Search results

1

Gombrich and the Problem of Relativity of Vision

100%

Kesner L.

Human Affairs

|

2009

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vol. 19

|

issue 3

266-273

EN

The essay argues that Ernst Gombrich's views are relevant to the critical examination of the notion of the relativity and historicity of vision which has been widely accepted as one of the central axioms shared by visual studies, art history and film studies.

2

Visual spatial representation of social and cultural phenomena and its effect on local education : The case of Papua New Guinea

100%

Soukup M., Bláha J. D.

Český lid: etnologický časopis (Český lid: Ethnological journal)

|

2018

|

vol. 105

|

issue 3

325-340

EN

This study uses participative research in ethnocartography. The aim of the study is to demonstrate possibilities in using maps in ethnology and anthropology and to introduce the potential of the interdisciplinary cooperation of cartographers and geographers with ethnologists and anthropologists. Besides that, the authors try to provide the influence of maps and visual information on the life of a local community and local education by examples. In their study, the authors show the results of field research which they carried out together in the Nungon community in Papua New Guinea. The authors show that sharing results of the research with participants may generate other research questions and bring new research topics in ethnocartography.

3

Między nieobecnością a obrazem. Taktyki pamięci we współczesnej francuskiej literaturze po-holokaustowej

100%

Thiel-Jańczuk K.

Politeja : Pismo Wydziału Studiów Miedzynarodowych i Politycznych Uniwersytetu Jagiellońskiego

|

2015

|

issue 4(35)

201-212

EN

In the 50’s and 60’s France, the memory of the Occupation and the Holocaust was displaced from the official discourse and the social consciousness because of the ambiguous attitude of this country during the Second World War. It comes back in the contemporary French literature and culture since the 70’s, in the particular way within the problem of visuality: films, photographs and literary imagination. In relation to the Michel de Certeau’s and Paul Ricoeur’s thought, the author of the paper claims that memory, which is traditionally connected in the western culture to the image, should be rather considered as a tactical play with the representation of the past in historical discourse. Writers of the French “after‑ generations”, who inherited the memory of the Holocaust, use this tactics not to represent the past, which would be its “treason”, as Paul Ricoeur says, but to influence and change the individual and social consciousness.

4

O konstruowaniu wizualności jako integralnym elemencie polskiej reklamy prasowej

100%

MYŚLAK D. A.

Civitas et Lex

|

2015

|

issue 4(8)

17-31

XX

In the article the author adresses the issue of visuality of press advertisement by adhering to such elements as logotype, colour palette, photography and typeface. The author argues that all those elements should cooperate and guarantee the achievement of a desired effect, including the aesthetic one. In the author’s judgement, the message sent by the advertisement is more powerful when its creators use their knowledge of the psychology of perception. It turns out that in today’s press advertisements two techniques (recommendation and demonstration) are most commonly used alongside simple advertising patterns. The colour palette is quite limited and the designers highlight the contrasting combinations, which may be come as a result of the authors’ reliance on the proven solutions. When it comes to the language of the advertisements, neologisms occur rarely as the audience answers better to clichés.

5

An Unlikely Pair: Berlinde De Bruyckere and J.M. Coetzee

100%

Kusek R., Szymański W.

Werkwinkel

|

2015

|

vol. 10

|

issue 1

13-32

EN

Despite J.M. Coetzee’s ostensible interest in the issues of - largely speaking - visuality, the links between Coetzee’s oeuvre and ‘images’ have not been sufficiently explored either by art or literary critics. The paper offers a detailed discussion of the cooperation between Coetzee and the Belgian artist Berlinde De Bruyckere which has so far resulted in one installation and two art books co-authored by Coetzee and De Bruyckere. Special attention will be paid to the piece “Cripplewood/Kreupelhout” shown in the Belgian Pavilion of the 2013 Venice Biennial and the catalogue published in its wake. Also, a number of questions related to the nature of Coetzee’s contribution to both projects, the role of a curator and his relationship with the artist, as well as the catalogue’s generic affiliation and its position in Coetzee’s body of works are thoroughly addressed.

6

Prolegomena to an Analytic Theology of Holy Images. The visual aspects of faith and philosophical analysis

100%

Demeter M., Gáspár K.

Kultura – Media – Teologia

|

2015

|

issue 22

80-95

EN

This paper proposes a prolegomena to an analitytic theology of holy images. For this end, we will consider some historical and epistemological facts as regards philosophical analysis and analytic theology, and then we will confer about their relations to images. Finally, we will try to unfold the logical structure of holy icons, and, as an object-lesson, we will explicate the problem of idolatry by means of our preceding considerations.

7

La visualité exacerbée chez Georges Bataille (et Luis Buñuel) : l’image de l’œuf et ses implications obsessionnelles dans Histoire de l’œil (1928) et Un Chien andalou (1929)

89%

Nowak-Baranowska D.

Quêtes littéraires

|

2015

|

issue 5

119-127

FR

The aim of the study is to analyze Bataille’s Story of the Eye (1928) and Buñuel’s An Andalusian Dog (1929) as accurate examples of artworks that were broadly inspired by images from subconsciousness. Both authors are particularly fascinated by the ‘eye’ which becomes an object of obsession in their output. The ocular reference is however often replaced with the image of the egg, by the process of metonymy that has its origin in Bataille’s imagination and early compulsions. As such, both eye and egg, initially being almost divine, gradually become deformed, abject and, ultimately, annihilated. The image of eye and egg, symbolically the birth of universe, becomes paradoxal in the textual layer, as it’s constantly being deformed by obsessive thoughts from the past.

8

Miasto na pieczęci. Wokół wizualności pieczęci miejskich z terenu Prus

88%

Hlebionek M.

Zapiski Historyczne

|

2019

|

vol. 84

|

issue 1

85-121

EN

The visuality of the seal, as expressed in the title of the article, should be understood as a collection of stamp elements received by means of wax. Consequently, they will include not only the image of the seal and the caption, but also the shape, size and colour of the wax in which the imprint was made. All those elements can transfer important information from the point of view of the owner, expressing their individuality. Two groups of factors have had an impact on the visuality of the seal: legal and cultural factors. The first group of factors defined the sigillographical system of the owner, but they could also indicate the circle of persons deciding on the shape of a particular seal, or they could directly refer to the form of imprints. The second groups of factors influenced the shape of the message on the seal recorded in both the verbal sphere, iconography and in the form of prints. Among the city seals from the area of Prussia, round seals prevail; their diameters range from 80 to 30 mm. They were usually imprinted in natural wax, green or, less often, black. Only Gdańsk and Toruń were allowed to use red wax under the special privileges granted by the monarchs. Captions included in the seal were usually formulated in Latin, although the names of towns were usually written in German despite the existence of their Latin counterparts. Imaginary ideas, in the context of the typology proposed by Toni Diederich, mostly represented the symbolic type, although a significant percentage of them constituted the canting arms and coats of arms. Other types appear less often. However, the complexity and ambiguity of messages written on the seal by means of images means that any attempt to include them in the typology framework results in the simplification of interpretation. That is why, the research of city seals based on the assumption that they represent the urban self-awareness – the sign of the center’s identity (Brigitte Miriam Bedos-Rezak) becomes more and more significant. In this context, information provided by the visual side of the seal can be reduced to three sets of messages: presenting the city as a topographic space, presenting the city as a social space and presenting the city’s relations with the surroundings. The name of the city determined the town’s definition as a settlement point, which we encounter in legends, but also the notions of canting arms frequently found in Prussia (e.g. Sepopol, Orneta, Allenburg). Seals with the images of walls and urban buildings (e.g. Malbork, Cynty, Toruń) showed the city as an organized space. Paradoxically, the images of wild animals, extremely popular in Prussia, which combined with the legend identifying the owner as a city, showed what the city was not. It is in the seal’s legends that we find the most frequent reference to the city as a social space. Determining the main seals as sigillum civitatis, burgensium, civium, Borger, indicates that the owner of the seal maker was the community of residents. The language of the caption indicates the cultural embedding of the commune. In turn, the size and material of the print inform about the real significance of the center, or about the aspirations of its inhabitants. In connection with the legend, it sometimes brings information about the place occupied by the seal in the urban sigillographic system, which is often derived from the structure of municipal authorities. The images shown on the seal, in turn, refer to the devotion of the commune (e.g. Brodnica), or professions of its residents (e.g. Pieniężno, Młynary, Elbląg, Gdańsk). Through the images representing the city walls or the arms, they finally illustrate the readiness of the inhabitants to defend themselves (e.g .Toruń, Malbork), or they indicate that the urban community had its defender (Chełmno, Pasłęk?). Many of the seal’s images from the Prussian region refer to the city’s relationship with the broadly understood surroundings. By showing the coats of arms (Bisztynek, Malbork), symbols (Toruń, Gardeja, Lidzbark Wamiński), or insignia or attributes (e.g. Reszel, Barczewo, Fischhausen) of a land master or his representative, the seal indicated the owner of the center. In this context, particularly interesting, but also poorly recognized are the links between the iconography of city seals and the images of the seals of the Teutonic officials (e.g. Święta Siekierka, Górowo Iławckie, Radzyń Chełmiński). Finally, the hagiographic seals indicate the relations of the urban community with the supernatural world (Frombork, Pieniężno, Sztum, Gierdawy, and Toruń). The example of the Frombork seal shows that all these meanings can interpenetrate, contributing the creation of a complex image of the city represented on the seal.

9

Miasto na pieczęci. Wokół wizualności pieczęci miejskich z terenu Prus

88%

Hlebionek M.

|

EN

The visuality of the seal, as expressed in the title of the article, should be understood as a collection of stamp elements received by means of wax. Consequently, they will include not only the image of the seal and the caption, but also the shape, size and colour of the wax in which the imprint was made. All those elements can transfer important information from the point of view of the owner, expressing their individuality. Two groups of factors have had an impact on the visuality of the seal: legal and cultural factors. The first group of factors defined the sigillographical system of the owner, but they could also indicate the circle of persons deciding on the shape of a particular seal, or they could directly refer to the form of imprints. The second groups of factors influenced the shape of the message on the seal recorded in both the verbal sphere, iconography and in the form of prints. Among the city seals from the area of Prussia, round seals prevail; their diameters range from 80 to 30 mm. They were usually imprinted in natural wax, green or, less often, black. Only Gdańsk and Toruń were allowed to use red wax under the special privileges granted by the monarchs. Captions included in the seal were usually formulated in Latin, although the names of towns were usually written in German despite the existence of their Latin counterparts. Imaginary ideas, in the context of the typology proposed by Toni Diederich, mostly represented the symbolic type, although a significant percentage of them constituted the canting arms and coats of arms. Other types appear less often. However, the complexity and ambiguity of messages written on the seal by means of images means that any attempt to include them in the typology framework results in the simplification of interpretation. That is why, the research of city seals based on the assumption that they represent the urban self-awareness – the sign of the center’s identity (Brigitte Miriam Bedos-Rezak) becomes more and more significant. In this context, information provided by the visual side of the seal can be reduced to three sets of messages: presenting the city as a topographic space, presenting the city as a social space and presenting the city’s relations with the surroundings. The name of the city determined the town’s definition as a settlement point, which we encounter in legends, but also the notions of canting arms frequently found in Prussia (e.g. Sepopol, Orneta, Allenburg). Seals with the images of walls and urban buildings (e.g. Malbork, Cynty, Toruń) showed the city as an organized space. Paradoxically, the images of wild animals, extremely popular in Prussia, which combined with the legend identifying the owner as a city, showed what the city was not. It is in the seal’s legends that we find the most frequent reference to the city as a social space. Determining the main seals as sigillum civitatis, burgensium, civium, Borger, indicates that the owner of the seal maker was the community of residents. The language of the caption indicates the cultural embedding of the commune. In turn, the size and material of the print inform about the real significance of the center, or about the aspirations of its inhabitants. In connection with the legend, it sometimes brings information about the place occupied by the seal in the urban sigillographic system, which is often derived from the structure of municipal authorities. The images shown on the seal, in turn, refer to the devotion of the commune (e.g. Brodnica), or professions of its residents (e.g. Pieniężno, Młynary, Elbląg, Gdańsk). Through the images representing the city walls or the arms, they finally illustrate the readiness of the inhabitants to defend themselves (e.g .Toruń, Malbork), or they indicate that the urban community had its defender (Chełmno, Pasłęk?). Many of the seal’s images from the Prussian region refer to the city’s relationship with the broadly understood surroundings. By showing the coats of arms (Bisztynek, Malbork), symbols (Toruń, Gardeja, Lidzbark Wamiński), or insignia or attributes (e.g. Reszel, Barczewo, Fischhausen) of a land master or his representative, the seal indicated the owner of the center. In this context, particularly interesting, but also poorly recognized are the links between the iconography of city seals and the images of the seals of the Teutonic officials (e.g. Święta Siekierka, Górowo Iławckie, Radzyń Chełmiński). Finally, the hagiographic seals indicate the relations of the urban community with the supernatural world (Frombork, Pieniężno, Sztum, Gierdawy, and Toruń). The example of the Frombork seal shows that all these meanings can interpenetrate, contributing the creation of a complex image of the city represented on the seal.

10

Powidoki wiersza. Eksperyment lektury poezji Bolesława Leśmiana

87%

Kłosowski M.

Przestrzenie Teorii

|

2018

|

issue 29

179-213

EN

The article shows how the visual-painting category of afterimage, which derives from Władysław Strzemiński’s concept, functions at the level of literature (in the poetry of Bolesław Leśmian) and literary studies, as an attempt to apply art concepts to the interpretation of verse. The text is experimental in that it suggests using afterimage as a tool of cognitive philosophy that enables the new meanings to be highlighted in reading the poetic works of Leśmian and in establishing the relations between the visual and the word.

PL

The article shows how the visual-painting category of afterimage, which derives from Władysław Strzemiński’s concept, functions at the level of literature (in the poetry of Bolesław Leśmian) and literary studies, as an attempt to apply art concepts to the interpretation of verse. The text is experimental in that it suggests using afterimage as a tool of cognitive philosophy that enables the new meanings to be highlighted in reading the poetic works of Leśmian and in establishing the relations between the visual and the word.

11

Szkic o rysowaniu etnograficznym. Próba definicji

75%

Wajszczak J.

Barbarzyńca. Pismo Antropologiczne

|

2018

|

issue 23

64-83

EN

In this article, I redefine etnographic drawing in the context of contemporary practice and idea. The starting point for the analysis consists of fieldwork, film and photography, which function as ethnographic tools, and the latest drawing theories. A wider context is created by the etnographer’s personal experience, his subjectivism and creative exploration, which bring science and art closer together.

12

Gra czy film interaktywny? Czyli o wizualności współczesnych produkcji cRPG na przykładzie gry "Wiedźmin 2"

75%

Świątek P.

Annales Universitatis Paedagogicae Cracoviensis. Studia de Cultura

|

2013

|

issue 5

162-168

EN

In the article, it is pointed out that in modern computer games extended narratives aregradually abandoned while more emphasis is put on visuality and film-like character of the image, and on mimetism, understood not entirely as copying the reality, but as film realism, or following the popular cinematic schemas. One of the means to achieve this goal is using dynamic shooting and interludes that comply with the principles of film making; it is applied, among others, to increase the attractiveness of the message. The examples discussed here are the introductions from two games: The Witcher 1 and The Witcher 2. The conclusion is in fact a question: is a contemporary gameplayer an actual player, or rather a viewer?

13

“Fantastic Dance of Images, Shapes, Forms”: Visuality and Fragmentation in Ann Quin’s Passages

63%

White H.

Anglica Wratislaviensia

|

2018

|

issue 56

163 - 176

EN

This paper brings together aspects of visuality and fragmentation in Quin’s work, concentrating on her 1969 novel, Passages, in order to tease out the effects and implications of Quin’s formal fragmentariness. The visuality manifests itself in Passages through Quin’s borrowing of compositional techniques from the visual arts — layering effects from painting, shaping and cutting techniques from sculpture, the whole method of the textual cut-up. Quin splits her narrative in two sections seemingly narrated by each of the main characters, one female and one male. Applying painterly techniques to the former and sculptural to the latter, Quin’s narrative implicitly explores the habitual feminisation or masculinisation of certain aesthetic categories and modes of epistemological enquiry, as well as the unequal power relations of gender politics within a social context. Quin’s textual fragments do on some level cohere into a whole, but it is one riven with uncertainties, provoked specifically by the elliptical nature of the narrative, and complicated by Quin’s blurring of boundaries of all kinds — between characters, between binary categories, between narrative moments and locations. This resistance to categorisation — both on the level of individual fragments or passages of text, and of Quin’s work more generally — invites readers and critics to question the frameworks in which they are trying to place the parts, to challenge the rigidity of the categories themselves.

14

The Subject in Dialogue: A Visual Semiotic Perspective

63%

Vavilova Z.

Dialogue and Universalism

|

2014

|

issue 2

193-204

EN

What does it mean to communicate with visual messages and to convey ideas with the help of images? Is the visual sign capable of substituting the subject when he or she is not present? Can it be relied upon in communication? Can it happen that a gap between the subject’s visual image and identity becomes an insurmountable barrier on the way to understanding? This paper attempts to discover visuality as a weighty addition to the spoken word, to reconsider its role in communication so that it is treated not as a deceptive simulacrum but a representation of the subject in dialogical space, an embodiment of an eternal pure impulse, an aspiration to unfold oneself in front of the other.

15

Widzialność w zawieszeniu. Wystawa dla wizualnie uprzywilejowanych – analiza Niewidzialnej Wystawy

63%

Bogunia-Borowska M.

Kultura Współczesna. Teoria. Interpretacje. Praktyka

|

2021

|

vol. 115

|

issue 3

181-194

EN

The contemporary model of culture is founded on two principal shifts: the pictorial one and that towards everyday life. The former has brought the development of visual culture and visual sociology in science, while the latter an interest in the life of regular people and the return to sociology of everyday life. The model of culture based on the visual and the visible apotheosises sight as a dominant sense in the building of social interactions. It naturally privileges those who can freely participate in cultural life. However, it excludes and, to a certain extent, limits the activities and the cultural participation of people with visual impairments. The aim of this article is to present the case of the Invisible Exhibition where people with regular vision are included in multisensory culture based on the tactile, auditory, and olfactory perception. The exhibition allows the privileged participants of visual culture to learn about multisensory culture built on other cognitive foundations. The Invisible Exhibition also allows people with visual impairments to join the dominant model of culture by expanding beyond their own boundaries and actions based on other principles. The case of the Invisible Exhibition is analysed with regards to the concept of history and counter-history, i.e. the narratives of the privileged and underprivileged in the cultural system by Ewa Domańska, as well as own research conducted as part of social work courses at the Institute of Sociology of the Jagiellonian University in Kraków.

16

Wstęp. Przełamać wzrokocentryzm

63%

Kobylińska W., Pięcińska A., Skrzeczkowski M.

Kultura Współczesna. Teoria. Interpretacje. Praktyka

|

2021

|

vol. 115

|

issue 3

10-13

EN

Contemporary culture is dominated by visuality. Dozens of ads, billboards, memes and videos flash before our eyes every day. Many of us contribute to this pool with own photos, drawings and collages published mostly in social media. Immersed in this ocean of images, we hardly ever reflect on the fact that visually impaired people can be excluded from this culture. It is a particularly pressing problem once we realise that people with low vision can participate in exhibitions, performances and film screenings only to a very limited extent, while their presence in museums, theatres and cinemas tends to evoke astonishment and doubts as to its purpose. Aldo Grassini, the founder of the Museo Omero dedicated primarily to the non-sighted, argues that the accessibility of culture for people with disabilities should be considered not only as a serious social problem but also an important factor in their therapy and social integration. While Polish cultural institutions take the effort to fully accommodate their events for the visually impaired, they often face financial, technical and psychological problems. Therefore, in this issue we present various ways of including visually impaired people in visual culture.

PL

Współczesna kultura jest zdominowana przez wizualność. Codziennie przed naszymi oczami przewijają się dziesiątki reklam, billboardów, memów i filmów. Wielu z nas do tej puli dorzuca swoje fotografie, rysunki, kolaże, publikowane zwłaszcza w mediach społecznościowych. Zanurzeni w tym oceanie obrazów rzadko zastanawiamy się nad tym, że tak zorientowana kultura może być wykluczająca dla osób z dysfunkcjami wzroku. Problem ten staje się szczególnie palący, gdy uświadomimy sobie, że osoby niewidome i słabowidzące jedynie w bardzo niewielkim stopniu mogą uczestniczyć w wystawach, spektaklach czy projekcjach filmowych, a ich obecność w muzeach, teatrach i kinach wciąż budzi zdumienie i wątpliwość co do sensowności. Aldo Grassini, twórca Museo Omero z założenia przeznaczonego przede wszystkim dla osób niewidomych, podkreśla, że dostępność kultury dla niepełnosprawnych powinna być rozpatrywana nie tylko jako poważny problem społeczny, ale także istotny czynnik terapeutyczny i sposób na pełniejsze integrowanie się tych osób ze społeczeństwem. W polskich placówkach kulturalnych podejmuje się wprawdzie wysiłki zmierzające do uznania niewidomych za pełnoprawnych uczestników organizowanych wydarzeń, jednak działania te natrafiają na problemy finansowe, techniczne i psychologiczne. W numerze zaprezentowane zostaną zatem rozmaite sposoby włączania osób z dysfunkcjami wzroku w obieg kultury wizualnej.

17

Zmysłowy wymiar obrazu – wrażliwość synestezyjna a partycypacja w sztuce wizualnej osób niewidomych

63%

Stachowiak-Dudzik E.

Kultura Współczesna. Teoria. Interpretacje. Praktyka

|

2021

|

vol. 115

|

issue 3

109-121

EN

This article was inspired by a discussion initiated by the author among the visually impaired guides at Niewidzialna Ulica (Invisible Street) in Poznań in April 2021. The resulting text not only collects their reflections but above all proposes solutions for the popularisation of visual arts among people with vision loss. The author starts with the concept of ‘synesthetic sensitivity’ and artistic ideas for the translation of the language of the visual into the language of the remaining four senses, offering examples of successful intersensory transpositions. The projects described in the paper may serve as a model for future solutions enabling the multisensory participation in art. Each project teaches us a different approach to art and the needs of people with visual impairments. They emphasise different aspects of participation in the visual world – developing imagination, expanding the network of associations, increasing the freedom of reception, facilitating memory, and promoting dialogue. Each of the proposed solutions glues different pieces of the broken world together, re-embedding sublime ideas in the human body and providing the blind, and indeed all of us, with new opportunities to experience art.

18

Mezi taktikou a afektem, ne-místem a místem : Vizuální analýza každodenní geografie osob bez domova

63%

Vašát P., Gibas P., Poláková M.

Sociologický časopis. Czech Sociological Review

|

2017

|

vol. 53

|

issue 4

533-564

EN

The article uses photovoice to explore the everyday geography of homelessness and its affective dimension. We focus on two aspects of the everyday geography captured by photovoice: (1) movement in space and (2) the performativity of heterotopic places. The aim is to understand how the research partners as actors (re)present and (re)construct their everyday geography by visual means and how they relate to it affectively (or otherwise). Photovoice is a suitable method for this type of research as it has been used across the social sciences and especially in action research as a productive tool that allows people to document and reflect on their everyday life, their strengths, and their concerns, and to communicate all this effectively to the wider public. In this article, we critically discuss photovoice and argue that besides its action potential, it can also be used to generate rich visual research data. We present data collected from photovoice research on homeless people in Prague and Pilsen, two cities in the Czech Republic, and conduct formal analytical and hermeneutic analyses of the data. The photographs we obtained reveal the movement of our research partners – the homeless – in space and their relationship to different places and the people in them. In general, people were the most frequently photographed theme. The research revealed that social relations are the most important aspect in the creation and production of places in cities. Several factors, most importantly age, influence the extent to which social relations play this role.

19

“Poema por contacto” como corriente oculta de la poesía moderna

63%

Kurek M.

Estudios Hispánicos

|

2019

|

vol. 27

211-220

EN

The aim of this text is to indicate possible senses of development of some of the ideas exposed previously in my studies on the literary poetry of the Catalan artist and writer Joan Brossa. In particular, I refer to the concept of “contact poemˮ interpreted in terms of a semiological analogy of photography that we consider as a modern technique and art par excellence, being probably the most radical and influential invention for culture of the last two centuries. In this sense, it is interesting to see if the consequences of the predominance of visual codes for the development of modern poetry can rather be perceived as a norm beyond the Brossian experiments of an avant-garde nature. Following a theoretical approach based on the ideas of V. Flusser and A. Rouillé, some of Brossaʼs texts are analysed from the perspective of visualisation techniques and linked to another literary example, the novel Pale Fire by V. Nabokov.

20

A Few Questions Concerning Photographs in Court Decisions

63%

Dudek M.

Archiwum Filozofii Prawa i Filozofii Społecznej

|

2018

|

vol. 2(17)

60-74

EN

The aim of this article is to discuss the infrequent, but noticeable, practice of inserting photographs in court decisions. Against the background of the few existing studies on this practice, which seem to be overly case-specific, this article proposes a more general, even universal list of problems connected with it. It addresses a short list of questions about the inclusion of photographs in court decisions, such as, for instance: “Why do judges include in court decisions photographs concerning the case-relevant facts?”; “Who are the addressees of these photographs?”; “What is the source of the photographs used and are all sources allowable?”; and “How come that some segments of court decisions are accompanied by relevant photographs and others are not?”. A discussion of these and other questions enables the conceptualisation of many problems connected with inserting photographs in court decisions – most notably, that of the criteria of choice, which previously has not been explicitly addressed, but barely hinted at – and leads to the conclusion that the practice in question, surrounded by many controversies, should be discontinued.

PL

Celem artykułu jest skomentowanie rzadkiej, choć zauważalnej praktyki umieszczania fotografii w decyzjach sądowych. Na tle kilku istniejących studiów na jej temat, zdających się być jednak zbytnio skupionymi na konkretnych przypadkach, niniejszy artykuł proponuje bardziej generalną, a nawet uniwersalną listę problemów związanych z tą praktyką. Rozważa się krótką listę pytań dotyczących włączania fotografii do decyzji sądowych, np.: ‘dlaczego sędziowie umieszczają w decyzjach sądowych fotografie dotyczące faktów relewantnych dla sprawy?’; ‘kto jest adresatem tych fotografii?’; ‘jakie jest źródło użytych fotografii i czy wszystkie źródła są dopuszczalne?’; czy ‘dlaczego niektóre fragmenty decyzji sądowych są okraszone fotografiami a inne nie?’ Rozważenie tych i innych pytań umożliwia konceptualizację wielu problemów związanych z umieszczaniem fotografii w decyzjach sądowych – zwłaszcza problem kryteriów wyboru, który wcześniej nie był osobno komentowany, a jedynie zasugerowany – i prowadzi do konkluzji, że omawiana praktyka, uwikłana w wiele kontrowersji, nie powinna być kontynuowana.

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