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1

Postcards collection

100%
Michalowska M.
Przegląd Kulturoznawczy
|
2007
|
vol. 1
|
issue 2
98-121
EN
Walter Benjamin's thesis about a creative character of childhood is starting point for a text. According to Benjamin childhood can be compared to the dream. A process of growing up recalls awakening. A world that children perceive, however mysterious and unknown, process a fullness that disappears when they grown up. In philosopher's reflection childhood evoke a collection of postcards inscribed in a memory. Freud's metaphor of archaeology illustrates the mechanism of recreating memories is human mind. In this metaphor a concept of afterwardness is essential. Freud interpreted 'afterwardness' as an understanding of traumatic experience, that took place 'too early', but their presence in a consciousness came 'too late'. In the first part of text, two significant children-photographers - Jacques H. Lartigue and Stanislaw Ignacy Witkiewicz are considered as examples of creative power and experimental attempts of childhood. Taken by children pictures of happy past leads us to the nostalgic dimension of photography. Next part is dedicated to Benjamin's idea of collecting postcards and asks a question about a possibility of recreating the past from the images. The dilemma of photographic mediation between the past and present is outlined also in the last part of text where photography becomes a method of analyzing the architectural aspects of contemporary Berlin. A notion of 'afterwardness' is especially useful here. Photographers work as archaeologists of unconsciousness: their revealing of a past reminds 'digging for memories' and its interpretation.
2

SATURDAY TO SUNDAY - DOCUMENTARY PHOTOGRAPHY AND PORTRAITS OF CITY LIFE

100%
Michalowska M.
Kultura i Społeczeństwo
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2005
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vol. 49
|
issue 1
79-93
EN
The authoress follows the transformation of documentary photography from the beginning of the 20th century to the present-day. Two terms: 'a public document' and 'a private document' are introduced into the analysis. The first one is used with regard to the work of early and classical photojournalists (i.e. Lewis Hine or Jacob Riis) and the second is applied to the works of contemporary photographers. Often 'a private document' shows the images of current city and the urban life style of its authors. In conclusion, the idea of a photographical image as an objective evidence of life has turned into autobiographical narration of authors of pictures. What is more, documentary style of representation is systematically exploited in pop-culture and commercial production.
3

DISPUTE OVER PREDESTINATION IN CAROLINIAN RENAISSANCE - 'DE PRAEDESTINATIONE' OF JOHN THE SCOT ERIUGENA

100%
Michalowska M.
Etyka (Ethics)
|
2004
|
issue 37
49-68
EN
John the Scot Eriugena, the main figure of the ninth century philosophy, was involved in the most original debates of the Carolingian Renaissance i.e. in the controversy over double predestination. Having examined the problem and having refuted the concept presented by his opponent Gottschalk of Orbais, Eriugena emphasized the role of reason, and introduced semantic and rhetoric, which was an innovative way of argumentation at that time. Liberal arts had been thus shown to be of a great importance in theological and philosophical disputes.
4

MODERNITY AND EXPERIMENT IN SELECTED REALISATIONS OF ARTISTIC PHOTOGRAPHY AFTER THE END OF POSTMODERNITY

100%
Michalowska M.
Rocznik Historii Sztuki
|
2006
|
vol. 31
229-254
EN
The article is an attempt to examine the consequences which a renewed interest in modernity had for contemporary art of photography. What could be seen in artistic practice is that after the period of fascination with Baudrillardian simulations artists again are inspired by Dadaism, Surrealism or Constructivism. And although the achievements of modern photography and such artists as Z. Dlubak, Z. Beksinski or J. Robakowski have never been actually called into question by successive generations of artists, undoubtedly they have became a part of what is considered to be dead classics now. The article juxtaposes the works of art of some of the artists active in the field of art at least since the 1960s (A. Müller-Pohle, W. Prazmowski, J. Lewczynski) with the photographic test pieces of a new generation of artists (among others P. Orzechowska, T. Sikorski and A. Szwinta). Such a confrontation allows to see which trends of avant-garde art could still be attractive to contemporary photographers. The text is divided into two parts. The first one determines the extent of theoretical references within which photography could be analysed. The scope is defined by the concepts of 'photography as art' (in the ideas of, among others, L. Wells and A. Solomon-Godeau), avant-garde (with reference to the ideas of P. Bürger, R. Poggioli, R. Krauss and A. Erjavec) and modernity (Ch. Baudelaire, W. Benjamin, J.-F. Lyotard). The second part of the text analyses three aspects of contemporary photography which refers to modernity on the example of the selected photographic realisations. The aspects are: the role of artistic experience, relationship between 'novelty' and 'historicity' of a photographic picture, and a depiction of modern subjectivity.
5

Fragment - Fetish - Photography

100%
Michalowska M.
Kwartalnik Filmowy
|
2006
|
issue 54-55
255-266
EN
The aurhoress considers the thesis that an affinity between film and photography should not be sought in the linear order of the technological development of the medium but in the recalling of images by memory. Victor Burgin's text 'The Remembered Film' and Roland Barthes's 'Upon Leaving the Movie Theatre' provide the inspiration for the article. Burgin and Barthes argue that films begin to be regarded not as a coherent narrative continuum but as a 'sequence of images'. We are in the process of being 'trapped by the image' whereas the viewer begins to perceive a scene recorded by the photographic or cinematic medium as if it were part of his own experience. She examines the cinematic and photographic realisations of found footage (films by Bill Morisson, Lewis Klahr, photos of Friedl Kubelka and Andrzej P. Bator). A counterpoint for these audiovisual productions is William Gibson's novel 'Pattern Recognition' (2003) about film clips circulating in the Net. Lacking narrative linearity, the video files become the source of search for identity of Net users. These examples lead to the conclusion that in modern culture, photography and film cease to constitute only a component of specific artistic practice. When absorbed by human memory, they serve to express individual experiences.
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