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1
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Konwersje transliteraturowe - od filmu mówionego do narracji bazodanowej

100%
Wójtowicz E.
Przegląd Kulturoznawczy
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2014
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issue 1(19)
PL
Transliterary conversions: from spoken movie to database narrativeThe aim of this text is to examine the idea of endless conversions between media and the impact on the arts as a result of this process. The transliterature-based conversions and remediations may result from quite different aesthetical approaches. From Spoken Movies by Wojciech Bąkowski to exuberant and complicated visual narratives by Ryan Trecartin – we can establish some common features, among them a word-based foundation. Another important issue is a database narrative, not only known from such iconic examples such as Soft Cinema, but also in more contemporary works by Camille Henrot. The idea of a clink (content link), introduced by Theodor H. Nelson, may help to understand the incoherent relation between the visual and the textual layers of meaning. Since in the post-Internet culture a logic of mediated experience can be applied to the offline world, some examples of contemporary artistic attitudes bring to mind templates created for users rather than readers or viewers.  
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„Słodki kotek” a kultura polska. Rozważania wokół książki Magdaleny Kamińskiej Memosfera. Wstęp do cyberkulturoznawstwa

100%
Wójtowicz E.
Człowiek i Społeczeństwo
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2017
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vol. 43
193-201
EN
In the new book Memosphere. Introduction to Cybercultural Studies (2017) Magdalena Kamińska publishes the result of her long-term studies on Internet-based culture and its components, such as netlore, lolcontent, memes and more. The book is focused on Polish cybercultural phenomena revealing their particularly local aspects, as well as pointing at the position of Polish cyberculture in the broader media landscape. Memosphere is comprised of a series of case studies, each developed thoroughly and discussed from various perspectives, such as netnography. The framework of the book is based on so-called rich points (after Michael H. Agar), chosen by Magdalena Kamińska in the attempt to find the most inspiring examples, including: various memes native to Polish culture, the Polish version of cyber-(n)ostalgy, the case of iuxtabrities (social-media bound cewebrities) or a circulation of counter knowledge. Some of the issues discussed in Memosphere have also been present in the realm of post-Internet art and examined by international researchers (O. Lialina, A.X. Mina, D. Quaranta) which proves their universal character within the global cyberculture. One of the most influential features of memes (after E. Zuckerberg) is an image of a cat (funny or cute), enabling the circulation of important, even serious or activist content. From digital naives, to digital natives, all the members of cyberculture become transmitters of memes and the prosumers of digital folklore. Also, Kamińska introduces her own proposal of the new methodology of cybercultural studies based on cultural studies as well as anthropology. The book proves that a demand for the branch of culture studies aimed at such a dynamic field of studies as cyberculture, is pivotal for the future development of cultural studies as an academic discipline. Ewa Wójtowicz, „Słodki kotek” a kultura polska. Rozważania wokół książki Magdaleny Kamińskiej Memosfera. Wstęp do cyberkulturoznawstwa [„Sweet kitten” and Polish culture. Reflections around the book of Magdalena Kamińska Memosphere. Introduction to cyber cultural studies], edited by W. Bryl-Roman, „Człowiek i Społeczeństwo” vol. XLIII: Projektowanie w latach 70. [Designing in the 1970s], Poznań 2017, pp. 193-201, Adam Mickiewicz University. Faculty of Social Sciences Press. ISSN 0239-3271.
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Odstąpienie od umowy handlowej przed terminem spełnienia świadczenia według Konwencji Narodów Zjednoczonych o umowach międzynarodowej sprzedaży towarów oraz według Kodeksu cywilnego

100%
Wójtowicz E.
Przegląd Prawa i Administracji
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2015
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vol. 100
559-570
EN
The possibility to declare a contract avoided prior to the date for performance was introduced into Polish legal order by the Act of 30 May 2014 on consumer rights. The avoidance of a contract in case of an anticipatory breach is regulated by some foreign laws and by the United Nations Convention on Contracts for the International Sale of Goods (CISG). According to the CISG, if prior to the date for performance of the contract it is clear that one of the parties will commit a fundamental breach of contract, the other party may declare the contract avoided. According to the Civil Code, it is possible to avoid a contract before the date for performance only when the other party declares that they will not perform their obligations.
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Jednostronnie profesjonalne umowy pośrednictwa handlowego a regulacja kodeksu cywilnego o umowie agencyjnej i umowie zlecenia — uwagi na tle wybranych umów

100%
Wójtowicz E.
Przegląd Prawa i Administracji
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2020
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vol. 120
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issue Tom 2
537 - 548
PL
Umowy o świadczenie usług pośrednictwa handlowego — podobne do umowy agencyjnej — są powszechnie zawierane w obrocie handlowym. Istnieje potencjalnie możliwość stosowania do takich umów przepisów kodeksu cywilnego o umowie zlecenia. Jednakże istnieje wiele elementów, które sprawiają, że takie umowy są zbliżone raczej do umowy agencyjnej niż do umowy zlecenia. W konsekwencji należy rozważyć stosowanie przepisów kodeksu cywilnego o umowie agencyjnej, jednak przy uwzględnieniu okoliczności, że niektóre z tych przepisów są charakterystyczne wyłącznie dla umowy agencyjnej, w tym regulacja związana z dwustronnie handlowym charakterem umowy agencyjnej oraz związana z kreowaniem przez umowę agencyjną długoterminowej relacji między stronami.
EN
Contracts on provision of mediation services similar to agency contracts are commonly concluded in commercial trade. It is potentially possible to apply Civil Code provisions on a contract of mandate to unilaterally professional mediation contracts. However, many elements make these contracts similar to agency contracts rather than contracts of mandate. In consequence the application of Civil Code provisions on agency contracts should be considered, bearing in mind that some of the provisions are specific for agency contracts only, such as provisions linked to the bilaterally professional character of agency contracts and provisions related to the fact that an agency contract creates a long-term relationship.
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Re-praktyki sztuki performance – dokumentacja, remediacja, dystrybucja sieciowa

100%
Wójtowicz E.
Sztuka i Dokumentacja
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2013
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issue 9
61-68
EN
Performance art does not operate in isolation from the broader circulation of the networked culture. Just like any other media, the documentation of performance can be dispersed throughout the network: to be remixed or recontextualised or become the component of a mashup. The documentation of performance events in the reality of the contemporary network culture does not play a subordinate role to the event as such, since the distributive network not only disseminates information about the event, but also generates a discourse. Analysed examples include the forms of creative activity such as re-enactment, looping online video performance or intervention in the real-time documentation. There are also the new possibilities of artistic expression that come with the persona of a “code performer”. The examples of artists’ approaches include: Constant Dullaart, Ryan Trecartin, and Gazira Babeli and duos, as Eva and Franco Mattes or MTAA. The theoretical framework is based on the theory remix by Eduardo Navas, and the notion of “culture as a screenplay” introduced by Nicolas Bourriaud. It is important to apply it not only to a remediated performance understood as a work of art. Also, the continuous creation of an online identity – both in the world of the Second Life, as well as through social networking platforms – is an ongoing performance in front of potentially global audience. Re-practices within contemporary art rely on the appropriation of historical events and their continuation, which allows for the creation of a third reality of some sort. This third reality becomes a common one, within which – paradoxically – constant change is a sign of the need for preservation. As a result, the documentation material is open, being part of a game with an ever-changing system of references.
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Mediosfera pamięci

100%
Wójtowicz E.
Kultura Współczesna. Teoria. Interpretacje. Praktyka
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2018
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vol. 101
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issue 2
186-192
7
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Obserwator rozproszonych dyskursów

100%
Wójtowicz E.
ER(R)GO: Teoria – Literatura – Kultura
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2003
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issue 6
EN
Ewa Wójtowicz's review of "Lata dziewięćdziesiąte" by Grzegorz Dziamski (2000).
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Mediateka Babel. YouTube jako temat, rama formalna i platforma sztuki

100%
Wójtowicz E.
Artium Quaestiones
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2020
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issue 1
171-189
EN
The text focuses on the specific features of the so-called 'cinematic turn' within the scope of visual culture emergent within the YouTube platform, particularly during its first, formative years. This turn takes place on the meta-level of the existing circulation of content enabled by YouTube, often being an autothematic reflection on this tool of cultural production. The vernacular aesthetics, a specific formal framework and a particular modus operandi of YouTube became the subject of artistic statements, sometimes in a form of subversive remix. Therefore I think of YouTube as a realm of art because of its meta-media practice that made the cinematic turn visible. It does not rely on straightforwardly understood production of (moving) images, but  postproduction, as understood by Nicolas Bourriaud. Moreover, the cinematic turn taking place within YouTube is different from the one practised by the avant-garde of 20th century, due its being not “seeing” or “writing” (as Dziga Vertov understood montage) but rather “overwriting”, to use language more adequate to the described sphere of digital culture. Artists use YouTube as an open library, working with its resources, applying techniques such as postproduction, remix, re-contextualisation and appropriation. Therefore it becomes a multimedia library, a “Mediateca Babel” of a kind, to recall J. L. Borges' idea. The examples mentioned in the text are of a postproductional nature, such as to-camera-performance and subversive “overwriting” of contents enabled with the circulationism typical for social media. Equally important are the strategies of recognising the cultural framework of YouTube, in the context of 20th-century media art history, as well as the platform’s interface. Also, there is the issue of relations between vernacular creativity and the art system because of “capturing” the amateur-generated content and transferring it to mainstream artworld. These examples let me argue that the cinematic turn is a form of postproduction, which enables the hidden mechanisms behind the circulation of moving images in the overloaded global network. The cinematic turn in the context of YouTube does not mean that cinema and its language are at home within this platform. Also, the meta-artistic way of “making” platform art does not turn YouTube into “art platform” (as understood by Olga Goriunova). Nevertheless, platform art may happen in this context as a result of working with the cinematic turn in its vernacular aspect, which makes it possible to reveal its key features and move them to the meta-level.
9
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Reference to the realm of nature in the theoretical reflections and the music of Ludomir Michał Rogowski

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Wójtowicz E.
Interdisciplinary Studies in Musicology
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2009
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issue 8
81-92
PL
Besides an abundant musical output, the rich legacy of Ludomir Michał Rogowski (1881-1954) also contains numerous writings, a special place among which is held by Muzyka przyszłości [The music of the future], written in 1919 and published three years later. In this work Rogowski asserted that the possibilities for composing music on the basis of the major, minor and chromatic scales were exhausted. He went on to propose an expansion of the repertoire of scales, giving two criteria for the choice of scales: ‘naturalness’ and ‘rhythmicity’. A ‘natural’ scale is one which can be read from the sequence of fifth steps of the twelve-note chromatic scale in equal temperament. The simplest example is the anhemitonic pentatonic scale. The concept of the renewal of tonal material is central to Muzyka przyszłości, but its author formulates an idea about the rhythmic essence of musical form as well. In his considerations on this subject, he proceeds from the nature-related phenomenon of symmetry. He treats the simplest symmetrical pattern, the ternary form ABA, as an elementary manifestation of rhythm expanded into form. References to nature also occur in Rogowski’s texts on national music. In this context, folk music represents such values connected with nature as simplicity, honesty and freshness; it is devoid of all artificiality or posture, free from all convention. In Rogowski’s musical output, a fascination with nature became a powerful source of inspiration, from which many symphonic works of a programmatic character emerged. The connection with nature and joy of life - the crucial values of Mediterranean culture - are conveyed by the music of Cortege de Dionysos and by the whole of composer’s oeuvre. Rogowski confirmed his belonging to the culture of the South not only with his music. When, in 1926, he left Warsaw for Dubrovnik, he confirmed it also with his life.
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Obowiązek lojalności w umowach pośrednictwa handlowego

100%
Wójtowicz E.
Przegląd Prawa i Administracji
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2015
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vol. 101
277 - 285
EN
The article presents an overview of the past and present legal regulations concerning the obligation of loyalty in agency contracts (sensu largo), investigating the legal nature and scope of this obligation. The author refers to different agency contracts which were regulated in the Commercial Code of 1934 and an ordinary mediation contract regulated by the Code of Obligations of 1933, as well as an agency contract regulated by the Civil Code of 1964. The author argues that the obligation of loyalty is one of the crucial obligations in commercial agency contracts, especially long-term contracts.
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Szczebiot systemu. Taktyczne relacje człowieka z technologią

100%
Wójtowicz E.
Annales Universitatis Paedagogicae Cracoviensis. Studia de Cultura
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2022
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vol. 14
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issue 2
7-21
EN
The topic of the article is asymmetrical relation between a user and a system, the latter understood as an obscure structure, shaping forms of interaction between a human being and technology using soft power. It is visible in a contradiction between a language (called chirping) of system-generated messages present in digital daily life, and their persuasive and oppressive impact, compared with examples of subversive strategies practiced with tactical media art, such as: obfuscation, over-identification and estrangement as well as theoretical proposals of tactics as a form of soft resistance.
PL
Tematem artykułu jest asymetryczna relacja użytkownika z systemem jako nieprzejrzystą strukturą kształtującą formy interakcji między człowiekiem a technologią metodą soft power. Jej przejawem są systemowe komunikaty werbalne obecne w cyfrowym życiu codziennym, nacechowane wewnętrzną sprzecznością między użytym językiem (szczebiotem) a perswazyjno-opresyjnym przekazem. Zestawiono je z przykładami strategii subwersywnych praktykowanych w środowisku sztuki mediów taktycznych, takimi jak: zaciemnienie, nadidentyfikacja i udziwnienie, oraz z propozycjami teoretycznymi o charakterze taktyk (miękkiego oporu).
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Obowiązkowe ubezpieczenie odpowiedzialności cywilnej organizatora meczu piłki nożnej za szkody wyrządzone w czasie jego trwania

63%
Wójtowicz E., Stefanicki R.
Studenckie Prace Prawnicze, Administratywistyczne i Ekonomiczne
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2014
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vol. 15
151 - 167
EN
The Act on Mass Events Security of 20 March 2009 sets out in Article 53 the compulsory civil liability insurance of the organizer of mass events against payments — including football matches — for damages suffered by participants caused by acts or omissions of the insured party. Regulation of Minister of Finance on the mandatory civil liability insurance of the organizers of mass events of 11 March 2010 regulates in details the mandatory insurance coverage, specifies the date of the obligation and prescribes minimum insurance amounts. The aim of the compulsory civil liability insurance is to create the necessary guarantees for the protection of the victims and to protect the victims against the possible insolvency of the person liable for the occurrence of damage who is obliged to cover the damage suffered.
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Wokół „Comparative Textual Media” N. Katherine Hayles

51%
Filiciak M., Wójtowicz E., Składanek M.
Przegląd Kulturoznawczy
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2014
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issue 1(19)
PL
Dyskusja wokół książkiComparative Textual Media. Transforming the Humanities in the Postprint Era (2013), pod redakcją N. K. Hayles i J. Pressman
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„Obcym okiem. Podróż artystyczna jako produkcja obrazów.”

44%
Wójtowicz E.
Sztuka i Dokumentacja
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2014
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issue 11
79-89
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