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Podwodne muzea antropocenu. Akwatyczna wyobraźnia Jasona DeCairesa Taylora

100%
Nieszczerzewska M.
Kultura Współczesna. Teoria. Interpretacje. Praktyka
|
2021
|
vol. 113
|
issue 1
217-230
EN
Referring to the ‘aquatic imagination’ of artist Jason deCaires Taylor, this article analyses underwater museums – artistic installations that are gaining more and more popularity as unusual tourist attractions. Sinking art seems to be a process somewhat opposite to the mainstream in museology, i.e. searching for works of art and other artefacts and retrieving them from the bottom of the sea or the ocean where they ended up due to a disaster (e.g. wrecks of various types, ancient art), and placing them in the space of traditional museums. Adopting the perspective of cultural studies and taking into account the intertwining of perceptual, symbolic and conceptual aspects of understanding water allowed us to broaden the area of reflection and analyse the phenomenon of underwater museums not only as an alternative exhibition space for contemporary sculptures or a new type of alternative tourism, but also as a particular cultural phenomenon. The primary aim of the article is to consider Taylor’s sculptures as cultural artefacts that point to a continuous multi-directional relationship between humans and creatures living in the ocean’s depths – particularly in the context of the Anthropocene as well as many other cultural contexts.
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Ach, śpij, kochanie. Jeśli dreszczy trochę chcesz – dostaniesz. O afekcie w ASMR

100%
Łapińska J.
Świat i Słowo
|
2020
|
vol. 35(2)
315-325
PL
In the article, the author discusses a new cultural phenomenon known as ASMR in a posthuman perspective, especially from the perspective of new materialism (Karen Barad), studies of things (Bjørnar Olsen, Ewa Domańska) and affective studies (Jane Bennett, Sara Ahmed). The article analyzes selected ASMR videos published on the YouTube website in terms of the affectivity of the objects used in them, arguing that ASMR cultural practices encourage the production of human-non-human assemblages of subjects and objects built of “vibrating matter” (Jane Bennett).
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