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Aporie sztuki Internetu. Cyberkulturowe utopie 20 lat później

100%
Wójtowicz E.
Przegląd Kulturoznawczy
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2011
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issue 1(9)
46-54
EN
During the last two decades almost all the utopias of freedom, communication, access and cultural diversity have faced, respectively, problems of cenzorship, e-invigilation, exclusion and aesthetic homogenization. The reflection on cyberculture in its first years was characterized by the development of methodology, fascination with the unknown, the lack of technical knowledge, access difficulties and a great enthusiasm. Therefore we can distinguish some common attitudes, like the fear of dehumanization and losing real contacts for the sake of virtual ones. Also, in the 90s were the decade of great interest in telepresence and cyborg-like body prosthetics. One of the key features is adding the prefix 'cyber-' to many words and relating to fiction (mostly literature and cinema). Artistic activity may be traced halfway between fiction and science-based technology. As network-based decentralization has played a positive role, it also has a double meaning. There is no responsibility and no direct enemy that may be criticised. This problem may be considered as a central aporia of the digital avantgarde, to use the term coined by Hans Magnus Enzensberger. Since networks are no longer metaphors, as Eugene Thacker notices, they become real, but still unstable. Artists using networks are involved in many contexts, sometimes disappointed with utopias of freedom and visions of endless space. All this creates a complex picture of art within cyberculture twenty years after its emergence.
2
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„Ucieczka do słońca”. Problem emigracji w biografii artystycznej Ludomira Michała Rogowskiego (1881–1954)

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Wójtowicz E.
Aspekty Muzyki
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2014
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vol. 4
103-118
EN
Emigration is a significant context of Rogowski’s work; it also sheds light on the complex history of his music’s reception in the country of his origin. The composer spent over half of his life outside of Poland (38 out of 73 years). After studying under the supervision of Zygmunt Noskowski he developed his education in the years 1906–1908 in European centres: Leipzig, Munich, Rome. He did not feel an emigrant at that time, he was a Pole living temporarily abroad. Rogowski’s eight-year stay in France (1911–1912 and 1914–1921) may be considered in terms of emigration as well as the 28 years of living in Dubrovnik (1926–1954). Those two periods are different from each other in many ways. During the first of them, the composer was active in the Polish diaspora: he established a choir and wrote incidental music with patriotic message. In Dubrovnik, Rogowski was one of a handful of Poles but he did not feel alienated. Soon he blended into the local community co-creating the musical life of the city. In terms of artistic results, the Dubrovnik period cannot equal with the French time in his life, when the best compositions and a study Muzyka przyszłości [The Music of Future] were written. The ambitious author referred then to the common trends popular at that time in European music, such as the search for reviving musical language or fascination with the Orient. The musical circles of Dubrovnik, of which Rogowski was a central figure, could not play an inspiring nor a controlling function towards him. Choosing the fate of a voluntary anchorite on the shores of the Adriatic Sea, the composer condemned himself to gradual oblivion in his first homeland.
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O nas bez nas. Postantropocentryczne kinematografie stref wykluczenia

100%
Wójtowicz E.
Kwartalnik Filmowy
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2020
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issue 110 Poza człowiekiem
6-23
PL
Tematem tekstu są postantropocentryczne kinematografie stref wykluczenia człowieka powstające za sprawą teoriopraktycznych badań naukowych realizowanych metodami artystycznymi. Przywołane przykłady obejmują działalność Instytutu Strelka (projekty The New Normal i Geocinema), twórczość Emmy Charles, Johna Gerrarda, Evana Rotha, Trevora Paglena i Liama Younga (także w ramach Unknown Field Division) oraz teoretyczne koncepcje tego ostatniego, jak również Benjamina Brattona. Do stref wykluczenia człowieka zalicza się krajobrazy (pejzaże) maszynowe, w tym m.in. centra danych, farmy serwerów, zautomatyzowane miejsca produkcji i wydobycia surowców naturalnych niezbędnych do produkcji współczesnej technologii. Istotny jest także sieciowy obieg obrazów jako danych z pominięciem udziału człowieka (widzenie maszynowe na potrzeby sztucznej inteligencji) oraz dane z globalnych sieci sensorowych. Wszystkie powyższe przykłady zostały omówione w kontekście projektów artystycznych wykorzystujących medium filmu.
EN
The text focuses on post-anthropocentric cinematographies of human exclusion zones, created within theory- and practice-based research conducted with artistic methods. The examples include: research activities of the Strelka Institute (The New Normal and Geocinema), art by Emma Charles, John Gerrard, Evan Roth, Trevor Paglen and Liam Young (also within Unknown Field Division), Young’s theoretical concepts, as well as theories by Benjamin Bratton. The human exclusion zones include machine landscapes, such as data centres, server farms, automated production lines and mining sites that provide raw geological materials used in technological production. Also important are the networked circulation of images as data without human involvement (machine vision by artificial intelligence) and global data from sensory networks. All examples are discussed in the context of art projects using the medium of film.
4
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Turyzm – sztuka poczty w wersji 2.0

100%
Wójtowicz E.
Panoptikum
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2009
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issue 8(15)
276-286
EN
Tourism was an important though not very well recognized episode in mail art movement. Initiated by Hans Rudi Fricker and Günther Ruch in 1986, it encouraged mail artists to meet each other in a series of more than 80 congresses which were arranged within the International Mailart Congress. The idea of tourism was based on the need for establishing personal contacts between mail artists, dispersed all over the world. The paper analyzes the impact of tourism and its current reception. Is tourism a utopian idea or is it a forecast of the need for interactivity, expressed today in Web 2.0 numerous applications? Is it also a coincidence that the call for tourism was in mid-eighties, when the fall of Iron Curtain was soon to happen and the urgency of global communication was in the air. The first mail art congress, where the idea of tourism was presented, was at the same time, the last “analogue” one. The next one involved the emerging medium of the Internet, which has changed the relation between art and communication. The most important features of mail art, which was in 70s, described as correspondence art, have shifted from correspondence and a distant contact, to networking, which meant a closer alliance and a different structure. The change from mail art to networking had profound consequences for all the movement, based on communication and collaboration within a postal system. They may be compared to the current change from Web 1.0 as a social phenomenon, to the 2.0 version, with its possibilities of instant interaction and a unique balance between dispersal and unity.
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