Flowering and fruit set of six cultivars of highbush blueberry (Vaccinium corymbosum L.) in the conditions of the Lublin Region

The results presented in this paper relate to the time and duration of flowering of highbush blueberry as well as fruit set in the conditions of flower isolation and free visitation by pollinating insects. Observations were carried out in the years 2001- 2004 at a plantation located in Niemce near the city of Lublin. Six cultivars: 'Bluecrop', 'Bluejay', 'Croatan', 'Darrow', 'Northland' and 'Spartan', were covered by the study. The flowering period of the studied highbush blueberry cultivars was in May in three years of study, whereas in 2004 in May and June. Depending on the year, it lasted from 14 up to 21 days, on the average. Significant differences were found in the life span of a single flower which, depending on the cultivar and conditions prevailing during flowering, bloomed from 5 up to 10 days (the average for all the years for all the cultivars). With free access of pollinating insects, highbush blueberry set an average of 92 false-berries per 100 flowers, whereas only 40 during spontaneous self-pollination under the isolating cover. In each year of study, irrespective of atmospheric conditions prevailing during flowering as well as the time and duration of flowering, fruit set of the investigated cultivars in flowers freely accessible to pollinating insects should be considered to be good or very good

Structure of trichomatous nectaries in flowers of Lonicera kamtschatica (Sevast.) Pojark.

The structure of the floral nectaries of Lonicera kamtschatica was examined using light microscopy, scanning electron microscopy and transmission electron microscopy. Nectariferous tissues are located in the lower portion of the corolla tube. It was found that the secretory tissue of the nectary was composed of two layers of epidermal formations: short papillae and about 3x longer unicellular trichomes. They cover the adaxial surface of a small spur. Nectar secretion takes place through the apical portion of the trichomes and papillae. The cell wall of the upper part of the trichome has protuberances participating in nectar transfer to the subcuticular space which reaches large dimensions. The lateral walls of the trichomes are saturated with cutin. The papillae have much thicker walls than the trichomes. In the papillae, there are no wall protuberances. Less secretion accumulates in the subcuticular cavities of the papillae than in the trichomes

Nectar and pollen production in Arabis procurrens Waldst. & Kit. and Iberis sempervirens L. (Brassicaceae)

Ecological environment in urban areas is specific in many aspects. There are evidences that ornamental plants cultivated in local urban gardens may help in conservation of pollinators. In this study, the flowering pattern, the abundance of flowering, nectar and pollen production as well as insect visitation in Arabis procurrens Waldst. & Kit. and Iberis sempervirens L. were investigated. The species were grown in the UMCS Botanical Garden in Lublin, southeastern Poland. Arabis procurrens bloomed from the middle of April until middle of May and I. sempervirens from the end of April until middle of June. In both species, most flowers opened in the morning hours (40–45% of total were opened by 8:00 h GMT + 2 h). The average sugar yield of A. procurrens was ca. 53% lower compared to I. sempervirens (mean = 1.08 g/m2 and 2.32 g/m2, respectively). In both species, considerable differences in the amount of produced sugars were noted between years. The mass of pollen produced in the flowers of A. procurrens was approx. 35% lower compared to that of I. sempervirens (mean = 0.06 mg and 0.09 mg per flower, respectively). Pollen produced per unit area was correlated with the number of flowers. On average, the species produced 1.46 g (A. procurrens) and 2.54 g (I. sempervirens) of pollen per 1 m2. The flowers of A. procurrens attracted mainly dipterans (56.3% of total visitors), while I. sempervirens lured chiefly solitary bees (47.4% of total visitors), however in both cases, honeybees, bumblebees and lepidopterans were also recorded. The A. procurrens and I. sempervirens due to flowering in early spring period may be promoted for use in small gardens (rock or pot gardens) for both aesthetic value and as plants that support insect visitors in nectar and pollen rewards

Fake news in the era of post-truth. Theory and practice

Century is a time of a media revolution. Convergence, networking and massive digitalization of culture caused that traditional kind of media are changing its aspect and structure but not only. In addition, their impact on reality is much more stronger than several decades ago. The changes that are happening now in media affect much more than just our everyday life. Those, that are mentioned in article let us ask questions about existence of truth as a unquestionable value that is widely respected and defined as a basis for the functioning of democratic societies

Transgressions: film recordings of the isolation period. Media studies analysis of short films inspired by the pandemic (HBO project)

The review article is an attempt at a media studies analysis of short films made by Polish filmmakers commissioned by the HBO digital platform. They are all in response to the pandemic situation of isolation. The analysis deals with the transgression of artistic attitudes towards danger. In it, I use the tools of contemporary semiology: verbal and non-verbal codes that participate in creating meanings through destruction and a new reading of meanings hidden in film messages. I prove that artists, first of all, commit transgression, negating the existing reality and looking for a new film language that contradicts the Aristotelian structure of the three acts in order to disperse the images and meanings they carry. Secondly, I argue that the deconstruction of codes and the reassembly of meanings proposed by semiologists takes place in the artistic activities in question, as if in the opposite direction. Deconstruction – indeed, but not to discover the truth in a new context, but to look for it in bits of reality that function separately and do not create meanings. They are only separately illuminated and contoured images.Artykuł przeglądowy jest próbą medioznawczej analizy filmów krótkometrażowych zrealizowanych przez polskich twórców na zamówienie platformy cyfrowej HBO. Wszystkie są odpowiedzią na pandemiczną sytuację izolacji. Analiza porusza temat transgresyjności postaw artystycznych wobec zagrożenia. Wykorzystuję w niej narzędzia współczesnej semiologii: kody werbalne i niewerbalne uczestniczące w tworzeniu sensów poprzez destrukcję i nowe odczytanie ukrytych w filmowych przekazach znaczeń. Udowadniam, po pierwsze, że artyści dokonują transgresji, negując zastaną rzeczywistość i poszukując nowego języka filmowego, który jest zaprzeczeniem arystotelesowskiej struktury trzech aktów na rzecz rozproszenia niesionych przez nie obrazów i sensów. Po drugie, przekonuję, że proponowana przez semiologów dekonstrukcja kodów i ponowne scalanie znaczeń odbywa się w omawianych działaniach artystycznych jakby w odwrotnym kierunku. Dekonstrukcja tak, ale nie po to, by odkryć prawdę w nowym kontekście, lecz szukać jej w odpryskach rzeczywistości, które funkcjonują osobno i nie tworzą sensów. Są jedynie osobno oświetlanymi i wyprofilowanymi obrazami

The polish system of film production. The role of film producent

The Polish film system is characterized by a variety of forms. Michał Zabłocki, the author of the comprehensive study of the „Organization of the production of feature film in Poland”, isolates two models of world cinema: producer and producer-director. The first one features the dominant role of the producer, which means the person who is responible for the work of all the film departments-direction, cinematography, production management, scenography and costume design. The second one, the model which is still the most popular in Poland, assumes close cooperation between the producer and the directo

The art or writing reportages from the experience of journalist and lecture of specialist subjects

Geneological research helps journalists, especially reporters, to understand the complexity of matter that they have to or they will have to deal eith in the future. The problem is that practicioners rarely (or even never) deal with a typology of species. The area of their interests includes mostly reaserches, like stylistic variety, that can be cratively broken. That means that they focus rather on working on their own, mostly based on concept, surprise or multistyled narration and communication strategy. It is understandable in face of mixing media genres and primacy of commenting over factual description of reality

Hortense Belhôte discovers the secrets of painting masterpieces. Queer and camp footprints as a means of a new manifestation and categorization of works in arte.tv

Hortense Belhôte, a French art historian, asks questions about the possibilities and limits of queering masterpieces of world painting. Her series of film essays entitled Please do not touch! (Merci de ne pas toucher!) is an attempt to read works, often sanctified by the Christian tradition, by tracing sexual artifacts and allusions, often hidden, in the paintings of heterosexual and homosexual artists. Queering art, according to Belhôte, is a game of hidden/uncovered with elements of camp aesthetics: irony, humor, theatricality and aestheticism. The author of the series plays with the film convention and brings the authors of works from Parnassus to contemporary reality: a laundry, a mechanical workshop, a beauty salon, in order to create a living museum played by non-normative people (they theatrically reproduce the compositions of images).Hortense Belhôte, francuska historyczka sztuki, stawia pytania o możliwości i granice queerowania arcydzieł światowego malarstwa. Jej cykl filmowych esejów zatytułowany Prosimy nie dotykać! (Merci de ne pas toucher) jest próbą odczytania dzieł, niejednokrotnie uświęconych chrześcijańską tradycją, poprzez tropienie seksualnych artefaktów oraz aluzji, często ukrytych, w obrazach artystów hetero- i homoseksualnych. Queerowanie sztuki to według Belhôte zabawa w ukryte / odkryte z elementami kampowej estetyki: ironii, humoru, teatralności i estetyzmu. Autorka cyklu bawi się konwencją filmową i sprowadza autorów dzieł z parnasu do współczesnej rzeczywistości: pralni, zakładu mechanicznego, gabinetu kosmetycznego, by stworzyć żywe muzeum odgrywane przez osoby nienormatywne (teatralnie odwzorowują one kompozycje obrazów)