Atvaizdo paradoksai: vaizdinis ar postsekuliarus posūkis?

The article discusses the interaction between religion and art, focusing on contemporary visual theories, especially on the concept of vitality of image, formulated by such authors as David Freedberg, Thomas William Mitchell and Horst Bredekamp. The article states that the aspect of immediate fate (in the sense of pathos), which is emphasized in the concept of vitality of image, opens up the possibility to discuss the postsecular approach of the pictorial turn (Mitchell). The article recalls a recent situation in one of the Vilnius (Lithuania) churches, when the original sculpture of St. Virgin Mary, created by Lithuanian artist Ksenija Jaroševaitė, was replaced by the copy of widely circulated sculpture of St. Mary of Lourdes, originally created in 1864 by French sculptor Joseph-Hugues Fabisch, at the request of the churchgoers. In the article the latter situation also serves as a representative model, revealing the paradoxicality of an image, when the aesthetic judgement is changed by the unreflected recognition of the power of the image. The article discusses the problem of the ontological status of an image, admitting that the condition of emancipation of the image implicated in the concept of its vitality leads to the condition of the uncanny and questions related to such fundamental controversies as distinctions between creator and image or vitality and artefact.Straipsnyje analizuojama religijos ir meno sąveika, susitelkiant į šiuolaikines vizualumo teorijas, konkrečiai į Davido Freedbergo, Thomo Williamo Mitchello, Horsto Bredekampo formuluojamą atvaizdo vitališkumo apibrėžimą. Teigiama, kad šių autorių atvaizdo vitališkumo sampratoje akcentuojamas betarpiško tikėjimo (pathos prasme) aspektas leidžia kalbėti apie postsekuliarų vaizdinio posūkio pobūdį. Straipsnyje atsispiriama nuo konkrečios situacijos vienoje Vilniaus bažnyčių, kai originali menininkės Ksenijos Jaroševaitės sukurta Švč. Mergelės Marijos skulptūra tikinčiųjų reikalavimu buvo išnešta iš bažnyčios, o jos vietoje galiausiai įkurdinta plačiai tiražuojamos, 1864 m. prancūzų skulptoriaus Josepho-Hugueso Fabischo sukurtos Lurdo Švč. Mergelės Marijos skulptūros kopija. Šis atvejis traktuojamas kaip pavyzdinis, atvaizdo paradoksalumą atskleidžiantis modelis, kai estetinio vertinimo pojūtį užgožia neįsisąmonintas atvaizdo galios pripažinimas. Straipsnyje nagrinėjama ontologinio atvaizdo statuso problema pažymint, kad į atvaizdo vitališkumo sampratą įtraukta atvaizdo emancipacijos sąlyga veda prie nejaukos būseną provokuojančių klausimų, susijusių su tokiomis fundamentaliomis skirtimis kaip kūrėjo–atvaizdo arba gyvybės–artefakto priešpriešos

The End of Nature: Between Disenchantment of the World and New Mythologies

In this article, the situation of the end of nature is discussed in the terms of the Weberian metaphor ‘the disenchantment of the world’ and its variations. The nostalgic effort to return to nature is explained referring to the Romantic notion of nature and the peculiar reiteration of nostalgic utopia in our times (see the example of ancient Lithuanian feasts). In addition to that, the article analyses the contrasting approach which is also characterized by the negative valuation of exploitive relation towards nature. However, in this second case, the reaction to the situation of the end of nature is based on a radical reformulation of the concept of human. According to this model, the relationship with nature should refuse the anthropocentric perspective. In this article, this position is described as a disenchantment of human and is illustrated by artistic performance, which aims to demonstrate the commensurability of human and animal on the bodily level

FM radio: family interplay with sonic mementos

Digital mementos are increasingly problematic, as people acquire large amounts of digital belongings that are hard to access and often forgotten. Based on fieldwork with 10 families, we designed a new type of embodied digital memento, the FM Radio. It allows families to access and play sonic mementos of their previous holidays. We describe our underlying design motivation where recordings are presented as a series of channels on an old fashioned radio. User feedback suggests that the device met our design goals: being playful and intriguing, easy to use and social. It facilitated family interaction, and allowed ready access to mementos, thus sharing many of the properties of physical mementos that we intended to trigger

Vanitas įveika arba lošimas atviromis kortomis

In the article the painting Card Player Showing His Hand by T. Rombouts (17th c. Netherlands) is being interpreted. It is noticed that two existential manifestations may interact in this composition: the gambler’s and Vanitas. In the first part of this article, an analysis is made how Rombouts presents card play as a way of being and how he integrates it into the genre of Vanitas. In the second part the hypothesis, is it proven that the composition of the painting continues the theme of Vanitas and questions it at the same time.Straipsnyje interpretuojamas XVII a. Nyderlandų dailininko T. Romboutso kūrinys „Lošėjas, rodantis kortas“. Jame įžvelgiama sąveikaujant dvi egzistencines laikysenas: lošiančiojo ir Vanitas reiškėjo. Pirmojoje tyrimo dalyje aiškinamasi, kokiu būdu Romboutsas pratęsia lošimo kaip buvimo būdo temą ir kaip ją integruoja į Vanitas žanrą. Antrojoje dalyje grindžiama hipotezė, kad Romboutso kūrinio kompozicija prezentuoja Vanitas žanro tąsą ir sykiu jo užklausimą

Religiškumo reprezentavimo šiuolaikiniame mene problema. Sekuliari ir postsekuliari prieigos

The article deals with the relationship between religion and contemporary art, discussing their configurations from two different perspectives – the one of secularization and the postsecular one. The author mantains that in the perspective of secularization the fields of religion and art are treated as autonomous and separate, therefore the passage to postsecular condition implicates the destruction of principle law of autonomy, by this opening the possibility of the interlaying of the contexts of religion and art. The article comes to the conclusion that postsecular approach supposes that the relationship between religion and contemporary art becomes possible only by accepting the refusal of the direct representation and this means that religious implications can be recognised not as the representations of religious contents, but rather as the track of them, which can assume the forms of profanation or reflection on the experience of secularization.Straipsnyje susitelkiama į religijos ir šiuolaikinio meno santykį, kurio konfigūracijos aptariamos iš dviejų skirtingų – sekuliarizacijos ir postsekuliaraus būvio – perspektyvų. Teigiama, kad sekuliarizacijos požiūriu religijos ir meno sritys matomos kaip autonomiškos ir nesusisiekiančios, o slinktis link postsekuliaraus diskurso implikuoja principinę autonomijos (tiek religijos, tiek meno srityse) sąlygos destrukciją, šiuo būdu atverdama galimybę grįžti prie religijos ir meno laukų persiklojimo. Pažymima, kad postsekuliarybės kontekste religijos ir šiuolaikinio meno santykis tampa įmanomas tik priimant šiuolaikiniam menui būdingą tiesioginės reprezentacijos principo atsisakymą, o tai reikštų, kad religinės implikacijos tampa atpažįstamos ne kaip religinių turinių reprezentacijos, bet veikiau kaip religiškumo pėdsakas, neretai įgaunantis profanacijos ir refleksijos apie sekuliarizacijos patirtį formas

The worldview and not the economy: explaining resistance towards organic farming among farmers in India

Masteroppgave i Sustainable management - Universitetet i Nordland, 201

COVID-19 Pandemic and Export: Evidence from Lithuania

In this paper I apply the gravity model to analyse structural changes of Lithuania’s export during the first pandemic year. Lithuania was selected as a case of a small open economy with relatively high numbers of Covid-19 cases, on one hand, and a rather small decrease of its GDP growth in 2020, on the other. The research aims to fill the gap in the current literature by investigating heterogeneity in the goods export in terms of both product groups and export destinations. I also analyse whether the importance of distance and other export determining factors changed during the pandemic year. Results suggest that Lithuania’s export is resilient to economic shocks. Although the effects of Covid-19 were heterogeneous, the pandemic year had only a negligible impact on Lithuania’s export structure. The influence of distance or other export determinants on Lithuania’s export structure did not change during 2020