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Selfie at a museum: Defining a paradigm for an analysis of taking (self-portrait) photographs at museum exhibitions

100%

Chlebus-Grudzień P.

Turyzm

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2018

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vol. 28

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issue 1

7-13

EN

Due to the development of social media, posting one's photos is becoming increasingly popular; they often take the form of, so called, ‘selfie’. The phenomenon of photographing oneself has also occurred in cultural institutions, including museums. The museums are implementing various strategies of reacting to people taking pictures of themselves with exhibits at the background. The article presents an analysis of these reactions, and, based on that, various ways of defining the functions and role of the contemporary museum. The author also attempts to provide an answer to the following question: is posting photographs by visitors an element of creating their own image (‘the Culture of Narcissism’), or is it rather a form of interaction with heritage, of a dialogue with the presented contents (‘remix culture’)?

2

Da Internet alla galleria d’arte, ovvero gli esperimenti traduttivi con gli "emoji"

72%

Majdzik Papić K.

Italica Wratislaviensia

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2020

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issue 11.1

169-190

EN

The article presents various forms of intersemiotic and intrasemiotic translations which use emoji signs, i.e. iconic characters employed in digital communication by users of popular Internet applications and platforms (e.g. Twitter, Facebook and Messenger). The use of emojis is becoming more and more widespread, as evidenced by the increasing number of text messages and works of art which consist exclusively of these characters. At the same time, attempts are being made to translate more extensive verbal texts (including literary works) into the nonverbal system of emojis. One of the feats such efforts have so far accomplished is an experimental translation of Carlo Collodi’s "Pinocchio" ("La storia di un burattino"), a classic of children’s literature, from Italian to emojitaliano (a system codified by the participants of the experiment), which was developed on Twitter and appeared in print in 2017. Emoji-based works of art have also found their way to art galleries. "The Garden of Emoji Delights", a triptych by Carla Gannis, is a conspicuous example of intrasemiotic translation (from a non-verbal code to another non-verbal code) involving Hieronymus Bosch’s celebrated painting. Such applications of emoji are associated with paradigmatic changes in the humanities, which are related to the digital, iconic and performative turns and to today’s remix culture (Lawrence Lessig, Lev Manovich).

IT

L’articolo presenta alcune forme di traduzione intersemiotica e intrasemiotica con l’utilizzo degli "emoji", cioè dei segni iconici adoperati nella comunicazione elettronica dagli utenti di applicazioni e di piattaforme web diffuse (come p. es. Twitter, Facebook, Messenger). L’uso degli "emoji" è sempre più comune, ciò è confermato dalla quantità costantemente più alta di messaggi nonché di opere d’arte composti esclusivamente da tali segni. Sempre più spesso si cerca di trasporre anche testi verbali più ampi (tra questi opere letterarie) al sistema non verbale dei segni "emoji". Il coronamento di tale lavoro è rappresentato dalla traduzione sperimentale di "Avventure di Pinocchio". "Storia di un burattino" di Carlo Collodi, un classico della letteratura per bambini, dalla lingua italiana all’emojitaliano, lingua codificata dai partecipanti all’esperimento (la traduzione è stata fatta sulla piattaforma Twitter e nel 2017 è uscita la sua versione cartacea). Le opere d’arte che fanno uso di "emoji" compaiono anche nei musei. Il trittico "The Garden of Emoji Delights" di Carla Gannis è un bell’ esempio di traduzione intrasemiotica (da un codice non verbale a un altro codice non verbale) della famosa opera di Hieronymus Bosch. Un uso simile degli "emoji" è legato ai cambiamenti paradigmatici delle materie umanistiche, connessi alle varie svolte: digitali, iconica, performativa nonché alla cultura del "remix", attualmente molto diffusa.

3

Plądrofonia – koncepcja kolażu muzycznego

72%

Barszcz M.

Uniwersyteckie Czasopismo Socjologiczne

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2023

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vol. 31

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issue 1

35-41

EN

The goal of this article is to present a nowadays forgotten concept of plunderphonics. Relevant subject is an avant-garde approach of listening and using existing music pieces to give them new meaning by creating own works. Effects of plunderphonics can be equated with the concept of musical collage. The author combines this idea with sampling, which is commonly used in the music industry. In the context of the article’s theme, the author depicts the character of John Oswald, who is responsible for creating plunderphonics. His philosophy and effects of his works are presented along with the idea of active listening. Another person mentioned in the article is Christian Marclay who was physically manipulating vinyl records to create musical collages. There is also a presentation of technics which are used by musicians creating plunderphonic music. Legal consequences of John Oswald’s work are presented, along with the term of remix culture, by Lawrence Lessig. The author shows the examples of the plunderphonic works in today’s music industry, and it’s spiritual ancestors, which can be found in the internet culture.

PL

Celem poniższego artykułu jest zaprezentowanie zapomnianego dziś zjawiska plądrofonii. Omawiane zagadnienie jest awangardowym podejściem do odbioru i wykorzystywania cudzych dzieł muzycznych w celu nadania im nowych znaczeń, poprzez stworzenie własnych wersji. Efekty plądrofonii można przyrównać do kolaży muzycznych. Autor zestawia tę koncepcję z samplingiem, który jest powszechnym działaniem na współczesnym rynku muzycznym. Przedstawiana jest postać Johna Oswalda, autora opisywanego pojęcia, jego filozofia i efekty działań. W tym kontekście wprowadzone zostaje pojęcie aktywnego słuchania. Autor omawia także postać Christiana Marclaya, który jako obiekt przetworzeń plądrofonicznych wybrał nośniki dźwięku – głównie płyty winylowe. W tekście znajduje się także opis narzędzi wykorzystywanych przez autorów dzieł plądrofonicznych. Poruszony zostaje aspekt konsekwencji prawnych działań Oswalda, z jednoczesnym wprowadzeniem pojęcia kultury remiksu, wymyślonym przez Lawrence’a Lessiga. Autor przywołuje też przykłady dzieł plądrofonicznych na współczesnym rynku muzycznym oraz duchowych spadkobierców plądrofonii, których możemy odnaleźć w przestrzeni kultury internetowej.

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Selfie at a museum: Defining a paradigm for an analysis of taking (self-portrait) photographs at museum exhibitions

Da Internet alla galleria d’arte, ovvero gli esperimenti traduttivi con gli "emoji"

Plądrofonia – koncepcja kolażu muzycznego