8,042 research outputs found
‘INVOLVED ART’ BY ARTUR ŻMIJEWSKI
No full text‘INVOLVED ART’ BY ARTUR ŻMIJEWSKI
Tryka describes a relationship between Artur Żmijewski’s artistic practice
and his theoretical deliberations on involved art. Żmijewski’s conception
of art, expressed in a manifesto Applied Social Arts, is discussed in the
context of aesthetical conception of art. Tryka starts with the description
of his artistic manifesto entitled ‘Applied social arts’, which is one of
most influential voice in the debate on the role of involved art in contemporary
culture in Poland. Theoretical questions from the manifesto connected
with the metaphor of art as algorithm, the alienation of art and
possibilities of its overcoming fill the first paragraphs of the paper. In the
second part, Tryka described two projects by Żmijewski entiltled ‘Democracies’
and sculptural plain-air entitled ‘Memories of Celulose’. She compared
them with Żmijewski’s ideas and interpreted them in philosophical context.
Żmijewski believed that the value of art cannot be measured in the context
of aesthetics but only in the context of its ability to influence social and
political events. He considered art as social tool which could be used to
studying and forming social relations. Moreover, artists should contribute
to people’s involvement in artistic activities, and in forming people’s worldviews.
They should be able to develop and explore creative potential of
people who aren’t yet interested in art and they should be able to properly
evaluate cooperation between people
Sztuka zaangażowana Artura Żmijewskiego
No full text ‘INVOLVED ART’ BY ARTUR ŻMIJEWSKITryka describes a relationship between Artur Żmijewski’s artistic practice and his theoretical deliberations on involved art. Żmijewski’s conception of art, expressed in a manifesto Applied Social Arts, is discussed in the context of aesthetical conception of art. Tryka starts with the description of his artistic manifesto entitled ‘Applied social arts’, which is one of most influential voice in the debate on the role of involved art in contemporary culture in Poland. Theoretical questions from the manifesto connected with the metaphor of art as algorithm, the alienation of art and possibilities of its overcoming fill the first paragraphs of the paper. In the second part, Tryka described two projects by Żmijewski entiltled ‘Democracies’ and sculptural plain-air entitled ‘Memories of Celulose’. She compared them with Żmijewski’s ideas and interpreted them in philosophical context. Żmijewski believed that the value of art cannot be measured in the context of aesthetics but only in the context of its ability to influence social and political events. He considered art as social tool which could be used to studying and forming social relations. Moreover, artists should contribute to people’s involvement in artistic activities, and in forming people’s worldviews. They should be able to develop and explore creative potential of people who aren’t yet interested in art and they should be able to properly evaluate cooperation between people. ‘INVOLVED ART’ BY ARTUR ŻMIJEWSKITryka describes a relationship between Artur Żmijewski’s artistic practice and his theoretical deliberations on involved art. Żmijewski’s conception of art, expressed in a manifesto Applied Social Arts, is discussed in the context of aesthetical conception of art. Tryka starts with the description of his artistic manifesto entitled ‘Applied social arts’, which is one of most influential voice in the debate on the role of involved art in contemporary culture in Poland. Theoretical questions from the manifesto connected with the metaphor of art as algorithm, the alienation of art and possibilities of its overcoming fill the first paragraphs of the paper. In the second part, Tryka described two projects by Żmijewski entiltled ‘Democracies’ and sculptural plain-air entitled ‘Memories of Celulose’. She compared them with Żmijewski’s ideas and interpreted them in philosophical context. Żmijewski believed that the value of art cannot be measured in the context of aesthetics but only in the context of its ability to influence social and political events. He considered art as social tool which could be used to studying and forming social relations. Moreover, artists should contribute to people’s involvement in artistic activities, and in forming people’s worldviews. They should be able to develop and explore creative potential of people who aren’t yet interested in art and they should be able to properly evaluate cooperation between people
Barbara James
No full textDate:1943Barbara was born in Holdredge, Nebraska in the United States of America in 1943. In 1960 she arrived in Darwin working in a variety of occupations such as a journalist, historian, author, activist, advocate and editor. Barbara wrote 13 books including "No Man's Land" which explored the contributions of women in the Northern Territory. She also received a number of awards including 2001 NT Heritage Award, the 2000 NT Literary Essay Awards and the Chief Minister's Women's Achievement Award in 1999.JournalistHistorianAuthorActivistEditorAmerica
Barbara Ras - Sowell Conference 2017
No full textBarbara Ras, San Antonio, Poet, author of "Bite Every Sorrow" and "The Last Skin
Exclusive interview with author Barbara Kingsolver
No full textExclusive interview with author Barbara Kingsolver for her 2018 novel *Unsheltered
Zagadnienie uczuć religijnych w kontekście art. 196 Kodeksu karnego
No full textThe article analyzes religious feelings in the context of criminal offence against
religious feelings in the face of philosophical, psychological and juridical interpretations.
According to Article 196 of the Polish Criminal Code from 1997 religious
feelings are regarded as protected goods. However, the mentioned term has not been
clearly defined, which provokes controversies in legal circles. The paper indicates
the exact nature of religious feelings and their relation to religious beliefs. The author
argues that Article 196 unnecessarily focuses on the offence of feelings rather
than the defence of religion in the public sphere. The application of the expression
religious feelings to the Criminal Code grants vast possibilities of its understanding
and causes numerous over interpretations of Article 196. To avoid that confusion the
law ought to circumscribe the extent to which religion can be protected. The inquiry
into specific cases of offence against religious feelings must not be based on the
subjective experience of the offended victim because one will never find the ultimate
criterion to assess whether someone has actually been hurt. After the prohibited
activities/possible offences against religion are defined, the behavior of the offender
should be the main point of reference. A propounded amendment might generate
other problems such as, for example, the transgression/violation of the neutrality of
the state; therefore, Article 196 in its current meaning is unacceptable. Consequently,
the religious feelings term should be clarified or removed
Dataset for publication: Post‐war architecture and urban planning as means of reinventing Opole’s past and identity
No full textThe collection includes files related to the publication: Barbara Szczepańska, Post‐War Architecture and Urban Planning as Means of Reinventing Opole’s Past and Identity, „Urban Planning”, Vol 8, No 1 (2023): Bombed Cities: Legacies of Post-War Planning on the Contemporary Urban and Social Fabric, pp. 266-278, https://doi.org/10.17645/up.v8i1.6079. The collection includes figures used in the publication:Opole_plan A plan of Opole, with areas of Ostrówek (left), Market Square (center) and Central Square (right) highlighted in red. Originally published in: "Guidebook to the city of Opole" ("Przewodnik po mieście Opolu", Opole: Księgarnia Opolska, 1948, https://polona.pl/preview/2f383a4a-5e9e-444d-9e94-366b8ac8610d). Author: Z. Streer. Licence: CC0Opole_Monument to the Opole Silesian Fighters for Freedom A photograph depicting Monument to the Opole Silesian Fighters for Freedom (Pomnik Bojownikom o Wolność Śląska Opolskiego) in Opole. Author: Barbara Szczepańska. Licence: CC0Opole_monument of Kazimierz I Opolczyk A photograph depicting the monument of Kazimierz I Opolczyk in the Market Square in Opole. Author: Barbara Szczepańska. Licence: CC0Opole_Market Square_eastern frontage A photograph depicting eastern frontage of the Market Square in Opole. Author: Barbara Szczepańska. Licence: CC0Opole_Market Square_eastern frontage_before 1945 A photograph depicting eastern frontage of the Market Square in Opole before 1945. Originally published on Wikimedia Commons: https://commons.wikimedia.org/wiki/File:Market_Square_in_Opole,_eastern_frontage.jpg. Author: unknown. Licence: CC0Opole_monument of Frederick the Great A photograph depicting monument of Frederick the Great in Opole, before 1945. Originally published on Wikimedia Commons: https://commons.wikimedia.org/wiki/File:Opole_Oppeln_Denkmal_Friedrich_der_Große.jpg. Author: unknown. Licence: CC0</ul
'A date with Barbara': paracosms of the self in biographies of Barbara Newhall Follett
No full textIn 1927, 13-year-old Barbara Newhall Follett published her first book, the critically acclaimed novel, The House Without Windows and Eepersip's Life There.
Twelve years later, on December 7, 1939, 25-year-old Barbara quarrelled with her husband and left her apartment in Boston with $30 in her pocket, and a notebook. She was never seen again.
The House Without Windows is set in a paracosm (Farksolia) she invented, and ends with the metamorphosis of the titular character into a 'fairy-a wood nymph … invisible for ever to all mortals, save those few who have minds to believe, eyes to see'.
In Barbara's (auto)biography, The Unconscious Autobiography of a Child Genius (1966), written by Harold Grier McCurdy 'in collaboration with Helen Follett' (Barbara's mother), the authors wonder: 'Can we be far wrong in substituting Barbara's name for Eepersip's in the closing scenes of [House Without Windows]?
In this paper, I grapple with the formal and ethical challenges of writing about Barbara Newhall Follett, and the ways her family and others have approached the problem of writing her unresolved life story: a child raised and educated in solitude, a celebrated 'natural' child author, a young woman whose disappearance remains unsolved. The paper will explore the ways in which adults write the stories of children's lives, as nostalgia and fable, as fairytale and paracosmic narrative, and the ways in which Barbara's biographers have, consciously and unconsciously, created biographical concordances, or paracosms of the self, in seeking to make meaning of her life's story
Barbara Ehrenreich: Blood Rites: A New Evolutionary Perspective on Violence
No full textBarbara Ehrenreich, author, social critic and political essayist, discusses the emotional and social aspects of warfare and violence.
Barbara Ehrenreich is an American author and political activist who describes herself as a myth buster by trade” and has been called a veteran muckraker by The New Yorker.During the 1980s and early 1990s she was a prominent figure in the Democratic Socialists of America. She is a widely read and award-winning columnist and essayist, and author of 21 books. Ehrenreich is perhaps best known for her 2001 book Nickel and Dimed: On (Not) Getting By in America
Barbara Dicker Oration 2018 - The phenomenon of hallucinations
No full textThe 2018 Barbara Dicker Oration was presented by Professor Iris Sommer on 13 September 2018. Professor Sommer is a best-selling author and Professor of Cognitive Aspects of Neurological and Psychiatric Disorder at the Department of Neuroscience at the University Medical Center Groningen, Netherlands. Entitled The phenomenon of hallucinations, Professor Sommer offered a holistic view into the research and experiences of hallucinations. It’s actually more common than you might think but what happens in our brains when we hallucinate? And what does this mean for new treatments and interventions
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