ArteActa 2024, 11:35-46 | DOI: 10.62804/aa.2024.004
In April 2023, I turned down a Sony World Photography Award because the image I submitted was AI-generated. My rejection of the award was motivated by the need to distinguish more clearly between photography and AI-generated images (promptography) and to initiate a discussion on the future relationship between the two. This essay is intended to contribute to this discussion by working out the differences in motivation and workflow and taking a close look at the future cooperation between man and machine.
ArteActa 2024, 11:25-34 | DOI: 10.62804/aa.2024.003
What roles can cinematic sound take on when composed in a highly elaborate relation to visual leitmotifs? What layers of meaning can the interaction of film components evoke if the sound layer itself is conceived as a complex syntactic construct with a range of symbolic meanings? How does the perception of sound shift when it has the character of a documentary testimony evoking a specific historical stage and its everyday and dramatic moments, and when it is fully intertwined with the image? The research statement describes the basic axes of the approach to the investigation of the material and the genesis of the video essay itself
ArteActa 2024, 11:1-24 | DOI: 10.62804/aa.2024.002
During the second wave of the COVID pandemic, the Polárka Theater created a theater project for school collectives of the second grade of primary schools on distance learning Find Me Remotely, drawing on the principles of forum theater (Augusto Boal’s Theater of the Oppressed). The production was transmitted by several cameras to the MS Teams application, in which distance learning took place in most schools. The central theme of the project was distance education itself. In the so-called first playthrough, the main character gradually loses the trust of all her loved ones thanks to a series of her bad decisions. In the second playthrough, the...
ArteActa 2024, 11
How to narrate the processual character of systemic constellations through film? This artistic research intended to look at the options we have as filmmakers to portray the communication of internal and multi-layered processes by audiovisual means. We tried to touch the boundary between the participants' experience of systemic constellations and their recordings. The main question was whether it is possible to adequately convey the events in the constellation field through film, and together with editor Kateřina Krutská Vrbová we explored in the editing room which film and editing techniques would be most effective in capturing this complex dynamic.
ArteActa 2024, 11:47-66 | DOI: 10.62804/aa.2024.005
Tony Fisher is Professor of Theatre, Politics, and Aesthetics at the Royal Central School of Speech and Drama in London. He has a long-standing interest in the relationship between the arts, theatre in particular, and politics and political power, both historically and in contemporary socio-political contexts. He presents this relationship as a complex and intricate interdependence, often characterised by conflict, ambiguity, and dead ends. An important theme for him is democracy and the role of art in its reflection and realisation.
