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1

Poznání a vizualizace aneb jak myslet očima a rukama

100%

Latour B.

Teorie vědy (Theory of Science)

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2008

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vol. 17/30

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issue 2

33-90

EN

Bruno Latour’s article challenges the preconceived notions with which the scholars have approached the Great Divide between prescientific and scientific cultures. In order to account for the immense effects of science and technology without assuming a single grand cause for them, he suggests to focus on many, small unexpected and practical sets of skills to produce images, and to read and write about them. However, only those changes that intervene favorably in the agonistic situation in science should be considered. Crucial in this respect is the emergence of numerous “immutable mobiles” – easily transported, accumulated, combined, yet lasting objects – which made possible the mobilization of new scientific inscriptions and of new ways of looking at and presenting them. They help to constitute an optically consistent visual culture with such technologies as printing press. Their combination on the surface of paper and subsequent mobilization of allies can usher in bureaucratic mode of domination over the world and people in the scientific field. The effects of science and technology thus become a question of a shift in power relations enabled by the manipulation of inscriptions.

2

Foucaultovo umění vidět

86%

Rajchman J.

Teorie vědy (Theory of Science)

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2008

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vol. 17/30

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issue 2

91-131

EN

Art of seeing, John Rajchman argues in his essay, was in the center of Michel Foucault’s critical attention as well as practice. Foucault himself was a visual thinker and writer. More importantly, however, the ways in which historically changing vision determines not only what is seen, but what can be seen, are one of his major concerns. Rupture with self-evidences is then the first step one must take to make the invisible – yet not hidden – power visible. The invisibility of power, seen as the invisible light that makes other things visible, is what makes it tolerable. Knowledge and the practice of knowing themselves are constructed by the technology of the visual, such as the different types of spaces that bring about specific visibility. In Foucault’s histories, the prison or the clinic are such spaces that have visualized criminality, sexuality or madness in particular manner. However, problematization of these things needs to go beyond new ways of looking at them and has to question their entire field of vision. This implies that Foucauldian ethics is less concerned with what we do about things themselves, instead, it rather asks how we see them in the first place and how can they be seen differently. It thus requires not to look within us, on the contrary, we should look out, from outside of ourselves.

3

ПИТАННЯ ТИПОЛОГІЇ МУЗИЧНОЇ ПАМ’ЯТІ ОСОБИСТОСТІ

86%

Рожко І.

Педагогічні науки: теорія, історія, інноваційні технології

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2016

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issue 1(55)

305-313

EN

The article deals with the analysis of current approaches to the musical memory classification. The characteristics of certain types of memory are discussed there. The content of the concepts «sensory», «visual», «auditory», «motor», «short-term» and «long-term memory» in the musical activity of the person are described in this research. The functioning of memory is a complex process, which consists of various actions, operations and time stages. It has its own mechanisms. It requires the involvement of other cognitive processes, special mnemic abilities, willpower and motives of the personality. It is closely linked with emotions. Neurophysiological, psychophysical and pedagogical aspects of memory are relevant and sufficiently studied. The specificity of musical memory requires moving the results of these studies by the music activity of the person. There are several basic approaches to classification of memory (P. Blonsky, O. Veyn, R. Shyffin and R. Atkinson) in modern scientific works. They are based on various factors: the nature of mental activity, the nature of the objectives, of the time, of the material’s consolidation and preservation. The typological division of musical memory is based on the researches of many scholars: L. Mackinnon, G. Tsypin and S. Savshynsky. The musical memory can be involuntary and voluntary like a total memory. We addressed to these types of memory in the preliminary analysis of the types of musical memorization.The musical memory can be divided by the time of preservation of musical material on: sensory, short-term, long-term, intermediate and genetic. The practical significance of the investigation is by the generalization of the advanced pedagogical experience on the issue of musical memory of the personality. The future research is aimed at identifying of diagnostic methods and the development methods of musical memory of the younger school children. We consider that musical memory is not a separate type of memory, it is a symbiosis of species, operating in the music memorization, preservation and reproduction of the material. The basic processes, laws, types and mechanisms of musical memory are common to all people, regardless of age. In future we must find the ways to diagnose and train visual, auditory, physical, emotional and long-term memory of junior school children.

4

Wizualne konstruowanie przestrzeni lokalnych jako uczestnictwo w kulturze

86%

Awanesow S., Topp I.

Prace Kulturoznawcze

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2016

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vol. 20

133-141

EN

The article presents a conceptual basis of the research project: “Visual organization of the space of the town: continuity, interpretation, historic and cultural dimensions”. S. Avanesov, who is the author of this project, starts from rethinking the metaphysic idea of human existence. It is needed for taking into account 1. existential status of the visual and 2. the task of the project: describing forms of visual activity and organization of the space of the city. Variability of such space is showed using the example of a Siberian town Tomsk and provides a typological proposal. The authors stress that visual activity in creating and transforming space can be treated as inhabitants’ participation in culture. Photographing city is a good case to demonstrate how the way of perception and visual construction of urban landscape meet and interfere.

5

Poverty and Wealth in the Polish Cinematography 1945-1989

86%

Skotarczak D.

Studia Historiae Oeconomicae

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2014

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vol. 32

69-76

EN

This article is devoted to poverty and wealth presented in fiction films - both cinema and television - directed in the times of the Polish People’s Republic. Poverty and wealth shown intentionally and unintentionally in these films manifest themselves in many ways. If we want to learn anything about wealth of the society shown in a given movie, a critical approach must be applied.

6

Aspect seeing and mathematical representations

86%

Giardino V., Wöpking J.

Avant

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2019

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vol. 10

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issue 2

1-19

EN

In the present article the productive role of visual representations in mathematics is explained by referring to “aspect seeing”. First, the notion of aspect seeing is introduced, as proposed by Wittgenstein in his works. Second, the pragmatic dimension of aspect seeing is discussed. Third, three key examples of aspect seeing in mathematics are presented with the aim of showing the relevance of aspect shifting in important areas of mathematics by looking at both its pragmatic dimension and its relationship with conceptual mastery. Finally, some conclusions are given about aspect seeing as a human phenomenon.

7

Visual Rhetoric and Architecture

86%

Cimała A.

Academic Journal of Modern Philology

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2021

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issue 12

35-42

EN

Architecture is a ubiquitous form of visual rhetoric, whose influence on one’s feelings and subconsciousness may be analyzed in the context of both soft and hard power. Buildings were and still are often designed in a way that incites wellness. The Baroque architecture in general is one of the most vivid examples of that procedure, especially the forms proposed by the Society of Jesus, which played an important role during the Counter-Reformation. The more contemporary example is the architecture of Nazi Germany, which was supposed to invoke the feelings of superiority, power, terror and permanence. The monumentalism of structures and gigantomania are still visible in the 21st century in the shape of Burj Khalifa, which is now the tallest building in the world, constructed for the purpose of presenting the prestige of Dubai. Another example of architecture being a display of soft power is the general unification of a nation through art and culture, which can be found in the approach of the English towards the Gothic style and its perception of the British Isles. On the other hand, the instances of hard power in the context of architecture can be found in the countries which remained under the rule of Soviet Union. CCCP imposed their architecture in such areas using buildings and designs that were considered gifts from the superior nations to the subjugated ones, with the Palace of Culture and Science in Warsaw being an example. At the same time, the destruction of iconic buildings may be considered as showing dominance, the destruction of the World Trade Center being one of the most prominent cases.

8

Sculpture as a Code – Rhetorical Devices Used by the Sculptor

86%

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

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2016

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vol. 35

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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.

9

Sculpture as a Code – Rhetorical Devices Used by the Sculptor

86%

Władyka-Łuczak Z.

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2016

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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.

10

Contemporary Romanian Art in the United States1

72%

Altman D.

American, British and Canadian Studies Journal

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2014

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vol. 22

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issue 1

87-93

EN

The article discusses the recent international interest in contemporary Romanian art and its growth in market share, with a focus on the United States. The theme is followed thorough in numerous museum exhibitions, increased collector following, art fair presence, gallery representation and auction activity initially in Europe and the United States. The phenomenon is discussed both in the context of the larger international movement conducive to the contemporary art price bubble, and in that of the local socio-economic changes. My chief interest lies in the factors leading up to the entry of post 1989 Romanian art in the global arena as a manifestation of market forces in the field. The analysis follows its grass roots local emergence through non-profit institutions, individual artists, small publications, low budget galleries, as well as the lack of contribution (with few notable exceptions) of state institutions, while pointing out the national context of increasing deregulation of social support systems resulting in lack of focus on cultural manifestations. The conclusion is that the recent ascent of contemporary Romanian art (and coincidentally, the award winning contemporary Romanian cinematography) is a fortuitous convergence of various factors, among which, increased international mobility and sharing. At the same time, it is also the result of the evolution of various individual artists that pursued a form of art rooted in Romanian artistic tradition but with a focus on the symbolic figurative. The result is a personal semiotics of raising the mundane to extraordinary levels that reconfigured the anxiety of entering a new system into an unmistakable and lasting visual language.

11

Means of reproducing the individual past in W. Sebald’s novel Austerlitz

72%

Megela I.

Pomiędzy. Polonistyczno-Ukrainoznawcze Studia Naukowe

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2022

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issue 4(1)

81-86

EN

The article is devoted to the coverage of the problem of bricolage as a method of memory reconstruction in the novel “Austerlitz” by the greatest German writer Winfried Sebald. The article notes that “Austerlitz” marks the transition from trauma to conscious identity as part of the historical memory of the Holocaust. It shows how the hero of the work, Jacques Austerlitz, acquires his identity by assembling from scattered information his personal history, reflecting a significant part of the collective tragedy. The genre feature of the work as a travelogue, memoir, investigation, as literature bordering on documentary and artistic experience, where the real is combined with the fictional, is highlighted. The article describes in detail the content of the technique of bricolage as a form of “wild”, “pre-rational” way of thinking, as a technique of fitting auxiliary materials (old photographs, newspaper clippings), a montage of disparate episodes, the technique of collage. The structure of the work’s storytelling is analyzed when the narrator does not tell the story but describes what he hears from Jacques Austerlitz. It is as if it is not a text, but the story itself, which someone tells, and also shows pictures for authenticity. The functions of the hero in the novel gradually shift from people to things, documents, bearers of the memory of individual and collective civilizational catastrophe. These indescribable witnesses break the blockade of traumatic silence around the childhood of Austerlitz, embodied in images of blindness, dumbness, oblivion. Before the protagonist of the work, the “man without a past,” the history of his family, the ghostly happy childhood that was rudely cut short by the separation from his biological parents, is suddenly revealed. Sebald demonstrates a contemporary form of novel narrative in which the truthfulness of the Holocaust narrative is revealed by incorporating the exile’s personal authorial biography, pain, and guilt into the memory of this tragedy. The role of photographs and descriptions of architectural structures in revealing the immanent semantic content of the subject, not manifested verbally, is analyzed. The latter is the key document that unites and structures the important for the writer themes of memories, memory, indifference, oblivion, return to the ghostly past, overcoming of the psychological trauma. Based on the analysis the author concludes that the attitude to the reader as a co-author brings Sebald’s novel closer to the tradition of the European intellectual novel and postmodern hypertexts, in which meaningful units are not presented in a traditional linear sequence, but as a multiplicity of links and transitions. The author notes that the acute experience of humanitarian catastrophe, the multilayered text, the density of meaningful meanings make this work a notable phenomenon in the context of artistic comprehension of traumatic memory.

12

Wizja jakości wizualnej w procesach eksploatacji otoczenia

58%

Kołomańska K.

Ekonomika i Organizacja Przedsiębiorstwa

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2015

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issue 4 (783)

33-41

PL

Racjonalna eksploatacja otoczenia wizualnego człowieka jako element trwałego wzrostu jakości życia jest źródłem oszczędności m.in. energii, surowców, potencjału oraz podstawowej strategii uzyskania korzyści materialnych i niematerialnych. Istnieje zatem potrzeba oraz konieczność poszukiwania nowych metod poprawy efektywności eksploatacji elementów otoczenia wizualnego, w tym lepszego wykorzystania instrumentów wspierających organizację i zarządzanie. Problematyka dojrzewania jakości wizualnej jako zestawu pożądanych cech i właściwości polega na nieustannym cyklu doskonalenia oczekiwań, wyobrażeń oraz doświadczeń przekładających się na zadowolenie z użytkowania produktów, usług i systemów. Kluczową rolę w rozwoju wiedzy eksploatacyjnej o jakości wizualnej odgrywają przemysły kreatywne jako przedsiębiorczość najmocniej związana z kreacją.

EN

A rational exploitation of human visual surroundings as the element of life's quality durable growth is an economic source of energy, materials, potential, and of basic strategy to obtain material and immaterial advantages. Therefore, a need has been present and a necessity of searching for new methods of improvement of the effectiveness in exploitation of visual surroundings units, and for a better use of the instruments supporting organisation and management. The problems of visual quality's maturation as an aggregate of desirable values and properties depend on a constant cycle of improving expectations, images and experiences translated into a user's satisfaction on products, services and systems. A key role in developing the exploitation knowledge about visual quality is played by creative industries as entrepreneurship the most oriented on a visual creation.

13

On Poetic Discourses and Ways of Expression of ‘Empty’ and ‘Silence’ Categories in the Chinese Lyric Poetry of Six Dynasties (Liu Сhao, III–VI A.D.) and Tang (VII–X) Epochs

58%

Kravtsova M.

Estetyka i Krytyka

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2014

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issue 1(32)

15-30

EN

The written Chinese language has a broad scale of lexical meanings for articulating the ‘empty’ and ‘silence’ categories in all their essential aspects. The present study is limited to a discussion of the kong 空 cognitive term, in its single semantic case only, as ‘empty’ (‘emptiness’), coinciding normally with ‘silence’ (ji 寂, jing 靜); and of two poetic scenarios, which can be roughly defined as ‘dwelling in empty mountains’ and ‘dwelling in [an] empty chamber.’ The first of these is most typical of Tang lyric poetry, especially the works of Wang Wei 王維 (ca 701‒ca 761); the second, of poetry on amorous themes beginning with the individual verses of the second century A.D. In this paper I argue that in spite of all essential differences between these scenarios ‒ one praising living alone as escaping from social existence, the other representing living alone as loneliness, i.e. having an utterly negative sense ‒ both are grounded at bottom on ancient views of vision and audial perception. Their archetypical background is formed by the idea of spiritual movement, implying the ‘cutting off’ of sensory perception in favour of self-concentration, which leads to the sharpening of receptive faculties for gaining keener and keener perception of all external things. Above all, the ‘empty’ and ‘silence’ categories appear to universally express the abundance of one’s surroundings and inner conditions, including mentality and feelings, which places these categories among the chief artistic techniques of Chinese lyric poetry.

14

The role of feedback in visual masking and visual processing

58%

Macknik S., Martinez-Conde S.

Advances in Cognitive Psychology

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2007

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vol. 3

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issue 1-2

125-152

EN

This paper reviews the potential role of feedback in visual masking, for and against. Our analysis reveals constraints for feedback mechanisms that limit their potential role in visual masking, and in all other general brain functions. We propose a feedforward model of visual masking and provide a hypothesis to explain the role of feedback in visual masking and visual processing in general. We review the anatomy and physiology of feedback mechanisms, and propose that the massive ratio of feedback versus feedforward connections in the visual system may be explained solely by the critical need for top-down attentional modulation. We discuss the merits of visual masking as a tool to discover the neural correlates of consciousness, especially as compared to other popular illusions, such as binocular rivalry. Finally, we propose a new set of neurophysiological standards needed to establish whether any given neuron or brain circuit may be the neural substrate of awareness.

15

Fictions biographiques contemporaines en France: entre le narratif et le visuel

58%

Thiel-Jańczuk K.

Kwartalnik Neofilologiczny

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2018

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issue 3

16

Caricature textuelle et visuelle française du XIXe siècle. Enjeux sémiologiques d’une analyse icono-textuelle

58%

Guinand C.

Quêtes littéraires

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2020

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issue 10

EN

This article considers caricature as an icono-verbal tool that mobilizes shared cultural codes. It shows that in the 19th century, both visual (in this case, Daumier and Gavarni) and textual caricature (in this case, Balzac, Baudelaire, Stendhal, Musset, Flaubert, Huysmans) were designed based on the model of a theatrical scene which plays on the rich possibilities offered by the combination of text and image at the heart of comical mechanisms. Indeed, invalidating the observation of the primacy of image over text (Charles Baudelaire's stance) or vice versa: of text over image (represented by Roland Barthes), this article posits that the visual and the textual take on fluid roles and complement each other. As such, the consonance or dissonance between the image and its title/legend are two types of relationships that contribute to the birth of laughter as well as to the semantic richness of a caricature. This vision of laughter proceeding above all from formal mechanisms could lead one to believe that the evaluation of the adopted value systems is superfluous. The important thing would be to understand and analyze, not to judge. Against such a claim, this article supports the need to add to the formal analysis of a work in its historical context, its ethical positioning in the face of its explicit and implicit ideological implications.

FR

Cet article considère la caricature en tant que dispositif icono-verbal qui mobilise des codes culturels partagés. Il montre qu’au XIXe siècle, la caricature visuelle (ici Daumier et Gavarni) comme la caricature textuelle (ici Balzac, Baudelaire, Stendhal, Musset, Flaubert, Huysmans) sont pensées sur le modèle de la scène théâtrale qui joue des riches possibilités offertes par la combinatoire du texte et de l'image au cœur des mécanismes comiques. En effet, invalidant le constat d'un primat de l’image sur le texte (position de Charles Baudelaire) ou inversement du texte sur l’image (position de Roland Barthes), cet article rappelle que le visuel et le textuel assument des rôles fluides et qu’ils se complètent. À ce titre, la consonance ou dissonance entre l'image et son titre/sa légende sont deux types de rapports qui concourent à la naissance du rire comme à la richesse sémantique de la caricature. Cette vision d’un rire procédant avant tout de mécanismes formels pourrait tendre à faire croire que l'évaluation des systèmes de valeur mobilisés est superflue. L'important serait de comprendre et d'analyser, pas de juger. Contre une telle prétention, cet article soutient la nécessité d’ajouter à l'analyse formelle d'une œuvre dans son contexte historique un positionnement éthique face à ses implications idéologiques explicites et implicites.

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Poznání a vizualizace aneb jak myslet očima a rukama

Foucaultovo umění vidět

ПИТАННЯ ТИПОЛОГІЇ МУЗИЧНОЇ ПАМ’ЯТІ ОСОБИСТОСТІ

Wizualne konstruowanie przestrzeni lokalnych jako uczestnictwo w kulturze

Poverty and Wealth in the Polish Cinematography 1945-1989

Aspect seeing and mathematical representations

Visual Rhetoric and Architecture

Sculpture as a Code – Rhetorical Devices Used by the Sculptor

Sculpture as a Code – Rhetorical Devices Used by the Sculptor

Contemporary Romanian Art in the United States1

Means of reproducing the individual past in W. Sebald’s novel Austerlitz

Wizja jakości wizualnej w procesach eksploatacji otoczenia

On Poetic Discourses and Ways of Expression of ‘Empty’ and ‘Silence’ Categories in the Chinese Lyric Poetry of Six Dynasties (Liu Сhao, III–VI A.D.) and Tang (VII–X) Epochs

The role of feedback in visual masking and visual processing

Fictions biographiques contemporaines en France: entre le narratif et le visuel

Caricature textuelle et visuelle française du XIXe siècle. Enjeux sémiologiques d’une analyse icono-textuelle