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1

Suulisus, kirjalikkus ja digitaalsus kultuuris ja teaduses

100%
Jaago T.
Mäetagused
|
2018
|
vol. 70
5-12
EN
The introductory overview provides a more general framework for understanding the articles published in this special issue. The discussions presented from the folkloristic point of view dwell upon the writing practices followed by Jakob Hurt’s correspondents in the late 19th century. The authors highlight the multilevelness of the writing experience and style manifest in the contributions of Hurt’s correspondents, which draw partly either on oral speech, reading, dialects, or unified spelling system. Also, in this period folklore was regarded as a phenomenon of oral culture, and therefore folklore collectors eliminated the idea of these stories being related to written culture. However, this approach did not correspond to reality. According to the 1881 census data, 34% of Estonians could both read and write, and 60.9% could only read. For an easier understanding of this situation in a historical perspective, this introductory overview presents, drawing on history research, the development features of Estonian peasants’ writing culture in the Reformation and Enlightenment eras (16th–18th cc.) and data about literacy in 19th-century Estonia. It is shown how Estonian-language writing turned from a means of communication (local Germans needed Estonian-language texts to communicate with the peasantry) into a language of education. It is also possible to follow how different information and diverse spheres of culture are related to either oral or written texts (e.g., religious and legal literature, which differed from oral lore based on experience). Further studies into orality and literacy discuss their dissimilarities on both linguistic and communicative levels. Late 20th-century research, however, moved to studying the connections between orality and literacy in comparison to digital presentations. On the one hand, scholars discuss the issues of environmental influence on text creation, on the other hand, the novel ways and boundaries of communication spaces.
2

Music and Youth in Brazilian Contemporary Society

88%
Barbosa L., Veloso L., Dubeux V.
International Review of Social Research
|
2012
|
vol. 2
|
issue 1
29-46
EN
Based on qualitative and quantitative research with 1,080 youth in the Brazilian cities of Rio de Janeiro, São Paulo, and Porto Alegre, this article analyzes the role of music in the constitution of young people's everyday lives. Focusing on how youth obtain, store, and listen to music, as well as on how they describe the presence of music in their lives, we argue that music – facilitated by digital technology – permeates and gives meaning to young people's lives in a way more pervasive than ever before, to the extent that, in their words, it constitutes the ‘soundtrack’ of each individual life. We propose to understand this puzzling statement through a material culture framework, and to do so we ask: how do youth currently give meaning to music as a key feature of life, and how do music and the objects through which it is experienced constitute life as such?
3

Obrazy, zmysły i ciała. O wizualnej dynamice u progu biomediów

63%
Celiński P.
Kwartalnik Filmowy
|
2020
|
issue 111 Zmysły i afekty
6-22
PL
Status oraz strukturę obrazów i wizualności kształtują dziś dwie strategie kulturowe. Pierwsza dotyczy restrukturyzacji sposobów ich postrzegania na skutek zmian w obrębie kulturowej organizacji zmysłów; druga polega na unieważnianiu bądź pomijaniu percepcji zmysłowej oraz łączeniu obrazów bezpośrednio z systemem nerwowym i organami ciała za pomocą biomediów. Celem autora eseju jest przyjrzenie się obu tym strategiom na podstawie teorii mediów i kultury wizualnej proponowanej przez Maurice’a Merleau-Ponty’ego, Johna Bergera, Didiera Anzieu czy Melinę Diaconu. Refleksji towarzyszy charakterystyka wybranych przykładów z twórczości Yvesa Kleina, Björk i Jasona Derulo. Takie zestawienie teorii i praktyk kultury mediów wizualnych skłania do stawiania pytań o przyszłe losy patrzenia, widzenia i zdolności do posługiwania się komunikatami wizualnymi w porządku cyfrowym i sieciowym.
EN
There are two cultural strategies shaping the order of images and visual culture by reaching beyond their traditional understanding. The first one is about restructuring cultural codes for sensing and understanding images. The second is based on biotechnological attempts to bypass senses and plug images directly into the neural system of the human body. The aim of this essay is to decode both strategies in a number of artistic creations by Yves Klein, Björk, and Jason Derulo, and to explain them in terms of visual culture and digital media theories by Maurice Merleau-Ponty, John Berger, Didier Anzieu, and Melina Diaconu. Such a mixture of media practices and theories leads to questions regarding future of watching, seeing and interacting with images, as well as our ability to use them in digital surroundings.
4
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New Forms of Communities? The Constitution and Performance of Audiences in Digital Theater during the COVID-19 Pandemic

51%
Padberg K.
Pamiętnik Teatralny
|
2021
|
vol. 70
|
issue 3
145-163
PL
Pandemia COVID-19 pogrążyła wiele teatrów na świecie w okresowym kryzysie, równocześnie sprzyjając rozwojowi cyfrowych form teatralnych. Przedmiotem artykułu są zmiany w odbiorze teatru w przestrzeni cyfrowej, a przede wszystkim konieczność odrębnego ukonstytuowania się tam publiczności, rozumianej jako społeczny aspekt przedstawień teatralnych. Analiza performatywna dwóch cyfrowych produkcji teatralnych z Niemiec, Homecoming i Sterben, jest podstawą refleksji nad znaczeniem infrastruktury cyfrowej dla możliwych form gromadzenia się, doświadczeń i działań tego rodzaju publiczności teatralnej. Autor bada, jak publiczność może tworzyć różne tymczasowe wspólnoty w przestrzeni cyfrowej. Wspólnoty te odznaczają się hybrydycznością i umożliwiają intensywne spotkania teatralne pomimo fizycznego dystansu.
EN
The Covid-19 pandemic plunged many theaters around the world into a temporary crisis and favored the rise of digital theater forms. This article investigates how the reception of theater changes in the digital space and, above all, how audiences as a social dimension of theatrical performances must first be constituted separately there. Based on performance analysis of the digital theater productions Homecoming and Sterben from Germany, the significance of the digital infrastructure for the assembly, performance, and action repertoires of these theater audiences is discussed. The author examines how audiences can be formed into different temporal communities in the digital space. These temporal communities are characterized by hybridity and have the potential to enable intense theatrical encounters across spatial boundaries.
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