Henryk Chmielewski is the author of a historical comic book devoted to the 100th anniversary of Poland regaining its independence. The comic book of Chmielewski is a subjective vision of Polish history, because every act of creation is first of all an act of destruction. Artist says about very difficoult moment of Polish history (the 19th century, the early 20th century). He creates original story, argues, that the idea of Poland as an independent state was never not lost. Polish people (...) were formed armyduring the Napoleonic Wars, and Polish organisations started major uprisings (the Polish–Russian War of 1830–1831 and the January Uprising of 1863-64). Chmielewski creates an interesting picture of the world with the use of many varying forms, different codes (e.g. picture, word, photography). He use various means of expression: semantic, linguistic, compositional (see values, compotents: metannaration, digression, opposition "we" - "they", stereotype, appropriate words - freedom, Poland, Poles, relationship: fiction - real world, illusion, colloquial language). (shrink)
Investigating the role of visualisations in science (broadly defined) is a meta-scientific question, a self-reflexive inquiry into, among other things, the method of research activity itself. In the field of philosophy, such a self-reflective inquiry can be illustrated by the following questions: Can visualisations express philosophical content? Can visualisations serve as philosophical arguments? In this article, I will discuss—also with the help of a poster—some of the weaknesses of a certain anti-cognitivist line of argument against considering visualisations as philosophical argumentative (...) tools. (shrink)
Although there have been many efforts in the last decade to reconcile the humanities and the information sciences, they have not radically changed the research standards prevailing in most humanistic departments. Against all appearances, the abrupt opening to quantitative methods in the digital humanities still has the character of a minority avant-garde movement. The article looks at the scientometric tradition, largely forgotten by the humanities, which may prove to be another interface bringing the two academic cultures back together. An account (...) of scientometric networks highlights the advantages and disadvantages of this orientation. The broader implications regarding the use of visual networks in the humanities are framed by the category of prostheticity, which aims to encapsulate their ambivalent status as both substitutes and cognitive enhancers. (shrink)
The article addresses a project of visualization of research on ambient music, including the historically changing subject of this research, its theoretical background and qualitative studies arising from it. In this study, the visualization of the research process is related to the concept of graphesis, or visual interpretation, discussed and partly problematized in the context of visual representation of interdisciplinary topics at the interface of various knowledge systems.
In this poster I compare two types of visualization that can be distinguished by the role of the viewer. In the first, which I call “closed visualization,” interpretation is seen as a decoding of meanings already set by the author. The other—“open visualization”—sees the viewer as an active co-creator of meanings. In its processual character, open visualization elicits the critical potential of the imagination and is open to new contexts and interpretations. As such, open visualization democratizes the production of knowledge (...) by enabling the critical analysis of the spectator. Instead of the hegemonic production of discourse typical of closed visualization, it introduces a “diagonal perspectivism” that allows problems to be seen from differentiated perspectives. As examples of the mentioned models of visualization I will analyze two projects: Neil Halloran’s The Shadow Peace: The Nuclear Threat and Aby Warburg’s Mnemosyne Atlas. (shrink)
The article deals with José Gil’s considerations on the relationships between the virtuality and the actuality of the dancing body. At first, it analyses Gil’s idea of projecting the current position of the dancing body into virtual images and explores Gil’s notion of the multiplicity of virtuality. Further, it demonstrates how in the space of the body a consistent compound of movements is created at the level of the monstrous virtual body. Finally, the article emphasizes that, despite the connections between (...) the actual position of the body and its virtual images, there is a fundamental distinction between the actuality and the virtuality of the dancing body. It shows that the idea of the distinction between the virtual and the actual reflects Gil’s concept of virtual memory as a zone of accumulated possibilities of movement. (shrink)
The verbo-visual metaphor is widely used in messages of a persuasive nature. It is also used in educational materials, where it serves to better explain and fix the presented material in the memory of the recipient. Metaphor is based on an incongruity that the recipient must notice and then read the mapping - read what the presence of the incongruity is supposed to convey. Researchers involved in identifying verbo-visual metaphors describe two types of incongruity that can occur in this type (...) of message: topic incongruity and property incongruity. Mastering the methods of identifying and analyzing metaphors is particularly useful for learning how to make the best use of this tool, i.e., how to produce memorable metaphors that explain the problem under consideration well. (shrink)
Knowing the subjective perspective of other agents, how the world manifests itself to them, through the prism of their specific embodiment and situated, remains beyond the limits of our direct cognition and sometimes even imagination. Simulations using virtual reality technology (VR) can partially bring us closer to the embodied perspective of other agents. This technology enables the experience of another body, as one’s own and causal, during the phenomenon of virtual embodiment. The user can be situated in a simulated environment (...) specific to the agent and experience it through the prism of modified sensory modalities (e.g., using the sense of echolocation in the case of a bat). However, the possibilities of simulation are significantly limited by technological and biological factors. The purposes of this text are to review currently developed simulations of being another agent and to analyze the potential of VR technology to experience the embodied perspective of other agents as one’s own. (shrink)