Search results

1

Performatywne alter ego

100%

Szuba A.

DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu

|

2018

|

vol. 26

108-133

EN

Performative alter ego The dynamic development of the Internet and the constant search for new ways of reaching the user bring about the availability of materials that were previously unattainable. Performance art, thanks to its special openness to new methods of expression, reaches the mass media, while showing the individual’s psyche and character of the author’s work. The set of gestures, their sequence and narration are the basis for creating performance art, understood not only as a clear alternative to conven- tional art, but also characterized by unpredictability, in which the viewer is not prepared for the way messages are received. Undoubtedly, social platforms create an illusion. “The influencer” can reach thousands of viewers and gain fame without leaving home. Without a doubt, social media have created a new entry point to the global art scene, opening way to a wide spectrum of diverse artistic activities. The method of re- cording, the non-cutaneous nature of the phenomenon makes it possible to own performative actions. The context of a performance is particularly important. It affects what can be universally recognized as art. The ques- tion arises (since we distinguish two values of the performative action: in the art gallery and on the street), what frames on the social media allow the audience to interpret it as art, and assuming that it is an art, does it change the perception of a given phenomenon?

2

#TROPY#FEMINIZM

100%

Szuba A.

DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu

|

2018

|

vol. 25

88-107

EN

#tropy#feminizm The contemporary media message can be perceived in two perspectives: an active one, in which women perform a role of journalists and editors, and a passive perspective, in which they become a part of media mes- sage. The latter aspect is the most controversial for many reasons. Walter Lippmann defines a stereotype as an image created in the mind which al- lows a subordination of a certain fragment of reality a priori. The media’s visible, negative influence on women has them create a reality beyond the boundaries of acceptance, presenting it in a way the audience expects. A new kind of feminism appears, i.e. one which answers the receiver’s needs (succumbing to the expectations and exposing to the view), and a question appears – whether in the time of the feminist legacy, thereby changes resulting from the development of the media, feminists should gain their own unique style? In a way this begins to happen. Due to the development of the media, women gained an unrestricted possibility to express their views, and the reception and availability of the media lifts the restrictions and causes an inconspicuous person to please and sweep the crowd and his or her voice to be impossible to be ignored in the discourse.

3

SZTUKA JAKO SPEKTAKL. ROZWAŻANIA NAD KOMUNIKATEM MEDIALNYM

100%

Szuba A.

DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu

|

2017

|

vol. 23

46-69

PL

Agata Szuba Art as spectacle: thoughts on medial message The progressing process of reality virtualization does have impact on social transformation of the globalized tele-IT society, as well as on artistic practice which, therefore, has significant impact on transformations and the new way of describing culture. According to modern media theories, which are difficult not to agree with, the culture of the twenty-first century should be defined in the perspective of universality of such phenomena as globalization, cultural pluralism and nomadism, originating in permanently and irrevocably crossed borders of the communication model: from reproduction to simulation of reality, thus resulting in a structure of a surveillance society, a society of performance and virtual union. The latter aspect, namely emerging of an audio-visual culture that, determined by social interactions, is revealed mainly in a form of a performance, is a fundamental benchmark, and that results from the fact of anachronism of the metaphor of culture as a text which became an equivalent of “ideological text”. Visual culture in a tele-IT world became a culture shaped by visual media what, in consequence, reversed the permanent point of reference in the relation subject-object (thing, phenomenon, human, relations and interpersonal interaction), as experience more and more often embraces images of the world (television and the Internet), not the reality itself. It is obvious that those images of the world, as a subject of intellectual–emotional consumption, more and more often, less to say that commonly, as an assumption, are not subject to judgements based and positively characterized by the truth-false criterion. Their visual and persuasive strength, being a derivative of spectacularity and aesthetics of the presented event, depends on attractiveness of so called „produced text” which, substituting reality, becomes a new social environment – virtual reality

Refine search results

3 DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu

3 Szuba A.

2 2018

1 2017

Performatywne alter ego

#TROPY#FEMINIZM

SZTUKA JAKO SPEKTAKL. ROZWAŻANIA NAD KOMUNIKATEM MEDIALNYM