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Boosting students' creativity through visual bricolage of experiences - how visual collage boards help students in expressing their knowledge during online classes

100%
Sońta M.
e-mentor
|
2022
|
vol. 94
|
issue 2
77-86
EN
The objective of this study is to present various practical applications of collage-based methods (visual bricolage) as a way of boosting creative discussions with students and helping them to express their knowledge and experience using visual representation. This viewpoint paper is based on the experience of twenty classes conducted with the MA program and postgraduate students at Kozminski University between March 2019 and December 2021, when online whiteboards and visual metaphors were used. The method used was participative observation, as the author also acted as the workshop facilitator. To observe the user’s action, the contribution tracking tool that is available on the mural whiteboard (Mural, n.d.) was activated. The explorations during the workshops revealed two elements of online classes: Conceptualization vs Illustration, to determine whether photos and pictures serve as an instrumental illustration in the background of the story, or they are important elements that convey the sense of the students’ statements. Moreover, the paper contains various practical findings that help to facilitate creative educational workshops remotely.
2
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Par-eikon: przypadek Ostatniej Wieczerzy

58%
Zarychta A.
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
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2014
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vol. 14
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issue 23
93-110
EN
The text is an attempt to analyze the evolution of aesthetic forms and motifs discussed on the example of the so-called “great figure” The Last Supper – the starting point for the analysis of the motif is the photography of David La Chapelle of the series: Jesus is my homeboy. Significant here is the context theory of parody by Linda Hutcheon – understood as a central point overview of contemporary art – a phenomenon combining fidelity to tradition and contemporary ideas of creative freedom, to express, among others, in need of confrontation with the ‘classic’ conventions – encroaching and deconstructive also in our contemporary pop-cultural processes of “image-consumption”.
PL
The text is an attempt to analyze the evolution of aesthetic forms and motifs discussed on the example of the so-called “great figure” The Last Supper – the starting point for the analysis of the motif is the photography of David La Chapelle of the series: Jesus is my homeboy. Significant here is the context theory of parody by Linda Hutcheon – understood as a central point overview of contemporary art – a phenomenon combining fidelity to tradition and contemporary ideas of creative freedom, to express, among others, in need of confrontation with the ‘classic’ conventions – encroaching and deconstructive also in our contemporary pop-cultural processes of “image-consumption”. 
3
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Metafory wizualne pandemii COVID-19 w memach internetowych

58%
Justyna Szulich-Kałuża J.
Roczniki Kulturoznawcze
|
2021
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vol. 12
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issue 3
35-55
EN
The main goal of the article is to description of visual metaphors about the pandemic COVID-19 in Internet memes. The structure of the paper is a follows: in the first section, I consider the two basic theoretic components of this paper, i.e memes and visual metaphors which are relevant for further own analysis, then in the second section I present the methodology and detailed analyzes of ten selected examples of visual metaphors of a pandemic. Four issues are addressed: What are the two terms of the metaphor - source and target domain; Which term is the target domain of the metaphor, which is the source domain; What characters of the source domain are mapped to the target domain; What elements of primary mataphors can be found in the visualizations. The last part contains some concluding remarks.
PL
Zasadniczym celem artykułu jest charakterystyka metafor wizualnych o pandemii COVID-19 w memach internetowych. Struktura artykułu jest następująca: w pierwszej części omawiam zagadnienia teoretyczne dotyczące memów i metafor wizualnych, które są istotne dla dalszych analiz własnych; druga część jest poświęcona metodologii i analizom szczegółowym wybranych przykładów memowych metafor wizualnych pandemii. Poruszone zostały cztery zagadnienia: jakie są dwa terminy metafory - domena źródłowa i docelowa; który termin jest domeną docelową metafory, a który domeną źródłową; jakie cechy domeny źródłowej są mapowane do domeny docelowej; jakie elementy metafor pierwotnych (primary metaphor) można odszukać w wizualizacjach. Ostatnia część zawiera kilka uwag końcowych o charakterze podsumowującym.
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