Zespół redakcyjny „Przeglądu Kulturoznawczego” nie narzucał jednoznacznej formuły rozumienia pojęcia „trans-literatura”. Autorzy tekstów wchodzących w skład tego numeru prezentują różne punkty widzenia, przedmiotem swych rozważań czyniąc w głównej mierze zjawiska artystyczne.

Transliterary conversions: from spoken movie to database narrative

Abstract: The aim of this text is to examine the idea of endless conversions between media and the impact on the arts as a result of this process. The transliterature-based conversions and remediations may result from quite different aesthetical approaches. From Spoken Movies by Wojciech Bąkowski to exuberant and complicated visual narratives by Ryan Trecartin – we can establish some common features, among them a word-based foundation. Another important issue is a database narrative, not only known from such iconic examples such as Soft Cinema, but also in more contemporary works by Camille Henrot. The idea of a clink (content link), introduced by Theodor H. Nelson, may help to understand the incoherent relation between the visual and the textual layers of meaning. Since in the post-Internet culture a logic of mediated experience can be applied to the offline world, some examples of contemporary artistic attitudes bring to mind templates created for users rather than readers or viewers.
 

Land 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.
 

The Image of Reversed Narrative. The Case of Irreversible

The article analyses the case of reversed narration in the film Irreversible by Gaspar Noé as a one of the examples of group of films produced in the 1990’s based on the reversed narration and complex, modern construction of the sujet. The author stresses that temporal aspects of metonymic contiguity shows parallels with displacement of one event on the axis of chronology and the transitions between erzählte Zeit and Erzählzeit. Narratological reading of retrospective events provides dating back in time from primary narrative as a result of the use of i.e. the internal analepsa showing the time span in the story told. The shift from present and past goes beyond the linear and causal order by drawing on a comparison between J.W. Dunne’s various forms of theory of time and the Moebius strip. The group of events arranged in the causal but discontinuous order show the parallels that precede climax event and initiate the secondary narrative dating back in time.

 

Invisible vs. visible Web. On non-indexed WWW resources

With the use the Internet for information search and especially the widespread use for this purpose search tools are related two stereotypes. The first concerns the belief that search for content online is an act extremely simple, trivial, requiring no special skills. The second myth refers to the same search engines – treated as instruments, allowing you to reach to any information that is online. These simplified and stereotyped beliefs are not limited to the realm of declarative, but manifest themselves in concrete expression of the information through the Internet behavior. The purpose of the present article is to overcome common stereotypes associated with the use of search tools, but also to show the hidden part of the Internet.
 

The purpose of this article is to present the status of the social browser-based games users in the face of the algorithmization, personalization and customization of new media. The answer to the question posed in the title has been granted on the basis of the conclusions of the empirical research conducted in the Polish company producing games. This article presents a brief history of the user participation in games production, from modding to providing data for media products and services development. The profile of the working player and characterization of playbour is delivered and the quasi-intervention in the media product is described. The article also depicts the nature of the broader phenomena of the culture of work through consumption. Quasi-interventionist nature of the user activity is part of a problem of new media users ignorance, in terms of their engagement in creation of the offered goods. Ethical questions regarding restrictions that affect a growing group of users are emerging from the analysis also.

Social protest – the structure of a gathering

The theoreticians of social sciences admit that social protests belong only to the modern epoch and the very moment of its birth is strictly connected with the modernistic democracy and current European culture. Public social activity – especially social protests understood here only as legal public gatherings its structures, meanings and configurations – are possible to separate out of all the accidental factors. But the modern political tradition itself is not enough to explain the inner mechanisms of this kind of public gatherings as a tool for the social, cultural and political transformation. The ahistorical type of analysis seems to be necessary to understand social protests. The plot of structural analysis is supplemented here with some comments on the cognitive and ritual side of the social protest process and also with some philosophical comments.
Key words: social protest, the deep structures of mind, self-reference, modernism, structural patterns
 

Dyskusja wokół książki

Comparative Textual Media. Transforming the Humanities in the Postprint Era (2013), pod redakcją N. K. Hayles i J. Pressman

Niniejszy tekst jest zapisem rozmowy z Józefem Żukiem Piwkowskim, fotografem, filmowcem, artystą wizulanym pracującym obecnie w polu mediów cyfrowych, twórcą Warszatu Nowych Mediów w Szkole Filmowej w Łodzi.

Recenzja:

J. Donguy, Poezja eksperymentalna. Epoka cyfrowa (1953-2007), przeł. M. Madej, Gdańsk 2014

Recenzja książki

Piotr Korduba,  Ludowość na sprzedaż. Towarzystwo popierania Przemysłu Ludowego, Cepelia, Instytut Wzornictwa Przemysłowego, Fundacja Bęc Zmiana, Narodowe Centrum Kultury, Warszawa 2013.

Recenzja książki:

Ewa Fiuk, Inicjacje, tożsamość, pamięć. Kino niemieckie na przełomie wieków
Centrum Studiów Niemieckich i Europejskich im. Willy’ego Brandta, Oficyna Wydawnicza ATUT, Wrocław 2012.