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Tytuł:
Szczebiot systemu. Taktyczne relacje człowieka z technologią
Autorzy:
Wójtowicz, Ewa
Powiązania:
https://bibliotekanauki.pl/articles/22601847.pdf
Data publikacji:
2022-06-30
Wydawca:
Uniwersytet Komisji Edukacji Narodowej w Krakowie
Tematy:
soft power
user
subversive strategies
tactical media art
system
użytkownik
strategie subwersywne
sztuka mediów taktycznych
Opis:
Tematem artykułu jest asymetryczna relacja użytkownika z systemem jako nieprzejrzystą strukturą kształtującą formy interakcji między człowiekiem a technologią metodą soft power. Jej przejawem są systemowe komunikaty werbalne obecne w cyfrowym życiu codziennym, nacechowane wewnętrzną sprzecznością między użytym językiem (szczebiotem) a perswazyjno-opresyjnym przekazem. Zestawiono je z przykładami strategii subwersywnych praktykowanych w środowisku sztuki mediów taktycznych, takimi jak: zaciemnienie, nadidentyfikacja i udziwnienie, oraz z propozycjami teoretycznymi o charakterze taktyk (miękkiego oporu).
The topic of the article is asymmetrical relation between a user and a system, the latter understood as an obscure structure, shaping forms of interaction between a human being and technology using soft power. It is visible in a contradiction between a language (called chirping) of system-generated messages present in digital daily life, and their persuasive and oppressive impact, compared with examples of subversive strategies practiced with tactical media art, such as: obfuscation, over-identification and estrangement as well as theoretical proposals of tactics as a form of soft resistance.
Źródło:
Annales Universitatis Paedagogicae Cracoviensis. Studia de Cultura; 2022, 14, 2; 7-21
2083-7275
Pojawia się w:
Annales Universitatis Paedagogicae Cracoviensis. Studia de Cultura
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Mediateka Babel. YouTube jako temat, rama formalna i platforma sztuki
Media Library Babel. YouTube as a Subject, Formal Frame and Art Platform . .
Autorzy:
Wójtowicz, Ewa
Powiązania:
https://bibliotekanauki.pl/articles/909565.pdf
Data publikacji:
2020-12-20
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
YouTube
art platform
remix
postproduction
cinematic turn
networked culture
Opis:
The text focuses on the specific features of the so-called 'cinematic turn' within the scope of visual culture emergent within the YouTube platform, particularly during its first, formative years. This turn takes place on the meta-level of the existing circulation of content enabled by YouTube, often being an autothematic reflection on this tool of cultural production. The vernacular aesthetics, a specific formal framework and a particular modus operandi of YouTube became the subject of artistic statements, sometimes in a form of subversive remix. Therefore I think of YouTube as a realm of art because of its meta-media practice that made the cinematic turn visible. It does not rely on straightforwardly understood production of (moving) images, but  postproduction, as understood by Nicolas Bourriaud. Moreover, the cinematic turn taking place within YouTube is different from the one practised by the avant-garde of 20th century, due its being not “seeing” or “writing” (as Dziga Vertov understood montage) but rather “overwriting”, to use language more adequate to the described sphere of digital culture. Artists use YouTube as an open library, working with its resources, applying techniques such as postproduction, remix, re-contextualisation and appropriation. Therefore it becomes a multimedia library, a “Mediateca Babel” of a kind, to recall J. L. Borges' idea. The examples mentioned in the text are of a postproductional nature, such as to-camera-performance and subversive “overwriting” of contents enabled with the circulationism typical for social media. Equally important are the strategies of recognising the cultural framework of YouTube, in the context of 20th-century media art history, as well as the platform’s interface. Also, there is the issue of relations between vernacular creativity and the art system because of “capturing” the amateur-generated content and transferring it to mainstream artworld. These examples let me argue that the cinematic turn is a form of postproduction, which enables the hidden mechanisms behind the circulation of moving images in the overloaded global network. The cinematic turn in the context of YouTube does not mean that cinema and its language are at home within this platform. Also, the meta-artistic way of “making” platform art does not turn YouTube into “art platform” (as understood by Olga Goriunova). Nevertheless, platform art may happen in this context as a result of working with the cinematic turn in its vernacular aspect, which makes it possible to reveal its key features and move them to the meta-level.
Źródło:
Artium Quaestiones; 2020, 31; 171-189
0239-202X
Pojawia się w:
Artium Quaestiones
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Konwersje transliteraturowe - od filmu mówionego do narracji bazodanowej
Autorzy:
Wójtowicz, Ewa
Powiązania:
https://bibliotekanauki.pl/articles/636690.pdf
Data publikacji:
2014
Wydawca:
Uniwersytet Jagielloński. Wydawnictwo Uniwersytetu Jagiellońskiego
Tematy:
transliterature, e-literature, database, narrative, navigation, video instalation, spoken movie, interactivity, conversion, remediation
Opis:
Transliterary conversions: from spoken movie to database narrativeThe aim of this text is to examine the idea of endless conversions between media and the impact on the arts as a result of this process. The transliterature-based conversions and remediations may result from quite different aesthetical approaches. From Spoken Movies by Wojciech Bąkowski to exuberant and complicated visual narratives by Ryan Trecartin – we can establish some common features, among them a word-based foundation. Another important issue is a database narrative, not only known from such iconic examples such as Soft Cinema, but also in more contemporary works by Camille Henrot. The idea of a clink (content link), introduced by Theodor H. Nelson, may help to understand the incoherent relation between the visual and the textual layers of meaning. Since in the post-Internet culture a logic of mediated experience can be applied to the offline world, some examples of contemporary artistic attitudes bring to mind templates created for users rather than readers or viewers.  
Źródło:
Przegląd Kulturoznawczy; 2014, 1(19)
1895-975X
2084-3860
Pojawia się w:
Przegląd Kulturoznawczy
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Reference to the realm of nature in the theoretical reflections and the music of Ludomir Michał Rogowski
Autorzy:
Wójtowicz, Ewa
Powiązania:
https://bibliotekanauki.pl/articles/780321.pdf
Data publikacji:
2009
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
Polish composer
20th century music
tonal crisis
theory of scales
musical form
national music
programme music
Dionysus
Dubrovnik
Opis:
Besides an abundant musical output, the rich legacy of Ludomir Michał Rogowski (1881-1954) also contains numerous writings, a special place among which is held by Muzyka przyszłości [The music of the future], written in 1919 and published three years later. In this work Rogowski asserted that the possibilities for composing music on the basis of the major, minor and chromatic scales were exhausted. He went on to propose an expansion of the repertoire of scales, giving two criteria for the choice of scales: ‘naturalness’ and ‘rhythmicity’. A ‘natural’ scale is one which can be read from the sequence of fifth steps of the twelve-note chromatic scale in equal temperament. The simplest example is the anhemitonic pentatonic scale. The concept of the renewal of tonal material is central to Muzyka przyszłości, but its author formulates an idea about the rhythmic essence of musical form as well. In his considerations on this subject, he proceeds from the nature-related phenomenon of symmetry. He treats the simplest symmetrical pattern, the ternary form ABA, as an elementary manifestation of rhythm expanded into form. References to nature also occur in Rogowski’s texts on national music. In this context, folk music represents such values connected with nature as simplicity, honesty and freshness; it is devoid of all artificiality or posture, free from all convention. In Rogowski’s musical output, a fascination with nature became a powerful source of inspiration, from which many symphonic works of a programmatic character emerged. The connection with nature and joy of life - the crucial values of Mediterranean culture - are conveyed by the music of Cortege de Dionysos and by the whole of composer’s oeuvre. Rogowski confirmed his belonging to the culture of the South not only with his music. When, in 1926, he left Warsaw for Dubrovnik, he confirmed it also with his life.
Źródło:
Interdisciplinary Studies in Musicology; 2009, 8; 81-92
1734-2406
Pojawia się w:
Interdisciplinary Studies in Musicology
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Cele życiowe ojców i ich dzieci: perspektywa teorii autodeterminacji
Father’s and their children`s life goals in the context of Self-Determination Theory
Autorzy:
Wojtowicz, Ewa
Powiązania:
https://bibliotekanauki.pl/articles/2138015.pdf
Data publikacji:
2013-05-07
Wydawca:
Wydawnictwo Naukowe Dolnośląskiej Szkoły Wyższej
Tematy:
cele życiowe
ojcowie
rodzina
teoria autodeterminacji
family
fathers
personal goals
Self-Determination Theory
Opis:
Celem badania było sprawdzenie różnic i podobieństw w wartościowaniu celów życiowych przez ojców i dzieci. Zgodnie z motywacyjną teorią autodeterminacji dokonano podziału aspiracji na cele zewnętrzne (np. finanse, władza, sława) i wewnętrzne (np. afiliacja i cele prospołeczne). Uzyskane rezultaty wskazują, że młodzież wyżej niż ojcowie ceni cele afiliacyjne. Badania pokazało również, że w obu grupach istnieją związki celów: prospołecznych, podkreślających wagę bliskich relacji i samoakceptacji.
The aim of this study was to examine the similarities and differences in goals valuation in father’s and children’s life. According to the motivative Self-Determination Theory (Deci, Ryan, 2000) the aspirations were divided into two groups: external goals (i.e. finance, power, fame) and internal goals (i.e. affiliation and prosocial goals). The results suggest that teens, unlike their fathers, estimate higher affiliation goals. The report also shows (in both groups) relations between three categories of goals: prosocial, close relationships and self- acceptance.
Źródło:
Forum Oświatowe; 2013, 25, 1(48); 73-85
0867-0323
2450-3452
Pojawia się w:
Forum Oświatowe
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
O nas bez nas. Postantropocentryczne kinematografie stref wykluczenia
About Us Without Us: Post-Anthropocentric Cinematographies of Human Exclusion Zones
Autorzy:
Wójtowicz, Ewa
Powiązania:
https://bibliotekanauki.pl/articles/31340630.pdf
Data publikacji:
2020
Wydawca:
Polska Akademia Nauk. Instytut Sztuki PAN
Tematy:
postantropocen
strefy wykluczenia człowieka
nowa normalność
geokino
pejzaż maszynowy
technoesencjalizm
ksenoprzestrzeń
infrastruktura
widzenie maszynowe
post-Anthropocene
human exclusion zones
new normal
geocinema
machine landscape
techno-essentialism
xenospace
infrastructure
machine vision
Opis:
Tematem tekstu są postantropocentryczne kinematografie stref wykluczenia człowieka powstające za sprawą teoriopraktycznych badań naukowych realizowanych metodami artystycznymi. Przywołane przykłady obejmują działalność Instytutu Strelka (projekty The New Normal i Geocinema), twórczość Emmy Charles, Johna Gerrarda, Evana Rotha, Trevora Paglena i Liama Younga (także w ramach Unknown Field Division) oraz teoretyczne koncepcje tego ostatniego, jak również Benjamina Brattona. Do stref wykluczenia człowieka zalicza się krajobrazy (pejzaże) maszynowe, w tym m.in. centra danych, farmy serwerów, zautomatyzowane miejsca produkcji i wydobycia surowców naturalnych niezbędnych do produkcji współczesnej technologii. Istotny jest także sieciowy obieg obrazów jako danych z pominięciem udziału człowieka (widzenie maszynowe na potrzeby sztucznej inteligencji) oraz dane z globalnych sieci sensorowych. Wszystkie powyższe przykłady zostały omówione w kontekście projektów artystycznych wykorzystujących medium filmu.
The text focuses on post-anthropocentric cinematographies of human exclusion zones, created within theory- and practice-based research conducted with artistic methods. The examples include: research activities of the Strelka Institute (The New Normal and Geocinema), art by Emma Charles, John Gerrard, Evan Roth, Trevor Paglen and Liam Young (also within Unknown Field Division), Young’s theoretical concepts, as well as theories by Benjamin Bratton. The human exclusion zones include machine landscapes, such as data centres, server farms, automated production lines and mining sites that provide raw geological materials used in technological production. Also important are the networked circulation of images as data without human involvement (machine vision by artificial intelligence) and global data from sensory networks. All examples are discussed in the context of art projects using the medium of film.
Źródło:
Kwartalnik Filmowy; 2020, 110; 6-23
0452-9502
2719-2725
Pojawia się w:
Kwartalnik Filmowy
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
„Odkryjemy miłość nieznaną…” – czyli co wiemy o romansie w pracy
“We’ll Discover Uncharted Love…” or What We Know About Office Romance
Autorzy:
Wojtowicz, Ewa
Powiązania:
https://bibliotekanauki.pl/articles/598710.pdf
Data publikacji:
2017-02-15
Wydawca:
Instytut Pracy i Spraw Socjalnych
Tematy:
romans w pracy
zarządzanie romansem
relacje romantyczne w pracy
workplace romance
romance management
romantic relationships at work
Opis:
W środowisku zawodowym coraz częściej nawiązywane są relacje nie tylko o charakterze służbowym, ale również prywatnym. Z uwagi na to, że administrowanie osobistymi relacjami w miejscu pracy staje się wyzwaniem dla profesjonalistów w dziedzinie zarządzania zasobami ludzkimi, celem artykułu jest przedstawienie zjawiska romansu w pracy – jego przyczyn oraz pozytywnych i negatywnych konsekwencji dla funkcjonowania przedsiębiorstw. Artykuł dostarcza także wskazówek dotyczących budowania skutecznej polityki zarządzania intymnym życiem organizacji.
Relationships in a professional environment are no longer exclusively formal, but also personal with increasing frequency. As managing personal relations in the workplace is becoming a challenge for human resource management professionals, the goal of the article is to present the phenomenon of the office affair, its causes, and its positive and negative consequences for the functioning of the company. The paper also provides guidelines on how to build effective policies for managing the intimate life of an organization.
Źródło:
Zarządzanie Zasobami Ludzkimi; 2017, 1(114); 57-67
1641-0874
Pojawia się w:
Zarządzanie Zasobami Ludzkimi
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Aporie sztuki Internetu. Cyberkulturowe utopie 20 lat później
APORIAS OF THE INTERNET ART. CYBERCULTURAL UTOPIAS TWENTY YEARS LATER
Autorzy:
Wójtowicz, Ewa
Powiązania:
https://bibliotekanauki.pl/articles/636986.pdf
Data publikacji:
2011
Wydawca:
Uniwersytet Jagielloński. Wydawnictwo Uniwersytetu Jagiellońskiego
Tematy:
CYBERCULTURE
DEHUMANIZATION
INTERNET ART
Opis:
During the last two decades almost all the utopias of freedom, communication, access and cultural diversity have faced, respectively, problems of cenzorship, e-invigilation, exclusion and aesthetic homogenization. The reflection on cyberculture in its first years was characterized by the development of methodology, fascination with the unknown, the lack of technical knowledge, access difficulties and a great enthusiasm. Therefore we can distinguish some common attitudes, like the fear of dehumanization and losing real contacts for the sake of virtual ones. Also, in the 90s were the decade of great interest in telepresence and cyborg-like body prosthetics. One of the key features is adding the prefix 'cyber-' to many words and relating to fiction (mostly literature and cinema). Artistic activity may be traced halfway between fiction and science-based technology. As network-based decentralization has played a positive role, it also has a double meaning. There is no responsibility and no direct enemy that may be criticised. This problem may be considered as a central aporia of the digital avantgarde, to use the term coined by Hans Magnus Enzensberger. Since networks are no longer metaphors, as Eugene Thacker notices, they become real, but still unstable. Artists using networks are involved in many contexts, sometimes disappointed with utopias of freedom and visions of endless space. All this creates a complex picture of art within cyberculture twenty years after its emergence.
Źródło:
Przegląd Kulturoznawczy; 2011, 1(9); 46-54
1895-975X
2084-3860
Pojawia się w:
Przegląd Kulturoznawczy
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Re-praktyki sztuki performance – dokumentacja, remediacja, dystrybucja sieciowa
Re-practices in Performance Art – Documentation, Remediation and Networked Distribution
Autorzy:
Wójtowicz, Ewa
Powiązania:
https://bibliotekanauki.pl/articles/424736.pdf
Data publikacji:
2013
Wydawca:
Akademia Sztuk Pięknych w Gdańsku
Tematy:
performance i powtórzenie
re-praktyki
sztuka performance
dokumentacja
remediacja
dystrybucja sieciowa
Opis:
Performance art does not operate in isolation from the broader circulation of the networked culture. Just like any other media, the documentation of performance can be dispersed throughout the network: to be remixed or recontextualised or become the component of a mashup. The documentation of performance events in the reality of the contemporary network culture does not play a subordinate role to the event as such, since the distributive network not only disseminates information about the event, but also generates a discourse. Analysed examples include the forms of creative activity such as re-enactment, looping online video performance or intervention in the real-time documentation. There are also the new possibilities of artistic expression that come with the persona of a “code performer”. The examples of artists’ approaches include: Constant Dullaart, Ryan Trecartin, and Gazira Babeli and duos, as Eva and Franco Mattes or MTAA. The theoretical framework is based on the theory remix by Eduardo Navas, and the notion of “culture as a screenplay” introduced by Nicolas Bourriaud. It is important to apply it not only to a remediated performance understood as a work of art. Also, the continuous creation of an online identity – both in the world of the Second Life, as well as through social networking platforms – is an ongoing performance in front of potentially global audience. Re-practices within contemporary art rely on the appropriation of historical events and their continuation, which allows for the creation of a third reality of some sort. This third reality becomes a common one, within which – paradoxically – constant change is a sign of the need for preservation. As a result, the documentation material is open, being part of a game with an ever-changing system of references.
Źródło:
Sztuka i Dokumentacja; 2013, 9; 61-68
2080-413X
Pojawia się w:
Sztuka i Dokumentacja
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
„Słodki kotek” a kultura polska. Rozważania wokół książki Magdaleny Kamińskiej Memosfera. Wstęp do cyberkulturoznawstwa
[„Sweet kitten” and Polish culture. Reflections around the book of Magdalena Kamińska Memosphere. Introduction to cyber cultural studies
Autorzy:
Wójtowicz, Ewa
Powiązania:
https://bibliotekanauki.pl/articles/1029719.pdf
Data publikacji:
2017-03-15
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Opis:
In the new book Memosphere. Introduction to Cybercultural Studies (2017) Magdalena Kamińska publishes the result of her long-term studies on Internet-based culture and its components, such as netlore, lolcontent, memes and more. The book is focused on Polish cybercultural phenomena revealing their particularly local aspects, as well as pointing at the position of Polish cyberculture in the broader media landscape. Memosphere is comprised of a series of case studies, each developed thoroughly and discussed from various perspectives, such as netnography. The framework of the book is based on so-called rich points (after Michael H. Agar), chosen by Magdalena Kamińska in the attempt to find the most inspiring examples, including: various memes native to Polish culture, the Polish version of cyber-(n)ostalgy, the case of iuxtabrities (social-media bound cewebrities) or a circulation of counter knowledge. Some of the issues discussed in Memosphere have also been present in the realm of post-Internet art and examined by international researchers (O. Lialina, A.X. Mina, D. Quaranta) which proves their universal character within the global cyberculture. One of the most influential features of memes (after E. Zuckerberg) is an image of a cat (funny or cute), enabling the circulation of important, even serious or activist content. From digital naives, to digital natives, all the members of cyberculture become transmitters of memes and the prosumers of digital folklore. Also, Kamińska introduces her own proposal of the new methodology of cybercultural studies based on cultural studies as well as anthropology. The book proves that a demand for the branch of culture studies aimed at such a dynamic field of studies as cyberculture, is pivotal for the future development of cultural studies as an academic discipline. Ewa Wójtowicz, „Słodki kotek” a kultura polska. Rozważania wokół książki Magdaleny Kamińskiej Memosfera. Wstęp do cyberkulturoznawstwa [„Sweet kitten” and Polish culture. Reflections around the book of Magdalena Kamińska Memosphere. Introduction to cyber cultural studies], edited by W. Bryl-Roman, „Człowiek i Społeczeństwo” vol. XLIII: Projektowanie w latach 70. [Designing in the 1970s], Poznań 2017, pp. 193-201, Adam Mickiewicz University. Faculty of Social Sciences Press. ISSN 0239-3271.
Źródło:
Człowiek i Społeczeństwo; 2017, 43; 193-201
0239-3271
Pojawia się w:
Człowiek i Społeczeństwo
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
The Point of Collapse, or How to Err is Non-human in Post-Digitality
Autorzy:
Wójtowicz, Ewa
Powiązania:
https://bibliotekanauki.pl/articles/1011638.pdf
Data publikacji:
2020
Wydawca:
Akademia Sztuk Pięknych w Gdańsku
Tematy:
post-digital art
error
mistake
glitch
dilletantism
Opis:
The aim of this text is to analyse various aspects of an error, understood as a collapse of form and content both in the 20th century and contemporary art, the latter influenced by post-digital (un)awareness. Art history teaches us that the avoidance of formal errors, crucial in the process of academic art education became irrelevant with the arrival of the first avant-gardes. This opened the way for artists to deal freely with the medium, or even act against the medium, not avoiding an error but rather embracing its surprising consequences. Therefore, a dilettante attitude disseminated rapidly across culture, allowing artists to make inspiring mistakes and find unexpected beauty in roughness and freedom in disorder. From the perspective of computing history, an error has always been a problem for coders and an annoyance for software users. The idea of making the most of technical limitations was discovered by net.art pioneers; later those mistakes were so appealing that a new genre was formed: glitch art. Nowadays artists produce so-called glitch art in their online and offline practice, using distortions resulting from errors in programming or the digital origin of images. Error-based artworks can be judged on criteria other than traditional, helping us find aesthetic joy in the collapse of forms. An intentional language mistake, just like the one made by Dada poets, reminds us that an imperfect message may reveal the hidden, conceptual framework of an apparently seamless structure. Post-digital error is, on the other hand, a paradox; being the creation from scratch of a seemingly erroneous object whose idea comes from digital vocabulary that is treated as a starting point to the planned collapse.
Źródło:
Sztuka i Dokumentacja; 2020, 22; 37-46
2080-413X
Pojawia się w:
Sztuka i Dokumentacja
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Mediosfera pamięci
Media-sphere of memory
Autorzy:
Wójtowicz, Ewa
Powiązania:
https://bibliotekanauki.pl/articles/1853732.pdf
Data publikacji:
2018
Wydawca:
Narodowe Centrum Kultury
Tematy:
mediosfera
filmoznawstwo
teoria obrazu
audiowizualność
pamięć
film studies
theory of image
audiovisuality
memory
Źródło:
Kultura Współczesna. Teoria. Interpretacje. Praktyka; 2018, 101, 2; 186-192
1230-4808
Pojawia się w:
Kultura Współczesna. Teoria. Interpretacje. Praktyka
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
„Ucieczka do słońca”. Problem emigracji w biografii artystycznej Ludomira Michała Rogowskiego (1881–1954)
“Fleeing towards the sun”. The emigration problemin the artistic biography of Ludomir Michał Rogowski (1881–1954)
Autorzy:
Wójtowicz, Ewa
Powiązania:
https://bibliotekanauki.pl/articles/521896.pdf
Data publikacji:
2014
Wydawca:
Akademia Muzyczna im. Stanisława Moniuszki w Gdańsku
Tematy:
Ludomir Michał Rogowski
emigration
Dubrovnik
Opis:
Emigration is a significant context of Rogowski’s work; it also sheds light on the complex history of his music’s reception in the country of his origin. The composer spent over half of his life outside of Poland (38 out of 73 years). After studying under the supervision of Zygmunt Noskowski he developed his education in the years 1906–1908 in European centres: Leipzig, Munich, Rome. He did not feel an emigrant at that time, he was a Pole living temporarily abroad. Rogowski’s eight-year stay in France (1911–1912 and 1914–1921) may be considered in terms of emigration as well as the 28 years of living in Dubrovnik (1926–1954). Those two periods are different from each other in many ways. During the first of them, the composer was active in the Polish diaspora: he established a choir and wrote incidental music with patriotic message. In Dubrovnik, Rogowski was one of a handful of Poles but he did not feel alienated. Soon he blended into the local community co-creating the musical life of the city. In terms of artistic results, the Dubrovnik period cannot equal with the French time in his life, when the best compositions and a study Muzyka przyszłości [The Music of Future] were written. The ambitious author referred then to the common trends popular at that time in European music, such as the search for reviving musical language or fascination with the Orient. The musical circles of Dubrovnik, of which Rogowski was a central figure, could not play an inspiring nor a controlling function towards him. Choosing the fate of a voluntary anchorite on the shores of the Adriatic Sea, the composer condemned himself to gradual oblivion in his first homeland.
Źródło:
Aspekty Muzyki; 2014, 4; 103-118
2082-6044
Pojawia się w:
Aspekty Muzyki
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Obserwator rozproszonych dyskursów
An Observer of Dispersed Discourses
Autorzy:
Wójtowicz, Ewa
Powiązania:
https://bibliotekanauki.pl/articles/466745.pdf
Data publikacji:
2003
Wydawca:
Wydawnictwo Uniwersytetu Śląskiego
Opis:
Ewa Wójtowicz's review of "Lata dziewięćdziesiąte" by Grzegorz Dziamski (2000).
Źródło:
ER(R)GO: Teoria – Literatura – Kultura; 2003, 6
1508-6305
2544-3186
Pojawia się w:
ER(R)GO: Teoria – Literatura – Kultura
Dostawca treści:
Biblioteka Nauki
Artykuł
Wyświetlanie 1-15 z 23

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