejsce dla nurtów klasycyzujących oraz dzieł antyklasycznych, w tym tzw. śląskiej maniery barokowej, silnie eksponującej walory ekspresyjne i zrośniętej z miejscową tradycją sztuki. Zjawiska artystyczne zapoczątkowane w rzeźbie śląskiej pomiędzy 1650, a 1700 r. miały swoją wspaniałą kulminację w 1. połowie XVIII w. Dokładniejsze rozpoznanie rzeźby siedemnastowiecznej - czemu służy także i ta publikacja - pozwala pełniej nakreślić kontekst dla erupcji ilościowej oraz jakościowej rzeźby, jakie miały miejsce na Śląsku około 1700 r.
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The aim of this book is to indicate and characterize the relationship between the phenomenon of agency and the aesthetics of the video game medium. The author analyzes the properties of interactive texts that allow their users to feel the pleasure of influencing the virtual spaces or the course of events taking place within them. Therefore, the book has been divided into two parts: theoretical, which organizes the existing definitions and types of agency typical for video games, and analytical, that presents a layered model of agency. Author presents four levels that organize player experience: simulation, narration, rules, and meta-agency, which gathers numerous activities beyond gameplay. The following chapters explore issues such as: reception and transformation of the gameplay aesthetics, user experience and emotions, differentiation of player’s agency, interface functions, agency mechanics, and agential dissonance. The book also contains extensive analyzes of three high-budget mainstream games: “The Legend of Zelda: Breath of the Wild” (Nintendo, 2017), “Witcher 3: Wild Hunt” (CD Projekt RED, 2015) with “Blood and wine” expansion (CD Projekt RED, 2016) and “Grand Theft Auto V” (RockStar Games, 2013).
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The present collection, prepared in memory of Academician Petar Dinekov on the occasion of his 90th anniversary, contains the reports of the participants in the scientific conference held in Sofia from October 26 to 28, 2000. In addition to participants in the conference, the collection also includes additional presented materials. In total, the collection contains 71 articles by various scientists from Bulgaria, Russia, Serbia, Greece, Germany and Poland. The articles are arranged thematically in several sections in accordance with the issues of the sectional meetings of the conference.
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The publication is revised version of the dissertation entitled “Porcelain as a Conceptual Medium” and has aims to analyze and describe contemporary tendencies and interpretations associated with the use of porcelain in the visual arts, not only as a utilitarian material but also as part of a conceptual art work. The work will be presented by the authors on the Czech art scene, with the emphasis on the youngest generation and its authentic expressions. It will also become acquainted with the work of renowned Chinese authors who are world leaders in this field. The whole research is presented in historical and pedagogical contexts.
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This book analyzes through theoretical research the field of art creation in special education, art education, art therapy and visual art. The work is divided into three chapters. The first chapter contains analytical study focusing on disability images in visual arts in selected periods of European art history. The second chapter deals with art work creation in education and therapy and presents outcomes of an action research. It aims to compare and interpret new theoretical foundations of art therapy, special art education and inclusive art didactics. The final chapter focuses on establishment of authors with disabilities as artists and art creation as a specific strategy for social inclusion. At the same time it values artistic creation as a specific strategy of social inclusion.
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A typeface is one of the basic tools of human communication and for a long time a poster belonged to the most widespread means of mass communication. Upon the arrival of digital technologies it seemed that a poster would gradually disappear from the print media. However, it turns out that along with still more intensive everyday use of various text displays, there is also a renaissance of a traditional typeface poster and its extinction is probably not in sight yet.
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This book is an attempt at a new interpretation of texts by classical authors who write about photography as a medium, a way of recording the world, a tool of artistic creation and epistemological machinery. In addition to these re-interpreted authors, the book also includes chapters devoted to authors who propose new recognition of the phenomenon of photography, especially in the context of the expansion of new visual media and reflections on its “inhuman” dimension. A dozen chapters in the style of a scientific essay – which for the author means combining the accessibility of the argument without resigning from in-depth analysis and interpretation – is intended to present the diversity of looking at photography.
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This book is a proposal to identify and take a closer look at selected aspects of the functioning of modern culture, in which the growing importance of games (especially video games) and the broadly understood ludicity, or "game-like" qualities, are clearly manifested. The key point of reference for the considerations undertaken are gamers, understood as a specific type of cultural participants. As the foundation for the argument, the examples of an academic reflection on the subject-matter are recognized and the field of this reflection is outlined, highlithting mainly the links between games and culture. This is followed by a discussion of issues related to the specifics of experiencing video games (mainly in a technological context), but also to the competencies of gamers, and to the fact of their diverification as a group, including some taxonomies. Further on, the perspective broadens, turning to the culture of games/gamers (among other things: venues designed for gamers, specialized media, events and other phenomena shaping the "gaming culture"). The argument concludes with an attempt to look at culture (as a whole) through the prism of its "gamification". Thus, the manifestations of "game-likeness" beyond the core "gaming culture" itself are discussed – the influence of games on other branches of culture (including entertainment industries or the arts), cultural protocols, everyday life, etc., and therefore on the competencies desired for modern cultural participation.
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The book Space and Time in the Transmission of History through Painting presents an artistic and scientific project carried out by the author in 2018 as a creative commemoration of the Wielkopolska Uprising 1918-1919 on the 100th anniversary of its outbreak. The work presents painterly documentation, a personal registration of the landscape of history of the places associated with the Wielkopolska Uprising. The evolution of this landscape is shown through the creation of original painting space-time, which takes into account the changes of space observed over time, and which generates reflections on its reception in the context of the overlapping of historical time with contemporary time. A multidimensional and colourful message is presented through painting, illustrated with reproductions of the author's paintings created on the basis of retrospection, and a comparison of the currently observed landscape space with its historical context. The book introduces the artist's working technique and presents her innovative technique of structural painting in combination with photography and digital printing. The subject matter is supplemented by texts, documentation of the creative process and photographic accounts of exhibitions and educational meetings organised by the author in places of historical inspiration. The project was conducted over an area of three voivodeships in six localities where the activities of the Wielkopolska Uprising were marked. It was awarded a grant by the Minister of Culture and National Heritage.
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Written at the turn of 2021/2022, the monograph From Sublimity to Arbitrariness. Painting in the Tragic Time summarises numerous reflections and comments contained in two previous books: Pamięć czasu – malarstwo w czasie bankructwa duchowego [Memory of Time – Painting in a Time of Spiritual Bankruptcy] and Malarstwo jako egzystencja – tożsamość osobista a postawa twórcza [Painting as Existence – Personal Identity versus Creative Attitude]. The new publication, written in the context of the ongoing COVID-19 pandemic and, above all, the barbaric war in Ukraine, addresses the fundamental challenge of the present time concerning the foundations of the collapse of man's spiritual condition at the turn of the 20th and 21st centuries. The striking disappearance of moral and ethical content at the present time results in an exceptionally repulsive manifestation of numerous attitudes, where the pursuit of material goods effectively eliminates from our lives everything that is connected with a deep reflection on the meaning of human existence, its universal values, rigours, principles without which our life irretrievably loses its human dimension, turning into a hostile space of numerous threats, fears, frustrations, traumatic experiences and emotions. All this results in a growing avalanche of depressing arbitrariness and the striving for so-called freedom from everything, which only deepens the feeling of the current chaos and entropy in interpersonal relations, where the possibility of communicating with another human being becomes a fundamental problem.
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The book covers the findings of research on the 21st century Polish film and photography. For the purposes of this study, the terms film and photography are broadly understood and rooted in the culture studies perspective. Due to such framing, the author combines studies on fiction, documentary, short and feature-length films as well as documentary and staged photographs. The presented readings are created around three main categories of images, which are: spectres, shadows of the anthropos and banners.
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The Feminist Helmut Newton is a book devoted to the work of Helmut Newton, who had a huge impact on the development of feminist art and photography. In each decade, his photography gained more and more importance. It can be said that in principle it was never just a form of art or reporting. The image has always influenced all areas of social life - from politics to consumption. One of such socio-cultural problems raised by photography may be feminism. The book presents the work of the German fashion photographer Helmut Newton as changing not only the world of fashion but also the world of 20th-century feminism. His unusual ability to attract eyes through controversial topics and projects has won Newton a number of fans, as well as making even more enemies. However, the photographer-pornographer, as contemporary critics called him became an icon of his time, arousing extreme emotions - from delight to scandal. Yet, it cannot be denied that he showed a whole range of female types, emotions and behaviors. The book also includes the results of the research conducted at the Helmut Newton Foundation in Berlin.
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