Studia nad pamięcią a archeologia późnego paleolitu. O performatywnym wymiarze praktyk pamięci w pradziejowych społecznościach łowiecko-zbierackich

The researches on the Paleolithic society of hunters-gatherers enter into an inspiring perspective, enriching the reflection on memory. The article considers the forms of the collective memory of the hunters-gatherers community of the Paleolithic era. The author postulates to widen the term of memory with the practices of embodiment and habitual memory. It helps to grasp the ways of memorizing by the communities on a deeper level. Cultural memory is deeply rooted in routine activities, which is more or less conscious. The mnemotechnic power that lives in such activities allows for preserving of cultural models. The archaeological analyses of flint working materials present the very concrete examples of such events.The researches on the Paleolithic society of hunters-gatherers enter into an inspiring perspective, enriching the reflection on memory. The article considers the forms of the collective memory of the hunters-gatherers community of the Paleolithic era. The author postulates to widen the term of memory with the practices of embodiment and habitual memory. It helps to grasp the ways of memorizing by the communities on a deeper level. Cultural memory is deeply rooted in routine activities, which is more or less conscious. The mnemotechnic power that lives in such activities allows for preserving of cultural models. The archaeological analyses of flint working materials present the very concrete examples of such events

Archeologia, pamięć, sztuka. Archeoetnografia i sztuka okopowa związana z obozem jeńców wojennych i internowanych w Tucholi, woj. kujawsko-pomorskie

Lidar-derivatives gathered during the realization of IT System of Country’s Protection Against Extreme Hazards (so-called ISOK programme) have initialized the non-invasive archaeological research concerning the preservation of the relicts of the former prisoner of war and internment camp in Tuchola, Poland. The camp functioned during the Great War (1914–1918) and the Polish-Soviet War (1919–1921). This paper discusses and summaries the preliminary results of this research. It argues that the use of ethnographic methods can supplement and enrich the historical records related to the camp. The article discusses in detail the assemblage of material culture made, remade, or personalized by prisoners and internees documented during the research. These artefacts are unique examples of trench art. Discussionconcerning the objects is the main goal of this paper. They are the first examples of the trench art related to the Tuchola camp analyzed in the archaeological literature.Lidar-derivatives gathered during the realization of IT System of Country’s Protection Against Extreme Hazards (so-called ISOK programme) have initialized the non-invasive archaeological research concerning the preservation of the relicts of the former prisoner of war and internment camp in Tuchola, Poland. The camp functioned during the Great War (1914–1918) and the Polish-Soviet War (1919–1921). This paper discusses and summaries the preliminary results of this research. It argues that the use of ethnographic methods can supplement and enrich the historical records related to the camp. The article discusses in detail the assemblage of material culture made, remade, or personalized by prisoners and internees documented during the research. These artefacts are unique examples of trench art. Discussionconcerning the objects is the main goal of this paper. They are the first examples of the trench art related to the Tuchola camp analyzed in the archaeological literature

Historia, archeologia i paleobotanika. O demaskowaniu dziejów w badawczo- artystycznej praktyce Sławy Harasymowicz, Thierry’iego Oussou oraz Michaela Wanga

The practice of contemporary artists is sometimes similar to the methodology of the researcher of the past. The creators engaged in the discovery of history, generate images of memory using historically or biologically similar methods, among which archival research, archaeological excavations and botanical experiments are a full-fledged artistic method. The reason for the work of Sława Harasymowicz is the nearby history, in which the members of her family and herself participated. Thierry Oussou has recently become famous for the excavation mystic that triggered the diplomatic incident. In his artistic work, Michael Wang raises global themes: climate change and economics. Their projects level the artistic and research work with the process. They reject the dictates of the objectivity, and linearity of the story. The method chosen by them, the questions posed and comments made by commentators are included in the discourse of contemporary humanities, in which the human subject has been included in the system of dependencies between animals, plants, and machines.The practice of contemporary artists is sometimes similar to the methodology of the researcher of the past. The creators engaged in the discovery of history, generate images of memory using historically or biologically similar methods, among which archival research, archaeological excavations and botanical experiments are a full-fledged artistic method. The reason for the work of Sława Harasymowicz is the nearby history, in which the members of her family and herself participated. Thierry Oussou has recently become famous for the excavation mystic that triggered the diplomatic incident. In his artistic work, Michael Wang raises global themes: climate change and economics. Their projects level the artistic and research work with the process. They reject the dictates of the objectivity, and linearity of the story. The method chosen by them, the questions posed and comments made by commentators are included in the discourse of contemporary humanities, in which the human subject has been included in the system of dependencies between animals, plants, and machines

Perspektywy i wyzwania badań na styku archeologii i sztuki

The main goal of this paper is to reflect on the perspectives and challenges of art and archaeology research. The paper investigates main objectives through the lens of the art historian and archaeologist. Even though, the study on relations between art and archaeology has a long tradition in archaeology and the most famous researchers reflected on those tensions (Colin Renfrew, Michael Shanks, Andrew Jones, Ian Russell, Paul Reilly, Paul Bonaventura), art and archaeology approach is still not a coherent and systematic methodological framework. To deal with this notable lack, the author revises previous studies and points at the possible advantages of the development of studies at the border of art, archaeology and aesthetics. The main problems are illustrated and discussed in reference to archaeological museums and the Polish contemporary art represented by Hubert Czerepok, Agata Ingarden, Agnieszka Kalinowska, Agnieszka Kurant, Robert Kuśmirowski and Joanna Rajkowska.The main goal of this paper is to reflect on the perspectives and challenges of art and archaeology research. The paper investigates main objectives through the lens of the art historian and archaeologist. Even though, the study on relations between art and archaeology has a long tradition in archaeology and the most famous researchers reflected on those tensions (Colin Renfrew, Michael Shanks, Andrew Jones, Ian Russell, Paul Reilly, Paul Bonaventura), art and archaeology approach is still not a coherent and systematic methodological framework. To deal with this notable lack, the author revises previous studies and points at the possible advantages of the development of studies at the border of art, archaeology and aesthetics. The main problems are illustrated and discussed in reference to archaeological museums and the Polish contemporary art represented by Hubert Czerepok, Agata Ingarden, Agnieszka Kalinowska, Agnieszka Kurant, Robert Kuśmirowski and Joanna Rajkowska

Niełatwa archeologia klifów – przypadek stanowisk w Bagiczu

The following paper presents the problem of archaeological sites located on cliffs on the Southern Baltic Sea shore. This article discusses issues related to a necessity of solving the problem of this kind of research, related to methodological, as well as documentation and preservation standards based on preliminary results of the project conducted in Bagicz area (Ustronie Morskie commune). In this region four new structures were noted on a cliff surface. The key to understand the situation of archaeological sites located on a cliff areas is the knowledge of the processes related to their formation and activity. All of them have a huge impact for the state of preservation of the cliff, however they have various intensity level depending on the part of the Baltic Coast.The following paper presents the problem of archaeological sites located on cliffs on the Southern Baltic Sea shore. This article discusses issues related to a necessity of solving the problem of this kind of research, related to methodological, as well as documentation and preservation standards based on preliminary results of the project conducted in Bagicz area (Ustronie Morskie commune). In this region four new structures were noted on a cliff surface. The key to understand the situation of archaeological sites located on a cliff areas is the knowledge of the processes related to their formation and activity. All of them have a huge impact for the state of preservation of the cliff, however they have various intensity level depending on the part of the Baltic Coast

Program „nowej” estetyki wobec oczekiwań archeologów

The article is devoted to considerations regarding the idea of „new aesthetics” and its importance for archeology, especially prehistoric archeology. The current scientific reality as exceeding current paradigms and expanding research fields is diagnosed. This process also applies to the borders of art, which until recently seemed to be established, fixed and guaranteeing its clear separation from other spheres of life. The article shows aesthetics as noting this process and subject to change. This complicated current situation has created the idea of „new aesthetics”, entering new areas that previously did not belong to art or aesthetics. Similarly, the methods of analyzing these phenomena do not have a predetermined status. This gives new opportunities, especially when you notice the manifestations of universal aesthetics. They also relate to prehistoric archeology, giving it the opportunity to participate in the discourse proposed by „new aesthetics.”The article is devoted to considerations regarding the idea of „new aesthetics” and its importance for archeology, especially prehistoric archeology. The current scientific reality as exceeding current paradigms and expanding research fields is diagnosed. This process also applies to the borders of art, which until recently seemed to be established, fixed and guaranteeing its clear separation from other spheres of life. The article shows aesthetics as noting this process and subject to change. This complicated current situation has created the idea of „new aesthetics”, entering new areas that previously did not belong to art or aesthetics. Similarly, the methods of analyzing these phenomena do not have a predetermined status. This gives new opportunities, especially when you notice the manifestations of universal aesthetics. They also relate to prehistoric archeology, giving it the opportunity to participate in the discourse proposed by „new aesthetics.

Czy archeologia potrzebuje sztuki? Jak teoretyczne spojrzenie otwiera nowe możliwości współpracy. Sztuka jako użytkowanie

In the following paper, a question was asked if archaeology needs art, precisely – in what way is this art needed? The author determines the value of the artistic act since we want to participate in this experiencing and even co-create this experience. Another issue is what we have from the contact with the art. The art is treated as continuously changing which imposes the transformations in the definition. The answer points out the proper understanding of the art functions, which is as using. It is significant when indicating various connections and transfers between art and other academic disciplines. It helps to notice mutual connections and relations, also with archaeology.In the following paper, a question was asked if archaeology needs art, precisely – in what way is this art needed? The author determines the value of the artistic act since we want to participate in this experiencing and even co-create this experience. Another issue is what we have from the contact with the art. The art is treated as continuously changing which imposes the transformations in the definition. The answer points out the proper understanding of the art functions, which is as using. It is significant when indicating various connections and transfers between art and other academic disciplines. It helps to notice mutual connections and relations, also with archaeology

„Szaman nigdy nie umiera”. Sztuka naskalna jako wyraz tożsamości w twórczości Jane Ash Poitras

This article discusses the phenomenon of reusing of ancient rock art iconography in modern art on the example of the artworks of Canadian Cree visual artist Jane Ash Poitras. To understand the role the rock art plays in the collages of J.A. Poitras, the first part of the paper is focused on the Indigenous perspective, which provides the clue to reading complexity of history and contemporary art of the First Nations in Canada. Then the painting Shaman never die V is thoroughly analyzed. It is showed that rock art motifs used in this artwork had been very carefully selected and the meanings they evoke significantly go in pair with wider ideas related to traumatic history of Indigenous Canadians as well as ideas related to persistence of Indigenous spirituality symbolized by the image of shaman.This article discusses the phenomenon of reusing of ancient rock art iconography in modern art on the example of the artworks of Canadian Cree visual artist Jane Ash Poitras. To understand the role the rock art plays in the collages of J.A. Poitras, the first part of the paper is focused on the Indigenous perspective, which provides the clue to reading complexity of history and contemporary art of the First Nations in Canada. Then the painting Shaman never die V is thoroughly analyzed. It is showed that rock art motifs used in this artwork had been very carefully selected and the meanings they evoke significantly go in pair with wider ideas related to traumatic history of Indigenous Canadians as well as ideas related to persistence of Indigenous spirituality symbolized by the image of shaman

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Neandertalczyk i człowiek anatomicznie współczesny w ujęciu najnowszych źródeł archeologicznych i paleoantropologicznych

The article summarises recent discoveries regarding Neandertals and anatomically modern humans (AMH), and tries to examine currently leading trends in the fields of archaeology and palaeoanthropology. Collected evidence suggests that modern research focuses mostly on discussions on the origin of symbolism, cultural and cognitive capacities, and analyses of ancient DNA. Although archaeology and palaeoanthropology undoubtedly provide the highest number of sources, other sciences such as cognitive neuroscience also deliver new, equally valuable perspectives and information.The article summarises recent discoveries regarding Neandertals and anatomically modern humans (AMH), and tries to examine currently leading trends in the fields of archaeology and palaeoanthropology. Collected evidence suggests that modern research focuses mostly on discussions on the origin of symbolism, cultural and cognitive capacities, and analyses of ancient DNA. Although archaeology and palaeoanthropology undoubtedly provide the highest number of sources, other sciences such as cognitive neuroscience also deliver new, equally valuable perspectives and information