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Świadomość czy algorytm? Ludzkie maszyny jako emanacje Frankensteina Mary Shelley w naukach kognitywnych oraz tekstach kultury
Get PDFMary Shelley’s Frankenstein is without doubt a popular science-fiction novel, which has inspired many generations of artists and creators in popular culture and mass culture. It has also become an inspiration for scientific studies in the field of robotics and cybernetics. Modern cognitive sciences are looking for the perfect pattern that will allow artificial intelligence to be achieved. An important problem for scientists was the lack of full knowledge about consciousness. We are able to recreate the structure of the human body in a machine, but we are not able to fully simulate the neural processes that would create human consciousness. This problem is perfectly illustrated by cultural works, including literature and cinematography. We see in them both the emanations of the motifs contained in Shelley’s novel and the realization of scientific hypotheses that shape our image of a conscious, thinking machine.Mary Shelley’s Frankenstein is without doubt a popular science-fiction novel, which has inspired many generations of artists and creators in popular culture and mass culture. It has also become an inspiration for scientific studies in the field of robotics and cybernetics. Modern cognitive sciences are looking for the perfect pattern that will allow artificial intelligence to be achieved. An important problem for scientists was the lack of full knowledge about consciousness. We are able to recreate the structure of the human body in a machine, but we are not able to fully simulate the neural processes that would create human consciousness. This problem is perfectly illustrated by cultural works, including literature and cinematography. We see in them both the emanations of the motifs contained in Shelley’s novel and the realization of scientific hypotheses that shape our image of a conscious, thinking machine
Dublin na (tekstualnej) scenie. O dramatyzacji przestrzeni w Ulissesie Jamesa Joyce’a
Get PDFThe author investigates how James Joyce stylizes the space in his novel Ulysses for drama. For this purpose he carries out a comparative analysis of some episodes in this book. This analysis leads to the conclusion that Joyce transposes some dramatic genres and specifically dramatic writing techniques, especially associated with August Strindberg. Kozłowski emphasizes the dramatic character of some motifs that create spatial conditions in Joyce’s novel. Furthermore, he compares these motifs with the literary works of the greatest modern dramatists.The author investigates how James Joyce stylizes the space in his novel Ulysses for drama. For this purpose he carries out a comparative analysis of some episodes in this book. This analysis leads to the conclusion that Joyce transposes some dramatic genres and specifically dramatic writing techniques, especially associated with August Strindberg. Kozłowski emphasizes the dramatic character of some motifs that create spatial conditions in Joyce’s novel. Furthermore, he compares these motifs with the literary works of the greatest modern dramatists
Prolog antycznej komedii w oczach Profesora Sylwestra Dworackiego (1937–2020)
Get PDFThe article is an attempt to remember the recently deceased, eminent researcher, Prof. Dr. Sylwester Dworacki, based on his article on prologues in Menander’s ancient Greek comedy.The article is an attempt to remember the recently deceased, eminent researcher, Prof. Dr. Sylwester Dworacki, based on his article on prologues in Menander’s ancient Greek comedy
Zaskarbić spojrzenie – obrazy, które chcą nas zjednać
Get PDFThe aim of the article is to rethink the way in which images convince us to adopt the perspective of another, which is the image itself. Starting from W.J.T. Mitchell’s theory on the desire and subjectivity of images, and Gottfried Boehm’s theory of the imagery, I look at a photographic and narrative album of Gerhard Richter and Alexander Kluge. This turns to itself for self-presentative and self-referential purposes. However, they do not aim to explore the essence of their medium, but “drag” the viewer into or out of the performance. I analyse situations in which we are forced to transfer our gaze to the materiality and objectivity of a picture, to its own existence. Such situations reinforce the effect of compassion, going far beyond literal meanings and content, which can be managed discursively.The aim of the article is to rethink the way in which images convince us to adopt the perspective of another, which is the image itself. Starting from W.J.T. Mitchell’s theory on the desire and subjectivity of images, and Gottfried Boehm’s theory of the imagery, I look at a photographic and narrative album of Gerhard Richter and Alexander Kluge. This turns to itself for self-presentative and self-referential purposes. However, they do not aim to explore the essence of their medium, but “drag” the viewer into or out of the performance. I analyse situations in which we are forced to transfer our gaze to the materiality and objectivity of a picture, to its own existence. Such situations reinforce the effect of compassion, going far beyond literal meanings and content, which can be managed discursively
Od tekstu do kontekstu. O praktyce upodmiotowiania w przestrzeniach twórczości naukowej – prolegomena
Get PDFThe article presents the practice of subjectivizing scientific creativity by referring to the role of intuition in the creation process, introspective reports and comments on spatial information processing. One of the main emphases is placed on the interaction between the author’s sense of subjectivity with the idea generated and developed by him, as well as on how the reader senses this interaction. These findings became the basis for adopting assumptions about individual and disciplinary differences in strategy and the intensity of the subjectivization of scientific texts by creators and recipients. The article was prepared in a performative and dialogical formula.The article presents the practice of subjectivizing scientific creativity by referring to the role of intuition in the creation process, introspective reports and comments on spatial information processing. One of the main emphases is placed on the interaction between the author’s sense of subjectivity with the idea generated and developed by him, as well as on how the reader senses this interaction. These findings became the basis for adopting assumptions about individual and disciplinary differences in strategy and the intensity of the subjectivization of scientific texts by creators and recipients. The article was prepared in a performative and dialogical formula
Orbita oka. Melancholia wzroku w Sedanie Pawła Hertza i w Drewnianym koniu Kazimierza Brandysa
Get PDFThe article concerns the way in which the eye topos functions in Paweł Hertz’s Sedan and Kazimierz Brandys’ The Wooden Horse, works representing Polish literature of retribution written in the 1940s. The role of the process of seeing is interpreted by means of the category of melancholy, and the protagonists in these works are presented as melancholics. Standing in front of a window or in the quiet of European museums, members of the intelligentsia do not so much focus on passive contemplation but rather protest against History. The desire to constantly use the eyes has an existential and political sense. Recognition of the phenomenon of a melancholic gaze in the literature of retribution enriches the traditional interpretation of this trend in literature by lending it a new context and allowing rehabilitation of the intellectuals portrayed in it.The article concerns the way in which the eye topos functions in Paweł Hertz’s Sedan and Kazimierz Brandys’ The Wooden Horse, works representing Polish literature of retribution written in the 1940s. The role of the process of seeing is interpreted by means of the category of melancholy, and the protagonists in these works are presented as melancholics. Standing in front of a window or in the quiet of European museums, members of the intelligentsia do not so much focus on passive contemplation but rather protest against History. The desire to constantly use the eyes has an existential and political sense. Recognition of the phenomenon of a melancholic gaze in the literature of retribution enriches the traditional interpretation of this trend in literature by lending it a new context and allowing rehabilitation of the intellectuals portrayed in it
Bruno Schulz i muzyka. Exordium
Get PDFThe aim of the article is to answer the question whether there are any connections between Bruno Schulz’s prose and the art of sounds, and how music is present in his prose. It is also the first recognition of this issue in his work, compiling the previous fragmentary opinions of scholars of Schulz’s work on this subject.The aim of the article is to answer the question whether there are any connections between Bruno Schulz’s prose and the art of sounds, and how music is present in his prose. It is also the first recognition of this issue in his work, compiling the previous fragmentary opinions of scholars of Schulz’s work on this subject
Niewidoma kobieta, niewidoma pisarka. Tożsamości Jadwigi Stańczakowej
Get PDFThe article concerns Jadwiga Stańczakowa, a blind journalist and writer, and friend of Miron Białoszewski. The author analyses Stańczakowa’s writing as an independent literary phenomenon deserving its own interpretation. Drawing on autobiographical and autoethnographic work by Maria Reimann, who is also an author with a disability, the author observes the emancipatory meaning of blindness. The text present three identities of Jadwiga Stańczakowa. First, the author shows her as a woman and asks if her blindness affected her femininity and sexuality. Secondly, the author interprets fragments of texts written by Stańczakowa during depression. Finally, she describes the writer’s identity, the most autonomous, although they all depend on Białoszewski.The article concerns Jadwiga Stańczakowa, a blind journalist and writer, and friend of Miron Białoszewski. The author analyses Stańczakowa’s writing as an independent literary phenomenon deserving its own interpretation. Drawing on autobiographical and autoethnographic work by Maria Reimann, who is also an author with a disability, the author observes the emancipatory meaning of blindness. The text present three identities of Jadwiga Stańczakowa. First, the author shows her as a woman and asks if her blindness affected her femininity and sexuality. Secondly, the author interprets fragments of texts written by Stańczakowa during depression. Finally, she describes the writer’s identity, the most autonomous, although they all depend on Białoszewski