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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 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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MIKSER, Redakcijska grupa ULUS-a: ULUS je mrtav, živeo ULUS!; ŠTRAFTA, Aleksandra Sekulić: Kakav je vazduh tamo gore?; ZID, Oliver Ressler: Okupljanje oko olupine; ANTI CEMENT, Nenad Vujić: Ni Ljudi Ni Muzike – imaginacija u štrajku
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VREME SMRTI I RAZONODE, Geza Antal: Mičov ples; MIXER, Biljana Andonovska: Mali avangardni časopis koji bi se zvao časopis; CEMENT, Mirnes Sokolović: Visoke peći neutralnosti
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MIXER, Gjorgje Bozhoviq: Potkrovljenje srpske balvan-garde; antiCEMENT, Aleksandar Pavlović: Morfologija srpske bajke; ARMATURA, Dinko Gruhonjić: Postoji li medijska alternativa u Srbiji?; VREME SMRTI I RAZONODE, Alen Alenijevič Elijevsky: Prvi put s ocem na liniju
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Povodom izložbe „Kraljevski namesnici (1934–1941)“ Pre skoro mesec dana u Domu narodne skupštine je otvorena izložba „Kraljevski namesnici (1934– 1941)“. Iako je proteklo izvesno vreme od otvaranja izložbe, a za ovu temu sam veoma zainteresovan, nije bilo umesno da o izložbi pišem pre nego što je posetim – što sam tek nedavno i učinio, pa otuda i ovaj relativno zakasneli izveštaj.
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Ovo nije tekst o Koroni. Ali jeste o apokalipsi. Dobro, po svemu, koliko god da se ovdašnji režim trudi da nam utera strah u kosti, daleko je Kovid 19 od slika totalnog uništenja iz Jovanovog otkrivenja. Pa onda Korona u prvoj rečenici stoji tek kao mamac za čitaoca. Kao da ne može ni o čemu drugom da se ovih dana piše ili čita, izuzev o Koroni. Hajde ipak da probamo. Uskrs nam je povod da prikažemo novi strip Alfreda Castella i Corrada Roija – „Apokalipsa. Knjiga otkrivenja svetog Jovana“.
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Bauk kruži Evropom (i čitavim svetom, kad smo već kod toga)–bauk korone. Sve sile stare Evrope (i sveta, naravno) sjedinile su se u svêtu hajku protiv tog bauka, to jest virusa Kovid 19. Ovde možemo stati. Stariji čitalac, recimo nastavnik, odmah je prepoznao referencu na „Manifest komunističke partije“, revolucionarno štivo iz druge polovine 19. veka, autora Karla Marxa i Friedricha Engelsa. U fokusu mlađeg čitaoca, recimo srednjoškolca, ostaće pak aktuelni virus i globalna panika u koju je potonula planeta. Drugim rečima, srednjoškolac bi uvodne rečenice mogao čitati kao opis zbivanja u svetu danas, i ne bi pogrešio, iako bi to čitanje ostalo lišeno njihovog pamfletskog predloška. Pođimo od epidemije, a stići ćemo i do manifesta.
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MIKSER, Aleksandra Sekulić: Hvatač snova u vozu iz Kijeva; ŠTRAFTA, Zorana Simić: Dve muške knjige; ARMATURA, Nikola Gajić: Osmomartovska dešavanjau Jugoslaviji; ZID, Goran Đorđević: Sećanja na jednog Mondrijana
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MIKSER, Tara Rukeci: 9. festival dokumentarnog filma „Da nam živi, živi rad“; ŠTRAFTA, Aleksandra Sekulić: Mrsite rese! – o filmu „Duga resa“ Dragana Protića Prote; VREME SMRTI I RAZONODE, Vladimir Milojković: Sudbina jednog Vladimira; BLOK BR. V, Radovan Popović: Evropa; ZID, Sekundarna arhiva
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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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Bauhaus Art and Design School, which brings together many important designers and artists in many fields such as architecture, industrial design, graphic design, furniture design, and urban planning, aims to develop an interdisciplinary approach by bringing together the concept of art and craft. The basis of the education and training system of this school, where many disciplines come together, is based on the workshop system, which is the cells of the industry, bringing together theoretical knowledge and application methods. The Bauhaus School of Art and Design aims to develop designs based on functionality, innovation, simplicity, and geometric balance. Distinguished names such as Johannes Itten, Josef Albers, Wassily Kandinsky, and László Moholy-Nagy also attended this school. Söre Popitz is the only known and pioneering female name in graphic design at the Bauhaus Art and Design School, which includes people from different fields. Söre Popitz, a student of Josef Albers, Wassily Kandinsky, and László Moholy-Nagy, worked in graphic design, such as typography, advertising, and book designs. Popitz, who studied graphic design, drawing, and advertising at an art school in Germany, received training from important names of the period and had the opportunity to improve himself in his field. The designer, who died in 1993 at 97, mostly adopted a constructivist approach, focused on geometry, and used bright and pigmented colors in his works. However, in their designs, Figurative, typographic, and abstract effects stand out.This study aims to examine the works of Söre Popitz, the pioneer female graphic designer of the Bauhaus, in the field of art and design. Within the scope of the study, Popitz’s biography and style in the design field are discussed, and Popitz’s graphic design works are examined within the framework of visual design elements and the constructivism movement. The study evaluates Popitz’s work and working principles in graphic design as a female designer. In the study’s conclusion, it is envisaged to obtain detailed information about Söre Popitz’s works.
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