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Numer 1 (35)

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2018 Następne

Data publikacji: 04.04.2018

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W kręgu idei

Andrzej Zaporowski

Przegląd Kulturoznawczy, Numer 1 (35), 2018, s. 1 - 17

https://doi.org/10.4467/20843860PK.18.001.8588

A Mobile Army of Cultures

In this essay the author claims that if one is defined in terms of a mobile army of cultures, then one will turn to be possibly a flexible and innovative creature. The very expression “a mobile army” is borrowed from F. Nietzsche but it is the author who associates this expression with a word “culture”. Culture is taken to be a set of attitudes, like belief, intention, or solidarity, which are of mental yet intersubjective nature. On the other hand, one is a part of a realm of physical events where one’s actions are an instance of such events. Some of one’s actions are non-reflexive since they are conditioned by the sets in question. Still, such sets emerge as a result of one’s entering into a series of interactions with, among others, other non-reflexively acting actors. There exits then a feedback between attitudes and actions (events). Culture is an orientation system, and a series of interactions makes one change it, where a change amounts to a reconfiguration of attitudes due to temporary tensions among them. In this respect one not only is modelled by the reality of physical events (actions) but also models it. Since there is more than one agent with such a capacity, an army of cultures can be imagined. Moreover, such an army is attributed a characteristic of mobility. In this respect, when acting non-reflexively one faces a mobile army of cultures where one’s culture is temporarily a part of this army.
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Jakub Robaszkiewicz

Przegląd Kulturoznawczy, Numer 1 (35), 2018, s. 18 - 32

https://doi.org/10.4467/20843860PK.18.002.8589
 Constructing the urban in the work of Daniel Buren
 
This article attempts to analyze two Daniel Buren’s artworks highlighting their intrinsic relations with urban space in order to show up, through meticulous research of the mise-en-scènes established by conglomerates of each artwork itself and urban surroundings, their basic presumptions relating to the spatio-cultural structure of the city. The author inquires about the urban ontology which underlies the Buren’s discursive postulate of activation of the eventness of place by his artistic interventions. From the investigation of the visual performance of Buren’s artworks arises also the issue of the function of the pictorial surface in relation to the three-dimensionality of the urban.
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Katarzyna Nowaczyk-Basińska

Przegląd Kulturoznawczy, Numer 1 (35), 2018, s. 33 - 47

https://doi.org/10.4467/20843860PK.18.003.8590
Mindclone, Doppelgänger, Mental Twin? Immortality as Non-human Other?
 
American project LifeNaut promotes technologically-mediated immortality and encourages to collect digital data (mindfiles) and biological material (biofiles) to prolong the life of a person after his/her death. In this paper I wonder how the procedure of gathering information brings us closer to creating a human look-alike and exceeding the mortality limits, analyzing the prototype of this idea – a humanoid robot BINA48. I invoke the concept of the uncanny valley to consider the issues of functional and external similarity of a robot and human as well as genetic determinism (in the context of Heather Dewey-Hagborg’s work), wondering how the instructions contained in the DNA can contribute to the creation of a faithful human equivalent. The arguments presented 
in this paper show that the archiving and processing of digital, as well as biological, data only leads to speculation based on a set of procedures and methods. There is no double-man, but his subjective representation. In addition, projects of technologically constructed immortality contribute to the broadening/redefinition of the concept of human, but so far, they do not guarantee life without death (immortality).
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Stanisław Jakóbczyk

Przegląd Kulturoznawczy, Numer 1 (35), 2018, s. 48 - 63

https://doi.org/10.4467/20843860PK.18.004.8591

Performative verbal formulae as the authority insignia

In our times, if one speaks about authority or power insignia and rituals, one usually thinks about visual signs, gestures or behaviour, no matter how durable or ephemeral they are. Nevertheless, the verbal behaviour, the verbal formula in fact, still remain the principal determinants of political power, as it was centuries ago, and they continue having their character of both ritual and insignia.
Among many types of verbal formulae, our attention is focused on those, which present a performative function in the act of speech: they create (or modify) a given factual state of affair, a fragment of reality. They act not only through the principal verbal communication code (speech), but also through its written sub-code. It seems obvious that the linguistic insignia of authority and power have always been destined particularly for social (maybe also political) elites, for the upper classes; the visual insignia, as easier to communicate, were rather (and still are) intended for being communicated to the wide popular (lower) classes. The primacy of language, however, appears also in the fact that the majority of visual signs (and symbols) require a sort of linguistically expressed convention (rules of interpretation), but the verbal formulae do not need any illustration.
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Pejzaże kultury

Alicja Helman

Przegląd Kulturoznawczy, Numer 1 (35), 2018, s. 64 - 83

https://doi.org/10.4467/20843860PK.18.005.8592
To See, Understand and Interpret. Francesco Casetti on Cinema and Media
 
Alicja Helman discusses major aspects of Francesco Casetti’s theoretical thought. She focuses mainly on his recent books: Eye of the Century: Film, Experience, Modernity (2005) and The Lumière Galaxy: Seven Key Word for the Cinema to Come (2015), and notices consequent correspondences with Casetti’s earlier works belonging to the tradition of so called second semiotics. Casetti combines two perspectives: problems of the evolution of cinema in the XXIst century and issues related to spectatorship determined by new technologies and alternative forms of cinema viewing.
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Kamila Żyto

Przegląd Kulturoznawczy, Numer 1 (35), 2018, s. 84 - 99

https://doi.org/10.4467/20843860PK.18.006.8593
The World in the Fog, the World behind the Fog. Existentialism, Poetic Realism and American Film Noir
 
The main aim of the article is to depict similarities and differences between American film noir and French cinema of the 30s. I will, first of all, refer to the tendency of the prewar French cinema known as poetic realism as it constitutes the solid background for the film noir. But as my point is also to show that film noir roots can be found in other aspects of French culture, philosophical thought of Jean-Paul Sartre and Albert Camus (existentialism) will be discussed as well and presented as a kind of intellectual world view that links poetic realism and film noir.
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Karolina Sikorska

Przegląd Kulturoznawczy, Numer 1 (35), 2018, s. 100 - 117

https://doi.org/ 10.4467/20843860PK.18.007.8594
On the Trail of Women’s Bodies. Feeling of Belonging and Strategies of Cinematic Seeing

Article analyses Anna Okrasko’s video Lot’s Wife (2013) – fictional documentary about women monuments, memorials and public sculptures situated in former East Berlin. Text attempts to answer the questions about contemporary cultural belonging of women, about constructing cultural memory and studying city as a symbolic space, where women are subjects as well as objects of seeing. Artist’s work suggests that cultural identity is not only strongly connected to community or history but also depends on place. The problem of public space and its ways of perceiving and compassing is presented as a pretty important issue in this context. Also, this fictional documentary is considered as reconfiguration of dominant visibility and ways of female body’s presence. 

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Justyna Stępień

Przegląd Kulturoznawczy, Numer 1 (35), 2018, s. 118 - 129

https://doi.org/10.4467/20843860PK.18.008.8595
This paper aims to consider Krzysztof Wodiczko’s Veterans Project in the context of the central tenets of ethico-aesthetics and the concept of the virtual proposed by Gilles Deleuze, which emerge from his discussions of representation processes. The installation OUT OF HERE, which metaphorically refers to the plight of traumatised American war veterans, triggers a trans-mediated dialogue with spectators, reworking passive attitudes towards the position of the excluded. In fact, Wodiczko has been utilising American institutional spaces to prove that they alienate the marginalised to uphold the dichotomy between the centre and periphery. Hence, the aim of this paper is to show how Wodiczko’s project becomes an affective space, an assemblage of different affects and raptures, that organizes a productive encounter, an intensive event, that allows spectators not only to experience records of traumatic events but primarily to increase their capacities to act in the world and to produce new modes of their “becoming”.
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Dyskusja wokół artykułu Ulfa Hannerza

Ulf Hannerz

Przegląd Kulturoznawczy, Numer 1 (35), 2018, s. 130 - 133

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Piotr Juskowiak

Przegląd Kulturoznawczy, Numer 1 (35), 2018, s. 134 - 139

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Michał Buchowski

Przegląd Kulturoznawczy, Numer 1 (35), 2018, s. 140 - 145


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OMÓWIENIA I ROZBIORY

Mateusz Felczak

Przegląd Kulturoznawczy, Numer 1 (35), 2018, s. 146 - 150

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Paweł Tański

Przegląd Kulturoznawczy, Numer 1 (35), 2018, s. 151 - 160


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