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Ponowoczesność oczami geografa (recenzja: Richard Florida. Narodziny klasy kreatywnej oraz jej wpływ na przeobrażenia w charakterze pracy, wypoczynku, społeczeństwa i życia codziennego. Tłum. Tomasz Krzyżanowski i Michał Penkala. Warszawa: Narodowe Centrum Kultury, seria „Kultura się liczy!” 2010, 414 s.)

100%
Kukołowicz T.
Studia Socjologiczne
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2012
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issue 3(206)
163-169
2
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Creativity as a travelling concept: from Alexander Gerard to Richard Florida

100%
Kukołowicz T.
Problemy Zarządzania
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2014
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issue 4/2014 (49) t.2
PL
Artykuł opisuje kreatywność jako wędrujące pojęcie. Napisany jest z perspektywy interdyscyplinarnej i historycznej. Za punkt wyjścia służy XVIII wiek, w którym Alexander Gerard i William Duff, dwóch szkockich myślicieli, położyło fundamenty pod nowoczesne rozumienie kreatywności. Następnym celem jest druga połowa XIX wieku, w której Francis Galton opublikował ważną książkę na temat geniuszu, która znacząco wpłynęła na teorię inteligencji z początku XX wieku. Później omówiona została propozycja Joya P. Guilforda z 1950 roku, żeby badać kreatywność jako osobne zagadnienie. W ostatniej części artykułu opisano najnowsze ujęcia kreatywności, między innymi codziennej twórczości oraz przemysłów kreatywnych.
EN
The article describes creativity as a travelling concept. It is written from an interdisciplinary and historical perspective. The point of departure is the 18th century, when Alexander Gerard and William Duff, two Scottish thinkers, laid the foundation for modern understanding of creativity. The next destination is the second part of the 19th century, when Francis Galton published a seminal book about genius which strongly influenced the early 20th century theory of intelligence. After that Joy P. Guilford’s proposal of 1950 is discussed to study creativity as a separate problem. In the last part of the article recently developed approaches to creativity are summarized, inter alia everyday creativity and creative industries. Additionally, the article presents the evolution of the terms related to creativity and highlights the continuity between the Scottish thinkers’ writings and modern concepts.
3
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Dumni z pieniędzy. Artysta jako przedsiębiorca w (sub)kulturze hiphopowej

63%
Kukołowicz T., Jaczyński K. J.
Zarządzanie w Kulturze
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2015
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vol. 16
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issue 1
PL
Proud of Their Money. The Artist as an Entrepreneur in the Hip Hop (Sub)culture Hip hop, both in Poland and in the U.S.A., has broken with the image of an artist guided by the principle of ‘art for art’s sake’, which was very popular in the 20th century. For rappers, the commercial success is one of the proofs of their artistic success. Such a statement contradicts the value system of artists involved in the so called „high art”. In this article we reconstruct the worldview of American and Polish rappers, we describe how it was formed in the historical process and explain its relationship with the practices of rap music production. We also interpret the positive attitude towards money within the wider context of the development of creative industries. We illustrate our theoretical arguments with several empirical examples from Poland and the U.S.A. The article provides a detailed description of the process of the production and distribution of rap music which is based on the professional experience of one of the authors.
4
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Empirical Research for Cultural Policy: A Retrospective

63%
Kukołowicz T., Wiśniewski R.
Kultura Współczesna. Teoria. Interpretacje. Praktyka
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2020
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vol. 112
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issue 5
69-80
5
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Badania empiryczne na rzecz polityki kulturalnej. Retrospektywa

63%
Kukołowicz T., Wiśniewski R.
Kultura Współczesna. Teoria. Interpretacje. Praktyka
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2018
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vol. 100
126-137
EN
Following the logic of diachronic analysis, the article discusses systematic diagnoses intended to shape and develop cultural policy, while presenting the evolution of research that has been conducted for the purposes of cultural policy ever since the early 1990s, with a particular focus on the strategic role of the Ministry of Culture and National Heritage, National Centre for Culture Poland (NCK) and quarterly “Kultura Współczesna”. The starting point for the discussion are the actions of the Institute of Culture, the first publisher of “Kultura Współczesna”, followed by the research activity of the National Centre for Culture Poland continued for the purposes of cultural policy and including for example the NCK Culture Observatory and NCK Repository of Reports.
6
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Rola samorządu terytorialnego w finansowaniu polityki kulturalnej w Polsce w latach 1990–2015

51%
Kukołowicz T., Modzelewska M., Siechowicz P., Wiśniewska A.
Studia BAS
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2016
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issue 2(46)
229-250
EN
This article describes the changes in cultural policies in Poland which were triggered by the introduction of autonomous local self-governments in 1990 and 1998. The paper begins with a short presentation of the history of the decentralization of public authority and public funding of culture. Then competences of the Ministry of Culture and local governments in various cultural areas are compared. In the third part the authors focus on the accessibility of EU funds and its influence on the cultural sector. In next part the budgetary plans of local government units and actual expenditure on culture are compared. The concluding remarks present an overview of the changes which took place between 1990 and 2015. The article includes analysis based on data from the Central Statistical Office of Poland and from the Ministry of Finance.
7
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Wymiary uczestnictwa Polaków we współczesnej kulturze historycznej

51%
Kukołowicz T., Maciejczak Z., Wiśniewski R.
Kultura Współczesna. Teoria. Interpretacje. Praktyka
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2018
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vol. 100
65-79
EN
Recent studies of culture and cultural participation in Poland are marked by a turn towards heritage and collective memory. As regards science and its distinctive status, certain trends may be observed that are parallel to general changes occurring in culture and social life. Cultural studies includes research on politics of memory and historical culture. Regardless of changing cultural practices, studies of cultural participation and of memory and heritage are usually treated as autonomous. Works which describe dimensions of cultural participation in terms of frequency of engaging in socially sanctioned practices, typically reduce historical culture to a museum activity. The article reflects on the phenomenon of the time of memory, discussing how it affects the interpretation of cultural participation and its dimensions, along with the respective empirical research. It is based on the assumption that the actor-network theory, applied by Marek Krajewski to research on cultural participation, is a good starting point for studying participation in historical culture understood here as an area of cultural activities that include collective memory and heritage.
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