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Between process and object: NFTs and the artification of digital assets
No full textBy bringing digital artworks to one’s everyday shopping list, NFTs have revolutionized a large group’s understanding of art. In this article, I challenge the stance presented by authors such as Taylor and Sloane that NFTs shift the consumption of objects to the liquid consumption of the non-material by drawing on the aesthetic identity of NFTs as images. Firstly, I analyse the evolution of blockchain products’ function from that of strictly fungible tokens to non-fungible goods. NFTs rely on art’s specificity and acquire their new identity by virtue of entering the art market, which does not happen with ordinary cryptocurrencies. NFTs thus benefit from the contextualization of art as a socially and technologically mediated immaterial process: they emerge as instances of the artification of a non-artistic immaterial experience and become art-like. However, an NFT as a commodity is not pure code; it does have an image attached. This distinguishes NFTs from particular fungible tokens that hold added value due to their unique historical context.
I further point out that the fact that NFTs have, as commodities, taken the form of digital images is an expression of a pervasive need for interaction with objects in today’s everyday digital experience. Also, the shift of NFTs from being just “specific” phenomena as art objects to “singular” phenomena construed as authors of the ways in which they will be perceived and understood is discussed. NFTs create their own impact, on the one hand, independently of their often poor artistic or aesthetic quality, and on the other hand, as entirely dependent on their aura as mathematically and ontologically unique, visually perceptible entities
„Crypto art” nie istnieje. Jak poradzić sobie z niefortunnym określeniem rodzaju sztuki
No full textThe term “crypto art” emerged around 2017 within the communities that, following the example of Rare Pepes (obscure memes turned into collectible digital cards) and of projects such as CryptoPunks and CryptoKitties, started associating digital artworks with NFTs (non-fungible tokens) registered on a blockchain and regulated by smart contracts. Defined in a distributed academic paper with the help of data scientists, artists, collectors, platform owners and art scholars, the term was irresponsibly popularized by mass media and art magazines along the NFT craze in early 2021. Yet, as an art label, “crypto art” is problematic on many levels. This paper offers an in-depth analysis of the way it has been used and of the practices it circumscribes, in the attempt to demonstrate its weakness and the potential danger of using it.Termin crypto art pojawił się około 2017 roku w środowiskach, które, podążając za przykładem Rare Pepes (niszowych memów przekształconych w kolekcjonerskie karty cyfrowe) oraz projektów takich jak CryptoPunks i CryptoKitties, zaczęły kojarzyć cyfrowe dzieła sztuki z zarejestrowanymi w blockchainie i kontrolowanymi przez inteligentne kontrakty NFT (non-fungible tokens). Termin ten, sformułowany przez analityków danych, artystów, kolekcjonerów, właścicieli platform i badaczy sztuki w „zdecentralizowanym artykule” opublikowanym na łamach czasopisma „Leonardo”, został nieodpowiedzialnie spopularyzowany przez masowe media i czasopisma artystyczne w trakcie mody na NFT, która na początku 2021 roku zawładnęła częścią świata. Posługiwanie się nim jako nazwą gatunku sztuki budzi jednak zastrzeżenia na wielu poziomach. Niniejszy artykuł oferuje pogłębioną analizę samego określenia oraz praktyk nim opisywanych aby wykazać jego nieadekwatność oraz zwrócić uwagę na potencjalne zagrożenia, które może przynieść stosowanie go.  
Determinanty partycypacji politycznej jako warunki uczestnictwa
No full textThe durability and quality of democracy requires citizen participation. It can take various forms, but it is always an expression of individual preferences regarding public life. However, expressing preferences alone is not enough. Th ey must be linked to participation in order to become “binding political decisions”. It is a truism to say that the level of participation depends on many factors, including political culture, tradition of a given society, standard of living, demographic structure, individual psychological conditions, and also the quality of political elites. Hence, the commonly accepted view that political participation is on the one hand diffi cult to defi ne and on the other hand it can be generally defi ned as “action infl uencing politics”. Among the many publications on the reasons for participation or its omission, both individual and social predictors are indicated. In the individual dimension, these are age, education, and gender. In the social perspective, modernization, economic and urban conditions are indicated, as well as issues related to the quality of democratic institutions and the rule of law. Education and divisions versus their lack in society are also considered important
Region jako jednostka organizacyjna państwa na poziomie subpaństwowym — przypadek samorządu wojewódzkiego w Polsce
No full textThe voivodship self-government, which is directly under the state’s central authority, is both an autonomous body that can manage its affairs within a specific scope and an administratively independent body that assists in managing the state organisation because of the state’s delegation of powers. The voivodship self-government in Poland is a subdivision of the state’s organisational framework: a sub-state entity that is essentially classified as an administrative region
Struktury administracji wyznaniowej w Rzeczypospolitej Polskiej 30 lat po transformacji ustrojowej
No full textThe article discusses the structure of religious administration in the Republic of Poland 30 years after the political transformation. It analyses both the administrative apparatus on the central level (central government administration), and on the field level (voivode — as a field organ of government administration). On the other hand, at the level of local government, due to the absence of structures, the occurrence of relations and wide-ranging cooperation in the subject of many specific public policies was shown
Natural variations in signature analysis: Exploring the impact of contemporaneous specimens
No full textNatural variations in a person’s signature can be influenced by factors like the passage of time. Over the years, a person’s signature may undergo slight changes, leading to naturally occurring variations. Examining contemporaneous specimens is crucial in signature analysis to understand variability and common characteristics within a specific historical context. This approach allows for comparing signatures from the same period, providing insights into the diversity and characteristics of signatures during that era. Document examiners collect and assess a diverse range of contemporary specimens to comprehend the natural variations in signature features. The study emphasises the importance of contemporaneous specimens for comparing signatures within the same timeframe. Examining the natural variations involves considering factors such as line quality, irregularity, stroke formation and spacing, pen lifts, connecting strokes, and other handwriting characteristics
Jana (Januszka) Białostockiego do Vincenzów listy sztorcowe (1941–1945)
No full textThe Stanisław Vincenz Archive in the Manuscript Department of the Ossolineum Library houses an extensive collection of correspondence of Vincenzs with Jan Białostocki and his family, whose acquaintanceship began in 1925. Among the surviving letters are six scripts from 1941–1945, addressed to Stanisław Vincenz, a prose writer and essayist who was then living in Hungary after fleeing Poland in the spring of 1940. This epistolary dialogue – of which the second part remains unknown, as the letters of the author of On the High Uplands did not survive the Warsaw Uprising – captures Jan (Januszek) Białostocki’s reflections on his weariness with everyday life under occupation. He describes his efforts to overcome this sense of fatigue through a diverse range of studies (including methodology of science, logic, biology, classical philology, philosophy, art history, and aesthetics), as well as through reading, attempts at translating Dante, and practising wood engraving. This unique source material sheds new light on the childhood and adolescence of the eminent scholar, who was deeply influenced by Vincenz – both a sage and an erudite thinker. The transcription is preceded by an introduction and a brief editorial note, with the letters supplemented by essential contextual explanations
Die Toten Hosen, Aneta Sablik and Mark Forster in a German-Polish dialogue – pop music on social media as a transnational communication space
No full textDie Toten Hosen, Aneta Sablik und Mark Forster sind mit ihrer Musik vor allem im deutschsprachigen Raum unterwegs. Doch da sie mit Titeln wie Zamrożona Wyborowa, Ja to ja (ich bin wie ich bin) und Like a Lion (Polish version) versuchten, stilistisch auch polnische Elemente in ihre Liedtexte einfließen zu lassen, betreiben sie wiederum ein Stückweit ein Sprach- und Kulturmarketing im deutsch-polnischen Dialog. Der vorliegende Beitrag will wiederum untersuchen, wie dieses Sprachmarketing aufgebaut ist und zudem möchte er über eine qualitative Inhaltsanalyse herausfinden, wie die polnischen Songs auf Social-Media-Angeboten von Teilen der jeweiligen Hörerschaft aufgenommen wurden.The band Die Toten Hosen and the musicians Aneta Sablik and Mark Foster address most of their works to a German-speaking audience. Though, since they included Polish elements into their musical repertoire with their songs Zamrożona Wyborowa, Ja to ja (ich bin wie ich bin) and Like a Lion (Polish version), they – as can be interpreted – kind of supported the German-Polish dialogue with a process of marketing of language and culture. The aim of the following article hence is to examine how this process of language marketing is structured and with a qualitative content analysis it also wants to draw out the opinion and evaluation of the audience in terms of the perception of each song respectively