Pub Date : 2019-09-01DOI: 10.5604/01.3001.0012.9887
Karol Maliszewski
The author of this article analyzes the poetry of Bogusław Kierc, a poet from Wrocław, pointing to the separateness and originality of this artist. Originality is revealed in risky and bold themes and a form that is a combination of something avant-garde with something very traditional. The language used by the poet, concerning ultimate and mystical problems, captivates with harmonious, musical finesse. Pictures in this poetry are seen, heard and experienced. The hero of these poems sees in his somatic and erotic experiences the source of potential mysticism, the possibility of approaching transcendence.
{"title":"\"So that finally it is all about life in poetry\". Lyrics by Bogusław Kierc","authors":"Karol Maliszewski","doi":"10.5604/01.3001.0012.9887","DOIUrl":"https://doi.org/10.5604/01.3001.0012.9887","url":null,"abstract":"The author of this article analyzes the poetry of Bogusław Kierc, a poet\u0000from Wrocław, pointing to the separateness and originality of this artist.\u0000Originality is revealed in risky and bold themes and a form that is a combination\u0000of something avant-garde with something very traditional. The\u0000language used by the poet, concerning ultimate and mystical problems,\u0000captivates with harmonious, musical finesse. Pictures in this poetry are\u0000seen, heard and experienced. The hero of these poems sees in his somatic\u0000and erotic experiences the source of potential mysticism, the possibility\u0000of approaching transcendence.\u0000\u0000","PeriodicalId":431350,"journal":{"name":"DYSKURS. PISMO NAUKOWO-ARTYSTYCZNE ASP WE WROCŁAWIU","volume":"36 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127025026","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 : 2019-09-01DOI: 10.5604/01.3001.0012.9857
A. Szuba
The dynamic development of the Internet and the constant search for new ways of reaching the user bring about the availability of materials that were previously unattainable. Performance art, thanks to its special openness to new methods of expression, reaches the mass media, while showing the individual’s psyche and character of the author’s work. The set of gestures, their sequence and narration are the basis for creating performance art, understood not only as a clear alternative to conventional art, but also characterized by unpredictability, in which the viewer is not prepared for the way messages are received. Undoubtedly, social platforms create an illusion. “The influencer” can reach thousands of viewers and gain fame without leaving home. Without a doubt, social media have created a new entry point to the global art scene, opening way to a wide spectrum of diverse artistic activities. The method of recording, the non-cutaneous nature of the phenomenon makes it possible to own performative actions. The context of a performance is particularly important. It affects what can be universally recognized as art. The question arises (since we distinguish two values of the performative action: in the art gallery and on the street), what frames on the social media allow the audience to interpret it as art, and assuming that it is an art, does it change the perception of a given phenomenon?
{"title":"Performatywne alter ego","authors":"A. Szuba","doi":"10.5604/01.3001.0012.9857","DOIUrl":"https://doi.org/10.5604/01.3001.0012.9857","url":null,"abstract":"The dynamic development of the Internet and the constant search for new ways of reaching the user bring about the availability of materials that were previously unattainable. Performance art, thanks to its special openness to new methods of expression, reaches the mass media, while showing the individual’s psyche and character of the author’s work. The set of gestures, their sequence and narration are the basis for creating performance art, understood not only as a clear alternative to conventional art, but also characterized by unpredictability, in which the viewer is not prepared for the way messages are received. Undoubtedly, social platforms create an illusion. “The influencer” can reach thousands of viewers and gain fame without leaving home. Without a doubt, social media have created a new entry point to the global art scene, opening way to a wide spectrum of diverse artistic activities. The method of recording, the non-cutaneous nature of the phenomenon makes it possible to own performative actions. The context of a performance is particularly important. It affects what can be universally recognized as art. The question arises (since we distinguish two values of the performative action: in the art gallery and on the street), what frames on the social media allow the audience to interpret it as art, and assuming that it is an art, does it change the perception of a given phenomenon?","PeriodicalId":431350,"journal":{"name":"DYSKURS. PISMO NAUKOWO-ARTYSTYCZNE ASP WE WROCŁAWIU","volume":"102 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114710923","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 : 2019-09-01DOI: 10.5604/01.3001.0012.9870
Władysław Solski Zbigniew
From its very beginning the development of performatics was influenced by two kinds of performance activities: performance art and theatre. In Poland theatrologists became proponents of performatics. The translation of Schechner’s book about performance studies was used to homogenise Polish performative vocabulary: the translator reached for the polonized word “performans” and created a new term: “performatyka”. Thanks to Schechner’s general definition – performances are actions, while the subject of performatics are behaviours – the concept of “performans” proved to be very useful because the Polish language lacks such “transparent tool of description”. When in the U.S.A. the researchers dealing with performance studies radically broadened the area of performative activities, their representative in Poland, Jacek Wachowski, became involved in the process of limiting the notion of “performans” and theatre’s influence on performatics. This article is devoted to his innovative proposal.
{"title":"Obrus, o definicji performansu","authors":"Władysław Solski Zbigniew","doi":"10.5604/01.3001.0012.9870","DOIUrl":"https://doi.org/10.5604/01.3001.0012.9870","url":null,"abstract":"From its very beginning the development of performatics was influenced by two kinds of performance activities: performance art and theatre. In Poland theatrologists became proponents of performatics. The translation of Schechner’s book about performance studies was used to homogenise Polish performative vocabulary: the translator reached for the polonized word “performans” and created a new term: “performatyka”. Thanks to Schechner’s general definition – performances are actions, while the subject of performatics are behaviours – the concept of “performans” proved to be very useful because the Polish language lacks such “transparent tool of description”. When in the U.S.A. the researchers dealing with performance studies radically broadened the area of performative activities, their representative in Poland, Jacek Wachowski, became involved in the process of limiting the notion of “performans” and theatre’s influence on performatics. This article is devoted to his innovative proposal.","PeriodicalId":431350,"journal":{"name":"DYSKURS. PISMO NAUKOWO-ARTYSTYCZNE ASP WE WROCŁAWIU","volume":"7 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124934359","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 : 2019-09-01DOI: 10.5604/01.3001.0012.9868
Marek Śnieciński
An exceptionally interesting case of performance in contemporary art are artworks, in which artists do not present a performance itself but rather its effects. For these artists a performance is somehow included in the tissue of the artwork; it was indispensable for the artwork to be created, yet it is hidden so the viewer needs to make an effort to reconstruct this performative character of the artwork and understand (become aware of) the resulting consequences. The text analyses works by Akira Komoto (the Seeing series), the realization by Lech Twardowski (Generator Bez Maszyn), three series of works by Urszula Wilk (Niewysłane listy) as well as selected sculptures by Shen Shaomin (the Bonsai series). Although in these works we deal with various forms of performativeness, their joint feature is the fact that in each of them the viewer must discover and reconstruct the hidden performance in his/her memory.
{"title":"Dzieło jako zdarzenie - Performans rekonstruowany w wyobraźni","authors":"Marek Śnieciński","doi":"10.5604/01.3001.0012.9868","DOIUrl":"https://doi.org/10.5604/01.3001.0012.9868","url":null,"abstract":"An exceptionally interesting case of performance in contemporary art are\u0000artworks, in which artists do not present a performance itself but rather\u0000its effects. For these artists a performance is somehow included in the\u0000tissue of the artwork; it was indispensable for the artwork to be created,\u0000yet it is hidden so the viewer needs to make an effort to reconstruct this\u0000performative character of the artwork and understand (become aware\u0000of) the resulting consequences. The text analyses works by Akira Komoto\u0000(the Seeing series), the realization by Lech Twardowski (Generator Bez\u0000Maszyn), three series of works by Urszula Wilk (Niewysłane listy) as well\u0000as selected sculptures by Shen Shaomin (the Bonsai series). Although in\u0000these works we deal with various forms of performativeness, their joint\u0000feature is the fact that in each of them the viewer must discover and reconstruct\u0000the hidden performance in his/her memory.\u0000\u0000","PeriodicalId":431350,"journal":{"name":"DYSKURS. PISMO NAUKOWO-ARTYSTYCZNE ASP WE WROCŁAWIU","volume":"80 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123548361","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 : 2019-09-01DOI: 10.5604/01.3001.0012.9883
Błażej Filanowski
The Łódź underground had emerged from the punk aesthetic, yet it absorbed successive genres surprisingly quickly: hardcore, industrial, later also, among others, techno and rave. It utilized diverse forms of expression: most of all sound, but also projections, site-specific actions, graphic design or fashion. The article, drawing from the memories and output of several most important participants of the movement, poses the question, in what way the underground so easily absorbed new genres and aesthetic patterns on the one hand, while on the other – it remained so strongly separate. The separation is revealed in the tension between experiencing new, experimenting musical and aesthetic trends, and the overwhelming everyday life of the post-industrial city. This tension was the reason why the underground movement was so intensely performative in its character, in which new knowledge and new inspirations were mostly created in action.
{"title":"Finding and losing a place. Łódź underground towards experience of everyday life of a city","authors":"Błażej Filanowski","doi":"10.5604/01.3001.0012.9883","DOIUrl":"https://doi.org/10.5604/01.3001.0012.9883","url":null,"abstract":"The Łódź underground had emerged from the punk aesthetic, yet it absorbed\u0000successive genres surprisingly quickly: hardcore, industrial, later\u0000also, among others, techno and rave. It utilized diverse forms of expression:\u0000most of all sound, but also projections, site-specific actions, graphic\u0000design or fashion. The article, drawing from the memories and output of\u0000several most important participants of the movement, poses the question,\u0000in what way the underground so easily absorbed new genres and\u0000aesthetic patterns on the one hand, while on the other – it remained so\u0000strongly separate.\u0000The separation is revealed in the tension between experiencing new,\u0000experimenting musical and aesthetic trends, and the overwhelming everyday\u0000life of the post-industrial city. This tension was the reason why the\u0000underground movement was so intensely performative in its character, in\u0000which new knowledge and new inspirations were mostly created in action.\u0000\u0000","PeriodicalId":431350,"journal":{"name":"DYSKURS. PISMO NAUKOWO-ARTYSTYCZNE ASP WE WROCŁAWIU","volume":"20 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129323246","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 : 2019-09-01DOI: 10.5604/01.3001.0012.9880
Á. Szuba
The dynamic development of the Internet and the constant search for new ways of reaching the user bring about the availability of materials that were previously unattainable. Performance art, thanks to its special openness to new methods of expression, reaches the mass media, while showing the individual’s psyche and character of the author’s work. The set of gestures, their sequence and narration are the basis for creating performance art, understood not only as a clear alternative to conventional art, but also characterized by unpredictability, in which the viewer is not prepared for the way messages are received. Undoubtedly, social platforms create an illusion. “The influencer” can reach thousands of viewers and gain fame without leaving home. Without a doubt, social media have created a new entry point to the global art scene, opening way to a wide spectrum of diverse artistic activities. The method of recording, the non-cutaneous nature of the phenomenon makes it possible to own performative actions. The context of a performance is particularly important. It affects what can be universally recognized as art. The question arises (since we distinguish two values of the performative action: in the art gallery and on the street), what frames on the social media allow the audience to interpret it as art, and assuming that it is an art, does it change the perception of a given phenomenon?
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Pub Date : 2019-09-01DOI: 10.5604/01.3001.0012.9869
Zbigniew Tomaszczuk
The text concerns the performativeness of the process of making photographs. It discusses examples of experiencing photography through such medium as the photographer’s body. The relations between the photographer and the technological changes of photography have been analysed. The main subject is the process of making photographs concluded with a reflection on the relation between the viewer and the large format photographic artwork.
{"title":"Fotografia jako przedłużenie ciała","authors":"Zbigniew Tomaszczuk","doi":"10.5604/01.3001.0012.9869","DOIUrl":"https://doi.org/10.5604/01.3001.0012.9869","url":null,"abstract":"The text concerns the performativeness of the process of making photographs.\u0000It discusses examples of experiencing photography through such\u0000medium as the photographer’s body. The relations between the photographer\u0000and the technological changes of photography have been analysed.\u0000The main subject is the process of making photographs concluded with\u0000a reflection on the relation between the viewer and the large format photographic\u0000artwork.\u0000\u0000","PeriodicalId":431350,"journal":{"name":"DYSKURS. PISMO NAUKOWO-ARTYSTYCZNE ASP WE WROCŁAWIU","volume":"NS29 8 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116552156","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 : 2019-09-01DOI: 10.5604/01.3001.0012.9859
Anna Dzierżyc-Horniak
In her The Transformative Power of Performance. A New Aesthetics Erika Fischer-Lichte argues that everything which happens in a performance can be described as a repeated enchanting of the world and transformation of all the participants of the event. The text is an attempt to consider the videoinstallation East Side Story by Igor Grubić exactly from this perspective. It discusses key concept categories utilized by the German theatre researcher, and at the same time undertakes an attempt to fit them into the installation of the Chroatian artist. The analysis points out to the bodily co-presence of the actors and the viewers, the performative production of materiality of the performance and the way in which the performance becomes an event. Questions were asked about a performance live as opposed to a mediated performance.
{"title":"Zaczarowanie świata na przykładzie East side story Igora Grubića. Lekcja estetyki performatywności","authors":"Anna Dzierżyc-Horniak","doi":"10.5604/01.3001.0012.9859","DOIUrl":"https://doi.org/10.5604/01.3001.0012.9859","url":null,"abstract":"In her The Transformative Power of Performance. A New Aesthetics Erika\u0000Fischer-Lichte argues that everything which happens in a performance\u0000can be described as a repeated enchanting of the world and transformation\u0000of all the participants of the event. The text is an attempt to consider\u0000the videoinstallation East Side Story by Igor Grubić exactly from this\u0000perspective. It discusses key concept categories utilized by the German\u0000theatre researcher, and at the same time undertakes an attempt to fit\u0000them into the installation of the Chroatian artist. The analysis points out\u0000to the bodily co-presence of the actors and the viewers, the performative\u0000production of materiality of the performance and the way in which the\u0000performance becomes an event. Questions were asked about a performance\u0000live as opposed to a mediated performance.\u0000\u0000","PeriodicalId":431350,"journal":{"name":"DYSKURS. PISMO NAUKOWO-ARTYSTYCZNE ASP WE WROCŁAWIU","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131090999","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 : 2019-09-01DOI: 10.5604/01.3001.0012.9889
Z. W. Solski
From its very beginning the development of performatics was influenced by two kinds of performance activities: performance art and theatre. In Poland theatrologists became proponents of performatics. The translation of Schechner’s book about performance studies was used to homogenise Polish performative vocabulary: the translator reached for the polonized word “performans” and created a new term: “performatyka”. Thanks to Schechner’s general definition – performances are actions, while the subject of performatics are behaviours – the concept of “performans” proved to be very useful because the Polish language lacks such “transparent tool of description”. When in the U.S.A. the researchers dealing with performance studies radically broadened the area of performative activities, their representative in Poland, Jacek Wachowski, became involved in the process of limiting the notion of “performans” and theatre’s influence on performatics. This article is devoted to his innovative proposal.
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Pub Date : 2019-09-01DOI: 10.5604/01.3001.0012.9926
Á. Szuba
The dynamic development of the Internet and the constant search for new ways of reaching the user bring about the availability of materials that were previously unattainable. Performance art, thanks to its special openness to new methods of expression, reaches the mass media, while showing the individual’s psyche and character of the author’s work. The set of gestures, their sequence and narration are the basis for creating performance art, understood not only as a clear alternative to conventional art, but also characterized by unpredictability, in which the viewer is not prepared for the way messages are received. Undoubtedly, social platforms create an illusion. “The influencer” can reach thousands of viewers and gain fame without leaving home. Without a doubt, social media have created a new entry point to the global art scene, opening way to a wide spectrum of diverse artistic activities. The method of recording, the non-cutaneous nature of the phenomenon makes it possible to own performative actions. The context of a performance is particularly important. It affects what can be universally recognized as art. The question arises (since we distinguish two values of the performative action: in the art gallery and on the street), what frames on the social media allow the audience to interpret it as art, and assuming that it is an art, does it change the perception of a given phenomenon?
{"title":"PERFORMATIVE PERFORMATIVE","authors":"Á. Szuba","doi":"10.5604/01.3001.0012.9926","DOIUrl":"https://doi.org/10.5604/01.3001.0012.9926","url":null,"abstract":"The dynamic development of the Internet and the constant search for\u0000new ways of reaching the user bring about the availability of materials\u0000that were previously unattainable. Performance art, thanks to its special\u0000openness to new methods of expression, reaches the mass media, while\u0000showing the individual’s psyche and character of the author’s work. The\u0000set of gestures, their sequence and narration are the basis for creating\u0000performance art, understood not only as a clear alternative to conventional\u0000art, but also characterized by unpredictability, in which the viewer\u0000is not prepared for the way messages are received. Undoubtedly, social\u0000platforms create an illusion. “The influencer” can reach thousands of\u0000viewers and gain fame without leaving home. Without a doubt, social\u0000media have created a new entry point to the global art scene, opening\u0000way to a wide spectrum of diverse artistic activities. The method of recording,\u0000the non-cutaneous nature of the phenomenon makes it possible\u0000to own performative actions. The context of a performance is particularly\u0000important. It affects what can be universally recognized as art. The question\u0000arises (since we distinguish two values of the performative action: in\u0000the art gallery and on the street), what frames on the social media allow\u0000the audience to interpret it as art, and assuming that it is an art, does it\u0000change the perception of a given phenomenon?\u0000\u0000","PeriodicalId":431350,"journal":{"name":"DYSKURS. PISMO NAUKOWO-ARTYSTYCZNE ASP WE WROCŁAWIU","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130655592","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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