Hibridna pitanja o dekonstrukciji i umetnosti

Author(s): Miško Šuvaković / Language(s): Serbian Publication Year: 0

Yet, it has been one priviledged moment for deconstruction when she became a feshion, which means uncertain, open interpolation and tends towards displacements of atmosphers of intervent performance within different hybrid social contexts, first of all, within culture, which means within art. Deconstruction has been a kind of a feshion, or set of feshions between theoretical postistoricism and political globalism. Text which follows is a try to trace these uncertain and worryng paths from philosopfy towards art by the way of theoretical intervent instruments. Within the art theory deconstructive searching of textual differences (or analoguosly, visual, spatial, time) aspects and characterizatcons of paniting besomes discursive production of meaning, that is, production of ‘differences’ and ‘differAnces’ that are result of confrontation of complex and arbitrare culturally driven discourses of Western painting (metaphisics of painting as constituent of painting). Production of meaning, based on deconstructive theory or its specific applications (in literature theory, theory of painting, architecture theory, musicology, theatrology or film theory),could be conveyed into the domain of art production as matherial sygnifying practice and become poetic productive model for texts (literally: weaving /lat. textus/) of painting, architecture, music, theater, film, etc. Painters on the margins of modern or after the modern don’t perform the painting as coherent system of the very sensual-i.e.,-visual representations. They construct it as heterogenious and hyberid field of different/defer of painterly modes of multiple referential contexts and historical realizing eclectic model based on procedures of montage and collage.

Forma plastyczna a forma muzyczna — z doświadczeń kształcenia plastycznego studentów wychowania muzycznego Instytutu Muzyki

Author(s): Urszula Szuścik / Language(s): Polish Publication Year: 0

In her considerations, the author of the article proved both in theory and practice (through the students’ plastic works) that the languages of the music and plastic art have a lot in common making the performer closer to a better understanding of art. This skill should be taught to the future pedagogues of the art subjects during their studies. The stydents’ plastic works presented in the article confirmed the hypothesis that beauty and values can be expressed by means of different art languages.

Intermedijalnost u arhitekturi Makovog Spavača

Author(s): Elbisa Ustamujić / Language(s): Bosnian Publication Year: 0

The paper tries to depict how Mak’s Stone sleeper establishes within an intermedial communication an imitative connection between poems in the traditional connected verse with visuality of medieval tombstones (bos. Stećak). One can recognize poems/stećaks in the form of a coffin, a coffin with a tombstone, a pole, a slab with or without a base and in various sizes. Relief figures from the stećaks take turns, bypass each other and plug into a compressed imagery of metaphorical-metonimical-symbolic connections and meanings. Visual monolithic property of the stećak and expession of relief signs is suggested through the medium of the language via omnipresence of euphony/eurythmy. By the means of assonance - alliteration, rhyme, anaphora, polysyndeton and parallelisms and other, they gave dimensions to the whetted reduction of the edges and polished stone form.

„Kамени спавач“ на Мак Диздар или довикување меѓу вековите

Author(s): Naume Radichevski / Language(s): Macedonian Publication Year: 0

With the Stone Sleeper, his unique poetic achievement, Mak Dizdar has established himself not only as a dreamer and a remarkable thinker, but as a rare, unattainable, and never fully graspable prophet and visionary. Most impressive is the fact that he achieves this through an imaginary, and a dominantly poetic dialogue with the ancestors from the order of the Bogomils, that is, Bosnian Christians. Through the inscriptions on their tombstones in that already deepened poetic venture and project, he appears as both their reader and interlocutor. On account of this very analytical ungraspability, this contribution insists on detecting at least some of the connections between the 20th-century poet and prophet, on the one hand, and, on the other, his impossibly possible, if not doubles, then at least fellow travellers sharing his sentiments and ideas, but above all his fate in the triviality and transience of space and time. In this reading of Dizdar’s Stone Sleeper as an attempt to find the connections between the identicalities divided by temporal infinity, or as an attempt to transcend time, that is, to enter time eternal, to reach timelessness, one nevertheless humbly concludes by interpreting this poetic endeavour as an incredibly profound and endlessly existentialist and philosophical poetogram that is an expression of man’s defiance of infinity.

Светачки лик у контексту: један нерасветљени пример из ексонартекса цркве у манастиру Трескавац

Author(s): Vesna Milanović / Language(s): Serbian Publication Year: 0

The images which are the focus of the paper belong to the oldest of several existing fresco ensembles in the sacral complex of Treskavac resulting from different and chronologically clearly separated ktetorial undertakings and renewals between the 14th and 19th centuries. Dating from the times of King Du{an, these images apparently form part of the original painted decoration of the space whose lateral ends are surmounted by domes, and whose emphasized tripartite shape is a result of 19th century alterations. Massive separating wall areas were introduced into the previously undivided and much more integrated internal composition of the exonarthex, thus not only partitioning the area and making it significantly narrower, but at the same time, unfortunately, hiding part of the authentic medieval frescoes on the east and west walls near the entrances. This paper is based on the findings related to recognising the previously unidentified remaining part of a holy monk figure, presented with an interesting and unusual iconographic symbol in his hand — a branch with leaves and fruit. The author of the text points out that it is the branch of a Paradise apple tree, and that the image is that of an otherwise quite seldom depicted figure of Euphrosynus the Cook. The surviving examples of the monk’s vitae story present him as a meek and humble member of the brotherhood in a desert monastery by the River Jordan, despised and even taunted by the other brothers — but at the same time, in the central episode of the story, provide the image of a special person, chosen by God, blessed with dwelling in the Garden of Eden and enjoying the fruit of heavenly trees. It is interesting and worthy of attention that the Treskavac image of St. Euphrosynus stands apart from the incompletely preserved but relatively numerous and homogenous row of holy monks in the zone of standing figures on the west wall, and that his solitary bust portrait is joined to a particular, “unrelated” group of images, i.e. to a quite different category of iconographic content, on the opposite wall surfaces in the southern part of the exonarthex. Part of the findings presented in the paper resulted from reflections on the saint’s unusual and highly specific iconographic attribute, and revealing a layer of meaning that bestowed on this attribute the dimension of a particular biblical and Christian topos. The other part of the findings relate to recognising and interpreting the specific function of the very position given to the saint’s figure among the mentioned group of only seemingly unrelated or not specially related images in the southern part of the Treskavac exonarthex. Among the most prominent ones is the composition of the Baptism of the Lord, also excluded from the category of contents it otherwise usually belongs to (the Great Feasts cycle), and, in contrast to the usual topography, placed in the lowest fresco zone, in the spot immediately below St. Euphrosynus’ image. In all probability, the relevant group of scenes was to include also the bordering representative depiction of a Serbian ruler with the divine investiture motif, in the southern portion of the eastern wall of the central part of the exonarthex area, as well as the nearby contents belonging to the wide-ranging and complex Menologion cycle from the upper zones of the building. Formally the most prominent and most noticeable illustrations are for the March days of the Cycle — the Annunciation to the Blessed Virgin Mary (with a pictorial allusion to the Holy Spirit’s power coming down from Heaven) and the Martyrdom of the Forty on a frozen lake (with the detail of placing crowns of heavenly glory on the naked bodies of the martyrs) — situated in the calotte above the southern part of the exonarthex that bears a monumental image of Christ Emmanuel at the centre. Although at the same time also part of a special whole in the central part of the exonarthex, south of the main entrance to the church, the content of the fresco depicting King Du{an’s investiture with a crown from an angel’s hand and the motif of receiving his power Dei Gratia, it was with good reason that its south, now hidden end, abutted on the depiction of Christ’s Theophany at the Jordan in the adjacent area of the wall, whose contents form part of the structure of the frescoes in the mentioned bay under the calotte. All the findings and observations on the selection and relations of the images given here and supported by arguments serve to confirm and shed more light on the special segment in the content of the painted programme from King Du{an’s times — thematically cohesive and integrated through a unique symbolism, and not lacking in specific and indicative analogies in the monuments from this epoch. The concept of the programme, stressing different aspects of the soteriological and eschatological implications of the baptismal theme and the Christian notion of the era of “the grace of God” — where the sacrament of baptism is seen as the “gates of the New Heaven” — at the same time also justifies the identification of the said part of the space with the original position of the existing, and at a later time dislocated, authentic medieval stone agiasma of Treskavac.

Плашт српских деспота у 15. веку. Прилог проучавању

Author(s): Branislav Cvetković / Language(s): Serbian Publication Year: 0

The royal portrait in the Middle Ages, as a distinctive form of imagery, the purpose of which was to emphasize the celestial origin of the sovereign's power, has been the subject of continuous research. But special attention is paid to the study of varieties when the most common form of the hieratic frontal portrait of a ruler as an "image of God" is supplemented with factors highlighting ideological messages such as success in wartime exploits, the ruler’s special position, or his humility and piety. In the Byzantine sphere of influence, the ruler is usually represented clad in a standard manner that was repeated with slight variations for centuries, the symbolism of which is very well known. The official ruler’s likeness almost always had no mantle. Since one encounters this on a number of examples of portraits of the Serbian rulers in the 15th century, one may ask why it occurred only in some cases, if it was due to the Byzantine influence, or an insignia of Western origin, or another way of displaying a ruler, bearing in mind the well known semantic potential of mantle-robes in all cultures. Recent investigations of the symbolism in medieval costume opens up new possibilities in the research of this question. The mantle on the portraits of Serbian despots is not incompatible with the manner of representing Byzantine emperors and is one of many ways of representing royal figures in the Middle Ages, the meaning of which was to stress the virtue of a pious ruler adorned with the chlamys of meekness. Costume was a ceremonial means of discourse and almost always, whether a real garment or its representation, had a semantic potential. Portraits in a sacred context should not be referred to as the secular part of a painted programme in a church, since the rulers, the clergy and the patrons were also painted for eternity, with the idea of expressing a higher truth and hope that they were already counted among the righteous. Accordingly, the mantle occurs in those royal portraits when its commissioner wanted to stress a specific relationship between the representatives of the earthly and heavenly court, not just the idea of the heavenly origin of the sovereign’s power.

Creating Utopian or Dystopian Worlds in Digital Games

Author(s): Miłosz Markocki / Language(s): English Publication Year: 0

The Unusual Dystopia of “Never Let Me Go” (2010)

Author(s): Eleni Varmazi / Language(s): English Publication Year: 0

Osoby z niepełnosprawnością a przestrzeń muzealna. Wprowadzenie

Author(s): Aneta Pawłowska,Anna Wendorff / Language(s): Polish Publication Year: 0

Pomiędzy „aisthesis” a estetyką, czyli czego od niewidomych może się dowiedzieć estetyk

Author(s): Agnieszka Gralińska-Toborek / Language(s): Polish Publication Year: 0

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.

Audiodeskrypcja sztuk pięknych. Studium przypadku łódzkich muzeów

Author(s): Anna Wendorff / Language(s): Polish Publication Year: 0

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.

Elementy nacechowane kulturowo i ich opis w tłumaczonej audiodeskrypcji do dzieł plastycznych na przykładzie Muzeum Julio Romero de Torres

Author(s): Agnieszka Palion-Musioł / Language(s): Polish Publication Year: 0

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:.

Wykluczenie kulturalne osób Głuchych i słabosłyszących w świecie kultury i muzeów

Author(s): Agnieszka Kołodziejczak / Language(s): Polish Publication Year: 0

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.

Nieznane oblicza kultury Głuchych – sztuka

Author(s): Anna Lewandowska / Language(s): Polish Publication Year: 0

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.

Niepełnosprawny odbiorca sztuki w aspekcie integracji społecznej

Author(s): Agnieszka Chęć-Małyszek / Language(s): Polish Publication Year: 0

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.

Osoby z niepełnosprawnością intelektualną posługujące się wspomagającymi i alternatywnymi sposobami porozumiewania się w muzeum

Author(s): Paulina Szeląg / Language(s): Polish Publication Year: 0

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.

Muzeum chce Cię poznać – czego muzeum może nauczyć się od osób niepełnosprawnych

Author(s): Paulina Długosz / Language(s): Polish Publication Year: 0

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.

Popularność utworów muzycznych i ich coverów na YouTube

Author(s): Olaf Flak,Adrian Robak / Language(s): Polish Publication Year: 0

The aim of the article is to present a reply to a research problem concerning the reasons why a demand for song covers on YouTube measured by the number of hits is higher than the demand for their original versions. The problem has been exemplified by the music piece ‘I will always love you’. The article contains the description of the functioning of YouTube as a music market, its basic subjects, the model of the market, as well as the market mechanism in which a song and its cover are goods. An attempt at solving the research problem is the musical analysis of the original song and its cover, as well as the specification of basic determinants that cause greater demand for song covers than for their original versions.

Grafik Tasarimda Tipografiye Yansiyan Kadinsal Bir Bakiş Açisi: Paula Scher

Author(s): Rumeysa Zeynep Araçlı Dursun,Ugur Bakan / Language(s): Turkish Publication Year: 0

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.

20. Yüzyila Damgasini Vuran Bauhaus’un Öncü Kadin Grafik Tasarimcisi Söre Popitz

Author(s): Zehra Atabey,Ufuk Bakan / Language(s): Turkish Publication Year: 0

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.