For historians of medieval Iberian art and architecture, María Rosa Menocal’s most important legacy lies in her work’s normalization of a culturally decentralized, multidisciplinary frame through which medieval visual objects became part of a broadly shared network of cultural production that was unrestricted by firm boundaries between particular polities or “faith groups.” While Menocal was not the first to advance such an approach, her persuasive promotion of it in works such as The Ornament of the World and the co-authored The Arts of Intimacy dovetailed closely with concurrent trends within the discipline of art history: new attentiveness to the variability of the Iberian cultural economy; a renewed concern with questions of reception and meaning; revived emphasis on close, contextual readings; and an openness to extra-disciplinary methodologies. The conceptual and disciplinary flexibility that Menocal’s work encouraged now lies at the very heart of current work on Iberian visual culture.
The article presents various issues connected with cooperation between literary translators and their editors in the process of publication of translations of literary works within the frame of reference of Polish publishing market of the recent decades. The author proposes a list of qualities which should be expected from a good editor of literary translations. The issue of training editors specializing in working with translators is discussed as well, although the author stresses the importance of practice over theoretical education, available on a rather limited scale in Poland. Further part of the article warns against possible dangers resulting from editors’ lack of competence. The importance of “peer edition” is also stressed as an important stage in the process of translation.
A group to discuss art’s impact on society
The Art of Networks and Networks as Art is the title of a performance/presentation given at the 12th Annual Subtle Technologies Festival on the theme of Networks. The performance/presentation focused on the development of my work over the last five years and the role of networks within artistic practice. This was detailed in its most obvious sense of works ‘online’ but also explored ideas of interactive models within new media as networks in themselves between artist, artwork and user. The audience were each given postcards with Datamatrix codes (specifically QR Codes) and short instructions on how to begin. These linked them to a webpage to download a 2D Code Reader. QR Codes were displayed on screen throughout the performance / presentation within slides which were online and accessible. The audience could view and interact with the performance / presentation in a variety of ways: – simply watch the presentation; – connect its contents with online media by photographing it though the 2D Code Reader on their web-enabled mobile phone with built-in camera; – or view all of the materials on the artists site and on Google Docs. The intention was to not alone present works which focus on ideas of the network, connecting, augmenting, being distributed and multiple but to emphasise these ideas through the presentation format. Slides are available below or on Google Docs.
A group to discuss Women in the Arts.
Contemporary art trends and developments in HE
For those interested in the history and theory of art
A group to discuss diversity in the arts
The purpose of Medieval Art is to collect and disseminate web resources and news such as conferences, exhibitions, publications, etc. devoted to medieval art.
Encompassing the breadth of Networked art, which includes the intersection of new media art, internet art, networked performance, post-internet art, video streaming, virtual worlds, connected and pervasive media and transdisciplinary practices.