The article introduces the double loosening of modern ontology, which the authors recognize as a valuable but overly totalizing theoretical tool. The recognition of ontological practices (fishing and nature photography) reveals how they produce not-quite-modern localities. This bottom-up, everyday loosening inspires the authors to make a second loosening – of theoretical models geared at grasping a coherent modernity. The argument thus highlights the discontinuous, patchy, and ambiguous nature of the modern world’s duration. Key-words: ontological practices, ontological anthropology, modern ontology
{"title":"Luzowanie ontologii. O wytwarzaniu więcej-niż-ludzkich lokalności na Górnym Śląsku","authors":"K. Kopel, A. Pisarek","doi":"10.61269/jyhb7291","DOIUrl":"https://doi.org/10.61269/jyhb7291","url":null,"abstract":"The article introduces the double loosening of modern ontology, which the authors recognize as a valuable but overly totalizing theoretical tool. The recognition of ontological practices (fishing and nature photography) reveals how they produce not-quite-modern localities. This bottom-up, everyday loosening inspires the authors to make a second loosening – of theoretical models geared at grasping a coherent modernity. The argument thus highlights the discontinuous, patchy, and ambiguous nature of the modern world’s duration. Key-words: ontological practices, ontological anthropology, modern ontology","PeriodicalId":36912,"journal":{"name":"Czas Kultury","volume":"8 39","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-06-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141335041","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}
This article deals with exhibitions in house-museums. The author focuses on a phenomenon peculiar to such establishments: the ambiguous authenticity of the objects on display. The primary example is the hoof of Kasztanka exhibited in the manor house “Milusin” belonging to the complex of the Józef Piłsudski Museum in Sulejówek. Within the logic of the exhibition, the hoof is simultaneously both authentic and not. To explain this phenomenon, the author uses Tom Selwyn’s theory, especially his anthropological analysis of the category of authenticity. The second part of the article relates this issue to the controversy surrounding the striped uniform from the museum commemorating Maximilian Maria Kolbe. Key-words: phantasmal exhibits, house-museum, biographical museum, authenticity
{"title":"Paradoks Kasztanki. Fantazmatyczne eksponaty w domach-muzeach","authors":"Sara Herczyńska","doi":"10.61269/kmmy4710","DOIUrl":"https://doi.org/10.61269/kmmy4710","url":null,"abstract":"This article deals with exhibitions in house-museums. The author focuses on a phenomenon peculiar to such establishments: the ambiguous authenticity of the objects on display. The primary example is the hoof of Kasztanka exhibited in the manor house “Milusin” belonging to the complex of the Józef Piłsudski Museum in Sulejówek. Within the logic of the exhibition, the hoof is simultaneously both authentic and not. To explain this phenomenon, the author uses Tom Selwyn’s theory, especially his anthropological analysis of the category of authenticity. The second part of the article relates this issue to the controversy surrounding the striped uniform from the museum commemorating Maximilian Maria Kolbe. Key-words: phantasmal exhibits, house-museum, biographical museum, authenticity","PeriodicalId":36912,"journal":{"name":"Czas Kultury","volume":"8 48","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-06-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141335036","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}
The article presents locality in the light of Bernard Stiegler’s philosophy, placing particular emphasis on the non-spatial (non-territorial) dimension of locality, as well as on its relationship to temporality, idiomaticity, sense-making, and knowledge production. Such locality is thus more about what gives or produces place than what protects it. The concept of locality described in the article is a counterweight to discourses presenting locality as a cure for globalization and its dangers, in which locality appears as a constitutive, sustainable, harmonious, and originating place, prior to the technological exploitation of nature. Key-words: différance, gram, grammatology, Jacques Derrida, anticipation, temporality
{"title":"Już tu. Lokalność przed i ponad uprzestrzennieniem","authors":"Sara Baranzoni","doi":"10.61269/qdtq4126","DOIUrl":"https://doi.org/10.61269/qdtq4126","url":null,"abstract":"The article presents locality in the light of Bernard Stiegler’s philosophy, placing particular emphasis on the non-spatial (non-territorial) dimension of locality, as well as on its relationship to temporality, idiomaticity, sense-making, and knowledge production. Such locality is thus more about what gives or produces place than what protects it. The concept of locality described in the article is a counterweight to discourses presenting locality as a cure for globalization and its dangers, in which locality appears as a constitutive, sustainable, harmonious, and originating place, prior to the technological exploitation of nature. Key-words: différance, gram, grammatology, Jacques Derrida, anticipation, temporality","PeriodicalId":36912,"journal":{"name":"Czas Kultury","volume":"2 6","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-06-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141335239","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}
This article discusses the concept of locality in Bernard Stiegler’s work as the core of the third stage of his thought, in which the pharmacological and organological perspective is intertwined with reflections around entropy and anti-entropy on the physical-biological, informational, and techno-social levels. From this perspective, locality can be considered as a negentropic “natural-cultural” opening. Part one shows such an opening as an indicator of entropic processes at the micro, meso, and macro scales. Part two synthesizes the “pharmacological take on locality and places special emphasis on the socio-political adoption of technology. Finally, part three talks about the dialogue between Bernard Stiegler and Yuk Hui around noodiversity and technodiversity, two new concepts that allow us to see the techno-logical dimension of locality and redefine it politically. Key-words: noodiversity, technodiversity, pharmacology, symptomatology, nature-culture
{"title":"Lokalność a technika. Kiedy różnice mają znaczenie","authors":"Paolo Vignola","doi":"10.61269/revv3566","DOIUrl":"https://doi.org/10.61269/revv3566","url":null,"abstract":"This article discusses the concept of locality in Bernard Stiegler’s work as the core of the third stage of his thought, in which the pharmacological and organological perspective is intertwined with reflections around entropy and anti-entropy on the physical-biological, informational, and techno-social levels. From this perspective, locality can be considered as a negentropic “natural-cultural” opening. Part one shows such an opening as an indicator of entropic processes at the micro, meso, and macro scales. Part two synthesizes the “pharmacological take on locality and places special emphasis on the socio-political adoption of technology. Finally, part three talks about the dialogue between Bernard Stiegler and Yuk Hui around noodiversity and technodiversity, two new concepts that allow us to see the techno-logical dimension of locality and redefine it politically. Key-words: noodiversity, technodiversity, pharmacology, symptomatology, nature-culture","PeriodicalId":36912,"journal":{"name":"Czas Kultury","volume":"1 12","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-06-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141335162","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}
The author points to the presence of potential artifacts in the Earth Museum of the Polish Academy of Sciences in Warsaw: fragments of the ruins of Warsaw monuments and the bloodstain of a Warsaw insurgent imprinted in marble. She analyzes the implications of placing these objects in a geological context and what we can see in them through a non-anthropocentric interpretive stance. The author also shows how the combination of these contexts can have the potential to lead to a critical opening of narratives and an appreciation of the Other. Key-words: non-anthropocentrism, geology, debris, blood, museum, critical discourse
{"title":"Krew i kamienie. Potencjalne eksponaty Muzeum Ziemi PAN","authors":"Marta Cwalina","doi":"10.61269/tjih1529","DOIUrl":"https://doi.org/10.61269/tjih1529","url":null,"abstract":"The author points to the presence of potential artifacts in the Earth Museum of the Polish Academy of Sciences in Warsaw: fragments of the ruins of Warsaw monuments and the bloodstain of a Warsaw insurgent imprinted in marble. She analyzes the implications of placing these objects in a geological context and what we can see in them through a non-anthropocentric interpretive stance. The author also shows how the combination of these contexts can have the potential to lead to a critical opening of narratives and an appreciation of the Other. Key-words: non-anthropocentrism, geology, debris, blood, museum, critical discourse","PeriodicalId":36912,"journal":{"name":"Czas Kultury","volume":"1 8","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-06-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141335274","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}
The proposed article aims to analyze artistic practices located in everyday life and localities where art opens a venue for expressing climate narratives and affords spaces of support in the experience of climate grief by women and girls. In the analyzed case, artivistic practices effectively alleviate the symptoms of climate grief and help to come to terms with the loss of a predictable and normal world. Artivistic practices are analyzed within the methodological frame of care pedagogy and its categories: care, generation, emancipatory dialogue, and psycho-educational practices. Artivism as an artistic-therapeutic practice breaks the “culture of silence,” opens the space for climate narratives as a socially and personally significant issue, for climate emotions and comfort in the experience of losing the world. The analyzed artistic practices are carried out in a specific social and biographical context. They are intertwined with the relationships of care taken by women over women. In caring relationships, artivism also becomes a practice of caring for others and caring for oneself. Key-words: women, artivism, refugees, climate change, solastalgia
{"title":"Łagodzenie smutku klimatycznego. Tworzenie solastalgicznej przestrzeni międzygeneracyjnej w praktykach kuratoringu naiwnego","authors":"Lucyna Kopciewicz","doi":"10.61269/ctfh2443","DOIUrl":"https://doi.org/10.61269/ctfh2443","url":null,"abstract":"The proposed article aims to analyze artistic practices located in everyday life and localities where art opens a venue for expressing climate narratives and affords spaces of support in the experience of climate grief by women and girls. In the analyzed case, artivistic practices effectively alleviate the symptoms of climate grief and help to come to terms with the loss of a predictable and normal world. Artivistic practices are analyzed within the methodological frame of care pedagogy and its categories: care, generation, emancipatory dialogue, and psycho-educational practices. Artivism as an artistic-therapeutic practice breaks the “culture of silence,” opens the space for climate narratives as a socially and personally significant issue, for climate emotions and comfort in the experience of losing the world. The analyzed artistic practices are carried out in a specific social and biographical context. They are intertwined with the relationships of care taken by women over women. In caring relationships, artivism also becomes a practice of caring for others and caring for oneself. Key-words: women, artivism, refugees, climate change, solastalgia","PeriodicalId":36912,"journal":{"name":"Czas Kultury","volume":"10 6","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-03-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140361311","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}
The purpose of this article is to analyze Maja Staśko’s book Polski hejt [Polish Hate] as an example of artivism (situated on the borderline between art and activism). The text shows how Staśko reveals the scale and nature of the hate she encounters every day on the internet, and evokes in the reader an affective reaction towards the haters. The article pays particular attention to the kind of amorous investment that the haters display toward the subject being hated on – this becomes the main reason for Staśko’s production of the affect of revulsion and labeling her haters with it. Key-words: Maja Staśko, hate, artivism, feminism
{"title":"Artywistka i hejterzy","authors":"Katarzyna Waligóra","doi":"10.61269/fkpz7738","DOIUrl":"https://doi.org/10.61269/fkpz7738","url":null,"abstract":"The purpose of this article is to analyze Maja Staśko’s book Polski hejt [Polish Hate] as an example of artivism (situated on the borderline between art and activism). The text shows how Staśko reveals the scale and nature of the hate she encounters every day on the internet, and evokes in the reader an affective reaction towards the haters. The article pays particular attention to the kind of amorous investment that the haters display toward the subject being hated on – this becomes the main reason for Staśko’s production of the affect of revulsion and labeling her haters with it. Key-words: Maja Staśko, hate, artivism, feminism","PeriodicalId":36912,"journal":{"name":"Czas Kultury","volume":"6 8","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-03-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140359341","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}
This article is wrapped around the notion of artivism and social art revealing the variety of phenomena and philosophies that fall within the field of these practices. The author looks at current trends in social art and discusses them both in relation to the broader, current context of the field of art and from the perspective of potential future developments. She cites selected examples of activities that combine art, activism, education, and work with the community and, analyzing them, points out their main goals and the demands for change they bring with them. In doing so, she seeks to name the most relevant and vital topics and social issues – both those already being addressed and explored by engaged art, and those that appear to be an important direction for it to head in. Key-words: community art, participation, artivism, democratic turn, audiences, art with community
{"title":"Nadzieja, niezgoda, solidarność. Sztuka społecznie zaangażowana na czasy kryzysów","authors":"Dorota Ogrodzka","doi":"10.61269/mqrj4297","DOIUrl":"https://doi.org/10.61269/mqrj4297","url":null,"abstract":"This article is wrapped around the notion of artivism and social art revealing the variety of phenomena and philosophies that fall within the field of these practices. The author looks at current trends in social art and discusses them both in relation to the broader, current context of the field of art and from the perspective of potential future developments. She cites selected examples of activities that combine art, activism, education, and work with the community and, analyzing them, points out their main goals and the demands for change they bring with them. In doing so, she seeks to name the most relevant and vital topics and social issues – both those already being addressed and explored by engaged art, and those that appear to be an important direction for it to head in. Key-words: community art, participation, artivism, democratic turn, audiences, art with community","PeriodicalId":36912,"journal":{"name":"Czas Kultury","volume":"70 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-03-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140360101","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}
The “Sunflower” Solidarity Community Center has been operating as part of the Museum of Modern Art in Warsaw since the outbreak of the full-scale Russian invasion of Ukraine in February 2022. The author treats this activist-artist initiative as a litmus test of the possibilities for activist involvement in Polish cultural institutions. Referring to examples of similar activities from recent years and theoretical studies, she analyzes it in terms of questions about activism in the “safe” environment of a public institution, the stability and possibility of long-term sustainment of such cooperation, and the tensions associated with the institutionalization of the activist impulse. The author uses collected interviews with members of the “Sunflower” SCC collective and people working at the Museum of Modern Art in Warsaw, as well as participant observation, to answer questions, such as whether art institutions are able to support activist initiatives without taking away their potential and preying on the efforts of activist individuals; whether they can be a place for what Sara Ahmed describes as “queer uses ,” and what shape “solidarity museology” or a “museum of the common good” can take. Key-words: “Sunflower,” Ukraine, museum of the common good, solidarity museology, queer uses
{"title":"Muzeum dobra wspólnego i dziwne użytki: Solidarny Dom Kultury „Słonecznik”","authors":"Bogna Stefańska","doi":"10.61269/mtoq8407","DOIUrl":"https://doi.org/10.61269/mtoq8407","url":null,"abstract":"The “Sunflower” Solidarity Community Center has been operating as part of the Museum of Modern Art in Warsaw since the outbreak of the full-scale Russian invasion of Ukraine in February 2022. The author treats this activist-artist initiative as a litmus test of the possibilities for activist involvement in Polish cultural institutions. Referring to examples of similar activities from recent years and theoretical studies, she analyzes it in terms of questions about activism in the “safe” environment of a public institution, the stability and possibility of long-term sustainment of such cooperation, and the tensions associated with the institutionalization of the activist impulse. The author uses collected interviews with members of the “Sunflower” SCC collective and people working at the Museum of Modern Art in Warsaw, as well as participant observation, to answer questions, such as whether art institutions are able to support activist initiatives without taking away their potential and preying on the efforts of activist individuals; whether they can be a place for what Sara Ahmed describes as “queer uses ,” and what shape “solidarity museology” or a “museum of the common good” can take. Key-words: “Sunflower,” Ukraine, museum of the common good, solidarity museology, queer uses","PeriodicalId":36912,"journal":{"name":"Czas Kultury","volume":"31 24","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-03-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140358166","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}
The subject of this article is dancing at protests as a form of autonomic nervous system regulation and a way of expressing emotions. Selected results of a survey and interview conducted among people (n=42) dancing at the Women’s Strike demonstration in Warsaw on March 8, 2021 are presented. The protest described was one of many against the October 22, 2020 Constitutional Court ruling declaring abortion for severe fetal defect unconstitutional. In addition to discussing the results of the survey, the article also evaluates the content of respondents’ answers using research tools in the form of S.W. Porges’ polyvagal theory and the regulation zones developed from it by a group of researchers, including D.J. Siegel, as well as the concept of regulating emotions through movement. Dancing at a protest constitutes a zone of regulation, thanks to the activation of the social engagement system in the dancers. It provides protest participants with the opportunity for both self-regulation and co-regulation, producing a sense of safety. It leads to building social resilience, and by establishing a relationship with the body, it is also a way of expressing emotions. Furthermore, it has a community-building function, integrating those who dance and creating a social bond. Key-words: autonomic nervous system, vagus nerve, emotion regulation through movement, regulation zones, dancing at street protests, polyvagal theory, social engagement
{"title":"Taniec na manifestacjach ulicznych jako forma regulacji autonomicznego układu nerwowego oraz sposób wyrażania emocji","authors":"M. Pawluk","doi":"10.61269/hcmt9789","DOIUrl":"https://doi.org/10.61269/hcmt9789","url":null,"abstract":"The subject of this article is dancing at protests as a form of autonomic nervous system regulation and a way of expressing emotions. Selected results of a survey and interview conducted among people (n=42) dancing at the Women’s Strike demonstration in Warsaw on March 8, 2021 are presented. The protest described was one of many against the October 22, 2020 Constitutional Court ruling declaring abortion for severe fetal defect unconstitutional. In addition to discussing the results of the survey, the article also evaluates the content of respondents’ answers using research tools in the form of S.W. Porges’ polyvagal theory and the regulation zones developed from it by a group of researchers, including D.J. Siegel, as well as the concept of regulating emotions through movement. Dancing at a protest constitutes a zone of regulation, thanks to the activation of the social engagement system in the dancers. It provides protest participants with the opportunity for both self-regulation and co-regulation, producing a sense of safety. It leads to building social resilience, and by establishing a relationship with the body, it is also a way of expressing emotions. Furthermore, it has a community-building function, integrating those who dance and creating a social bond. Key-words: autonomic nervous system, vagus nerve, emotion regulation through movement, regulation zones, dancing at street protests, polyvagal theory, social engagement","PeriodicalId":36912,"journal":{"name":"Czas Kultury","volume":"118 7","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-03-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140359937","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}
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