Mistyfikacja w sztuce, koncepcja mistyfikacji jako instrument badawczy

XXth century established new principles in the art and created new relations between an artist and a receiver. As a result an artist, as well as a receiver, has greater possibilities to act, to have more resources, more freedom and more courage. Nevertheless, art is not obliged to take in consideration moral problems as sciences (especially social sciences) do. Artistic activities can forget about ethics. Can such art reach areas unreachable for science? And study these problems? This art can use mystification as a usseful research instrument.Zadanie pt. „Digitalizacja i udostępnienie w Cyfrowym Repozytorium Uniwersytetu Łódzkiego kolekcji czasopism naukowych wydawanych przez Uniwersytet Łódzki” nr 885/P-DUN/2014 dofinansowane zostało ze środków MNiSW w ramach działalności upowszechniającej naukę

Benign epilepsy with centrotemporal spikes – Current concepts of diagnosis and treatment

Benign epilepsy with centrotemporal spikes (BECTS) is the most common focal epilepsy ofthe childhood and also one of the best known. It has a proclivity to start at a particular age and remit spontaneously before adolescence. Majority of patients may avoid long-term treatment, because of the mild course and very good outcome. Only few patients may present cognitive deficits if the proper treatment is not implied. BECTS is a part of heterogeneous group of syndromes that consists of Landau-Kleffner Syndrome (LKS), Continuous Spike-and-Wave during Sleep (CSWS) and Atypical benign partial epilepsy (ABPE). These syndromes may be also a result of various trajectories that BECTS may evolve to. Disease is suggested to have genetic origins, as some patients have relatives with different types of epilepsy. The discovery of the pathogenic mechanism of the disease and implementation of targeted therapy belong to the main challenges in the treatment of these patients

Resource allocation in a mental health system

Thesis. 1976. M.C.P.--Massachusetts Institute of Technology. Dept. of Urban Studies and Planning.Microfiche copy available in Archives and Rotch.Bibliography: leaves 120-122.by Victor John Franckiewicz, Jr.M.C.P

Art in COVID-19 pandemic. Institutions disseminating contemporary art during the pandemic and their audience

The article, based on qualitative research and attendance data, analyzes the functioning of institutions promoting contemporary art and the behavior of their recipients during the COVID-19 pandemic. The concept of Émile Durkheim’s anomy and Robert K. Merton’s deviant behavior was used to interpret the discussed phenomena.Artykuł, bazując na badaniach jakościowych i danych dotyczących frekwencji, analizuje funkcjonowanie instytucji upowszechniających sztukę współczesną i zachowania ich odbiorców podczas pandemii COVID-19. Do interpretacji omawianych zjawisk zastosowana została koncepcja anomii Émile’a Durkheima i typów indywidualnego przystosowania Roberta K. Mertona

Water Salvage Potentials in Utah, Volume I. Open Water Evaporation and Monolayer Suppression Potential

An estimate of the potential in Utah for evaporation suppression by the monolayer film method is presented. The model estimates evaporation suppression as a function of wind speed, a four parameter exposure factor, and reservoir size. The estimated suppression factors vary from 0 to 30 percent and average 11 percent of the statewide total annual evaporation. Estimates of May to October evaporation and suppression potential are calculated for each of the 227 impoundments in the surface water inventory. A forthcoming report in this series will examine the potential for evaporation suppression by thermal destratification. This procedure, which is already being used for water quality improvement, appears to have greater potential than the monolayer concept for suppre sion on deep reservoirs

Interactive Art vs. Social Interactions. Analysis of Interactive Art Strategies in the Light of Erving Goffman’s Interactional Perspectives

Izabela Franckiewicz-Olczak analyzis interactive art strategies from the perspective analyzed by Erving Goffman and described Richard W. Kluszczyński in his book entitled Interactive art: from work-instrument to interactive performance. She considers interactive multimedia art in the context of Goffman’s face-to-face analysis. The analysis includes Goffman’s conceptual net of dramatic approach, the perspectives of games and rituals and framework analysis. Kluszczyński’s divisions are descibed in the context of strategies and interactive situations. Franckiewicz- -Olczak overviewed and compared human-machine interactions (interactive work) and direct interpersonal interactions. The analysis refers to the numerous examples of interactive work illustrating the strategies

Cinema for children in Poland – a bastard child of popular culture, an element of cultural education

In the mid-1950s, film sealed its place in the world of art with the voice of essentialist theories. At the same time, it did not give up its status as mass entertainment, which it had acquired at the beginning of cinematography’s development. Over the years, it has also developed its position as an educational medium, and its importance and impact on culture created the need for film studies. And although knowledge of film and cinematography is being introduced to school curricula, not only in Poland, the negative view that film is purely for entertainment purposes still prevails. Focusing on the subject outlined, the article refers to the results of research on film knowledge among children and young people, and on the cultural choices (using data on film choices) of parents and caregivers, to analyze the place and role of film in children’s and young people’s development.</jats:p

Mistyfikacja w sztuce, koncepcja mistyfikacji jako instrument badawczy

XXth century established new principles in the art and created new relations between an artist and a receiver. As a result an artist, as well as a receiver, has greater possibilities to act, to have more resources, more freedom and more courage. Nevertheless, art is not obliged to take in consideration moral problems as sciences (especially social sciences) do. Artistic activities can forget about ethics. Can such art reach areas unreachable for science? And study these problems? This art can use mystification as a usseful research instrument

A child at the museum. Polish museums In the context of the popularization of art

Poruszana w artykule problematyka jest wypadkową dwóch tendencji obecnych współcześnie zarówno w kulturze, jak i nauce: demokratyzacji kultury i wzrastającego zainteresowania problematyką dziecka i dzieciństwa. Kwestia demokratyzacji kultury analizowana była począwszy od pierwszej połowy XX wieku w tekstach José Ortegi y Gasseta, Theodora Adorno czy nieco później Karla Mannheima. Zagadnienia związane z okresem dzieciństwa i demokracją podejmował na początku XX wieku John Dewey. Jako jeden z pionierów estetyki pragmatycznej podkreślał on znaczenie doświadczenia estetycznego w rozwoju człowieka. Podstawę wychowania stanowiło dla niego wyzwalanie zdolności indywidualnych ku realizacji społecznych celów. Kwestie dzieciństwa na gruncie socjologii w latach 50. XX wieku podejmował w swoich pracach, jeszcze raczej przedmiotowo traktując dziecko, Talcott Parsons. Od lat 90. XX wieku zainteresowanie problematyką wieku dziecięcego znajduje wyraz w rozwoju interdyscyplinarnych badań w ramach children studies. Zestawiając oba obszary problemowe, poniższy tekst jest próbą analizy działań edukacyjnych placówek wystawienniczych pod kątem uprzystępniania sztuki dzieciom. Podstawową kwestią poruszaną w artykule jest to, czy i na ile programy edukacyjne stanowią sprawne narzędzie upowszechniania, uprzystępniania sztuki. Ponadto w artykule postawiono następujące pytania: Czy są one formą dotarcia do dzieci pozbawionych kontaktu ze sztuką, czy jedynie narzędziem reprodukcji istniejącego porządku bazującego na elitarystycznej roli sztuki, do której dostęp mają jedynie grupy uprzywilejowane? I wreszcie jaką rolę odgrywa w nich dziecko: aktywnego podmiotu realizującego swoje potrzeby czy przedmiotu niezbędnego do realizacji polityki kulturalnej?The issues discussed in the article are the result of two contemporary trends both in culture and science: the democratization of culture and the growing interest in the issues of children and childhood. The issue of the democratization of culture was analyzed from the first half of the 20th century in the texts of José Ortega y Gasset, Theodor Adorno, and later Karl Mannheim. John Dewey took up the issues related to childhood and democracy at the beginning of the 20th century. As one of the pioneers of pragmatic aesthetics, he emphasized the importance of aesthetic experience in human development. The basis of his upbringing was triggering individual abilities to achieve social goals. The issues of childhood in sociology in the 1950s were addressed by Talcott Parsons, who still viewed children rather more objectively. Since the 1990s the problem of childhood has been reflected in the development of interdisciplinary research within the framework of children studies. By juxtaposing both problem areas, the following text is an attempt to analyze the educational activities of exhibition establishments in terms of making art more attractive for children. The main issue discussed in the article is whether and to what extent educational programmes constitute an efficient tool for promoting art. Are they a form of reaching children who have no contact with art, or are they only a tool for reproducing the existing hierarchy based on the elitist role of art, to which only privileged groups have access? And finally, what is the role of a child in these educational programmes: an active subject realizing their needs or an object necessary for the implementation of cultural policy