Environmental ethics deals with discussing the ethical framework of environmental values, their organization and regulation, and their ethical premises. One of the main cul-de-sacs that environmental ethics has is its anthropocentrism that can be observed through its diverse ethical approaches—even ecocentric ones, developed as non-anthropocentric egalitarian alternatives. This article aims to question the exclusiveness of Anthropos, the practices, values, and discourses that determine the scope and course of environmental ethics, and the exclusion of nonhuman animals or more-than human beings from its focus. It first examines the main approaches in environmental ethics (land ethic, deep ecology, social ecology, and postmodern environmental ethics)—biocentric, ecocentric, anthropocentric, socialist, postmodern—and reveals that they are but limited to the human perspective, deeply rooted in human exceptionalism. All of these approaches provide us with a critical frame that still needs to be deconstructed so that they will not project an anthropocentric orientation. This article posits that the compass of environmental ethics, recently aligning itself to embrace the more-than-human world in its ecocentric attitude, still needs to be revisited for its discourses of exclusion. At this point, new materialism functions as a prolific theoretical site as it diminishes the classical boundaries between human and animal or subject and object that anthropocentric environmental ethics relies on. With such concepts as “agential realism” (Barad), “transcorporeal ethics” (Alaimo), “vibrant matter” (Bennett), or “storied matter” (Oppermann and Iovino) the new materialist view of the human and the nonhuman evolves to end set dualities in the discourses of environmental ethics. This article concludes that the new materialist theory destabilizes any anthropocentric position in environmental ethics and includes more-than-human beings in its ethical focus, discarding any dualities that serve anthropocentrism or human exceptionalism.
{"title":"Exploring Environmental Ethics: From Exclusion of More-than-Human Beings Towards a New Materialist Paradigm","authors":"Gülşah Göçmen","doi":"10.26913/ava2202313","DOIUrl":"https://doi.org/10.26913/ava2202313","url":null,"abstract":"Environmental ethics deals with discussing the ethical framework of environmental values, their organization and regulation, and their ethical premises. One of the main cul-de-sacs that environmental ethics has is its anthropocentrism that can be observed through its diverse ethical approaches—even ecocentric ones, developed as non-anthropocentric egalitarian alternatives. This article aims to question the exclusiveness of Anthropos, the practices, values, and discourses that determine the scope and course of environmental ethics, and the exclusion of nonhuman animals or more-than human beings from its focus. It first examines the main approaches in environmental ethics (land ethic, deep ecology, social ecology, and postmodern environmental ethics)—biocentric, ecocentric, anthropocentric, socialist, postmodern—and reveals that they are but limited to the human perspective, deeply rooted in human exceptionalism. All of these approaches provide us with a critical frame that still needs to be deconstructed so that they will not project an anthropocentric orientation. This article posits that the compass of environmental ethics, recently aligning itself to embrace the more-than-human world in its ecocentric attitude, still needs to be revisited for its discourses of exclusion. At this point, new materialism functions as a prolific theoretical site as it diminishes the classical boundaries between human and animal or subject and object that anthropocentric environmental ethics relies on. With such concepts as “agential realism” (Barad), “transcorporeal ethics” (Alaimo), “vibrant matter” (Bennett), or “storied matter” (Oppermann and Iovino) the new materialist view of the human and the nonhuman evolves to end set dualities in the discourses of environmental ethics. This article concludes that the new materialist theory destabilizes any anthropocentric position in environmental ethics and includes more-than-human beings in its ethical focus, discarding any dualities that serve anthropocentrism or human exceptionalism.","PeriodicalId":43453,"journal":{"name":"Avant","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135728537","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}
Although there have been many efforts in the last decade to reconcile the humanities and the information sciences, they have not radically changed the research standards prevailing in most humanistic departments. Against all appearances, the abrupt opening to quantitative methods in the digital humanities still has the character of a minority avant-garde movement. The article looks at the scientometric tradition, largely forgotten by the humanities, which may prove to be another interface bringing the two academic cultures back together. An account of scientometric networks highlights the advantages and disadvantages of this orientation. The broader implications regarding the use of visual networks in the humanities are framed by the category of prostheticity, which aims to encapsulate their ambivalent status as both substitutes and cognitive enhancers.
{"title":"The Prostheticity of the Network. Humanities and Scientometrically-Born Cyborgs","authors":"Bartosz Hamarowski","doi":"10.26913/ava1202311","DOIUrl":"https://doi.org/10.26913/ava1202311","url":null,"abstract":"Although there have been many efforts in the last decade to reconcile the humanities and the information sciences, they have not radically changed the research standards prevailing in most humanistic departments. Against all appearances, the abrupt opening to quantitative methods in the digital humanities still has the character of a minority avant-garde movement. The article looks at the scientometric tradition, largely forgotten by the humanities, which may prove to be another interface bringing the two academic cultures back together. An account of scientometric networks highlights the advantages and disadvantages of this orientation. The broader implications regarding the use of visual networks in the humanities are framed by the category of prostheticity, which aims to encapsulate their ambivalent status as both substitutes and cognitive enhancers.","PeriodicalId":43453,"journal":{"name":"Avant","volume":"142 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-09-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75197711","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}
Contemporary development of research methods and tools is often conducive to ambitious art studies, in which the research methodology and study protocol are the result of negotiations between creative and research strategies. The article discusses the key sources, possibilities, and threats of interdisciplinary projects often referred to as practice-as-research. The following comparison of the orders of the scientific methodology and the artistic convention allows one to show the similarities and potential points of contact between science and art, which are independent of the different values and methods of evaluation in both of these areas. The research-based practice model by Pil Hansen and Bruce Barton is also presented as a solution that takes these issues into account. It is also used to present the project of Interdisciplinary Center for New Technologies of the Nicolaus Copernicus University in Toruń and the Art & Science Research Foundation om—organisms and machines in culture (FUNom) the project "Neurophysiology of the Artist in Performance", which is a bold example of the transdisciplinary activities of scientists and researchers. Its content is analyzed through the reports of artists, researchers, and participants taking part in public presentations of the project.
{"title":"Difficulties in merging methodological demands and artistic conventions—\"Artist's Neurophysiology in Performance\" project case","authors":"Tomasz Ciesielski","doi":"10.26913/ava1202312","DOIUrl":"https://doi.org/10.26913/ava1202312","url":null,"abstract":"Contemporary development of research methods and tools is often conducive to ambitious art studies, in which the research methodology and study protocol are the result of negotiations between creative and research strategies. The article discusses the key sources, possibilities, and threats of interdisciplinary projects often referred to as practice-as-research. The following comparison of the orders of the scientific methodology and the artistic convention allows one to show the similarities and potential points of contact between science and art, which are independent of the different values and methods of evaluation in both of these areas. The research-based practice model by Pil Hansen and Bruce Barton is also presented as a solution that takes these issues into account. It is also used to present the project of Interdisciplinary Center for New Technologies of the Nicolaus Copernicus University in Toruń and the Art & Science Research Foundation om—organisms and machines in culture (FUNom) the project \"Neurophysiology of the Artist in Performance\", which is a bold example of the transdisciplinary activities of scientists and researchers. Its content is analyzed through the reports of artists, researchers, and participants taking part in public presentations of the project.","PeriodicalId":43453,"journal":{"name":"Avant","volume":"38 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-09-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78354306","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 critically reviews the content and specific chapters of the Handbook of Embodied Cognition and Sport Psychology, focusing on the importance of imagination and creativity within the cognitive science of sport. Emphasis is placed on the concept of motor imagery, which plays a central role in enhancing athlete performance. In addition, the following section explores the topic of measuring creativity in a way that is appropriate to the specific discipline, while also taking into account its enactive and embodied nature. This understanding allows for a more comprehensive exploration and cultivation of creativity.
{"title":"Embodied Cognition and Imagination in Sport. A Review of the Handbook of Embodied Cognition and Sport Psychology","authors":"Agnieszka Jaworska","doi":"10.26913/avant.202207","DOIUrl":"https://doi.org/10.26913/avant.202207","url":null,"abstract":"The author critically reviews the content and specific chapters of the Handbook of Embodied Cognition and Sport Psychology, focusing on the importance of imagination and creativity within the cognitive science of sport. Emphasis is placed on the concept of motor imagery, which plays a central role in enhancing athlete performance. In addition, the following section explores the topic of measuring creativity in a way that is appropriate to the specific discipline, while also taking into account its enactive and embodied nature. This understanding allows for a more comprehensive exploration and cultivation of creativity.","PeriodicalId":43453,"journal":{"name":"Avant","volume":"83 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-09-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90914876","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}
In this poster I compare two types of visualization that can be distinguished by the role of the viewer. In the first, which I call “closed visualization,” interpretation is seen as a decoding of meanings already set by the author. The other—“open visualization”—sees the viewer as an active co-creator of meanings. In its processual character, open visualization elicits the critical potential of the imagination and is open to new contexts and interpretations. As such, open visualization democratizes the production of knowledge by enabling the critical analysis of the spectator. Instead of the hegemonic production of discourse typical of closed visualization, it introduces a “diagonal perspectivism” that allows problems to be seen from differentiated perspectives. As examples of the mentioned models of visualization I will analyze two projects: Neil Halloran’s The Shadow Peace: The Nuclear Threat and Aby Warburg’s Mnemosyne Atlas.
{"title":"„Wizualizacja otwarta” jako narzędzie demokratyzacji wiedzy","authors":"Marta Maliszewska","doi":"10.26913/ava1202308","DOIUrl":"https://doi.org/10.26913/ava1202308","url":null,"abstract":"In this poster I compare two types of visualization that can be distinguished by the role of the viewer. In the first, which I call “closed visualization,” interpretation is seen as a decoding of meanings already set by the author. The other—“open visualization”—sees the viewer as an active co-creator of meanings. In its processual character, open visualization elicits the critical potential of the imagination and is open to new contexts and interpretations. As such, open visualization democratizes the production of knowledge by enabling the critical analysis of the spectator. Instead of the hegemonic production of discourse typical of closed visualization, it introduces a “diagonal perspectivism” that allows problems to be seen from differentiated perspectives. As examples of the mentioned models of visualization I will analyze two projects: Neil Halloran’s The Shadow Peace: The Nuclear Threat and Aby Warburg’s Mnemosyne Atlas.","PeriodicalId":43453,"journal":{"name":"Avant","volume":"150 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-08-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75771310","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 : 2023-08-28DOI: 10.26913/avant.2020.03.20
Jacek Gądecki, Łukasz Afeltowicz, Ilona Morawska, Karolina Anielska
The paper is an introduction to the anthropology of infrastructures. We define how infrastructure is understood on the grounds of anthropology and science and technology studies. We show what is the significance of various infrastructures for the functioning of modern and late societies. The text discusses extensively the methodological challenges of studying infrastructures. We not only explain why analyzing infrastructures is difficult but also discuss several methodological tricks we can resort to when trying to uncover infrastructures. We elaborate the methodological guidelines on the margins of two research projects. The first dealt with social aspects of epidemics, and the second with urban clusters of innovative companies.
{"title":"How to Study Infrastructure: Methodological Remarks in the Context of the Pandemic and its Impact on City Design","authors":"Jacek Gądecki, Łukasz Afeltowicz, Ilona Morawska, Karolina Anielska","doi":"10.26913/avant.2020.03.20","DOIUrl":"https://doi.org/10.26913/avant.2020.03.20","url":null,"abstract":"The paper is an introduction to the anthropology of infrastructures. We define how infrastructure is understood on the grounds of anthropology and science and technology studies. We show what is the significance of various infrastructures for the functioning of modern and late societies. The text discusses extensively the methodological challenges of studying infrastructures. We not only explain why analyzing infrastructures is difficult but also discuss several methodological tricks we can resort to when trying to uncover infrastructures. We elaborate the methodological guidelines on the margins of two research projects. The first dealt with social aspects of epidemics, and the second with urban clusters of innovative companies.","PeriodicalId":43453,"journal":{"name":"Avant","volume":"38 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-08-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87858403","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 addresses a project of visualization of research on ambient music, including the historically changing subject of this research, its theoretical background and qualitative studies arising from it. In this study, the visualization of the research process is related to the concept of graphesis, or visual interpretation, discussed and partly problematized in the context of visual representation of interdisciplinary topics at the interface of various knowledge systems.
{"title":"Visualising the Research Process. The Case of Ambient Music Studies","authors":"P. Kędziora","doi":"10.26913/ava1202310","DOIUrl":"https://doi.org/10.26913/ava1202310","url":null,"abstract":"The article addresses a project of visualization of research on ambient music, including the historically changing subject of this research, its theoretical background and qualitative studies arising from it. In this study, the visualization of the research process is related to the concept of graphesis, or visual interpretation, discussed and partly problematized in the context of visual representation of interdisciplinary topics at the interface of various knowledge systems.","PeriodicalId":43453,"journal":{"name":"Avant","volume":"74 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-08-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88569539","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}
Tom specjalny „Avantu” poświęcamy twórczości komiksowej Henryka Jerzego Chmielewskiego, nazywanego Papciem Chmielem (także Dziadkiem Chmielem) oraz głównym postaciom serii komiksów „Tytus, Romek i A’Tomek” (dalej: „TRiA”). Wydawana od 1966 roku w formie osobnych albumów seria liczy 31 ksiąg, stając się najdłużej wydawanym w Polsce cyklem, który zajął poczesne miejsce w historii polskiego komiksu. Początkowo przy-gody Tytusa jawiły się jako wejście w krainę wyobraźni dziecięcej (księgi III-XVIII), z czasem jednak Chmielewski przeszedł do doraźnych komentarzy na temat zmieniającej się polskiej rzeczywistości (od Księgi XX). Zmiana ta nastąpiła w momencie transformacji systemowej w Polsce. Przełom 1989/1990 to okres, w którym „Tytusy” zaczęły być wznawiane przez autora w unowo-cześnionej szacie graficznej (część książeczek narysowano na nowo) i zmienionej formie fabularnej: pojawiły się nowe rysunki, przearanżowano część starszych, dodano wypowiedzi bohaterów. W tym okresie Chmielewski nie wydawał książeczek z nowymi przygodami Tytusa; te zaczęły się pojawiać od 1992 roku, a autor zaczął opisywać w nich zmiany zachodzące w Polsce. Po przełomie politycznym 1989/1990 magiczne i osadzone w wyobraźni wątki zestawione zostały z tym, co w aktualnej polskiej rzeczywistości społecznej wydawało się Papciowi zajmujące, a często – niepokojące lub wymagające interwencji. Tytus zatem stał się członkiem afiliowanego przy NATO oddziału wojskowego, walczył z handlarzami narkotyków, rysował graffiti, mistrzowsko jeździł na desce, zwalczał bądź to chuliganów na meczach piłkarskich, bądź to gangi przestępcze, czy też intensywnie poznawał internet.
{"title":"Dlaczego Tytus zachwyt w nas wzbudza? O głównych problemach współczesnej tytusologii","authors":"Marek Jeziński, M. Lisiecki","doi":"10.26913/ava3202305","DOIUrl":"https://doi.org/10.26913/ava3202305","url":null,"abstract":"Tom specjalny „Avantu” poświęcamy twórczości komiksowej Henryka Jerzego Chmielewskiego, nazywanego Papciem Chmielem (także Dziadkiem Chmielem) oraz głównym postaciom serii komiksów „Tytus, Romek i A’Tomek” (dalej: „TRiA”). Wydawana od 1966 roku w formie osobnych albumów seria liczy 31 ksiąg, stając się najdłużej wydawanym w Polsce cyklem, który zajął poczesne miejsce w historii polskiego komiksu. Początkowo przy-gody Tytusa jawiły się jako wejście w krainę wyobraźni dziecięcej (księgi III-XVIII), z czasem jednak Chmielewski przeszedł do doraźnych komentarzy na temat zmieniającej się polskiej rzeczywistości (od Księgi XX). Zmiana ta nastąpiła w momencie transformacji systemowej w Polsce. Przełom 1989/1990 to okres, w którym „Tytusy” zaczęły być wznawiane przez autora w unowo-cześnionej szacie graficznej (część książeczek narysowano na nowo) i zmienionej formie fabularnej: pojawiły się nowe rysunki, przearanżowano część starszych, dodano wypowiedzi bohaterów. W tym okresie Chmielewski nie wydawał książeczek z nowymi przygodami Tytusa; te zaczęły się pojawiać od 1992 roku, a autor zaczął opisywać w nich zmiany zachodzące w Polsce. Po przełomie politycznym 1989/1990 magiczne i osadzone w wyobraźni wątki zestawione zostały z tym, co w aktualnej polskiej rzeczywistości społecznej wydawało się Papciowi zajmujące, a często – niepokojące lub wymagające interwencji. Tytus zatem stał się członkiem afiliowanego przy NATO oddziału wojskowego, walczył z handlarzami narkotyków, rysował graffiti, mistrzowsko jeździł na desce, zwalczał bądź to chuliganów na meczach piłkarskich, bądź to gangi przestępcze, czy też intensywnie poznawał internet.","PeriodicalId":43453,"journal":{"name":"Avant","volume":"129 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-08-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89217473","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}
Henryk Chmielewski is the author of a historical comic book devoted to the 100th anniversary of Poland regaining its independence. The comic book of Chmielewski is a subjective vision of Polish history, because every act of creation is first of all an act of destruction. Artist says about very difficoult moment of Polish history (the 19th century, the early 20th century). He creates original story, argues, that the idea of Poland as an independent state was never not lost. Polish people were formed armyduring the Napoleonic Wars, and Polish organisations started major uprisings (the Polish–Russian War of 1830–1831 and the January Uprising of 1863-64). Chmielewski creates an interesting picture of the world with the use of many varying forms, different codes (e.g. picture, word, photography). He use various means of expression: semantic, linguistic, compositional (see values, compotents: metannaration, digression, opposition "we" - "they", stereotype, appropriate words - freedom, Poland, Poles, relationship: fiction - real world, illusion, colloquial language).
Henryk Chmielewski是一本历史漫画的作者，这本漫画是为了纪念波兰恢复独立100周年。奇米列夫斯基的漫画书是对波兰历史的一种主观看法，因为每一个创造行为首先都是一种破坏行为。艺术家讲述了波兰历史上非常困难的时刻(19世纪，20世纪初)。他创造了一个原创的故事，认为波兰作为一个独立国家的想法从未消失过。波兰人在拿破仑战争期间组建了军队，波兰组织发起了重大起义(1830-1831年的波俄战争和1863-64年的一月起义)。奇米列夫斯基用许多不同的形式、不同的编码(如图片、文字、摄影)创造了一幅有趣的世界图景。他使用各种表达方式:语义的、语言的、组合的(参见价值观、成分:元化、离题、对立“我们”—“他们”、刻板印象、恰当的词语—自由、波兰、波兰人、关系:虚构—真实世界、幻觉、口语)。
{"title":"Obraz historii Polski (1818-1918) w komiksie Henryka Jerzego Chmielewskiego","authors":"Jerzy Biniewicz","doi":"10.26913/ava1202309","DOIUrl":"https://doi.org/10.26913/ava1202309","url":null,"abstract":"Henryk Chmielewski is the author of a historical comic book devoted to the 100th anniversary of Poland regaining its independence. The comic book of Chmielewski is a subjective vision of Polish history, because every act of creation is first of all an act of destruction. Artist says about very difficoult moment of Polish history (the 19th century, the early 20th century). He creates original story, argues, that the idea of Poland as an independent state was never not lost. Polish people were formed armyduring the Napoleonic Wars, and Polish organisations started major uprisings (the Polish–Russian War of 1830–1831 and the January Uprising of 1863-64). Chmielewski creates an interesting picture of the world with the use of many varying forms, different codes (e.g. picture, word, photography). He use various means of expression: semantic, linguistic, compositional (see values, compotents: metannaration, digression, opposition \"we\" - \"they\", stereotype, appropriate words - freedom, Poland, Poles, relationship: fiction - real world, illusion, colloquial language).","PeriodicalId":43453,"journal":{"name":"Avant","volume":"19 4 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-08-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78295374","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}
Wywiad przeprowadzono 2 września 2021 (forma: Zoom); opublikowano 27 sierpnia 2023.
{"title":"Wywiad z Bartkiem Chacińskim","authors":"Marek Jeziński, Bartek Chaciński","doi":"10.26913/ava3202303","DOIUrl":"https://doi.org/10.26913/ava3202303","url":null,"abstract":"Wywiad przeprowadzono 2 września 2021 (forma: Zoom); opublikowano 27 sierpnia 2023.","PeriodicalId":43453,"journal":{"name":"Avant","volume":"13 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-08-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88355320","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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