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    Wyświetlanie 1-11 z 11
    Tytuł:
    Botanical Microphotography in the Perspective of Philosophy of Culture
    Autorzy:
    Bogaczyk-Vormayr, Małgorzata
    Powiązania:
    https://bibliotekanauki.pl/articles/781360.pdf
    Data publikacji:
    2019
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    microphotography
    botanic
    Bio Art
    alterity studies
    environmental ethics
    posthumanism
    fine-art photography
    philosophy of art
    philosophy of culture
    Opis:
    The aim of this article is to briefly outline my own cognitive experience, characterized by knowledge transfer and aesthetic experience, which arises from making BioArt. Specifically, I do nature photography, using the micro-photography technique. In this article, I distinguish – in terms of methodology and value - between interdisciplinary research in the social sciences and the postulate of transdisciplinary research, which leads me to reject the so-called plantality model - a linguistic concept employed by G. Deleuze and F. Guattari (Rhizome). I argue for a critical approach to this line of post-humanist reflection on non-human life that is not characterized by knowledge transfer. The article includes a report on the course of my research (parts 2 and 3), and a reflection of its relevance to the philosophy of art and philosophy of culture (parts 1, 3, 3.1, 4). The report from my own research and artistic activity includes a description of the transformation of my working space, the process of acquiring new disciplinary tools and skills - an experience that I call a change of attitude - and a presentation of nature microphotography (mainly plant photography). I provide a technical commentary on the presented photographs with regard to the process of their creation (e.g. botanical and optical information related to the microscopic slides and equipment), as well as philosophical comments. The philosophical reflection includes the postulate of alterity, which, in my view, is endemic to post-humanist thought, as well as a postulate called the primacy of abstraction, which reflects the non-naturalistic, anti-illustrative, and interpretative character of artistic microphotography (in contrast to the illustrative nature of “the plantality discourse of philosophy”).
    Źródło:
    Ethics in Progress; 2019, 10, 2; 135-154
    2084-9257
    Pojawia się w:
    Ethics in Progress
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Memory grids: Forgetting East Berlin in Krass Clement’s Photobook Venten på i går. Auf Gestern warten (2012)
    Autorzy:
    Mrozewicz, Anna Estera
    Powiązania:
    https://bibliotekanauki.pl/articles/920916.pdf
    Data publikacji:
    2015-06-13
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    the photobook
    Danish art photography
    Krass Clement
    GDR
    memory work
    politics of forgetting
    grids (Rosalind Krauss)
    Opis:
    In the article, I argue that by means of qualities intrinsic to the medium of the photobook, the renowned Danish photographer Krass Clement (b. 1946) constructs a complex narration, which, on the one hand, seeks meta-reflection on the relationships between photography, memory, and the perception of reality, and, on the other, explores the post-GDR condition of Berlin and Germany. Venten på i går. Auf Gestern warten (Danish and German for “Waiting for yesterday”) includes both old and contemporary images, in both colour and black-and-white, but the book is neither (n)ostalgic nor documentary. Rather, I insist that Clement’s project epitomizes memory work and that its guiding principle can be understood through Rosalind Krauss’ concept of the grid. Th e grid is here inseparable from photography’s relation to memory and reality. I explore how the dialectics between remembering and forgetting, inherent to photography, is enacted by the book, and how it foregrounds the opaqueness rather than the transparency of the medium and perception. I also present how the universe constructed by Clement unfolds within the three temporal dimensions suggested in the title of the book: a present (post-ideological) suspension between the future and the past.
    Źródło:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2015, 17, 26; 39-57
    1731-450X
    Pojawia się w:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Miasto i jego ukryty wymiar w sztuce
    The City and its hidden dimension in art
    Autorzy:
    Koniecko, Remigiusz
    Powiązania:
    https://bibliotekanauki.pl/articles/920074.pdf
    Data publikacji:
    2013-01-13
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    space
    architecture
    art
    photography
    transparency
    Opis:
    The purpose of this article is to show the relationship between art, photography and architectural spaces that create new creative visions in these areas. The explored topic reveals a situation that affects the understanding of the current role of architecture, where previously there was no place for abstract concepts. Today this gap is complemented by artists as well as by architects, who often straddle architectural practice and a desire to be an artist. The penetration of these attitudes creates a situation in which the previously outlined boundaries of both disciplines are being crossed, in what might be called the transgression of art and architecture. As a result, a relationship between an artist and a given space is created. But what effect has this on the understanding of the relationship? What can we learn from these relationships?
    Źródło:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2013, 12, 21; 151-172
    1731-450X
    Pojawia się w:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Materialność świetlnego zapisu – o rzeczach w dorobku Jerzego Lewczyńskiego
    Autorzy:
    Kobylińska-Bunsch, Weronika
    Powiązania:
    https://bibliotekanauki.pl/articles/909487.pdf
    Data publikacji:
    2019-05-07
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    archeology of photography
    materiality of photography
    Polish photography
    Jerzy Lewczyński
    archive
    social art history
    Opis:
    The popularity of Jerzy Lewczyński (1924-2014) coincided with the academic interest in the problem of archive, corresponding to Lewczyński’s program of the “archeology of photography,” developed in the 1970s. Lewczyński’s idea consisted in restoring Kantor’s “reality of the lowest rank,” i.e. the rejected microhistories hidden in the anonymous and the forgotten or taken out of an ashtray at the Warsaw Central train station. Today, however, one tends to forget that Lewczyński’s gesture of artistic legitimization did not aim at giving new meanings, but above all at blurring the boundary between everyday items and those which emerged from some kind of “aesthetic situation” (Maria Gołaszewska). This aspect of his art can be seen, e. g, in his visual journal, where the artist included objects of particular importance – next to Xerox copies of his own works or works of other artists, he placed also shopping receipts. Lewczyński equaled the value of cheap receipt paper with the noble velvety quality of bromine. He did not reduce his collected items to their aesthetic function, having rejected the institutionalized idea of the artifact as a work of art to enjoy by the audience. Anticipating the postulates of Bruno Latour, instead of showing objects appropriated by the power of the gaze, he presented actors: things that asked questions on their own.
    Źródło:
    Artium Quaestiones; 2018, 29; 161-185
    0239-202X
    Pojawia się w:
    Artium Quaestiones
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Enlarged Details and Close-up Views: Art Reproduction in 1930s Czechoslovakia
    Autorzy:
    Buddeus, Hana
    Powiązania:
    https://bibliotekanauki.pl/articles/32347178.pdf
    Data publikacji:
    2022
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    photography
    detail art reproduction
    Czechoslovakia
    1930s
    Opis:
    Each photograph captures an artwork within a particular frame of space and time, providing a perspective that is contingent and dependent on the era the photograph was made in (Bergstein 1992). Moreover, every photograph is always embedded in specific material conditions and has its own social life (Edwards–Hart 2004). The aim of this article is to show the particularity of reproductions of artworks in 1930s Czechoslovakia and the motivations and discussions behind the extensive use of detail. I argue that the pronounced interest in close-up views is a result of a series of circumstances specific to the period. There is an important pre-condition in the development in the field of art photography and graphic design that took place in the late 1920s, bringing about an interest in sharp and faithful images and full bleed prints, as well as a recognition of the social impact of the medium. As a result, photographers, artists, art historians, and graphic designers living in Czechoslovakia also began to rethink the use of photography in the art field. This was manifested in period publications such as the well-known Fotografie vidí povrch (Photography Sees the Surface), published in 1935. In terms of art reproductions, it shows the importance of close-up views for providing an insight into individual artistic approaches and into the history of the respective artwork. The same year saw the publication of the 31st volume of the art magazine Volné směry, which enables us to follow several micro-histories that can also be applied more generally to the period discussions. As illustrated by a text by Bohuslav Slánský and the reproduced photographs of medieval panel portraits from Karlštejn Castle attributed to Master Theodoric, one of the purposes behind the commissions of enlarged photographic details of artworks were planned restorations. Moreover, examples from the photographic campaigns led by the company of Jan Štenc, the State Photo-Measurement Institute, or the project by Karel Šourek, Alexandr Paul, and František Illek (Documenta Bohemia Artis Phototypica) show that detail is generally used for showing the structure and texture of the work, for zooming in on otherwise distant works, or for the purpose of comparison. According to Volné směry editor-in-chief Emil Filla and his manifesto article “Práce oka”, the new method of working with reproductions and the frequent use of photographic detail precipitated a change in the observational habits of the audience. This intention was materialised through his long-term collaboration with the photographer Josef Sudek, who helped him show the artworks in a new light. It is evident that by the mid-1930s, the synergic work of individuals from different fields brought the use of detail in art-related publications to an unprecedented level.
    Źródło:
    Artium Quaestiones; 2022, 33; 61-86
    0239-202X
    Pojawia się w:
    Artium Quaestiones
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Pętla obrazów. Wideo według Mariny Abramović
    The Loop of Images. Video According to Marina Abramowić
    Autorzy:
    Krawczak, Michał
    Powiązania:
    https://bibliotekanauki.pl/articles/920272.pdf
    Data publikacji:
    2009-06-13
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    performance art
    video art
    iconography
    video loop
    installation art
    photography
    Marina Abramović
    Opis:
    The connection between video art and performance art has been inseparable since 1967, when the first commercial camera Sony Portapak appeared on the American market. The development of video art and performance art has been parallel. On the one hand, autonomous languages which used different discourses were created, on the other hand, the interaction was inextricable, long-lasting and very stimulating. Marina Abramović, recording her activities as a performer on video and then placing them in the space of her installations, gained a high level of energy in the picture, which became transcendent, a sign of body and life, a meditation. Abramović consciously sacralizes her art and highlights its meditational character. In that way the art became a loop of a video sequence, a multifaceted icon.
    Źródło:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2009, 7, 13-14; 235-241
    1731-450X
    Pojawia się w:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Migracja aury lub jak badać oryginał poprzez jego faksymile
    The Migration of the Aura, or How to Explore through its Facsimiles
    Autorzy:
    Latour, Bruno
    Lowe, Adam
    Lipiński, Filip
    Powiązania:
    https://bibliotekanauki.pl/articles/32349258.pdf
    Data publikacji:
    2022
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    reproduction
    original
    work of art
    digital photography
    aura
    facsimile
    Opis:
    The text offers enlightening reflections on issues concerning reproductions of works of art, the status of an original and a copy, the problem of conservation, and the role of digital photography. Latour and Lowe raise the contentious issue of how good and bad reproductions can affect the original, participate in what they call “the migration of the aura”. This is primarily a case study of a production, presentation, reception and the meaning of a facsimile of a Veronese work, Nozze di Cana at its original location, San Giorgio in Venice. The second part of the text (the appendix) is a meticulous, technical description of the stages of production of the picture by Lowe.
    Źródło:
    Artium Quaestiones; 2022, 33; 239-260
    0239-202X
    Pojawia się w:
    Artium Quaestiones
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Artystyczna „archeologia” pamięci na przykładzie Nazistów i Prawdziwych nazistów Piotra Uklańskiego
    Artistic “archaeology” of memory in the case of The Nazis and The Real Nazis of Piotr Uklański
    Autorzy:
    Kowalczyk, Izabela
    Powiązania:
    https://bibliotekanauki.pl/articles/1023796.pdf
    Data publikacji:
    2019-12-15
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    contemporary art
    memory
    the Holocaust
    Piotr Uklański
    photography
    nazis
    Opis:
    Contemporary artists referring to history often ask questions about what and how is memorised. How tragic events from the recent past are reflected in our cultural archive of memory. Artists are interested in visual memory, which includes, among others, documentary photographs, pictures from history textbooks, historical feature films. However, there is not only historical knowledge but also the popular culture that shapes our ideas about the past. That is why in these imaginations the truth mixes with fiction, and the suggestive images known from movies overlap our knowledge. Thus, the artistic “archeology” takes place in the area of our broadly understood cultural memory. The above problem is discussed in the example of two works by Piotr Uklański: Nazis (1999) and Real Nazis (2017). I reflect on results from the comparison of these works – the first using fictional images of Nazis from feature films and the second one showing portraits of real Nazis.
    Źródło:
    Folia Praehistorica Posnaniensia; 2019, 24; 125-136
    0239-8524
    2450-5846
    Pojawia się w:
    Folia Praehistorica Posnaniensia
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Od „bibliotek fotograficznych” do "fototek". O epistemologicznym potencjale historyczno-artystycznych kolekcji fotografii
    From 'Photo Libraries' to "Photo Archives". On the Epistemological Potential of Art-Historical Photo Collection
    Autorzy:
    Caraffa, Constanza
    Lipiński, Filip
    Powiązania:
    https://bibliotekanauki.pl/articles/32348483.pdf
    Data publikacji:
    2022
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    photo archive
    photograph
    reproduction of a work of art
    Photothek
    materiality of photography
    Opis:
    This text is a translation from English into Polish of a fundamental text for research into reproductions of works of art, written by Constanza Caraffa, the leading theorist of the field. It is an introductory chapter of her important volume Photo Archives and the Photographic Memory of Art History (2011), in which she elucidates the meaning of a photo-archive as a site of research into photographs of works of art as individual, material objects. Using examples and her work experience in the Photothek at the Kunsthistorische Institut in Florence, she presents the complexity and abundance of information that photographic reproductions of works of art can carry, over and above the traditional understanding of a photograph as a document transparent onto the object it represents.
    Źródło:
    Artium Quaestiones; 2022, 33; 183-238
    0239-202X
    Pojawia się w:
    Artium Quaestiones
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Operacje społeczno-przyrodnicze w diaporamie Dęby? Stefana Wojneckiego
    The The Socio-natural operations in slide-show Oaks? of Stefan Wojnecki
    Autorzy:
    Łuczak, Dorota
    Powiązania:
    https://bibliotekanauki.pl/articles/2135656.pdf
    Data publikacji:
    2022-09-30
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    eco art
    posthumanism
    affect
    empathy
    slide show
    photography
    sztuka ekologiczna
    posthumanizm
    afekt, empatia
    diaporama
    fotografia
    Opis:
    Tematem niniejszego tekstu jest projekt audiowizualny Dęby? Stefana Wojneckiego, który powstał przy współpracy Marii Ewy Wiesner oraz Jerzego Dorna w 1974 roku i był dotąd nieobecny w literaturze historyczno-artystycznej i w historii polskiej fotografii. Dzieło to zostało przedstawione jako przykład sztuki ekologicznej, która nie tylko manifestuje konieczność ochrony środowiska, ale skłania do empatycznego przewartościowania relacji społeczno-środowiskowych. W reprezentowanym w Dębach? doświadczeniu chorowania i bycia poddanym operacjom ratującym życie autorka dostrzega idee antycypujące posthumanistyczne zniesienie hierarchicznej dominacji człowieka na rzecz równościowych relacji bytów ludzkich i nie-ludzkich.
    The subject of this text is the audiovisual project Oaks? by Stefan Wojnecki, which was created with the collaboration of Maria Ewa Wiesner and Jerzy Dorn in 1974 and has so far been absent from the art-historical literature and from the history of Polish photography. This work is presented as an example of ecological art that not only manifests the need to protect the environment, but encourages an empathetic reevaluation of socio-environmental relations. In the experience of being ill and undergoing life-saving surgery represented in Oaks?, the author of the article notes ideas anticipating the posthumanist abolition of hierarchical human domination in favor of equal relations of human and non-human entities.
    Źródło:
    Porównania; 2022, 31, 1; 325-342
    1733-165X
    Pojawia się w:
    Porównania
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Semiotyka dziwactwa
    Semiotic of curiosity
    Autorzy:
    Hendrykowski, Marek
    Powiązania:
    https://bibliotekanauki.pl/articles/923229.pdf
    Data publikacji:
    2018-12-22
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    curiosity
    extravaganza
    semiotics
    face
    film
    photography
    expression
    behavior
    manifestation
    culture
    norm
    social norm
    freedom
    individual
    artist
    art
    comedy
    parody
    caricature
    counter culture
    Internet
    Facebook
    symbolic interaction
    network
    Opis:
    The author assumes that the curiosity is a type of human expression. It can manifest in various languages and people’s behaviors, e.g.: verbal, mimic, gestural, costume and also by props, hairstyles, makeup etc. Regardless of differences between particular manifestations of the curiosity it is always semiotic. Freaks, eccentrics and weirdos disturb human community’s order and call into question established norms. They do that by their specific behaviors, appearances and individualism. They rectify, transform and change the social reality. The artistic curiosity not infrequently turn out to be the metaphor of an individual lifestyle (e.g. Witkacy, Dali). Freaks in the world of culture are not either savages or barbarians. They express themselves as well as they express their distance from the cultural system. In connection to this thesis, the author assumes that the curiosity is culture-producing.
    Źródło:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2018, 23, 32
    1731-450X
    Pojawia się w:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
      Wyświetlanie 1-11 z 11

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