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Nowy, zremiksowany świat [rec. David J. Gunkel: Of Remixology. Ethics and Aesthetics After Remix. Cambridge: MIT Press, 2016, ss. 240.]

100%
Marcela M.
Śląskie Studia Polonistyczne
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2018
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vol. 11
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issue 1
203-210
EN
According to many researchers and theoreticians mentioned by Davis J. Gunkel we live today in digital culture of “mash-up”, which is at the same time configurable convergence culture. Therefore in the contemporary world the concept of remix enjoys such great popularity. It is in sampling and remixing that “the cultural logic of networked global capitalism” should be sought. However, the mentioned terms occur mainly in the disputes over copyright laws and freedom of the access to culture. For Gunkel this aspect is not a key one. In Of Remixology he suggests a departure from the current way of thinking about remix in terms of an original and a copy, innovation and derivation, authorship and plagiarism. Instead, Gunkel proposes the third way of thinking, where his companions become such theoreticians as Jacques Derrida, Roland Barthes, Jean Baudrillard and Slavoj Žižek.
2
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Европейский и российский опыт лингвистической урбанистики как теоретическая база казахстанских исследований

99%
Suyunova G.
Przegląd Wschodnioeuropejski
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2018
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vol. 2
219-227
EN
The article is an attempt to analyze the status of linguistic urban studies in Kazakhstan. The author compares the achievements of domestic linguists in this area of scientific knowledge with similar studies of foreign scientists and identifies options for using their experience for the development of Kazakhstan linguistic urban study. The strong linguo-communicative potential of modern cities is emphasized, providing scientists with an ever-growing scope of objects of urban study. The author outlines some perspective and modern trends in the study of urban systems. The article was prepared under the grant-based support of the Ministry of Education and Science of the Republic of Kazakhstan, “The Best Teacher of High School – 2017” award.
3
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Remixing international news reporting: Towards a renewed confederacy of correspondences

99%
Vicente P. N.
Central European Journal of Communication
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2012
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vol. 5
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issue 1(8)
61-77
EN
The operative concept of remix translates into a renewed tension in the contemporary journalistic field by means of a complex and not pacific coexistence of a read/write and a read/only culture. This ambivalence has also been designated as a convergence or mash-up culture. Beyond its modern structural elements (overseas delegations, staff correspondents, special assignments, freelancers, stringers, fixers, translators), the overall framework of international news reporting is being remixed and challenged by the emergence of a renewed confederacy of correspondences supported by online digital networks. The combination of technology particularly the Internet and its graphical interface, the World Wide Web with the emergence of nonconventional journalists is transforming previous meanings and implications of eyewitnessing as a journalistic keyword. Traditional foreign correspondents no longer exercise hegemony over international news. This article, based on a comprehensive literature review, addresses the state of flux in international journalism signalling the emerging typologies and confronting those with the previous standard model of correspondence.
4
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Ремейк/ремикс: шекспировский код в произведениях братьев Пресняковых

99%
Frolova A.
Przegląd Wschodnioeuropejski
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2018
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vol. 2
347-354
EN
Art researchers of modern literature are connected with the classical heritage. The remake becomes one of the forms of the code conversion of classics, which gives context and allows the creation of “an expressive sociocultural portrait of our time”. The remix assumes a creation of the secondary work in a more modern option and often presents the “text pieces” rearranged in any order. In the modern literature process it is possible to note the paradoxical phenomenon when the same plot is portrayed by the same author twice. The Brothers Presnyakovs create works at an interval of five years with the identical name, “Playing the Victim”, but in different genres (the play and the novel). Texts are connected by special relations: they have a distinct subject similarity, an identical system of images and are united with their correlation to Shakespeare’s tragedy “Hamlet”. In this article, there is an attempt to understand why the authors readdress the mastered material and how the meanings of the universal language of classics based on absolute values are transformed.
5
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Mediateka Babel. YouTube jako temat, rama formalna i platforma sztuki

86%
Wójtowicz E.
Artium Quaestiones
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2020
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issue 1
171-189
EN
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.
6
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Hauntology, Performance and Remix: Paradise // Now?

85%
Lorek-Jezinska E.
Avant
|
2017
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vol. 8
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issue 2
EN
Drawing upon concepts of hauntology and spectrality and their applications in performance and media theory, the article investigates the relation between live performance, performative memory and technology in Komuna Warszawa’s project Paradise Now? RE//MIX Living Theatre. Premiered in 2013 as the 31st part of the remix sequence bringing together the past works of international experimental artists and theatres and present-day Polish performers and dancers, Paradise Now remix offers a critical and self-referential commentary on what is left after the demise of political theatre and the utopian dream of paradise. My main argument focuses on the technological processes by which Komuna Warszawa spectralizes both the memory of the Living Theatre’s Paradise Now and its own performance through re-mediating, digitizing and remixing fragmentary images and scenes. Their ultimate effect is a melancholic sense of disappearance, impossibility and technologically produced vacuum.
7
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Hauntology, Performance and Remix: Paradise // Now?

85%
Lorek-Jezinska E.
Avant
|
2017
|
vol. 8
|
issue 2
EN
Drawing upon concepts of hauntology and spectrality and their applications in performance and media theory, the article investigates the relation between live performance, performative memory and technology in Komuna Warszawa’s project Paradise Now? RE//MIX Living Theatre. Premiered in 2013 as the 31st part of the remix sequence bringing together the past works of international experimental artists and theatres and present-day Polish performers and dancers, Paradise Now remix offers a critical and self-referential commentary on what is left after the demise of political theatre and the utopian dream of paradise. My main argument focuses on the technological processes by which Komuna Warszawa spectralizes both the memory of the Living Theatre’s Paradise Now and its own performance through re-mediating, digitizing and remixing fragmentary images and scenes. Their ultimate effect is a melancholic sense of disappearance, impossibility and technologically produced vacuum.
8
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O kłopotach edukacji teatralnej w dobie wszechobecnej (po)nowoczesności i nieobecnej tradycji

71%
Łubieniewska E.
Annales Universitatis Paedagogicae Cracoviensis. Studia de Cultura
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2014
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issue 6 "Edukacja kulturowa. Ujęcie monograficzne"
120-126
EN
The reception of theatric plays by the young viewer (an example of which can be found in the discussion after the student's premiere of Acropolis directed by Łukasz Twardowski) reveals the need to expand the theatric education with the elements of the post-war tradition of the Polish scene. The example of the cultural gap in this regard can be heard in e.g. the voices of young critics on the re-mix on Lidia Zamkow, which show the lack of knowledge on the meaning of the cultural phenomenon, which was the theatre of that director. Implementing the subject, the main aim of which would be to familiarize the students with great personas of the theatre of the last five decades into the cultural studies curriculum seems absolutely necessary if one wants to raise an aware member of the culture – also the post-modernist one
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