ArteActa 2021, 6
ArteActa 2021, 6
ArteActa 2021, 6:109-124 | DOI: 10.62804/aa.2021.016
ArteActa 2021, 6:7-60 | DOI: 10.62804/aa.2021.012
The study "The Expanded Field of Media Art and the Policies of its Collections" traces changing strategies and lines of development of Czechoslovak and Czech media art in relation to the dynamics of society, especially after 1989 and in the 1990s, when experimental film and video art makers have stepped out of the institutional set-up of the film industry with different artistic strategies as well as ways of organizing. Sometimes they have also relied on emergent or postmaterial approaches, incorporating live and participatory processes. A more complex situation requiring historical reconstruction arises with overlaps into the visual and performing...
ArteActa 2021, 6:61-79 | DOI: 10.62804/aa.2021.013
This essay deals with research of personality characteristics of dance conservatories students based on the Big Five personality traits. Authors focus on the specification and description of the discussed group while using NEO Five-Factor inventory. They are interested in the differences and deflections from general population. Results show increased scores within intrapersonal dimensions and regular scores in interpersonal dimensions. Data encourage application of mental hygiene principles to the artistic educational system, dance in particular.
ArteActa 2021, 6:81-102 | DOI: 10.62804/aa.2021.014
The essay is a commentary on the translation of François Laruelle's text "On the Black Universe". It presents the key ideas of his non-standard philosophy, relating them to a critique of Marxism (the notion of "the last instance") and contemporary forms of negative theology. Darkness is conceived in both political and religious dimensions. The author presents Laruelle's conception of immanence in a soteriological perspective, as a precondition for a radical transformation of humanity in relation to the real. This interpretation is applied to the position of the artist in the late modern situation, and an outline of the dominant position of the artist-intellectual...
ArteActa 2021, 6
ArteActa 2021, 6:125-137 | DOI: 10.62804/aa.2021.017
Marie-Jeanne Wyckmans is a Foley artist and Acousmatic Composer born in Belgium in 1954. She holds a BA in Acousmatic Composition from the Royal Conservatoire of Mons (1993), where she later taught perceptual analysis of sound and image. She also taught Foley and Sound Design at the INSAS (Institut National Supérieur des Arts du Spectacle et des Techniques de Diffusion, Brussels) and at the IAD (Institut des Arts de Diffusion, Louvain-la-Neuve).
ArteActa 2021, 6:139-154 | DOI: 10.62804/aa.2021.018
ArteActa 2021, 6:103-108
ArteActa 2021, 6:155-174 | DOI: 10.62804/aa.2021.019
