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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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Dzien z życia Ziemi, czyli YouTube jako cyberkultura

100%
Zaglewski T.
Przegląd Kulturoznawczy
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2011
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issue 1(9)
90-108
EN
The article attempt to define YouTube's cyberculture by describing a model of its user and by showing the ways of participation in this particular cyberspace. Author starts his research by mentioning the rick roll strategy as one of the major practices of 'using' the YouTube content. However the main part of the article is concentrating on the efforts to reveal YouTube as a cyberculture thanks to the analysis of Life in a Day production and its reception. And so, one of the crucial theories that constitute YouTube as an individual medium is the one explored by Richard Grusin. Grusin's thesis about the re-mediated and pre-mediated aspects of new media helps to understand the main idea of YouTube as a socio- technical proposition as well as Jan van Dijk's characteristic of the new media offers like fragmentarization of the cultural texts or its constant visualization. By referring to the Life in a Day project, author of the article is able to point out the basic determinants of YouTube's cyberculture by describing it as an example of digitalized bedroom culture and snack culture (both terms links with a specific tradition of thinking about the media consumers and consumption itself).
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CYBERCULTURE AS SPACE FOR CULTURAL ANIMATION. ABOUT OPPORTUNITIES FOR CULTURAL E-ANIMATION (Cyberkultura jako przestrzen dzialan animacyjnych. O szansach e-animacji)

100%
Pakonski M. M.
Dyskursy Młodych Andragogów / Adult Education Discourses
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2009
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vol. 10
279-294
EN
The paper aims at showing the Internet as a new space for cultural animation. Considering the conclusions drawn by theoreticians (M. Castells, L. Manovich, L. Lessig or T. O'Reilly), a visible increase in transferring Net-users' activities to cyberspace, and creating Internet poleis and e-societies, the author indicates that contemporary cultural animation faces the opportunity to reach its goals by means of the Internet (forums, social-networking sites, community portals, chatrooms, etc.). By drawing from L. Manovich's notions the author presents the subject, suggesting that the characteristics of cyberspace (numerical representation, modularity, automation and variability) not only introduces commonness and simplicity to the area of publishing, but most of all lead to amateurs and professionals enjoying equal status. Owing to this, cultural e-animation is provided with the space where one can encounter an amateur that is active and creating, though highly confused. The author presents the drawbacks of this situation from the angle of A. Keen's criticism of an Internet amateur, adding, however, that despite the valid objections, the virtual space is valuable and, in addition, undeveloped in terms of cultural animation. The positive aspects of the Internet (hyper-textuality, interactivity, interconnectivity and cultural co-animation of users (included in the WEB2.0 participation concept)) provide a significant opportunity for a cultural e-animator, who works where he is needed. The Internet offers a wide range of possibilities. It lets the animator reach the largest audience possible, identify their needs and try to activate them. Web of human activities makes it possible to prepare a hyper-textual offer of actions and contents; highly personalized offer of one's own pathways of choices and conduct.
4

OF VIRTUAL REALITY THROUGH THE PRISM OF NARRATIVE (MARIE-LAURE RYAN. NARRATIVE AS VIRTUAL REALITY: IMMERSION AND INTERACTIVITY IN LITERATURE AND ELECTRONIC MEDIA) (O virtuálnej realite cez prizmu rozprávania. Marie-Laure Ryan...).

100%
Husarova Z.
Slovak Review. A Review of World Literature Research
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2008
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vol. 17
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issue 2
90-102
EN
Marie-Laure Ryan is by origin a Swiss independent scholar, presently working in American environment, in Colorado. Her scope of interest is crossing the borders of individual disciplines; she is writing and editing theoretical works dealing with narrative theory, theory of possible worlds, game theory, cyberculture and digital literature. In her monograph 'Narrative as Virtual Reality: Immersion and Interactivity in Literature and Electronic Media', Ryan is moving from the primary analysing of virtual reality as a philosophical concept through the presentation and explication of the poetics of immersion and interactivity to the projection of their synthesis as an ultimate aim for the perception of the work of art (concentrating mostly on literature and visual art). The theoretical parts are interwoven with seven interludes of hermeneutical interpretations, providing a direct exemplification of the presented theory. Narrative as Virtual Reality can be stimulating not only for the philosophical, art historical and cultural perspective on the piece of art or their interdisciplinary relations for theoreticians, scholars and scientists active in various humanistic and informational fields but can also function as a very inspiring source for the artists working with new media. The offered terminology and broad spectrum of concepts from diverse areas of art, science and technology can provide readers with a sufficiently stable basis for hermeneutical interpretation of the Works from electronic environment.
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PLATFORMA KULTÚRNEHO DEDIČSTVA V SÚČASNEJ KYBERKULTÚRE

100%
Župčán L.
Muzeológia a kultúrne dedičstvo
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2019
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vol. 7
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issue 1
57 – 73
EN
Virtual reality, cyberspace, 2D – 3D, anaglyf, avatar, digitisation of cultural heritage are concepts which represent only a handful of technological elements, which came into public´s awareness in the last 10 years. Cyberculture has had an impact on both the field of humanities and world cultural heritage, particularly in the form of virtual tours. The author of the study analyses cyberculture´s most important achievements in the field of education, presentation and protection of cultural heritage. This is supplemented by data directly from museums, with a whole range of applied elements. Cyberculture might also help with interpreting history, or in the protection of cultural heritage. The study also points out the limits of museum cyberculture based on technical and presentational activities from the period of 2012 – 2017.
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Content available remote

REMEDIÁCIA AKO PERPETUUM MOBILE KULTÚRY

88%
Rankov P.
World Literature Studies
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2013
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vol. 5 (22)
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issue 3
15 – 25
EN
The process of remediation is inevitable in the transfer of knowledge and cultural values from the past to the future. Every new medium is a reconstruction of the content and form of its media predecessors. The computer is a terminal meta-medium, which remediates and simulates all previous media and through digitalization inflicts their dematerialization. Next remediation of dematerialised media will happen inside computers as transitions between different software platforms. Dematerialisation applies not only to communication media. In the mode of virtualization it intervenes in different elements and aspects of social reality.
7
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Remiks i mashup - o niełatwym współbrzmieniu dwóch cyberkulturowych metafor

75%
Nacher A.
Przegląd Kulturoznawczy
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2011
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issue 1(9)
77-89
EN
The article is concerned with the gentle shift within theorizing on cyberculture where the well known and much publicized metaphor of remix has often been employed as a paradigmatic tool to describe the culture of constant reconfiguration as well as (according to Lawrence Lessig's famous statetment) Read/Write culture. Given the popularity of the term throughout the whole decade of 90s and beyond, it is significant that the concept of remix has recently faded out, replaced by the notion of mashup. Reaching out to some practices of the freshly established field of sound art and reflection on the audiality, the article sketches the distance between two terms which, although close in meaning, represent also significant differences when it comes to the strategies of cultural recycling and reconfiguration of already recorded/coded material.
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