Personality, demographics and art experience proved to play an important role in reactions to visual art. Nevertheless, research attempts that take into account all those factors when determining predictors of aesthetic responses to different artistic styles are quite rare. The study presented here investigates predictors of aesthetic experience across figurative, abstract and contemporary paintings in individuals with varying expertise. Students enrolled in Sport, Humanities and the Arts programmes (N = 181) declared their art exposure and filled out personality measures (Big Five, alexithymia, need for closure). Next participants evaluated three paintings using a tool constructed by the authors to track various dimensions of aesthetic reactions (i.e. negative/positive affective responses, self-references, explicit knowledge and perceived mastery of the artwork). Reactions to figurative painting depended mostly on formal knowledge about arts, not personality traits. Aesthetic perception of abstract art rely not only on art exposure, but also on some individual characteristics (openness to experience, tolerance of ambiguity and ability to identify one’s own emotions and track their source). Reception of contemporary art was predicted mostly by art exposure variables and in the case of negative emotionality by ability to identify one’s own emotions and track their source. Both formal art education and art experience were stronger predictors of aesthetic responses than personality traits, for all art styles and dimensions of aesthetic experience. Personality predictors were significant mostly for abstract art. Personal interest in the arts seems to be as good predictor of aesthetic reactions as formal expertise.
The presence of art in historic representative buildings is widespread and common. It is not surprising, therefore, that it is a frequent tool used in the transformation processes of these structures. A surprise, however, may be a situation where, instead of the art from the period of the creation of a given monument, the contemporary, multimedia or engaging the viewer cultural activities occur. Therefore, the key questions are the role of such forms of intervention in the historical representative interiors and the possibility of co-existing old and new. It is not without significance for objects under conservator’s protection that there are special requirements that the intervention must fulfill to be installed. The subject of considerations in this work are case studies of the application of contemporary multimedia art in the representative spaces of historical objects. The purpose of the article is to examine types of such artistic interventions resulting from the relationship between a work of art and exhibition space and their mutual influence.
During the first fourteen years of transformation, 1989-2003, according to surveys by the author of the paper hereby, there have been erected in Kraków the twelve new churches. Author already published the result of survey depending the first six of therm. So herewith there are last six shrines described. The way of creating them is significant and characteristic for contemporary Polish architecture in general, and particular typical for the trend of a new ecclesiastic architecture. Itr is a special mixture of the tradition, hence completed with aesthetic of Late Modernism, Post-Modernism, and the newest incorporation of Modernism – of the XXI C.
Tymczasowe zagospodarowanie lub wykreowanie przestrzeni publicznych staje się coraz bardziej powszechnym zjawiskiem, występującym zwłaszcza w dużych miastach. Jest to zjawisko pozostające niejako poza głównym nurtem zainteresowaniem badaczy urbanistyki współczesnych miast, jednak będące jednym z podstawowych elementów polityki miejskiej. Tymczasowe zagospodarowanie przestrzeni publicznych może mieć różne przyczyny: brak środków na docelowe zagospodarowanie, chęć spróbowania czy dany rodzaj funkcji sprawdzi się w wybranej lokalizacji, czy oddolne nie zawsze legalne działanie społeczne, wynikające z bieżących potrzeb mieszkańców lub użytkowników. Niektóre przestrzenie publiczne zagospodarowane tymczasowo pozostają w swojej formie i funkcji na dłużej, inne są demontowane lub po prostu się zużywają. W niniejszym artykule przedstawiono wybrane przykłady tymczasowych przestrzeni publicznych z europejskich miast.
The work presents a comparison of some sound attributes perceived at a multichannel and stereo playback of musical recordings. The width of the virtual source, coherence impression, total size of sound scene, general quality and balance were the subjects of interest after the format reduction in accordance with the ITU recommendation. The results showed that evaluation of these attributes depends on the way the original audiosphere has been created in the surround system, for example, for a narrow virtual source the mix-down process causes only a small change in its size but for a broad source the observed degradation is significant. In addition, different ways of conversion from the multichannel to stereo format have been tested for compatibility.
Conservation of the Old Town Zamość began to realize almost a hundred years ago. Then the eminent preachers of culture in the early period. 20.year inter-made idea of restoring the prestige of the works of Polish culture. The idea of protecting national cultural heritage grew gradually until such time as the first scientific research, development of standards and principles of care and maintenance. Today Zamość was inscribed on the UNESCO World Cultural Heritage. Many things made, much remains to be done.
This article presents the concept of fate in the stories of the poet and literary sketches of twentieth-century Russian writer Jurij Dombrowski. The writer creates psychological portraits of Romantic poets, including George Byron, Alexander Gribojedov, Wilhelm Küchelbecker, focusing on selected episodes from their lives. In the article attempt is made to prove that the fate of the nineteenth-century artists serve as an excuse to explain the problems of contemporary author. Characteristics of historical fi gures are made through the prism of Dombrowski’s biography. The combination of biography and autobiography allows Dombrowski to present the subjective concept of the poet: a man condemned to loneliness and misunderstanding, confl icted with the epoch, trying to overcome the tragic dependence on historical conditions through art and creativity.
Martin Heidegger in The Origin of the Work of Art (Der Ursprung des Kunstwerkes) developed a whole new way of thinking about art, going beyond traditionally understood aesthetics or even philosophy of art. Some of Heidegger’s thoughts, however, appear to be understated and only signal a huge complexity of both experiencing works of art and the very issue of the origin of the work of art. The analysis of the terms ‘dread’ and ‘eyeblink’ from Time and Being presented in this article complement and develop Heidegger’s ideas included in his essay. Linking art to these two crucial phenomena of fundamental ontological analysis of Dasein casts light on the status of art and its existential significance. The author aims mainly at demonstrating the aletheic connection (based on unclosedness) between the experience of ‘originary source’ of a piece of art and ‘dread’, and also, in conclusion, he points to the ‘event of Being’ as the essential, non-metaphysical origin of art.
In 1949 the first book of the Atlas of Polish Traditional Costumes series appeared. Józef Gajek was the one who initiated the series, published by Polish Folk Association to this day. He was associated with Polish Ethnographic Atlas, which had a great impact on the character of the series. Its main objective was to describe Polish traditional costumes according to particular regions. Janusz Kamocki and Barbara Bazielich were subsequent editors of the series. Since 2011 the authors of this article have been part of the editorial staff. At their initiative ten more books of the series were published in the years 2013–2018, field research on traditional handicraft was conducted and the Traditional Costume Section was established. The article describes the circumstances accompanying this editorial series appearance and discusses both main directions in research on traditional costumes and activities for popularising knowledge of this unique cultural phenomenon.
Zoo is a didactic assembly induced in the system of urban greenery. It has an educational, entertainment, and scientific values. This kind of gardens, directly derived from tradition of baroque menagerie, were created from the mid-18th century. Their greatest development occured since the 2nd half of 19th century and the 20th century. The article is regarding issues of the miniature zoo in Upper Silesia created before World War II. They will be presented their resource, state of preservation and the characteristics of selected examples.
The authors discuss the main premises of the project “The most popular surnames in Poland — past and present. E-dictionary” which has been in development since July 2014 in IJP PAN in Krakow. They also present its basic aims and functions, progress already made and they compare it with other dictionaries of surnames. The authors describe several aspects of the dictionary related to IT and computers but also those concerned with onomastics and lexicography. Additionally, they pay particular attention to the information contained in specific parts of each entry.
The subject of the considerations put forward in this article is an evaluation of the quality, in substantive and ethical terms, of the specialist translation into Polish of Henryk Hiż’s article ‘Peirce’s Influence on Logic in Poland’. The translation subjected to evaluation here was published in 2015 in the specialist philosophical journal Studia z Filozofii Polskiej [Studies of Polish Philosophy] (October 2015, pp. 21–33). In the presented evaluation, I point out substantive and ethical violations committed by interpreter, calling attention to (a) the flouting of the principle cuilibet in arte sua ; (b) manipulation of source material; (c) dishonesty in philological-textological development; (d) improper editorial preparation; (e) disregard of the subsequent literature on the subject; (f) deliberate and unjustified abridgement of the original text. The deficiencies enumerated in points (a)–(f) are the result of interpreter’s adoption of the ‘publish or perish’ strategy, the overriding goal of which is to publish an article in a high-impact journal with the aim of achieving the most favourable bibliometric result in the shortest possible time, at a cost to the integrity and ethical responsibility of the translator-researcher.
After moving to Italy in 1856, Teofil Lenartowicz, inspired by the great Italian art and supported by the best Florentine artists of the time Giovanni Dupré and Enrico Pazzi, began studying sculpture. Lenartowicz’s sculptures were always connected with literature: his work shows howone influenced the other. It is no accident that his style as a sculptor has been called ‘poetic’ by the critics. The Polish immigrant was fascinated by the Italian Renaissance, and especially by the art of Lorenzo Ghiberti. At the same time, he never forgot about Polish folklore, which played a significant role in his artistic vision. One of the most impressive examples of this intersection of influences is the bas-relief The Holy Workers, complemented by a poem bearing the same name.
In general the iconographic details recorded in the hagiographic literature are pretty meagre. Authors focus on the miraculous properties of icons. The Coptic lives of the saints may be selected as representative for the Early Christian and Byzantine hagiography. The Martyrdom and Miracles of Saint Mercurius the General and other lives contain stories about the Saint’s icons. We have some information about church decoration in the East, but, it does not look as impressive as John of Gaza’s extensive ecphraseis of St. Sergius’ and St. Stephen’s complex decorative programmes. However, we actually find a number of interesting minor descriptions in the church histories, in the theological polemic on icons, and in the hagiographies. A Syriac manuscript from the British Museum preserves a chronicle of the monastery of Qartamin, Mor Gabriel. I focus on a chapter which describes the church’s construction and its interior decoration. The essential part of the art terminology, which we know from the Coptic texts, consists of the Greek borrowings. The Syriac texts show an entirely different pattern. The Syriac description compiled by an anonymous monk from Qartamin resembles the hymn on the Edessa Cathedral. The Syriac art description in general evolved along entirely different lines from the Greek ecphrasis. Greek borrowings in the discussed Syriac texts are rare, and if they do appear, they are limited to only certain words.
The subject of this article are the Egyptian inspirations in the graphic works of Ewa Siedlecka-Kotula, an artist living and working in Kraków in the second half of the 19th century. During the period from May 1948 until June 1949 she resided in Cairo, a productive period which came to fruition in the form of a special cycle of linocuts, executed in 1969 and based on earlier sketches. The series comprises of the following works: “Kobiety/Women”, “Woda/Water”, “Ryż/Rice”, “Tkacze/Weavers”, “Pasterka/ Female shepherd”, and “Barany/Rams”, depicting contemporary Egyptians and their typical, everyday tasks. During her stay in Egypt the artist also designed the exhibition graphics for the 16th Agricultural and Industrial Exhibition in Cairo. Her works were put on display at an individual exhibition (December 1948). She also participated in the exhibitions entitled “Le salon des femmes-artistes” in Cairo Women’s Club (March 1949) and “France-Égypte” in the Museum of Modern Art in Cairo (May 1949). Ewa Siedlecka-Kotula’s works met with much interest at that time. Unfortunately, references to antiquity are very scarce in her art, and include only a watercolour showing an Egyptian peasant by a shaduf (fig. 1), and a drawing of a female offering-bringer figurine from the tomb of Nakhti, overseer of the seal, in Asyut (early 12th dynasty, around 1900 BC). The latter drawing was perhaps made in the Egyptian Museum in Cairo, and most likely represents a statuette whose current fate remains unknown, which would make this drawing an exceptional record.