The text discusses the need to strengthen the institutional legitimacy and structural suport for artistic research in Poland. This need was highlighted by, among others, the organisers of the Współmyślenia ( Co-thinkings) workshop held in Chęciny in 2024, which aimed to consolidate the communities of artistic research practitioners in Poland. A key challenge from their perspective is the lack of ongoing support from academic and cultural institutions, which tend to prioritise the production of artefacts rather than supporting long-term research processes. In this context, grassroots networks and collaborations play an important role in the development of artistic research in Poland and have become the basis for its survival. The author of the text joins the discussion on possible ways to institutionalise it, postulating that the desired support system should not be based solely on academic institutions, but should reflect the broad spectrum of social actors involved in contemporary artistic research. At the same time, the author calls for the move away from thinking about artistic research in terms of ‘knowledge production’. In the author’s view, the jargon borrowed from the creators of institutional initiatives in Western and Northern Europe at the turn of the twentieth and twenty-first centuries may prove to be a burden today – especially in view of the increasingly complex relationship between art and transdisciplinary practices within science and technoscience.

The aim of the article is to reflect on the concept of the inclusive models of knowledge. The author has taken into account three models: the archive of Jacques Derrida, atlas Mnemosyneby Aby Warburg, analyzed by Georges Didi-Huberman, and fungi/matsutake mushroom which functions and meanings traces in her book The Mushroom at the End of the World: On the Possibility of Life in Capitalist Ruins Anna Lowenhaupt Tsing.

This paper presents a personal, autoethnographic account of how a distinct theory, namely selected aspects of the extended mind theory, can give rise to novel aesthetic experiences while dancing Argentine tango. It illustrates the enhancement of an aesthetic practice that is forged by, but also transcends, the interplay between theory and practice. The report recounts how theoretical propositions regarding the distribution of agency in extended cognition, when applied to a somatic practice, can uncover novel aesthetic experiences and approaches towards the author’s own dance practice. The aesthetic experience is described as the sensation of being danced by the interactions between the dance partners and the music, which afford somatic awareness. Furthermore, the paper emphasises the often-neglected significance of a researcher’s personal inclinations towards and the practical effects of the theoretical propositions they engage with.

This article analyzes the concepts of metamodernism as productive theoretical tools for describing new forms of ethics and aesthetics. Metamodernism, based on the idea of oscillation between among states, offers a new cultural sensibility expressed in the dialogue between irony and authenticity. Particular attention is given to the cultural and historical factors influencing the specificity of contemporary Polish and Ukrainian art and literature. In this context, it is essential to examine how political and social changes – such as the dissolution of the Soviet Union, Poland’s systemic transformation, and Russia’s invasion of Ukraine – have shaped the development of new forms of sensibility. The idea of oscillation can be seen as an attempt to “disarm” critical tools, enabling not only a deeper understanding of contemporary cultural transformations but also their ethical co-creation. This article, situated within the frameworks of cultural studies and the anthropology of art, examines this concept while considering the specificity of Polish and Ukrainian academic reflection.

The article analyzes Barbara Gryka’s performative-photographic project Architecture from the Inside, created between 2018 and 2019 in the LSM Housing Cooperative in Lublin, designed by Oskar and Zofia Hansen. It focuses on the artist’s work with the local community, particularly on her approach to photographing the residents, which is juxtaposed with the documentary practice of Zofia Rydet, to whom Gryka directly refers. Drawing on Richard Shusterman’s theory of the “performativity of the photographic gesture,” I will demonstrate how Gryka involved the residents in the photographic process, thereby granting them partial agency over their own representation. Furthermore, the article argues that Gryka’s work can largely be understood as an autoetnographic project, in which the artist’s experience of living in the Hansen estate becomes the central subject of artistic inquiry.

The goal of the article is to scrutinize the rather narrow and scarce group of video game novelizations. Acknowledging the particular and unique quality of video game narration that largely depends on the player, the article considers the challenges of adapting the interactivity of the gameplay onto the text and the specificities of the relationship between the novelization and the source text. Through the close reading of Cam Rogers’ novelization of the 2016 video game Quantum Break (Remedy Entertainment, 2016), the article draws from Peter Stockwell’s conceptualization of the literary resonance as well as Robyn Warhol’s and Gerald Prince’s discussion of unnarrated and the unnarratable in literature to consider what is referred to as reference by absence. It is argued that the omissions of ludic elements or narrative moments dependent on the player’s choice offer significant clues regarding interpreting certain game events as canon.

The article presents issues related to the development of information verification practices that led to the creation of modern fact-checking organizations in the United States. Particular attention was paid to three periods. The first of them takes place at the turn of the 19th and 20th centuries, when there were changes in the approach of the journalistic community towards the standards of collecting and checking facts used in prepared publications. The next one is the end of the 1970s and the next decade, during which the first columns devoted to verifying the public speeches of the most important politicians in the country appear in American newspapers. The third period is the 1990s, when Internet users began to become interested in fact-checking practices. The subject of the reflections contained in the article are also the ideas guiding journalists and groups of activists involved in developing the described initiatives.