Teoria obrazu w naukach humanistycznych (2015) (original) (raw)

2015, Konrad Chmielecki, Beata Lisowska (red.), Teoria obrazu w naukach humanistycznych, Wydanie pierwsze, Łódź: Wydawnictwo Akademii Humanistyczno-Ekonomicznej w Łodzi, (ss. 234)

Abstract: Among the collected texts in this collection of research papers we have a very wide range of humanities and social sciences disciplines in an inter- and transdisciplinary perspective: from philosophy, through sociology, psychology, anthropology, to reflection on art, photography, film and media studies. Texts included in the first part of the collection entitled Picture theory in social sciences presents a coherent genesis of picture theory in the fields of philosophy, sociology, anthropology and psychology. Mateusz Salwa proposes an original interpretation of Hans Belting's an anthropology of images in the light of Giorgio Agamben's biopolitics. His text concerns both the area of aesthetics and art history. Tomasz Załuski analyzes the notion of an image in the light of Jean-Luc Nancy's philosophy and places it in the context of Jean Baudrillard's discourse about simulacrum and hyper-reality as well as Guy Debord's the Society of the Spectacle. Jerzy Kaczmarek, on the other hand, looking for both the theoretical and practical using the image in visual sociology. Jan Młodkowski presents concepts of the image in psychology. The representation, according to Młodkowski, consists in constructing a model of the world and oneself basing on a mechanism of similarity to the subject being represented. The second part of this book, entitled Picture theory in researches on visual media, in which there are analyzes of selected artists of visual arts in the context of the theory of photographic, film and electronic image. Marianna Michałowska's text addresses the issue of photographic image identity, which is based on its theoretical model, taking into account three axes: aesthetic, political and technological. Tomasz Ferenc deals with the topic of violence in photographic images, which, according to the author, should be analyzed on several levels. Therefore, it is necessary to distinguish between violence of photography and the phenomenon that it carries with or causes the photographic image itself. Agnieszka H. Hudzik asks the question "what are photographs of the Holocaust and what do they presenting?" In the part devoted to the film image, we have both theoretical and analytical texts. Among these of one is Konrad Chmielecki's text capturing the aesthetics of a film image within aesthetics stretched between oppositional two poles: an analogue and a digital image. The analytical texts, on the one hand, dealing with the feature film: Alicja Helman's text about tradition and contemporaneity in the artworks by Zhang Yimou, and on the other - the Monika Bokiniec's text dealing with biographical films in the context of the illusion of understanding the image. A separate part are texts devoted to the issue of image as the found footage. In this part, the Ewa Hornowska's text appears, which presents the concept of the image as a palimpsest on the example of the installation by Izabella Gustowska and Zofia Kulik, the Paweł Sołodki's text regarding the issue of over interpretation of the image, and the Dagmara Rode's text about several uses of found footage in the artworks of Derek Jarman. Complementing the whole is another analysis of the film Overlord (1975) by Stuart Cooper in the context of visual imitation of the image. The last part of this book is dealing with: dimensions of video image (Andrzej Pitrus's text about the electronic autonomous video art by Bill Viola); of the visual representation in contemporary art (Ewa Gałązka's text about the social dimension of films and installations of Japanese artist Tabaimo); and of picture theory in the face of the crisis of representation (Mirosław Przylipiak's text comprising the extensive analysis of the issue of realism in referring to "The Language of New Media" by Lev Manovich).