Anna Nacher
Przegląd Kulturoznawczy, Numer 4 (18) , 2013, s. 287 - 300
https://doi.org/10.4467/20843860PK.13.029.2081The article focuses on the practices relevant for digital mapping based on dynamic data processing and GIS. I argue that participatory mapping can be seen as a form of data driven activism and as such it is first and foremost the example of the collective knowledge. Hence, the primary function of the images (e.g. maps) produced in the process is not so much the representation of the city as rather it is the role they play in the dynamic operations of knowledge production on a grassroots level. Given that the computing technology and data processing saturate the social relations of the contemporary urban environments to the considerable extent, certain shift in the scope of analysis is required: the focus on how the images emerge and how they act in the world seems to be more relevant than the traditional analysis of the city’s visual representation.
Anna Nacher
Przegląd Kulturoznawczy, Numer 4 (38), 2018, s. 1 - 1
https://doi.org/10.4467/20843860PK.18.024.10362Anna Nacher
Przegląd Kulturoznawczy, Numer 1 (19) , 2014, s. 21 - 32
https://doi.org/10.4467/20843860PK.13.003.2852Land art and geographical haiku, or the art of associations
The author analyses the practices of land art as the examples of transversality and multimodality that reach beyond the logics of representationalism, especially when the artwork is considered as the networked object including documentation, context of its production and the various instances of the auctorial paratexts. Such an investigation raises important questions pertaining to the very act of categorization what constitutes an artwork, but also to the experience of bodily movement through the space, with its nonlinearity, fragmentation and specific instances of embodiment. The main point of interest here are walk-based projects by Hamish Fulton (especially what has been dubbed as geographical haikus) and Richard Long, as well as the exhibition design and various forms of documentation accompanying the artwork.
Anna Nacher
Przegląd Kulturoznawczy, Numer 1 (9) , 2011, s. 77 - 89
https://doi.org/10.4467/20843860PK.11.008.0229
Remix vs. mashup – on how two cybercultural metaphors resonate
The article is concerned with the gentle shift within theorizing on cyberculture where the well known and much publicized metaphor of remix has often been employed as a paradigmatic tool to describe the culture of constant reconfiguration as well as (according to Lawrence Lessig’s famous statetment) Read/Write culture. Given the popularity of the term throughout the whole decade of 90s and beyond, it is significant that the concept of remix has recently faded out, replaced by the notion of mashup. Reaching out to some practices of the freshly established field of sound art and reflection on the audiality, the article sketches the distance between two terms which, although close in meaning, represent also significant differences when it comes to the strategies of cultural recycling and reconfiguration of already recorded/coded material.
Anna Nacher
Przegląd Kulturoznawczy, Numer 1 (47) Zarządzanie w antropocenie, 2021, s. 1 - 1