Pub Date : 2022-03-01DOI: 10.4467/20843860pk.22.002.15747
A. Kumala
The article offers in-depth, critical analysis of the books The Men With The Pink Triangle: The True Life-and-Death Story of Homosexuals in the Nazi Death Camps by Heinz Heger and Damned Strong Love: The True Story of Willi G. and Stefan K. by Lutz van Dijk, touching upon the topic of Nazi persecutions of homosexuals. Both texts are being presented as matrix testimonies, which not only widened the Second World War discourse by introducing the homosexual victim, but also initiated homosexual variant of what Przemysław Czapliński’s called the “reverse catastrophe”. Although concentrating precisely on male war-time experience, the texts significantly exceed the dominant, male-centered narrative pattern. By discussing the issues such as ambiguous authorship, differences between narrative strategies, brutalization of the language and the authors’ attitudes towards body, sexuality or violence, the article demonstrates—thus far seldomly considered—“catastrophic potential” of the publications. Attention is also being drawn to the fact that by virtue of their existence, homosexual war-time experience no longer has to be considered—to use Sławomir Buryła’s term—“non-verbalizable”
这篇文章对Heinz Heger的《粉色三角形的男人:纳粹死亡集中营中同性恋者的真实生死故事》和Lutz van Dijk的《该死的强烈的爱:Willi G.和Stefan K.的真实故事》这两本书进行了深入的批判性分析，涉及纳粹迫害同性恋者的话题。这两篇文章都是作为矩阵证言呈现的，这不仅通过介绍同性恋受害者拓宽了二战的论述，而且开创了同性恋变体Przemysław Czapliński所称的“逆向灾难”。尽管这些文本集中于男性的战时经历，但它们明显超越了以男性为中心的主流叙事模式。通过对作者身份的模糊、叙事策略的差异、语言的野蛮化以及作者对身体、性或暴力的态度等问题的讨论，本文展示了迄今为止很少被考虑的出版物的“灾难性潜力”。人们还注意到，由于同性恋者的存在，他们在战争时期的经历不再需要被考虑——用Sławomir Buryła的术语来说——“无法用语言表达”。
{"title":"Homoseksualna katastrofa wsteczna: Mężczyźni z różowym trójkątem i Cholernie mocna miłość","authors":"A. Kumala","doi":"10.4467/20843860pk.22.002.15747","DOIUrl":"https://doi.org/10.4467/20843860pk.22.002.15747","url":null,"abstract":"The article offers in-depth, critical analysis of the books The Men With The Pink Triangle: The True Life-and-Death Story of Homosexuals in the Nazi Death Camps by Heinz Heger and Damned Strong Love: The True Story of Willi G. and Stefan K. by Lutz van Dijk, touching upon the topic of Nazi persecutions of homosexuals. Both texts are being presented as matrix testimonies, which not only widened the Second World War discourse by introducing the homosexual victim, but also initiated homosexual variant of what Przemysław Czapliński’s called the “reverse catastrophe”. Although concentrating precisely on male war-time experience, the texts significantly exceed the dominant, male-centered narrative pattern. By discussing the issues such as ambiguous authorship, differences between narrative strategies, brutalization of the language and the authors’ attitudes towards body, sexuality or violence, the article demonstrates—thus far seldomly considered—“catastrophic potential” of the publications. Attention is also being drawn to the fact that by virtue of their existence, homosexual war-time experience no longer has to be considered—to use Sławomir Buryła’s term—“non-verbalizable”","PeriodicalId":187788,"journal":{"name":"Przegląd Kulturoznawczy","volume":"31 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"117205544","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 : 2022-03-01DOI: 10.4467/20843860pk.22.012.15757
K. Jagodzińska
{"title":"Awangardowe muzeum w XXI wieku. Agnieszka Pindera, Jarosław Suchan, Wstęp [w:] Awangardowe muzeum, red. Agnieszka Pindera, Jarosław Suchan, Muzeum Sztuki w Łodzi, Łódź 2020.","authors":"K. Jagodzińska","doi":"10.4467/20843860pk.22.012.15757","DOIUrl":"https://doi.org/10.4467/20843860pk.22.012.15757","url":null,"abstract":"","PeriodicalId":187788,"journal":{"name":"Przegląd Kulturoznawczy","volume":"36 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128271314","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 : 2022-03-01DOI: 10.4467/20843860pk.22.009.15754
Grzegorz Dziamski
Metamorphosis of Aesthetics Many aesthetic lecturers feel that the subject of their lectures is not so much aesthetics as the history of aesthetics, the aesthetic views of Plato and Aristotle, Kant and Hegel, Hume and Burke, British philosophers of taste and German romantics. Does this mean that aesthetics is nourished by its own past, nourished by reinterpretations of its classics, defends concepts and categories that no longer inspire anyone? Don’t they open up new cognitive perspectives? Does this mean that aesthetics is dead today, like Latin or Sanskrit, and that its vision of art and beauty is outdated, out of date and completely useless? Stefan Morawski in the introduction to the anthology Twilight of Aesthetics – Alleged or Authentic? he wrote that he did not know the history of aesthetic thought that would begin in the eighteenth century with Baumgarten. Today we can meet with such an approach more and more often. Many authors assume that in the second half of the 18th century, modern aesthetics was born as a science of senses, how our higher (sight, hearing) and lower senses (taste, smell, touch) contribute to our knowledge of the world. In the introduction to the anthology cited here, Stefan Morawski divides the history of aesthetics into four periods of unequal length. The Morawski diagram seems to be a convenient starting point for defining the changing object of aesthetics. The first of the periods distinguished by Morawski is the longest one, lasting from Ancient Greece to Enlightenment, can be called the history of aesthetic thought, the second is philosophical aesthetics, the third is a time of emancipation and institutionalization of aesthetics as autonomous discipline, and the fourth period leads beyond the limits of classical aesthetics.
{"title":"Przemiany estetyki","authors":"Grzegorz Dziamski","doi":"10.4467/20843860pk.22.009.15754","DOIUrl":"https://doi.org/10.4467/20843860pk.22.009.15754","url":null,"abstract":"Metamorphosis of Aesthetics\u0000\u0000Many aesthetic lecturers feel that the subject of their lectures is not so much aesthetics as the history of aesthetics, the aesthetic views of Plato and Aristotle, Kant and Hegel, Hume and Burke, British philosophers of taste and German romantics. Does this mean that aesthetics is nourished by its own past, nourished by reinterpretations of its classics, defends concepts and categories that no longer inspire anyone? Don’t they open up new cognitive perspectives? Does this mean that aesthetics is dead today, like Latin or Sanskrit, and that its vision of art and beauty is outdated, out of date and completely useless?\u0000\u0000Stefan Morawski in the introduction to the anthology Twilight of Aesthetics – Alleged or Authentic? he wrote that he did not know the history of aesthetic thought that would begin in the eighteenth century with Baumgarten. Today we can meet with such an approach more and more often. Many authors assume that in the second half of the 18th century, modern aesthetics was born as a science of senses, how our higher (sight, hearing) and lower senses (taste, smell, touch) contribute to our knowledge of the world.\u0000\u0000In the introduction to the anthology cited here, Stefan Morawski divides the history of aesthetics into four periods of unequal length. The Morawski diagram seems to be a convenient starting point for defining the changing object of aesthetics. The first of the periods distinguished by Morawski is the longest one, lasting from Ancient Greece to Enlightenment, can be called the history of aesthetic thought, the second is philosophical aesthetics, the third is a time of emancipation and institutionalization of aesthetics as autonomous discipline, and the fourth period leads beyond the limits of classical aesthetics.","PeriodicalId":187788,"journal":{"name":"Przegląd Kulturoznawczy","volume":"7 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132876343","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 : 2022-03-01DOI: 10.4467/20843860pk.22.005.15750
Marcela Kościańczuk
Psychobiography- if it has to be reductionist? Lucy in the mind of Lennon as an example of a bridge between the humanities and psychology In the article I will present Tim Kasser’s psychobiography entitled Lucy in the Mind of Lennon as an example of a non-psychoanalytical psychobiography that is multidisciplinary. Psychobiography will also be treated here as an opportunity for the humanities and psychology to come closer, and this rapprochement will be presented from the perspective of the humanities. At the same time, I would like to point out that psychobiography may come close to the assumptions of empirically oriented disciplines. In a broader context, the article also introduces the reader to the contemporary approach to psychobiography, as well as a discussion with previous ways of presenting it.
{"title":"Czy psychobiografia musi być redukcjonistyczna? Lucy in the Mind of Lennon jako przykład pomostu pomiędzy naukami humanistycznymi i psychologią","authors":"Marcela Kościańczuk","doi":"10.4467/20843860pk.22.005.15750","DOIUrl":"https://doi.org/10.4467/20843860pk.22.005.15750","url":null,"abstract":"Psychobiography- if it has to be reductionist? Lucy in the mind of Lennon as an example of a bridge between the humanities and psychology\u0000\u0000In the article I will present Tim Kasser’s psychobiography entitled Lucy in the Mind of Lennon as an example of a non-psychoanalytical psychobiography that is multidisciplinary. Psychobiography will also be treated here as an opportunity for the humanities and psychology to come closer, and this rapprochement will be presented from the perspective of the humanities. At the same time, I would like to point out that psychobiography may come close to the assumptions of empirically oriented disciplines. In a broader context, the article also introduces the reader to the contemporary approach to psychobiography, as well as a discussion with previous ways of presenting it.","PeriodicalId":187788,"journal":{"name":"Przegląd Kulturoznawczy","volume":"37 16 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123438575","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 : 2022-03-01DOI: 10.4467/20843860pk.22.006.15751
Paweł Tański
Songs: “Oral Poetry of Industrial Civilization” The presented article poses a question about the limits of the art of lyricism, and more specifically about the methods of literary studies capturing certain specific or border phenomena that have emerged from it and gained an independent status, and the song/songs is one of such phenomena. Hence, the title of the study includes a quotation from an important work by Paul Zumthor, it is both the starting point and the thesis of the text. The thesis of the study is the judgment that songs can be called literature, provided that we clearly emphasize that they are not poetry, but oral poetry. It is a completely different entity from lyricism, it gained its own language, fully fledged in culture, it emerged from poetry, it evolved and became a new type of cultural text. The aim of the reflection is an attempt to take a closer look at this extraordinary adventure, which this evolution, and even revolution, has become, because it is the rapid expansion of rock music, the outbreak of counterculture in the second half of the 20th century, and with them – the incredible development of various types of songs. The article addresses, inter alia, the following issues: describes “helpful methodologies”, gives terminological suggestions and mentions the “technical” aspects of song studies. Selected examples of research perspectives are also given.
{"title":"Piosenki – „poezja oralna cywilizacji przemysłowej”","authors":"Paweł Tański","doi":"10.4467/20843860pk.22.006.15751","DOIUrl":"https://doi.org/10.4467/20843860pk.22.006.15751","url":null,"abstract":"Songs: “Oral Poetry of Industrial Civilization”\u0000\u0000The presented article poses a question about the limits of the art of lyricism, and more specifically about the methods of literary studies capturing certain specific or border phenomena that have emerged from it and gained an independent status, and the song/songs is one of such phenomena. Hence, the title of the study includes a quotation from an important work by Paul Zumthor, it is both the starting point and the thesis of the text. The thesis of the study is the judgment that songs can be called literature, provided that we clearly emphasize that they are not poetry, but oral poetry. It is a completely different entity from lyricism, it gained its own language, fully fledged in culture, it emerged from poetry, it evolved and became a new type of cultural text. The aim of the reflection is an attempt to take a closer look at this extraordinary adventure, which this evolution, and even revolution, has become, because it is the rapid expansion of rock music, the outbreak of counterculture in the second half of the 20th century, and with them – the incredible development of various types of songs. The article addresses, inter alia, the following issues: describes “helpful methodologies”, gives terminological suggestions and mentions the “technical” aspects of song studies. Selected examples of research perspectives are also given.","PeriodicalId":187788,"journal":{"name":"Przegląd Kulturoznawczy","volume":"9 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129079021","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 : 2022-03-01DOI: 10.4467/20843860pk.22.011.15756
Judyta Dąbrowska
The article discusses the key text of Mieczysław Porębski(1921-2012), an outstanding Polish art historian and art critic, which is vital for understanding his proposed idea of creating a metacritical language that would allow description of the contemporary art world − Introduction to Metacriticism (first edition around 1966, second 1983). All Porębski's publications on this subject are mentioned in the article to obtain a full picture of this concept in the researcher's writings. The importance of creating it for critical-artistic methods is emphasized. The sources of inspiration for the idea of metacriticism (including bibliographic ones) and the implementation of its assumptions in the text itself are shown, taking into account the approximate mid-twentieth century historical context of methodologies developed on the basis of structuralist reflection, especially the influence of information theory and game theory. The ways in which Porębskicame to formulate the assumptions of metacriticism are presented, also through analysis of the language itself. The idea of metacriticism is placed in the wider context of the researcher's scientific work too, linking it with his proposal to divide the history of art criticism into the so-called criticism of poets and criticism of experts, as well as the idea of the iconosphere postulated by him, which proves to be a pioneering one for contemporary research on visual culture. Finally, the paper suggests that the idea of metacriticism can be the beginning of the present-day style of writing about art.
{"title":"Czy to już koniec krytyki? Wstęp do metakrytyki Mieczysława Porębskiego","authors":"Judyta Dąbrowska","doi":"10.4467/20843860pk.22.011.15756","DOIUrl":"https://doi.org/10.4467/20843860pk.22.011.15756","url":null,"abstract":"The article discusses the key text of Mieczysław Porębski(1921-2012), an outstanding Polish art historian and art critic, which is vital for understanding his proposed idea of creating a metacritical language that would allow description of the contemporary art world − Introduction to Metacriticism (first edition around 1966, second 1983). All Porębski's publications on this subject are mentioned in the article to obtain a full picture of this concept in the researcher's writings. The importance of creating it for critical-artistic methods is emphasized. The sources of inspiration for the idea of metacriticism (including bibliographic ones) and the implementation of its assumptions in the text itself are shown, taking into account the approximate mid-twentieth century historical context of methodologies developed on the basis of structuralist reflection, especially the influence of information theory and game theory. The ways in which Porębskicame to formulate the assumptions of metacriticism are presented, also through analysis of the language itself.\u0000\u0000The idea of metacriticism is placed in the wider context of the researcher's scientific work too, linking it with his proposal to divide the history of art criticism into the so-called criticism of poets and criticism of experts, as well as the idea of the iconosphere postulated by him, which proves to be a pioneering one for contemporary research on visual culture. Finally, the paper suggests that the idea of metacriticism can be the beginning of the present-day style of writing about art.","PeriodicalId":187788,"journal":{"name":"Przegląd Kulturoznawczy","volume":"50 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129690950","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 : 2022-03-01DOI: 10.4467/20843860pk.22.004.15749
Jan Jęcz
The truth of screen. On the practice of screenshotting The article explores the phenomenon of the popularity of screenshots and the variety of contexts in which they are used. Screenshotting is treated as a social practice, drawing on the theory of practices, primarily Theodore Schatzki's approach. On its basis, two aspects of the creation of screenshots are highlighted: bodily-material and social framework. Analysis of both results in the description of screenshotitng as a dispersed practice and a key component of integrative practices, especially those that deal with proving the truth. Finally, those reflections lead to the postulate that screenshots should be given greater recognition in the social sciences as an important source of knowledge about everyday life on the internet.
{"title":"Prawda ekranu. O praktyce screenshotowania","authors":"Jan Jęcz","doi":"10.4467/20843860pk.22.004.15749","DOIUrl":"https://doi.org/10.4467/20843860pk.22.004.15749","url":null,"abstract":"The truth of screen. On the practice of screenshotting\u0000\u0000The article explores the phenomenon of the popularity of screenshots and the variety of contexts in which they are used. Screenshotting is treated as a social practice, drawing on the theory of practices, primarily Theodore Schatzki's approach. On its basis, two aspects of the creation of screenshots are highlighted: bodily-material and social framework. Analysis of both results in the description of screenshotitng as a dispersed practice and a key component of integrative practices, especially those that deal with proving the truth. Finally, those reflections lead to the postulate that screenshots should be given greater recognition in the social sciences as an important source of knowledge about everyday life on the internet.","PeriodicalId":187788,"journal":{"name":"Przegląd Kulturoznawczy","volume":"14 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127586118","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 : 2022-03-01DOI: 10.4467/20843860pk.22.003.15748
Olgierd Miedzybłocki
The aim of this article is to discuss the relation between global and local in the works of certain philosophers of technology. The main focus is the concept of cosmotechnics created by Yuk Hui, a philosopher who is strongly influenced by Peter Sloterdijk and Bernard Stiegler. In the text we examine how Heidegger’s question about technology has led Sloterdijk and Stiegler to introduce their criticisms but also to build their original concepts that view the modern technology more favorably. For Yuk Hui those thinkers are a strong inspiration, however, he criticise them for being too Western-oriented and adds another contexts – the role of China as both a postcolonial state with it’s unique philosophical tradition and as a center for new technologies. Then the introduces cosmotechnics as a form of cultural a priori that is a mixture of moral and cosmological thinking resulting in a locally-specific approach to technology. It also allows him to talk about a local-global dichotomy in a new, interesting way. This however includes also some signs of a new universlaism rooting from the Chinese culture.
{"title":"Filozoficzny spór globalizmu z lokalnością: rozwój nowoczesnych technologii w Chinach według Yuka Huia","authors":"Olgierd Miedzybłocki","doi":"10.4467/20843860pk.22.003.15748","DOIUrl":"https://doi.org/10.4467/20843860pk.22.003.15748","url":null,"abstract":"The aim of this article is to discuss the relation between global and local in the works of certain philosophers of technology. The main focus is the concept of cosmotechnics created by Yuk Hui, a philosopher who is strongly influenced by Peter Sloterdijk and Bernard Stiegler. In the text we examine how Heidegger’s question about technology has led Sloterdijk and Stiegler to introduce their criticisms but also to build their original concepts that view the modern technology more favorably. For Yuk Hui those thinkers are a strong inspiration, however, he criticise them for being too Western-oriented and adds another contexts – the role of China as both a postcolonial state with it’s unique philosophical tradition and as a center for new technologies. Then the introduces cosmotechnics as a form of cultural a priori that is a mixture of moral and cosmological thinking resulting in a locally-specific approach to technology. It also allows him to talk about a local-global dichotomy in a new, interesting way. This however includes also some signs of a new universlaism rooting from the Chinese culture.","PeriodicalId":187788,"journal":{"name":"Przegląd Kulturoznawczy","volume":"145 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132822743","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 : 2022-03-01DOI: 10.4467/20843860pk.22.001.15746
Maciej Guzy
Bernie Krause and His Sound Archives. Between Wild Nature and Embodied Relation The paper aims to compare two natural sound archives by Bernie Krause, Wild Sanctuary (being developed since 1968) and Dawn Chorus (established in 2020), from the perspective of ecology paradigms changes that have occurred over the years. The author assumes that both of the abovementioned projects are consistent with each other in respect of the goals formulated by Krause – they are thought to affect their listeners and evoke ecological attentiveness among them – but differ in terms of their structure and presupposed strategies of enhancing human-environment entanglements. The first part of the article is dedicated to the description of analysed projects. Also, the article considerations are being positioned as the amplification of the previously published paper by Renata Tańczuk (who treated Wild Sanctuary as an Anthropocene archive). Secondly, the author investigates the visibility of the archive production process in the forms in which they were publicly shared. Afterwards, the conceptualizations of the Nature underlying both of the archives are described. Finally, the author presents the differences in the affective agencies of Wild Sanctuary and Dawn Chorus, coming to the conclusion that the latter project, not the former one, responds to the contemporary requirements imposed on the pro-environmental artistic and research activities.
{"title":"Bernie Krause i jego dźwiękowe archiwa. Między dziką naturą a ucieleśnioną relacją","authors":"Maciej Guzy","doi":"10.4467/20843860pk.22.001.15746","DOIUrl":"https://doi.org/10.4467/20843860pk.22.001.15746","url":null,"abstract":"Bernie Krause and His Sound Archives. Between Wild Nature and Embodied Relation\u0000\u0000The paper aims to compare two natural sound archives by Bernie Krause, Wild Sanctuary (being developed since 1968) and Dawn Chorus (established in 2020), from the perspective of ecology paradigms changes that have occurred over the years. The author assumes that both of the abovementioned projects are consistent with each other in respect of the goals formulated by Krause – they are thought to affect their listeners and evoke ecological attentiveness among them – but differ in terms of their structure and presupposed strategies of enhancing human-environment entanglements. The first part of the article is dedicated to the description of analysed projects. Also, the article considerations are being positioned as the amplification of the previously published paper by Renata Tańczuk (who treated Wild Sanctuary as an Anthropocene archive). Secondly, the author investigates the visibility of the archive production process in the forms in which they were publicly shared. Afterwards, the conceptualizations of the Nature underlying both of the archives are described. Finally, the author presents the differences in the affective agencies of Wild Sanctuary and Dawn Chorus, coming to the conclusion that the latter project, not the former one, responds to the contemporary requirements imposed on the pro-environmental artistic and research activities.","PeriodicalId":187788,"journal":{"name":"Przegląd Kulturoznawczy","volume":"39 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134131379","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 : 2021-12-30DOI: 10.4467/20843860pk.21.050.14967
Justyna Żak-Szwarc
Corpomuseum as an Ideal Type The beginning of the 21st century was a time of great museum revolution. Many museums have been created that focus their activities not so much on collecting artefacts as on presenting impressive exhibitions, largely made of media relays. New museums are increasingly moving away from the concern for durable goods that characterizes traditional museums and transfer knowledge to their recipients through modern products and attractive technologies. In connection with the implementation of new and costly solutions regarding architecture, equipment, organizational structure and functioning, they actually need a lot of capital in the form of public finances and “human resources” from the very beginning of their activity. It seems that at present the need to raise this type of capital in a case of creating new institutions is far ahead of the need to collect works of culture that have constituted the essence and sense of museums created in previous centuries. The quality of planned projects also ceases to be related to the significance and reputation of the material culture heritage, and begins to be measured by the scale of the new museum buildings and the number of visitors. Products instead of cultural goods, or even products understood as cultural goods; visitors as engaged customers; capital understood by finance and “human resources”; large size ‒ which covers many issues ‒ ranging from structure, and architecture; modern technologies; political influence; brand strength and promotion ‒ all these aspects resemble the corporate model of organization. They provoke reflection on the functioning of the museum as a corporation, which is the purpose of the ideally typical structure of the “corpomuseum”.
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