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Przekaz fotograficzny

100%
Barthes R., Michera W.
Konteksty - Polska Sztuka Ludowa
|
2014
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vol. 68
|
issue 3-4(306-307)
212-217
EN
A translation of a classical text: Le message photographique, originally published in “Communications” in 1961.
2
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Camera obscura

100%
Swoboda T.
Konteksty - Polska Sztuka Ludowa
|
2014
|
vol. 68
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issue 3-4(306-307)
218-226
EN
This essay endeavours to decipher the closing years of Roland Barthes as a photograph. Contrary to the title of his last book, Barthes wrote and constructed more of an existential camera obscura whose mechanism served the task of mourning, i.e. La Chambre claire, as well as disclosed the fundamental figures devised in his imagination, namely, darkness and enclosure. The biography of Barthes’ last years proves to be a counterpart of an initiation–like transition towards darkness, the digging of one’s grave, and a reversed version of illumination.
3
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Unerzählt - Nieopowiedziane

86%
Sebald W. G., Tripp J. P., Łukasiewicz M.
Konteksty - Polska Sztuka Ludowa
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2014
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vol. 68
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issue 3-4(306-307)
23-31
EN
Seven poems and portraits from a book written jointly by W. G. Sebald and Jan Peter Tripp: Unerzählt (Carl Hanser Verlag, München 2003).
4
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Obraz. Odzwierciedlenie. Pierwowzór. Ontologia obrazu w hermeneutyce Gadamera

86%
Dybel P.
Konteksty - Polska Sztuka Ludowa
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2014
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vol. 68
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issue 3-4(306-307)
226-235
EN
The article extracts premises of the ontology of the image according to H. G. Gadamer. In doing so, it follows the complex relations maintained in this conception by the image (das Bild), the copy (das Abbild) and the original (das Urbild). The article attempts to demonstrate that the titular ontology radically rejects the conception of emulation in art. According to the author of Truth and Method, das Abbild is not a copy of a perceived image but within the latter that, which is seen appears as self-reflection; hence the illusion of the “reality” of the image in the mirror. Secondly, the original does not possess the character of a model, which exists independently of the image; one can, however, speak about its existence only in the perspective of an image in which a sui-generis growth of being takes place. According to this interpretation, the message of images in art does not involve rendering reality as faithfully as possible but revealing aspects that remain invisible on a daily basis. Art does not impoverish reality by copying or selecting; by drawing forth its essence it confronts us with the, as a rule, concealed truth of being.
5
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Noty o książkach

58%
Kisiel M., Maraś A.
ER(R)GO: Teoria – Literatura – Kultura
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2016
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issue 32
EN
Critical notes on: (1) Alain Badiou, Rhapsody for the Theatre, edited and introduced by Bruno Bosteels, translated by Bruno Bosteels with the assistance of Martin Puchner (London, New York: Verso, 2013), pp. 174; (2) Griselda Pollock, After-affects / After-images: Trauma and aesthetic transformation in the virtual feminist museum (Manchester: Manchester University Press, 2013), pp. 384.
PL
Noty krytyczne poświęcone następującym książkom: (1) Alain Badiou, Rhapsody for the Theatre, edited and introduced by Bruno Bosteels, translated by Bruno Bosteels with the assistance of Martin Puchner (London, New York: Verso, 2013), ss. 174; (2) Griselda Pollock, After-affects / After-images: Trauma and aesthetic transformation in the virtual feminist museum (Manchester: Manchester University Press, 2013), ss. 384.
6
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Obraz Najświętszej Maryi Panny w pieśniach do Matki Bożej Nieustającej Pomocy

58%
Ropiak S.
Studia Redemptorystowskie
|
2013
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issue 11
274-293
XX
Service to Our Lady of God of Perpetual Succour has been known in Poland since 1869 and due to Redemptorist Fathers it is reborn at present. As a result of research on the content of the church songs to worship Our Lady of God of Perpetual Succour a theological picture of the Holy Virgin Mary functioning in folk piety characteristic for this type of service has appeared. Our Lady of God of Perpetual Succour is beautiful in her picture. Her beauty surpasses other creatures. She is both Queen Mother and Virgin with a loving face and anxious eyes. Our Lady is our Mother helping us continuously. She is a sensitive and carrying Mother, extremely successful in offering help. Her helpful hands and intercession in God cause that as a loving Mother she is an escape and hope for Her worshippers. The picture of Our Lady of God of Perpetual Succour in the songs is correct but not full. On one hand it is in accordance with the statement of the Vatican Council that Church uses in its summons to Blessed Virgin the following titles: Advocate, Succour Mediator but on the other hand this picture requires a supplement in the songs with ecclesiotypical content.
7
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Fundamenty kultury wizualnej

37%
Szafran K.
inAW Journal – Multidisciplinary Academic magazine
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2020
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vol. 1
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issue 1
EN
Today, in the course of constant technological, cultural and philosophical changes, the status of the image, which in digital art is transformed into a different kind of image – the “cybercultural image”, is constantly evolving. And both in direct contact, in the reality overloaded with visual attractions, and in a deeper humanistic discourse. In social discussions presenting further research observations on imaging we can see the questioning of the existence of the image itself in its traditional sense. Art, which uses new technologies as tools, now gives us many suggestive examples of processes that build the world of cyberculture. The ever-changing technological world puts us now and then in a new reality. The dynamics of these changes and experiences, which we often do not notice, also change the way we create and look at works of art.
PL
Obecnie, w trakcie nieustannie zachodzących przemian technologicznych, kulturowych oraz światopoglądowych, ciągle ewoluuje status obrazu, który w sztuce opartej na technologii cyfrowej przekształca się w inny rodzaj obrazu – „obraz cyberkulturowy”. I to zarówno w bezpośrednim kontakcie, w rzeczywistości przeładowanej wizualnymi atrakcjami, jak i w głębszym humanistycznym dyskursie. W społecznych dyskusjach, prezentujących kolejne spostrzeżenia badawcze na temat obrazowości, możemy dostrzec kwestionowanie istnienia samego obrazu w tradycyjnym jego rozumieniu. Sztuka, korzystająca z nowych technologii jako narzędzi, daje nam aktualnie wiele sugestywnych przykładów procesów budujących świat cyberkultury. Nieustannie zmieniający się technologiczny świat stawia nas co rusz w nowej rzeczywistości. Dynamika tych zmian i doświadczeń, których często nie zauważamy, zmienia także sposób, w jaki tworzymy i patrzymy na dzieła sztuki.
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