Pub Date : 2022-12-30DOI: 10.4467/20843860pk.22.035.17089
Justyna Janik, Daniel Vella
{"title":"Editorial: Games in a Time of Crisis?","authors":"Justyna Janik, Daniel Vella","doi":"10.4467/20843860pk.22.035.17089","DOIUrl":"https://doi.org/10.4467/20843860pk.22.035.17089","url":null,"abstract":"","PeriodicalId":187788,"journal":{"name":"Przegląd Kulturoznawczy","volume":"61 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134636039","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-12-30DOI: 10.4467/20843860pk.22.043.17097
B. Kita
Andrzej Pitrus, Przebłyski piękna. Spotkania z Jonasem Mekasem, Wydawnictwo w Podwórku, Nowe Horyzonty, Warszawa–Gdańsk 2022, ss. 268.
Andrzej Pitrus, Flashes of Beauty.与乔纳斯-梅卡斯的邂逅》，《后院出版》，新视野出版社，华沙-格但斯克，2022 年，第 268 页。
{"title":"Recenzja książki Andrzeja Pitrusa, Przebłyski piękna. Spotkania z Jonasem Mekasem","authors":"B. Kita","doi":"10.4467/20843860pk.22.043.17097","DOIUrl":"https://doi.org/10.4467/20843860pk.22.043.17097","url":null,"abstract":"Andrzej Pitrus, Przebłyski piękna. Spotkania z Jonasem Mekasem,\u0000Wydawnictwo w Podwórku, Nowe Horyzonty, Warszawa–Gdańsk 2022, ss. 268.","PeriodicalId":187788,"journal":{"name":"Przegląd Kulturoznawczy","volume":"116 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132376723","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-12-30DOI: 10.4467/20843860pk.22.038.17092
A. Prokopek
What may be considered as the greatest emergency in the contemporary world is the lack of a sense of emergency; the prevailing feeling that everything is fine, that, despite ongoing crises, we live in the only acceptable system, and it is impossible to imagine any alternative to it. Mainstream digital games, by offering repetitive, standardised, and predictable forms of gameplay, by focusing on technological advancement, and by exploiting workers in large corporations, became a part of that emergency. According to Santiago Zabala, what is needed to recover the sense of emergency and to break through contemporary complacency, is an “aesthetic force,” a disruptive artistic shock. What is proposed in this article is the possibility of considering the avant-garde as an aesthetical force in the field of videogames; a force that shocks the player and demands something more than a simple contemplation. As presented by game scholars, avant- -garde videogames (through formal experimentation and political intervention) open the medium, and propose games that object to standardised, mindless repetition. Avant-garde games proclaim new ways of playing, accept diversity that opposes the stereotypical image of a player as a white, heterosexual male, and propose new kinds of engagement with the outside world. They tend to “remove the automatism of the perception” by disrupting players’ engagement and through disclosure of the system. To achieve that, avant-garde videogames break through the category of flow, problematize notions of videogame hermeneutic and interrupt the feeling of immersion.
{"title":"Avant-Garde, Emergency, and Digital Games Discourse","authors":"A. Prokopek","doi":"10.4467/20843860pk.22.038.17092","DOIUrl":"https://doi.org/10.4467/20843860pk.22.038.17092","url":null,"abstract":"What may be considered as the greatest emergency in the contemporary world is the lack of a sense of emergency; the prevailing feeling that everything is fine, that, despite ongoing crises, we live in the only acceptable system, and it is impossible to imagine any alternative to it. Mainstream digital games, by offering repetitive, standardised, and predictable forms of gameplay, by focusing on technological advancement, and by exploiting workers in large corporations, became a part of that emergency. According to Santiago Zabala, what is needed to recover the sense of emergency and to break through contemporary complacency, is an “aesthetic force,” a disruptive artistic shock. What is proposed in this article is the possibility of considering the avant-garde as an aesthetical force in the field of videogames; a force that shocks the player and demands something more than a simple contemplation. As presented by game scholars, avant- -garde videogames (through formal experimentation and political intervention) open the medium, and propose games that object to standardised, mindless repetition. Avant-garde games proclaim new ways of playing, accept diversity that opposes the stereotypical image of a player as a white, heterosexual male, and propose new kinds of engagement with the outside world. They tend to “remove the automatism of the perception” by disrupting players’ engagement and through disclosure of the system. To achieve that, avant-garde videogames break through the category of flow, problematize notions of videogame hermeneutic and interrupt the feeling of immersion.","PeriodicalId":187788,"journal":{"name":"Przegląd Kulturoznawczy","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129628226","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-12-30DOI: 10.4467/20843860pk.22.041.17095
Andrew Barton
This paper examines the ecocritical message espoused by characters in Final Fantasy VII and Final Fantasy VII Remake and uses affect theory to better understand fan response to these beliefs. From there, I note the publishing company, Square-Enix, recently declared interest in pursuing NFT technology as a potential revenue stream despite the environmental concerns this technology brings, which resembles the villainous organization Shinra in these games. Fan response Square-Enix’s NFT projects indicates how fans may identify with and absorb the ideologies of characters in video games, even when that ideology sets the fans in opposition with the companies behind the original game(s).
{"title":"Creating Climate Conscious Players: Final Fantasy VII’s Ecoactivist Fan Communities","authors":"Andrew Barton","doi":"10.4467/20843860pk.22.041.17095","DOIUrl":"https://doi.org/10.4467/20843860pk.22.041.17095","url":null,"abstract":"This paper examines the ecocritical message espoused by characters in Final Fantasy VII and Final Fantasy VII Remake and uses affect theory to better understand fan response to these beliefs. From there, I note the publishing company, Square-Enix, recently declared interest in pursuing NFT technology as a potential revenue stream despite the environmental concerns this technology brings, which resembles the villainous organization Shinra in these games. Fan response Square-Enix’s NFT projects indicates how fans may identify with and absorb the ideologies of characters in video games, even when that ideology sets the fans in opposition with the companies behind the original game(s).","PeriodicalId":187788,"journal":{"name":"Przegląd Kulturoznawczy","volume":"2 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129590745","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-12-30DOI: 10.4467/20843860pk.22.040.17094
Sandra Frydrysiak, K. Sikorska
In the article, from a feminist perspective, we look at two visions of “Solidarity,” that was co-created by women, shown in documentary films – Solidarity According to Women, 2014, dir. Marta Dzido, Piotr Śliwowski and Women of Freedom, 2019, dir. Wiesław Paluch, Mirosław Basaj. For this purpose, we refer, i.a., to the concept of situated knowledge (Donna Haraway, 2009), its reinterpretation in the context of the category of care (María Puig de la Bellacasa, 2017) or to the category of affective solidarity (Clare Hemmings, 2012). We describe the narrative strategy of Women of Freedom as a story about heroism without heroines, while the one we read in Solidarity According to Women we call heroising of heroines. During the analyzes, we explore different visions of female roles and identities, we also address the topic of sisterhood, both between women involved in the movement and in the relationship between the researcher and the subject of the research. Finally, becoming aware of our own affective dissonance, we consider how critical and sisterly interpretative practices are possible.
在这篇文章中，我们从女权主义的角度来看，“团结”的两种愿景，这是由女性共同创造的，在纪录片中显示-团结根据妇女，2014年，导演。Marta Dzido, pietro Śliwowski和自由妇女，2019年，主任。Wiesław Paluch, Mirosław Basaj。为此，我们参考了情境知识的概念(Donna Haraway, 2009)，其在护理类别(María Puig de la Bellacasa, 2017)或情感团结类别(Clare Hemmings, 2012)的背景下的重新解释。我们把《自由妇女》的叙事策略描述为一个没有女英雄的英雄主义故事，而我们在《妇女团结》中读到的故事，我们称之为女英雄的英雄化。在分析过程中，我们探讨了女性角色和身份的不同观点，我们也讨论了姐妹情谊的话题，无论是参与运动的女性之间，还是研究人员与研究对象之间的关系。最后，意识到我们自己的情感失调，我们考虑如何批判性和姐妹式的解释实践是可能的。
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Pub Date : 2022-12-30DOI: 10.4467/20843860pk.22.034.16623
E. Jarosz
Joanna Walewska-Choptiany, Cyfrowa dekada. Związki sztuki i technologii w latach 1960–1975, Wydawnictwo Naukowe Uniwersytetu Mikołaja Kopernika, Toruń 2021, ss. 389.
Joanna Walewska-Choptiany, The Digital Decade.1960-1975 年艺术与技术的关系》，尼古拉斯-哥白尼大学科学出版社，托伦 2021 年，第 389 页。
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Pub Date : 2022-12-30DOI: 10.4467/20843860pk.22.036.17090
M. Felczak
This study investigates the work of content creators in relation to developers and fans, focusing on digital platforms in a case study of the video game Path of Exile which functions in the game as a service (GaaS) model. The analysis was based on in-depth, semi-structured interviews with a diverse group of aspiring content creators and on the assessment of data extracted from distribution, streaming, and social digital platforms. The institutionalized labor of content creators, which is subjugated to the live service model curated by the developers, could be characterized by the notions of transactional play, aspirational boredom, and gaming the markets. These three elements stand for the commodification of play time, substituting actual play with broadcasted footage, and actively shaping the in-game economy, respectively. The study acknowledges the rising importance of content creators as contributors to the financial well-being of a game employing the GaaS model, while raising awareness of the cultural, economic, ethical and health issues associated with it.
{"title":"“Tedious by Design.” Institutionalized Labor of Content Creators in the Game as a Service Model: The Path of Exile Case Study","authors":"M. Felczak","doi":"10.4467/20843860pk.22.036.17090","DOIUrl":"https://doi.org/10.4467/20843860pk.22.036.17090","url":null,"abstract":"This study investigates the work of content creators in relation to developers and fans, focusing on digital platforms in a case study of the video game Path of Exile which functions in the game as a service (GaaS) model. The analysis was based on in-depth, semi-structured interviews with a diverse group of aspiring content creators and on the assessment of data extracted from distribution, streaming, and social digital platforms. The institutionalized labor of content creators, which is subjugated to the live service model curated by the developers, could be characterized by the notions of transactional play, aspirational boredom, and gaming the markets. These three elements stand for the commodification of play time, substituting actual play with broadcasted footage, and actively shaping the in-game economy, respectively. The study acknowledges the rising importance of content creators as contributors to the financial well-being of a game employing the GaaS model, while raising awareness of the cultural, economic, ethical and health issues associated with it.","PeriodicalId":187788,"journal":{"name":"Przegląd Kulturoznawczy","volume":"70 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126002178","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-12-14DOI: 10.4467/20843860pk.22.028.16617
P. Zawojski
The article presents Jacques Derrida’s reflections on photography. Although the philosopher himself declared his “lack of competence” in matters concerning visual arts and, more broadly, the image because his domain was word/text, he often spoke/wrote about the nature of the image, including the photographic one, as he was often provoked/invited to make such statements. Derrida did not create a coherent theory of the photographic image and it was never his ambition. However, scattered in several texts, his original reflections on the essence of photography – not in the commonly accepted thinking about this medium as the phenomenon of “writing of light,” but rather a medium that uses a kind of “writing of shade” (or sciagraphy) – force us to reflect and think critically. This article presents analyses and interpretations of Derrida’s texts in which the problem of photography is merely a context for broader philosophical considerations (The Postcard, Memoirs of the Blind, Aletheia, Rights of Inspection), as well as those in which photography becomes the basic material of reflection (The Deaths of Roland Barthes, Copy, Archive, Signature, Athens, Still Remains). Derrida’s thinking (even in darkness) turns out to be worth considering as reading his “amateur” texts on photography proves that his voice can be inspiring in this field as well.
{"title":"Writing of Light or Writing of Shade? Jacques Derrida on Photography","authors":"P. Zawojski","doi":"10.4467/20843860pk.22.028.16617","DOIUrl":"https://doi.org/10.4467/20843860pk.22.028.16617","url":null,"abstract":"The article presents Jacques Derrida’s reflections on photography. Although the philosopher himself declared his “lack of competence” in matters concerning visual arts and, more broadly, the image because his domain was word/text, he often spoke/wrote about the nature of the image, including the photographic one, as he was often provoked/invited to make such statements. Derrida did not create a coherent theory of the photographic image and it was never his ambition. However, scattered in several texts, his original reflections on the essence of photography – not in the commonly accepted thinking about this medium as the phenomenon of “writing of light,” but rather a medium that uses a kind of “writing of shade” (or sciagraphy) – force us to reflect and think critically. This article presents analyses and interpretations of Derrida’s texts in which the problem of photography is merely a context for broader philosophical considerations (The Postcard, Memoirs of the Blind, Aletheia, Rights of Inspection), as well as those in which photography becomes the basic material of reflection (The Deaths of Roland Barthes, Copy, Archive, Signature, Athens, Still Remains). Derrida’s thinking (even in darkness) turns out to be worth considering as reading his “amateur” texts on photography proves that his voice can be inspiring in this field as well.","PeriodicalId":187788,"journal":{"name":"Przegląd Kulturoznawczy","volume":"49 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125443045","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-12-14DOI: 10.4467/20843860pk.22.023.16612
Ewelina Twardoch-Raś, M. Zdrodowska
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Pub Date : 2022-12-14DOI: 10.4467/20843860pk.22.032.16621
Kamil Wrzeszcz
Liberariness of Literature for Children The article suggests to consider children’s literature as an example of liberature. The author refers to the use of this term as popularized by Zenon Fajfer and further developed by Krystyna Zabawa, who compared works of liberature to author’s books and picturebooks. The article explains the phenomenon of liberature and examines selected literary works while pointing to their liberature features – Katsumi Komagata’s First Look: Beginning for Babies, a volume designed by Emilia Dziubak in the series “Rok w,” and One written by Sarah Crossan. Using terms such as multiliterate, intersemioticity, or polysemioticity, the author proves t at many children’s texts can be described as examples of liberature – even when it is not explicit.
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