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1

The Antropology of New Visuality as a Reflection on 'Digital' and 'Global' Visual Culture

100%
Chmielecki K.
Przegląd Kulturoznawczy
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2007
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vol. 1
|
issue 3
102-117
EN
The Anthropology of New Visuality is a project formulated by Arturo Escobar, which concerns visual aspects of the anthropology of cyberculture. The issues addressed in this project embrace new forms of visuality found in the contexts of 'digital' technologies of seeing. Within this theoretical scope the technologies of virtual reality, the technologies of the control of public and private spaces as well as the technologies of network are included. The main thesis of this article is the conviction that the Escobar's project finds new research areas in visual culture studies. On that account the anthropology of new visuality has been discussed here on the basis of the theoreticians' research, who identify themselves with the earlier mentioned field. The research contexts being within its scope has been divided into three issue groups: 'virtual cultures', 'panoptic cultures', and 'cultures of interface'. 'Virtual cultures' include the issue of new visualities, which are the effect of functioning of various types of 'virtual realities'. On the other hand, 'panoptic cultures' are a current of reflection which refers Michel Foucault's theories directly to the procinema media (photography, panorama as well as diorama). Whereas 'cultures of interface' are aspects: identity on-line , telepresence, and 'artificial life', which are obtained by means of Internet and web-cameras monitoring private and public space.
2

Alfabetyzacja wizualna jako wyznacznik kultury wizualnej w rozwoju humanistycznym

100%
Ratajczak-Parzyńska D.
Studia z Teorii Wychowania
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2013
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issue 1(6)
128-148p
EN
The essence of consideration is visual literacy as a substrate of visual culture and its associated cultural changes implied meaning expansive image in interpersonal communication in the development of humanistic as well as the acquisition of visual competence as an important communication skill in today's socio-cultural reality.
3
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ANGELA DAVIS GOES EAST? WHITE SKIN AND BLACK MASKS IN THE ART OF SOCIALIST HUNGARY

70%
Nagy K.
World Literature Studies
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2016
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vol. 8
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issue 4
77 – 94
EN
This essay examines the meanings of blackness in the Hungarian art of the 1960s and 1970s, primarily through the trajectory of Angela Davis. In this period the artistic representation of blackness was widespread in socialist Hungary due to state-initiated solidarity campaigns with the subjugated subjects of the First and the Third World. Through the analysis of works by Béla Kondor, Anna Kárpáti, György Kemény, Tamás Szentjóby and the Orfeo Group the article argues that these artists held different attitudes towards the black liberation struggles, but they were not isolated from the party-line on these insurgencies. Moreover, in certain cases the representation of the subjugated black cultural icons undermined the politics of the state-solidarity, and served as the expression of the artists’ own struggles.
4

IN SERACH FOR POLISH VISUAL SOCIOLOGY (W poszukiwaniu polskiej socjologii wizualnej)

70%
Frackowiak M., Rogowski L.
Kultura i Społeczeństwo
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2009
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vol. 53
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issue 1
123-152
EN
The article aims to sum up the reflections concerning visual culture and the visual aspect of life that have appeared in Polish sociology over the last twenty years as well as to analyse the area associated today with visual sociology. The authors give a short review of the history of Polish visual sociology, indicating at the beginning the most essential scientific and didactic events in this field. Further on, they analyse the ways of understanding the notion 'visual sociology' (and its cognate notions). They present the use of photography in anthropology and in social research, and give a critical analysis of the studies and representation of visual culture at the beginning of the 20th century. This leads them to the designation of two scopes of the contemporary notion of visual sociology: a more narrow (methodological) one and a broader one (which they call: 'the sociology of visual culture'). In all, this analysis shows the ways in which the term 'visual sociology' (and its cognate terms) has been gradually adopted, developed and re-defined in Poland.
5

The Role of Pictures in the Late Baltic Enlightenment

70%
Polli K.
Makslas Vesture un Teorija
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2015
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vol. 18
18-33
EN
Johann Wilhelm Krause's drawings and Johann Christoph Brotze's collection can be seen as storehouses of Baltic pictorial memory, which has been abundantly reproduced in 19th century Baltic German visualia, as well as in the national cultures of Latvia and Estonia – albeit from new and modified positions. What features of the Estonian and Livonian landscapes were chosen to be depicted, or what was considered to be worth depicting and therefore remembering was in turn determined by the broader conventions of the written and pictorial culture, accessible to the local intellectuals and art-amateurs thanks to the reading and pictorial revolution of the 18th century. Indirectly it can be said that, with his collection 'Sammlung ...', Brotze did the same thing that the Enlightenment-era picturesque painters (artists of the pittoresque voyage genre), who mapped the peripheral areas of Europe or faraway civilisations, and who, with their classical pictorial compositions, provided the Europeans with a discernible face. The drawings of Brotze, as well as those of his co-authors Krause and Grass, depicted Livonia and Estonia through the eyes of enlightened Europeans. They placed value on the picturesque castle ruins, introduced the coats of arms and family trees of the local German nobility; they presented the history and buildings of the Lutheran Church, the architecture of the cities and nature of the landscape, and the ethnic and social composition of the population.
6
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VISUAL CULTURE STUDIES AND POST-COMMUNIST STUDIES? EXPLORATION OF AN IMAGE IN THE CONTEXT OF SOCIAL TRANSFORMATION (Studia vizualnej kultury a postkomunisticka identita? Skumanie obrazu v kontexte spolocenskej transformacie)

61%
Grun D.
World Literature Studies
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2010
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vol. 2 (19)
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issue 2
70-81
EN
The study aims to explore the potential behind the visual culture in the post-socialist countries of former Eastern Europe in terms of social transformation and processes associated with the fall of the communist regime. The study presses to challenge the concept of 'visual culture' in relation to such notions as ideology, memory, iconoclasm, public institutions, or public space. Do the socialist institutions fall within the scope of competence assumed by visual/cultural studies? If they do, then what methods and concepts are available to employ in an effort to explore the 'iconosphere' linked to the building of socialism, the collapse of one political system and a consequent political, economical and social transformation? What relationship will visual studies espouse in relation to such traditional fields as art history? What form will the writing on image production in the period of totalitarian ideologies viewed from contemporary perspectives take? It shall be treading the territory shared by multiple fields and it will attempt to tie in on the results which interdisciplinary research in visual culture and post-communist identity has yielded. Current trends in the arena of exhibition projects, publications and new university courses attest to a lively debate that branches various levels of the Central European community in terms of this subject matter. The charted approach does not merely admit diversity of employed methods, interdisciplinary engagement and plurality of opinions; it directly presumes it. With the aforementioned in mind, the study will not consider so much the global perspective but will rather outline a few local underlying aspects of the 'contemporary past'. It also aspires to focus on the issues of critical thinking by exploring the images and visual culture from a viewpoint of social landmarks.
7

Odczuwając naród: estetyka martyrologii mesjanistycznej w Polsce

61%
Zubrzycki G.
Sensus Historiae. Studia interdyscyplinarne
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2012
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issue 1(6)
49-76
EN
Based on archival and ethnographic research on Polish martyrology, this article shows that national mythology is structured by history, embodied in visual and material culture, enacted in ordinary and extra-ordinary practices, and consumed in everyday commodities. I argue that it is the convergence and exchange between diverse sites of material expression and sensory perception that makes national mythology especially resilient. Even so, as historically constructed, contingent and contested systems of myths, the extent to which national mythologies can shape national identity or mobilize toward nationalist action depends on the specific historical contexts in which they are deployed. Theoretically, this article joins historical and phenomenological approaches to propose a framework for thinking about the constitution, persistence and shifting social and political valences of national mythologies.
8

TALE OF TWO CHURCHES: COURT AND PARISH PROJECTS AT ST. STEPHEN’S IN VIENNA

61%
Juckes T.
ARS
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2020
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vol. 53
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issue 2
112 – 137
EN
The article explores St. Stephen’s in Vienna as an ensemble of visual media that responded to the devotional and commemorative needs of its late medieval congregants. A holistic approach to aspects of the church’s architecture and integral sculpture is used to refine the prevailing view of the church as an emblem of Habsburg patronage. On the basis of the wide-ranging plan changes that were adopted in the period after Rudolf IV’s death, it is argued that the parish’s patrician elite came to play a pivotal role in shaping one of Central Europe’s most important city churches.
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