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The Memory Places and Color: The Methods and Practices of Color Use in Ethnographic Research

100%
Işıklı H.
Jednak Książki. Gdańskie Czasopismo Humanistyczne
|
2018
|
issue 9 "Memory, Melancholy and Nostalgia"
EN
Nowadays art festivals engage more to organize their events in unusual places. Either for the sake of city branding or a pure cultural memory action, a performance might be set in a forgotten memory place. The place which is distinguished sharply by a comfortable concert hall becomes one of the actors of the event and the participant questions a past that s/he hasn’t been strongly connected. Thus, the individual is not only aroused by the performance itself and the information in the booklets but also physical environment has an affect. This article aims to tackle the contribution of color as an instrument of data collection in qualitative research. By using color tablets inspired by the colorist Kobayashi the colors are tested firstly as a visual to learn how they make sense in Izmir during International Izmir Festival. Secondly, they are questioned how the participants embed colors’ senses to the memory places where they attended to the concerts. The research process indicates that the experience of a concert might not be visually powerful enough to associate memory places with the colors. However, the technique of color tablets becomes prompting object which support the dialogue construction between the fieldworker and informant. Thus, as an instrument for evocation and conversation color tablets become interactive objects for remembering of the festival experience and it mediates the social roles of the informants and the fieldworker.
2
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«МЕСТО ПАМЯТИ» КАК ТОПОС МУЗЫКАЛЬНОГО МУЛЬТИКУЛЬТУРАЛИЗМА (ЛЬВОВСКАЯ НАЦИОНАЛЬНАЯ МУЗЫКАЛЬНАЯ АКАДЕМИЯ ИМЕНИ М. ЛЫСЕНКО: ФАКТЫ, ПЕРСОНАЛИИ, РАЗМЫШЛЕНИЯ)

72%
Катрич О.
Ars inter Culturas
|
2018
|
vol. 7
79-88
EN
accumulating intellectual potential in the field of “memory studies”. Modern discourse of "memory" is the sphere of intersection of scientific interests of history, sociology, psychology, art studies, political science etc. This discourse has formed a truly new paradigm of knowledge with its conceptual-categorical apparatus (“memory masks”, “memory landscape”, “memory space” etc.). The memory space is heterogeneous, and its comprehension is similar to nonlinear reading of a certain hypertext. This process, as a rule, focuses on certain objects – “places of memory”, indicative in one sense or another. The vector of the proposed considerations is generated by the desire to reconstruct the multicultural landscape of the musical-historical memory of Lviv – the third in Europe after Salzburg and Vienna Mozart Center. The main focus is on the expressive topography of this landscape, the “place of memory”, which collected within its historical coordinates the musical experience of the fruitful cooperation of musicians of European glory (J. Elsner, F. K. Mozart, J. Rukgaber, K. Mikuly, K. Lipinsky, S. Lyudkevich, V. Barvinsky etc.), representatives of various national cultures – the history of the oldest Ukrainian higher educational institution - the Lviv M. Lysenko National Academy of Music.
3
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Zarządzanie pamięcią o artyście na przykładzie szlaku kulturowego

72%
Kędziora A.
Problemy Zarządzania
|
2013
|
issue 4/2013 (44)
EN
Memory requires carriers (places) of memory, elements aimed at reminding, located outside the human mind, in space, where a given community operates. Such forms of commemoration can be grouped into a system – a cultural route, which, rationally constructed, would be a model of a comprehensive and efficient management of the memory of an artist. Routes dedicated to the figures from the world of culture are still rare, although, due to the extent of the impact and variety of the objects belonging to them, they are the best way to create the images of an artist and to promote them, including both authentic places that are commemorated and space which will be institutionally given forms of remembering.
PL
Pamięć wymaga nośników (miejsc) pamięci, elementów służących przypominaniu, ulokowanych poza ludzkim umysłem, w przestrzeni, w której dana zbiorowość funkcjonuje. Takie formy upamiętniania mogą zostać zgrupowane w system – szlak kulturowy, który racjonalnie skonstruowany stanowiłby modelowy przykład kompleksowego i efektywnego zarządzania pamięcią o artyście. Szlaki dedykowane postaciom ze świata kultury nadal należą do rzadkości, choć ze względu na zasięg oddziaływania i różnorodność obiektów wchodzących w ich skład stanowią najlepszy kanał kreowania wizerunku i promocji artysty, obejmujący zarówno miejsca autentyczne, które są upamiętniane, jak i przestrzeń, której dopiero zostaną instytucjonalnie nadane formy pamiętania.
4
Publication available in full text mode
Content available

Zarządzanie pamięcią o artyście na przykładzie szlaku kulturowego

72%
Kędziora A.
Problemy Zarządzania
|
2013
|
issue 4/2013 (44)
101 - 112
PL
Pamięć wymaga nośników (miejsc) pamięci, elementów służących przypominaniu, ulokowanych poza ludzkim umysłem, w przestrzeni, w której dana zbiorowość funkcjonuje. Takie formy upamiętniania mogą zostać zgrupowane w system – szlak kulturowy, który racjonalnie skonstruowany stanowiłby modelowy przykład kompleksowego i efektywnego zarządzania pamięcią o artyście. Szlaki dedykowane postaciom ze świata kultury nadal należą do rzadkości, choć ze względu na zasięg oddziaływania i różnorodność obiektów wchodzących w ich skład stanowią najlepszy kanał kreowania wizerunku i promocji artysty, obejmujący zarówno miejsca autentyczne, które są upamiętniane, jak i przestrzeń, której dopiero zostaną instytucjonalnie nadane formy pamiętania.
EN
Memory requires carriers (places) of memory, elements aimed at reminding, located outside the human mind, in space, where a given community operates. Such forms of commemoration can be grouped into a system – a cultural route, which, rationally constructed, would be a model of a comprehensive and efficient management of the memory of an artist. Routes dedicated to the figures from the world of culture are still rare, although, due to the extent of the impact and variety of the objects belonging to them, they are the best way to create the images of an artist and to promote them, including both authentic places that are commemorated and space which will be institutionally given forms of remembering.
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