Search results

1

Lev Manovich (2020). Cultural Analytics

100%

Waszkiewicz-Raviv A.

Central European Journal of Communication

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2021

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vol. 14

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issue 2(29)

350-352

2

Getrennt oder zusammen? Isolation und Interaktion von Sprache und Bild in der Printwerbung

100%

Opiłowski R.

Annales Neophilologiarum

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2012

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issue 6

125-150

EN

Press and outdoor advertising utilizes in its semiotic multimodality two main codes: language and picture which are applied in advertising texts in different proportions, depending on product, advertising strategy and target group. Analysing German examples this article aims to present communicative, pragmatic and system determinants of advertising which is created only by using picture or text. However, the inter-action between language and picture generates a broader spectrum of forms and functions which are assigned to five main categories. These categories indicate less prototypal interactions of language and picture like commenting of a picture, illustrating of a language, mono-semantization of a picture, ambiguity of a language and mutual determination.

PL

Reklama prasowa i zewnętrzna posługuje się w swojej semiotycznej mulimodalności dwoma kodami centralnymi: językiem i obrazem. Teksty reklamowe posiadają w zależności od samego produktu, strategii reklamowej czy też grupy docelowej różne proporcje użycia języka i obrazu. Na odpowiednich przykładach reklamy niemieckojęzycznej zostają przedstawione komunikatywne, pragmatyczne i systemowe uwarunkowania reklamy, która jest kształtowana tylko za pomocą obrazu lub za pomocą tekstu. Znacznie szersze spektrum form i funkcji wyłania się z interakcji języka i obrazu. Tworzą one pięć nadrzędnych kategorii, które dopuszczają mniej prototypowe interakcje języka i obrazu. W tych kategoriach znajdują się relacje komentowania obrazu, ilustrowania języka, monosemantyzacji obrazu, wieloznaczności językowej oraz wzajemnej determinacji.

3

Profile of Illustration in Children’s Literature Books Based on the Image Preferences of the Youngest Readers

100%

Mazepa-Domagała B.

The New Educational Review

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2017

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vol. 49

223-235

EN

The presented paper is a result of research conducted on the issue of visual communication as an art supplement and explanation of printed content. The publication begins with a reflection on visual culture illustrating its polysemic character and referring to the iconic nature of images. Further, the paper describes the art of illustration and the value of visual communication in the form of book illustration. The last part of the paper attempts to present the structure of a well-designed illustration in the form of profiles, constructed on the basis of picture tendencies appear in a group of pre-readers.

4

Promotion of regional and traditional products

89%

Oleksiuk I., Werenowska A.

Środkowoeuropejskie Studia Polityczne

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2019

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issue 2

135-149

PL

Podstawowym celem studiów opisanych w artykule była analiza specyfiki procesów promocyjnych produktów regionalnych i tradycyjnych z wykorzystaniem oznaczeń regulowanych przez prawo europejskie: Gwarantowana Tradycyjna Specjalność (GTS), Chroniona Nazwa Pochodzenia (ChNP), oraz Chronione Oznaczenie Geograficzne (ChOG). Dokonano krytycznego przeglądu narzędzi promocji produktów tradycyjnych i regionalnych odnosząc się do roli ochrony prawnej oznaczeń wyrobów w UE. Zwrócono uwagę, że na kształt systemu promocyjnego i informacyjnego mają wpływ uwarunkowania społeczno-kulturowe, które oddziałują na rozpoznawalność i renomę produktów, co znalazło potwierdzenie w wynikach przeprowadzonych badań sondażowych. Na uwagę zasługuje istnienie korelacji jakości z tradycją, czego wyrazem były między innymi deklaracje dotyczące motywu wyboru tych produktów: poczucie dumy i kontynuowanie tradycji wybrało 45% badanych. Najbardziej rozpoznawalnym europejskim oznaczeniem był symbol Gwarantowanej Tradycyjnej Specjalności (38%).

EN

The main goal of the studies described in this article may be defined as an analysis of the promotional processes of regional and traditional products executed with the use of symbols regulated by European law: Traditional Speciality Guaranteed (TSG), Protected Designation of Origin (PDO) and Protected Geographical Indication (PGI). The analysis presented here and the trends in promotional activities deducted from it, primarily result from the specifics of the goods. The shape of the information system is also influenced by social and cultural factors decisive for the recognizability and renown of the products, which have been confirmed by the results of the questionnaire conducted for the study. What is worth noting is the correlation between quality and tradition, reflected, among other things, in declarations regarding the reasons for the choice of these products: the sense of pride and the willingness to continue the traditions were chosen by 45% of the survey participants. The Traditional Speciality Guaranteed (TSG) has proven to be the most recognizable European symbol (38%).

5

Wizualne parole. Epistolografia filmowa o Korespondencji filmowej pomiędzy José Luis Guerinem i Jonasem Mekasem

76%

Łukaszewicz-Alcaraz A.

Kultura-Społeczeństwo-Edukacja

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2016

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vol. 9

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issue 1

29-41

EN

Recognition of the film in the space of communication has already some tradition, especially the structural semiotics. These considerations has presented us different methods of analysis of various levels or areas in which the film can be read through the prism of codes (images, speech, signatures, sounds, etc.), which are especially useful in artistic critics. However, what is most useful to think both about the film, and about contemporary reality is emerging in the structural semiotics of the cinema distinction between langue and parole – with reference to F. de Saussure used it Ch. Metz. Particular films are symbolic events, “speech acts”, acts of parole what is explicit in case of artistic communication via films, and in case films put in virtual space. In both cases they can be called after S. Worth as “Bio-Documentaries”, showing emotions, postures and values of their authors, and they are specific and essential to contemporary visual communication.

6

Interpretation of a verbal-visual communication

75%

Habrajska G.

Acta Universitatis Lodziensis. Folia Litteraria Polonica

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2017

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vol. 43

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issue 5

131-146

EN

In contemporary internet-dominated everyday life, ever more often one faces communications which utilise both verbal (words) and iconic (images) codes. In the article, I analyse two types of said communications: advertisements and memes. Both advertising content and memes belong to journalistic discourse. Therefore, one can analyse them using the same methods as verbal opinion texts, which require one to specify the situational background, the specific situation, the persuasive/ propaganda aim, and to standardise arguments. At the same time, memes are included in comical discourse, to analyse which it is necessary to be able to juxtapose the actual image with the presented image.

7

Sculpture as a Code – Rhetorical Devices Used by the Sculptor

75%

Władyka-Łuczak Z., The University of Lodz F. o. P., zet-zet@zet-zet.com.pl

Acta Universitatis Lodziensis. Folia Litteraria Polonica

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2016

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vol. 35

|

issue 5

EN

The aim of the paper is to compare the formal organization of a visual message with the rhetorical devices used in a verbal message. This analysis is carried out based on the example of the sculpture Dual by Zbigniew Władyka. The creativity found in the rhetorical devices used in the sculpture Dual to trigger and amplify feelings proves that they can be employed even in this form of artistic expression. Creativity in the analysed sculpture is represented by German reunification, reflected in the form of the transformation of two characters into one. The sculpture is meant to inspire, to be an object (res) directing the viewer toward personal reflection, and invoking projections of fear and doubt, but also of confidence and courage. Confidence and courage are represented by a strong figure with a head, firmly standing on its feet. Fear and doubt are represented by a weak figure, carried by the first one. The centripetal composition used in the sculpture suggests merger rather than destruction. The sensory perception of the viewer is controlled by directional tensions, which lead the viewer’s sight along designated linear directions. As described earlier by Witkiewicz, directional tensions and motionless substance correspond to a rhetorical enlarging and diminishing. By interacting with the sculpture, you can experience these devices. Not only visualization is at work here, as in verbal communication, but also physical experience. The presented analysis shows that a sculptural work of art can be analysed in a similar way to verbal communication. Of course, not all verbal devices have their counterparts in visual communication, but the basic content and emotions can be expressed regardless of the code.

8

Rzeźba jako kod – chwyty retoryczne stosowane przez rzeźbiarza

75%

Władyka-Łuczak Z., Uniwersytet Łódzki W. F., Zofia Władyka-Łuczak – mgr sztuki r. i. p. n. Z. T. i. P. K. U., zet-zet@zet-zet.com.pl

Acta Universitatis Lodziensis. Folia Litteraria Polonica

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2015

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vol. 28

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issue 2

EN

The aim of the paper is to compare the formal organization of a visual message with the rhetorical devices used in verbal expression. This analysis is carried out based on the example of the sculpture Dual by Zbigniew Władyka. Creativity found in the rhetorical devices used in the sculpture Dual to trigger and amplify feelings proves that they can be used even in this form of artistic expression. Creativity in the analysed sculpture is represented by the unification of Germany, reflected in the form of the transformation of two characters into one. The sculpture is meant to inspire, to be an object (res) directing the viewer toward personal reflection, and invoking projections of fear and doubt, but also of confidence and courage. Confidence and courage are represented by a strong figure with a head, firmly standing on her feet. Fear and doubt are represented by a weak figure, carried by the first one. The centripetal composition used in the sculpture suggests merger rather than destruction. The sensory perception of the viewer is controlled by directional tensions, which lead the viewer’s sight along designated linear directions. As described earlier by S. Witkiewicz, directional tensions and motionless substance correspond to a rhetorical enlarging and diminishing. By interacting with the sculpture, you can experience these devices. Not only visualization is at work here, as in verbal communication, but also physical experience. The presented analysis shows that a sculptural work of art can be analysed in a similar way to verbal communication. Of course, not all verbal devices have their counterparts in visual communication, but the basic content and emotions can be expressed regardless of the code.

9

Psychologiczne prawo bliskości w perspektywie semiotycznej i lingwistycznej

75%

Kiklewicz A., Kusse H.

tekst i dyskurs - text und diskurs

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2022

|

issue 16

89-113

EN

The authors discuss the possibilities of applying the law of proximity as one of the categories of gestalt psychology to describe the social communication. The first part considers the mutual determinants of sensory and cognitive processes, including the phenomenon of cognitive penetrability and the phenomenon of semantic priming. In the following parts, the authors show how the law of proximity is implemented in various types of discourses. In visual communication (especially in film and photography), the law of proximity is the basis of collage editing. The authors describe the principles by which semantic inference is made in such discourses. The law of proximity also significantly influences the processing of information in speech. In poetic texts, the compactness of the line sequence is based on this principle, i.e. what R. Jakobson defined as the transfer of equivalence from the selection axis to the combination axis. In artistic, journalistic or rhetorical texts, the proximity of words in the text contributes to the emergence of semantic implications, i.e. allusive meanings.

10

Visual Code Across Borders. Visual Communication as the Answer to Intercultural Management Dilemmas

75%

Waszkiewicz-Raviv A.

Journal of Intercultural Management

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2015

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vol. 7

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issue 4

113-121

EN

The paper focuses on the visual communication channel and it’s practical implications to the intercultural management practice. Introducing theoretical framework provides arguments for the increasing role of the pictures in the image economy, where esthetics and visual branding are the core elements. Two main fields of business applications of visual channels are drawn in the article: external consumers communication and internal organizational communication. Author’s definition of visual marketing communication (VMC) is provided and the semiotic approach is recommended for the culturally rooted customer communication that increases consumption globally, while information design and infographics are the visual messages suggested for the second field, which is internal, employees communication management.

11

Sculpture as a Code – Rhetorical Devices Used by the Sculptor

75%

Władyka-Łuczak Z.

Acta Universitatis Lodziensis. Folia Litteraria Polonica

|

2016

|

vol. 35

|

issue 5

239-252

EN

The aim of the paper is to compare the formal organization of a visual message with the rhetorical devices used in a verbal message. This analysis is carried out based on the example of the sculpture Dual by Zbigniew Władyka. The creativity found in the rhetorical devices used in the sculpture Dual to trigger and amplify feelings proves that they can be employed even in this form of artistic expression. Creativity in the analysed sculpture is represented by German reunification, reflected in the form of the transformation of two characters into one. The sculpture is meant to inspire, to be an object (res) directing the viewer toward personal reflection, and invoking projections of fear and doubt, but also of confidence and courage. Confidence and courage are represented by a strong figure with a head, firmly standing on its feet. Fear and doubt are represented by a weak figure, carried by the first one. The centripetal composition used in the sculpture suggests merger rather than destruction. The sensory perception of the viewer is controlled by directional tensions, which lead the viewer’s sight along designated linear directions. As described earlier by Witkiewicz, directional tensions and motionless substance correspond to a rhetorical enlarging and diminishing. By interacting with the sculpture, you can experience these devices. Not only visualization is at work here, as in verbal communication, but also physical experience. The presented analysis shows that a sculptural work of art can be analysed in a similar way to verbal communication. Of course, not all verbal devices have their counterparts in visual communication, but the basic content and emotions can be expressed regardless of the code.

12

ANALIZY TRANSMEDIALNEGO OBRAZU „ZWYKŁEJ UCZENNICY” W RAMACH EDUKACJI MEDIALNEJ. CZY ONA MUSI MIEĆ WSZYSTKO FIOLETOWO-RÓŻOWE?

75%

Waszkiewicz-Raviv A.

Zeszyty Naukowe KUL

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2015

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vol. 58

|

issue 3

13-24

EN

Media education is a term increasingly compelling media experts, particularly studying the phenomenon of media sphere saturated with visual messages . What competence have recipients, especially children and teenagers in contact with numerous messages seems the important area of research. Who is “Violetta”? Is it the transmedia girl idol of the Argentine series, which was popularized by Disney through numerous channels of integrated marketing communication ? Is she a regular girl from the suburbs or the media product? guide in the form of the NAMLE questionnaire with questions for the analysis of representation can be a tool to make the magic image more real. Article focuses on media iconosphere, first indicates some principles that govern visual perception, then presents the practical tool to analyze „normal teenagers” from the series „ Violetta „, which can be used for media education .

PL

Edukacja medialna jest terminem coraz częściej przykuwającym uwagę medioznawców, zwłaszcza badających fenomen mediosfery przesyconej komunikatami wizualnymi. To jakie kompetencje posiadają odbiorcy, a zwłaszcza dzieci i nastolatki w kontakcie z licznymi przekazami wydaje się istotnym obszarem badań. Kim jest transmedialny idol z produkcji serialu argentyńskiego, który wyprodukowała firma Disneya i następnie rozpropagowała licznymi kanałami zintegrowanej komunikacji marketingowej? Zwykłą dziewczyną z przedmieścia czy produktem medialnym? Przewodnik w postaci kwestionariusza z pytaniami do analizy reprezentacji może być narzędziem odmagicznienia obrazu. Artykuł koncentruje się na ikonosferze mediów, wskazuje jedną z zasad rządzących percepcją wizualną oraz prezentuje narzędzie do analizy obrazu „zwykłej nastolatki” z serialu „Violetta”, które może być wykorzystane do analiz w ramach edukacji medialnej.

13

TECHNIQUES OF VISUAL COMMUNIACTION IN ARCHITECTURAL DESIGN

75%

Kowalczyk M. W., Lewandowska A.

Journal of Education Culture and Society

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2020

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vol. 11

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issue 2

376-383

EN

Aim. The subject of the article are methods and techniques of architectural presentation to a diverse audience. The methods of architectural presentation as a key element in the dialogue with the future user of the designed space or building allow to present to the recipient the newly designed space to be created.Methods. The authors of the article present selected techniques of architectural presentation. The described ways of presenting the project were divided into material and virtual. The article discusses the most commonly used methods of architectural presentation such as: diagrams, visualization, physical model, virtual model, video, collage, analyzing their usefulness in terms of reliable communication in order to inform future users about planned changes. The authors describe in detail the use of architectural models as a technique used to present the project to both professional and non-professional recipients. The article discusses the pros and cons of each method.Results and Conclusion. The right choice of presentation method for the addressee allows for a better understanding of the presented idea and, as a result, for more informed choices made by the society, e.g. during public consultations, or by professional decision-making bodies in matters of public space and new architectural objects. The variety of methods of imaging the project vision available today has its individual features that favor or negatively affect the reception of works, by falsifying reality or its partial message.

14

Kaugõppe kujutamine COVID-19 pandeemia esimese laine meemides: huumor kui toimetulekuviis ja enesekaitsestrateegia

75%

Voolaid P.

Mäetagused

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2021

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vol. 81

19-44

EN

Restrictions and special measures were imposed around the world to prevent the spread of the COVID-19 virus, one of the most important of which was certainly the reorganization of learning and work as a home-based activity. During the first wave of the COVID-19 pandemic, schools in Estonia remained closed from 16 March 2020 until the end of the schoolyear; further periods of countrywide distance learning were imposed also throughout the 2020/2021 schoolyear. The new way of life that accompanied the special situation was also reflected in widespread folklore, including internet memes. Defining memes as “(post)modern folklore” that expresses and shapes shared norms and values within communities, my article analyses the depiction of distance learning in Estonian memes, highlighting different points of view: the position of the students, the teachers, and the parents. The source data comes from the meme collection of the research archive of the Department of Folkloristics of the Estonian Literary Museum, which consists of more than 2,000 meme units collected during the crisis period. Some data were collected separately, for example, Tartu Variku School organized a meme competition “My distance learning” for the students of Tartu schools in April 2020 (541 memes). The comparative global collection (12,000 units) comes from the international project of corona folklore and -humour research “Humour during the global corona crisis” led by Giselinde Kuipers (Leuven Catholic University) and Mark Boukes (Amsterdam University); the project involves researchers from more than 30 countries. The study addresses the following questions: What local features emerge in distance learning memes that spread during the pandemic? How have students used other cultural resources in these memes (e.g. pop culture elements known from literature, cinema, music and other important cultural texts)? Whether and how these memes express, for example, family relationships (between children/youngsters and parents), school relationships (between students and teachers), what patterns of distance working are prevalent, etc. The meme material which has been inspired by distance learning is a fascinating contemporary subject that combines the challenging COVID-19 pandemic and distance learning as a characteristic feature of this period. Students who are the main creators of the memes regard the humorous memes about distance learning as a form of communication which offers an alternative and multifaceted perspective on this important method of learning during lockdown. The Estonian material is largely based on internationally known universal meme templates that have been adapted to the local language and cultural space. When investigating the social networks and universal motifs reflected in the memes, it is important to rely on the qualitative content analysis. It is worth noting that the subject of COVID-19 and the pandemic period are rarely explicitly mentioned in the memes. The egocentric or student-centred perspective that is characteristic of this specific material highlights the general attitudes and shared patterns that are based on opposition, which is typical of youth culture. The common pairs of opposition are me/classmates, student/teacher, and student/parent. The stereotypical roles reflected in the memes can be analysed figuratively via the ambivalent trickster figure, known from earlier folklore studies. Students are shown as cunning go-getters who use memes to discuss uncomfortable issues, mishaps, and problems. Stereotypically, the image of a teacher, but also that of a parent, is that of an authoritarian supervisor, a grade giver from the students’ perspective. This makes memes a highly important channel for schoolchildren to make their voice heard, either consciously or subconsciously. In the future, the material could be investigated in even greater detail from the aspect of youth language use and emotions, the interdisciplinary aspect, etc.

15

PROFESSIONAL RATING OF DIGITAL INFORMATION’S – „INTRO” IN COMMUNICATING COMPUTER ART IN REFERENCE TO P. M. LESTER THEORY

63%

Perzycka E.

Problemy Profesjologii

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2018

|

issue 1

19-27

EN

What does it mean professional rating of visual information? The question in the text i caused because the modern man is capable of experiencing and co-creates the digital image of reality. He has access to many devices and software, at the same time is able to reach a lot of information. Because of that we chose to take every task the most possible easy and fast way by shortcuts. This happens mostly because we don't have much time to try all the new available propositions. From all the multiplicity we pick only those that we consider important at this moment. What decides the pick? What competences do we need so the choices turn out to be good? The text that I wrote answers this questions. The selective information’s we get are known as INTRO. Those are the introductions to something bigger, but are they important for us? What kind of message do they have? Why should we be professionally prepared to properly read the visual statements in the INTRO format?

PL

Co to znaczy profesjonalna ocena informacji wizualnej? Pytanie postawione w tekście spowodowane jest tym, że współczesny człowiek coraz bardziej doświadcza i współtworzy cyfrowy obraz rzeczywistości. Dostęp do wielości urządzeń i programów, a tym samym do ogromnej ilości docierających informacji powoduje, że coraz częściej wybieramy uproszczenia, streszczenia, tzw. skróty skrótów. Dzieje się to najczęściej z uwagi na brak czasu, aby w całości poznać wszystkie dostępne nowe propozycje. Z wielości wybieramy tylko te, które uznajemy za ważna w danym momencie. Co decyduje zatem o wyborze? Jakie potrzebujemy kompetencje, aby wybory były dla nas dobre? Przygotowany przeze mnie tekst odpowiada na te pytania. Docierające do nas wybiórcze informacje noszą nazwę INTRO. Są to wprowadzenia do czegoś większego, ale czy ważnego dla nas. Jakie są? Jaki przekaz zawierają? Dlaczego powinniśmy być profesjonalnie przygotowani do odczytywania komunikatów wizualnych przekazywanych w formacie INTRO?

16

LEARNING THE WORLD THROUGH READING SIGNS AND IMAGES; EMANCIPATORY PERSPECTIVE

63%

Czerepaniak-Walczak M.

Problemy Profesjologii

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2018

|

issue 1

13-18

EN

This text deals with the problem of visual literacy as an immanent multimodality of lifelong learning. The key issue, taken in the article, focuses on a narrow section of the subject matter of visual literacy, namely its importance in the process of individual and collective emancipation, implementation of the principles of social justice and respect for human rights. As an important condition for achieving that aim is the respect of validity claims in communication within the meaning of Jürgen Habermas.

PL

W tekście podjęta jest problematyka alfabetyzacji wizualnej jako immanentnej wielomodalności uczenia się przez całe życie. Kluczowa kwestia podjęta w artykule koncentruje się na wąskiej części problematyki tej postaci alfabetyzacji, a mianowicie na jej znaczeniu w procesie emancypacji indywidualnej i zbiorowej, wdrażaniu zasad sprawiedliwości społecznej i poszanowania praw człowieka. Ważnym warunkiem osiągnięcia tego celu jest poszanowanie roszczeń dotyczących ważności w komunikacji w rozumieniu Jürgena Habermasa.

17

From visual culture to visual communication. The pictorial and iconic turn in contemporary culture.

63%

Chmielecki K.

Art Inquiry. Recherches sur les arts

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2015

|

vol. XVII (XXVI)

93-114

EN

The article attempts to approximate the notions of “visual culture”, “visual communication” and “data visualization”, which appeared with the pictorial and the iconic turns. The pictorial turn raised the picture to the rank of a sign system, similarly to language within the poststructuralist reflection. In contrast, thanks to the changes in art history research, Visual Culture Studies came into being, necessitating a definition of the term “visual culture”. Doris Bachmann-Medick characterizes the iconic turn as a late reaction of art history studies to the linguistic turn, which views a painting as a textual and discursive phenomenon. This situation gave rise to Norman Bryson’s semiotics of the image, which employs the notion of “the language of images”, creating the need for a definition of “visual communication”. The expansion of new media poses another challenge to visual culture, which is the need to define “data visualization”. W.J.T. Mitchell announced a new version of the pictorial turn – a turn towards biopictures, or biodigital pictures. These “animated icons” have been given the characteristics of life by the biological-information technology. However, the definition of “data visualization” is shaped by the “digital turn”, which views it as a practice of endowing the raw, mathematical sequences of codes in databases with anthropological and cultural information. Currently, the definition of "data visualization" is also impacted by the theory of databases and software studies by Lev Manovich. Finally, I would like to ask about the risks and benefits of the pictorial and iconic turns.

PL

Artykuł jest próbą przybliżenia pojęć „kultura wizualna” „komunikacja wizualna” i „wizualizacja danych”, które pojawiły się przy okazji zwrotu piktorialnego i ikonicznego. Zwrot piktorialny spowodował, że obraz urasta obecnie do rangi systemu znakowego, podobnie jak język w refleksji poststrukturalistycznej. Natomiast dzięki przemianom historii sztuki pojawiają się studia kultury wizualnej. Razem z ich powstaniem rodzi się również potrzeba zdefiniowania terminu „kultura wizualna”. Doris Bachmann-Medick charakteryzuje zwrot ikoniczny jako opóźnioną reakcję historii sztuki na linguistic turn, która odkrywa malarstwo jako fenomen tekstowy i dyskursywny. W tej sytuacji rodzi się semiotyka obrazu Normana Brysona, która odwołuje się do pojęcia „języka obrazów”. Jest to kolejna potrzeba zdefiniowania terminu „komunikacji wizualnej”. Ekspansja nowych mediów stawia kulturę wizualną przed kolejnym wyzwaniem, którym jest potrzeba zdefiniowania terminu „wizualizacja danych”. Mitchell zapowiada nową wersję zwrotu piktorialnego, który odbywa się w kierunku bioobrazów, albo biocyfrowych obrazów. Tym „ożywionym ikonom” nadano cechy życia za pomocą biologiczno-informacyjnej technologii. Jest to kolejny zwrot piktorialnym, który Mitchell nazywał zwrotem biopiktorialnym. Jednak definicja pojęcia „wizualizacji danych” jest kształtowana przez „zwrot cyfrowy”, który powoduje, że „wizualizacja danych” jest praktyką nadawania surowym, matematycznym ciągom kodów baz danych bezpiecznych antropologicznie i kulturowo kształtów. Obecnie definicje „wizualizacji danych” buduje się również w oparciu o teorię baz danych i software studies Lva Manovicha. Na zakończenie chciałbym postawić pytanie dotyczące zagrożeń i korzyści wynikających z obecności zwrotu piktorialnego i ikonicznego.

18

Kompetencje wizualne w praktyce edukacyjnej

63%

Wieczorek-Tomaszewska M.

Biblioteka i Edukacja

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2014

|

issue 5

PL

Społeczeństwo 21. wieku staje się bardziej wizualne niż tekstowe. Ta transformacja spowodowana jest wszechobecnością obrazów i mediów wizualnych ingerujących w życie człowieka. Nowe technologie spowodowały, że każdy może obecnie swobodnie korzystać z treści wizualnych, a także tworzyć nowe formy wypowiedzi. Wyobraźnia nie jest już tylko uzupełnieniem innych postaci informacji lecz wkracza na etapie wstępnego formułowania treści. Może wzbudzić duże umiejętności interpretacyjne wtedy, gdy ludzie zostaną wcześniej przygotowani do tego, aby krytycznie oglądać, wykorzystywać i tworzyć treści wizualne. Kompetencje wizualne pozwalają na pełne uczestnictwo w kulturze i zaangażowanie w życie społeczeństwa zorientowanego wizualnie. Artykuł przedstawia ich analizę w kontekście akademickiej praktyki edukacyjnej.

EN

Society of the 21st century becomes more visual than text-oriented. This transformation is due to the omnipresence of images and visual media that interfere with a person's life. New technologies mean that now anyone can freely use the visual content and create new forms of expression. Imagination is not only a complement to other forms of information, but it is entering the stage at the initial process of content formulation. It can awaken great interpretive skills when people are already trained to critically view, use, and create visual content. Visual competences enable full participation in culture and commitment to the life of the visually oriented society. This paper presents the analysis of such competences in the context of academic educational practice.

19

PROBLEM RECEPCJI NA ZACHODZIE NAUKI O OBRAZACH SOBORU NICEJSKIEGO II

63%

Chełstowski D.

Zeszyty Naukowe KUL

|

2017

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vol. 60

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issue 2

389-408

EN

The teaching of the Second Vatican Council of 787 on the cult of images has never been fully absorbed by the Western Church. This legacy is particularly relevant today, in the era of image and visual communication, whose use in evangelism seems to be a requirement of our time. It is therefore necessary to conduct a second deeper reflection on the place and role of the sacred image in the Church, and to reach out to the sources, still valid and not fully accepted, the doctrine elaborated by this Council.

PL

Nauka Soboru Nicejskiego II z 787 roku dotycząca kultu obrazów nigdy nie została w całości przyswojona przez Kościół Zachodni. Jednak spuścizna ta jest aktualna szczególnie dziś, w erze obrazu i komunikacji wizualnej, których wykorzystanie w ewangelizacji wydaje się być wymogiem naszych czasów. Dlatego też konieczne jest przeprowadzenie po raz wtóry głębszej refleksji nad miejscem i rolą świętego obrazu w Kościele, a także sięgnięcie do źródeł, wciąż aktualnej i nie do końca przyjętej, doktryny wypracowanej przez ten Sobór.

20

Emotionalisierung durch Bilder am Beispiel deutscher und dänischer Grabinschriften

63%

Jarosz J.

Linguistische Treffen in Wrocław

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2020

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issue 17

101-115

EN

The article examines the emotive influence of visual elements on the reception of German and Danish grave inscriptions. The material basis of analysis are photos of tombstones from the 19th and 20th century from cemeteries in Saxony and Copenhagen. The methodological basis is the theory of multimodal text and the starting point of the analysis is the typology of image-text relationships, which is supplemented by further observations. The study analyzes representatives of different semantic classes of visual components from different time periods. Among the most expressive and impressive sculptural representations are those with references to eschatology and the person of the deceased. In their use, two distinct strategies can be noted: the strengthening of mourning mood and the repression of the picture of death.

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PROBLEM RECEPCJI NA ZACHODZIE NAUKI O OBRAZACH SOBORU NICEJSKIEGO II

Emotionalisierung durch Bilder am Beispiel deutscher und dänischer Grabinschriften