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The paper examines the impact and influence of the Peter Vergo’s book The New Museology and the ways it colonized the knowledge already existing outside United Kingdom. It discusses the concepts that existed before the 1989 book following the development of La Nouvelle Museologie and ecomuseums, ideas spread at conferences, symposiums and round tables, diverse declarations and resolutions. Also, beyond the New there is the narrative of museology itself and its past in the centers outside the “traditional” centers of colonial powers. The paper follows the early development of ideas in East Europe and Poland and the practical solutions recently developed in the country in a relation to British publication.
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According to the Resolution no 1, adopted by the ICOM’s General Assembly in 2016, “Museums have a particular responsibility towards the landscape that surrounds them, urban or rural”. And thus, they should “manage buildings and sites of cultural landscape as ‘extended museums’, offering enhanced protection and accessibility to such heritage in closed relationship with communities”. This document arises from new museology thinking developed in the 1970s and 1980s. In the article we discuss this newly “codified”responsibility illustrated with an example of four Polish museums – Muzeum Śląskie in Katowice, Museum of King Jan III’s Palace at Wilanow, Muzeum Podgorza and Ethnographic Museum in Krakow –with intention to examine strategies and positions museums adopt, and contexts that determining those actions. We conclude that museums must play active parts in societies and take actions regarding changes in the landscape that surrounds them. However, the ICOM resolution is only a signpost, and broader recognition of museums as subjects of discussion on urban and rural space is required.
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The article focuses on art activism directed to museums and their sponsorship relationship with the oil industry. It considers the form and content of protests undertaken by art collectives such as Liberate Tate, BP, or not BP?, and Fossil Free Culture NL. The author recognizes the goals of activists in undermining the reality of capitalocene. She frames this form of protest with the term “unauthorized curating”, which she derives from the analysis of participation paradigm and the definition of curatorial practice proposed by Marta Kosińska. Finally, she analyzes the strategy undertaken in art of protest.
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The article addresses legal pluralism, namely the interaction of norms resulting from either custom or law, which takes place in the face of emancipation processes in Polish Silesia. It concerns legal conceptualizations of regional autonomy and the negotiations of the legal status of the regional group that aims at a higher level of sovereignty. Namely, investigating the relationship between cultural and legal norms, I analyse the judicial procedure regarding the way of adjudicating and defining Silesianness. Considering the existence of multiple parallel ethnic identities in Poland, I strive to illuminate the question of the legal definition of Polishness and the normative dimension of legal definition. I bring to light the making of the adjudication in the Polish justice system, and thus highlight the mechanisms present in the legislative process and rationalisations operating wherein. I am interested in the consequences of these processes for establishing the legal and the factual status of different groups. The conception of identity used by modern jurisdiction derives from the definition of the dominant group (of Poles) and works towards strengthening its status against the status of other, parallelly existing groups whose self-identities do not fall squarely within the hegemonic construction. My hypothesis is that the process of interpreting the law in force in Poland follows subjective ideas and is often drafted in programmatic terms.
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The article presents the results of research, the axis of which were help initiatives taken during the COVID-19 pandemic. A characteristic feature, and previously unheard of on such a scale, is the initiation, and often full implementation of these activities in the virtual world. The time of the pandemic has blurred the clarity of the categories of those most affected or most in need of help in the events that took place. Another feature of the observed events is their phased. Its elements are spontaneously emerging groups that undertake aid actions. Restoring the “state of normality” and taking over the aid activities by institutions established for this slowed down and weakened the participation of ordinary people in organizing spontaneous activities. The time lived has the features of Turner’s liminality, and assistance groups can be described by the term Communitas.
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The subject of the article is the occupational humor of museum employees and the laughter community connected to it. The author shows which aspects of work in a museum trigger off comical effect according to the employees themselves. The research material comes from the author’s personal experiences as well as the interviews with other staff members and Facebook fanpage Muzealnicy. The author tries to answer the question concerning the cultural and social functions of the laughter community of museum employees. The theoretical framework of this analysis is provided by K. Żygulski’s concept of the “laughter community”.
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This article discusses the premises and outcomes of the ethnographic project “Foreigners in Poznań: Cultural Heterogeneity in Big Cities on the Example of Poznań”, by asking about the place of ethnicity (fundamental for anthropological studies) in the research of cultural heterogeneity. The independent qualitative analysis of empirical material demonstrates that even if generally ethnic identities do not determine directly the identifications of foreigners in Poznań, then the pan- or interethnic identities are a key to understanding how immigrants organise themselves or are organised in groups or categories. An account of cultural heterogeneity through the prism of cultural identities offers a purely anthropological alternative or at least an addendum to socio-economic classification of foreigners implemented within this project.
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By the use of critical anthropological perspective, in this paper I unsettle specific theoretical and methodological premises of studies on Opole Silesia, which have in many ways determined resultant images of the region in scholarly literature. In this context, I find particularly problematic essentialised approaches toward “(Silesian) women,” and the more recent discourses of “disintegration,” which dwell on depopulation, migration, and collapsing social and family relations, or Silesian culture. To this end, I discuss social activities of women in the Dobrzeń Wielki commune, exemplified by an educational group focused on family issues, an association acting for a local community, a vocal ensemble, and a sporting team. Variously embedded in the late industrial condition, these activities are conceived as problematisations. Seen through this prism, they become significant contexts for emerging “norms and forms” of gender, Silesianity, and/or locality. At the same time, they encourage critical insights into such “norms and forms,” and their contribution to various idioms of Opole Silesia. Such problematisations allow therefore for revealing “discursive gaps” and “risks” (re)produced in the aforementioned literature on the region. By unsettling subjects and discursive forms with which it deals, the proposed ethnographic analysis turns into a tool for “generating surprises.”
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The article is based on empirical research, one of the elements of which was to verify the knowledge, beliefs and ideas of young Wrocław residents about the Jewish cemeteries located in the city. The subject of the analysis was, first of all, knowledge of their history, importance for local culture and community; ideas about the role of cemeteries in Jewish culture and customs related to death and funeral. An important aspect was also finding out what the place of cemeteries is and how they are perceived in the local community, do they function in the minds of young people and in what way, are they really known to them and are they associated with the Jewish community living here, or rather perceived as places of memory and museum space.
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Virtual reality technology that has been developing for many years shows its usefulness in many areas. In the article, we want to focus on its therapeutic potential, taking into account various dysfunctions and mental problems that VR technology is able to address. The purpose of the article, however, is not so much the classification of therapeutic VR applications as, above all, to examine the semantic aspects of selected “other spaces” created for the needs of various therapies and to indicate their often “political” and ideological character. The article will also be an attempt to determine more universal “therapeutic” properties of virtual reality that go beyond the specific technologies currently available for its creation.
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In recent years, there has been an increased interest in the use of somatechnics as a part of the ideation in the design process. Even though extensive literature has been devoted to the issue of the embodied design and the possibility of a practical application of somatechnics, the problem of articulation of somatic experience remains marginalized and unresolved. This is not so much about theoretical considerations as about the possibility of developing description tools, or more broadly, a language of communication that would be useful both: researchers dealing with the description of the design process and designers themselves. This problem is particularly interesting in relation to developing trends related to the use of fun and participation in the design practice. The aim of the article is therefore to describe the problem of articulation of somatic experience in the context of developing a language that can allow an effective and satisfactory translation of the initial idea of designing experience into its final effect. The emphasis is on designing experiences related to urban space. In the face of problems arising here (during the implementation process itself), the possibility of using the “language of movement” will be examined, according to the theory and practice of the Laban Bartenieff Movement System (LBMS). This system has hardly found a detailed description so far as one of the somatechnics that can be used as part of embodied design projects. The main issue is how to link motion observations and articulate the effects of these observations with strategies for embodied design in interactive environments. Considering that this system provides not only extensive conceptual equipment for describing and developing the language of movement but also visual tools derived from the Labanotation model, it is worth looking at this system in the context of its possible application as somatechnics in the design process, especially when it comes to experiences related to the use of urban spaces.
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The aim of this article is to discuss the award-winning project by Illya Szilak and Cyril Tsiboulski – Queerskins: A Love Story (2018) that anchors virtual reality experience in a physical, interactive, immersive installation. The author will focus on both the virtual reality haptic experience for Oculus Rift with Touch controllers, as well as the experience of site specific installation, in order to examine visitors emotional and cognitive engagement with the story of semi-fictional protagonist Sebastian, young gay physician who died of AIDS. A theoretical framework for this analysis will be outlined, including the concept of kinesthetic empathy, as well as Sara Ahmed’s insights from Queer Phenomenology on the significance of the objects as signs of orientation.
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This text focuses on the memory of media art. The case study of Reincarnation of Media Art WRO exhibition from 2019 – “a unique exhibition about preserving media art and making its essence available” – is introduced by the author to discuss the life-cycle of time-based media artworks. Aforementioned case study is used as the basis for further discussion about “permanence through change” approach in preserving media art.
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