Reinvention of the form of expression is a conceptual approach characteristic for the evolution of all arts. This research study provides one such step forward in the advancement of scientific paper, a standard form of expression in natural sciences, toward more progressive terrains. The paper adopts the form of a theatrical play where a scientific family of four attempts to find the way around a writer’s block (Act I). Their idealess sense of confinement is overcome through arts or, more specifically, (...) through scientific research implementing the aesthetics of music as its key element. The characters record compositions differing in the degrees of consonance, rhythmicity and tonality, and play them to birds to observe their vocal and behavioral responses (Act II). They note that the birdsong volume drops significantly when the piano tunes, especially the compositionally complex ones, are played to the birds and increases signifcantly when the white noise of ocean waves is played. The bird count experiment proves indirectly that the birdsong volume reduction is an auditory response of the birds to music rather than the effect of their migrating to or away from the sound source. This science with the flavor of art elevates the characters beyond the limits of their confinement and they, exalted and uplifted, gain ideas for creative research in their own disciplines of biomedical science (Act III). They relinquish the newly gained freedom in favor of embracing love for humanity that underlies medical research and return to their confinement, where they conduct, in the coda of the paper, a series of experiments that venture beyond musicology and ornithology and fall in the domains of tissue engineering and drug delivery, but also psychology (Act III). First, sparrow nests are used as templates for tissue engineering constructs, which facilitate the growth of human fibroblastic cells better than their artificial, gridded replicas. Next, the shell of an Easter egg, predominantly calcite in composition, is used with success as a drug delivery carrier. Lastly, the bird nest drawing experiment demonstrates a greater mental health of children than that of the adults, correlating with one of the overarching points of the paper, which is to present children as a model for grownups to follow rather than the other way around. Over the course of the play, the characters discuss the value of the various fusions between art and science, question the limits of human language and repeatedly go off-topic to celebrate the freeness of the creative thinking process. The play reports on real-life research methods and scientific results through a narrative, without diminishing their empirical rigor and analytical accuracy. (shrink)

Reinvention of the form of expression is a conceptual approach characteristic for the evolution of all arts. This research study provides one such step forward in the advancement of scientific paper, a standard form of expression in natural sciences, toward more progressive terrains. The paper adopts the form of a theatrical play where a scientific family of four attempts to find the way around a writer’s block (Act I). Their idealess sense of confinement is overcome through arts or, more specifically, (...) through scientific research implementing the aesthetics of music as its key element. The characters record compositions differing in the degrees of consonance, rhythmicity and tonality, and play them to birds to observe their vocal and behavioral responses (Act II). They note that the birdsong volume drops significantly when the piano tunes, especially the compositionally complex ones, are played to the birds and increases signifcantly when the white noise of ocean waves is played. The bird count experiment proves indirectly that the birdsong volume reduction is an auditory response of the birds to music rather than the effect of their migrating to or away from the sound source. This science with the flavor of art elevates the characters beyond the limits of their confinement and they, exalted and uplifted, gain ideas for creative research in their own disciplines of biomedical science (Act III). They relinquish the newly gained freedom in favor of embracing love for humanity that underlies medical research and return to their confinement, where they conduct, in the coda of the paper, a series of experiments that venture beyond musicology and ornithology and fall in the domains of tissue engineering and drug delivery, but also psychology (Act III). First, sparrow nests are used as templates for tissue engineering constructs, which facilitate the growth of human fibroblastic cells better than their artificial, gridded replicas. Next, the shell of an Easter egg, predominantly calcite in composition, is used with success as a drug delivery carrier. Lastly, the bird nest drawing experiment demonstrates a greater mental health of children than that of the adults, correlating with one of the overarching points of the paper, which is to present children as a model for grownups to follow rather than the other way around. Over the course of the play, the characters discuss the value of the various fusions between art and science, question the limits of human language and repeatedly go off-topic to celebrate the freeness of the creative thinking process. The play reports on real-life research methods and scientific results through a narrative, without diminishing their empirical rigor and analytical accuracy. (shrink)

The aticle presents several different ways of popularizing scientific knowledge. It is not scientific in the sense that it is not a report on a systematic study of the literature or empirical research. It is a tool room: a repository we can turn to in search of tools to help us solve a problem. The article offers three tools. The first is a typology of forms of participation in science. I treat the typology as a tool, too, because defining a (...) problem can be seen as part of the problem-solving process. It's important to understand that there are different forms of science popularization and citizen science participation: each form requires different competencies and will work in a different situation. It's also important to understand that there is a difference between science communication (i.e., what scientists do as part of their work) and science communication (i.e., dissemination of scientific results outside of science). These are two different modes of communication and require separate skills. The second tool is a set of heuristics that may be of interest to those already parsing science communication, but having difficulty communicating science. The last tool is a proposal for a science popularizer's checklist. It is based on my own experience. Anyone interested in science communication can check this tool in action, modify it for themselves, or create their own list, which I encourage you to do. (shrink)

The text describes an experimental form of combining sociological research with collective artistic activity during the 17th Lublin Night of Culture. The study involved collecting TST (twenty statement tests) from festival participants. The "bridge" element between research and artistic activity was the choice of a framework identity or a counterpoint to the test – in the form of an aphorism. The artistic activity took the form of a flash mob using symbols identifying participants with selected aphorisms, and then proposing new (...) identifications. The last one broke all the previous ones, creating an ephemeral community. (shrink)

This paper explores the wandering during the Night of Culture, which I consider an essential practice for the people's experience of this event. Looking at this particular form of movement of those participating in this initiative between various event locations also allows us to see the implications of the Night of Culture for urban public spaces. The empirical base of the paper is the visual documentation of the events carried out during the Night of Culture during the 2023 edition. While (...) interpreting the material, I refer to the situationist theory of drift and then reconstruct the structure of the festival's wandering, its rhythm, the type of attention bestowed on the city by the participants, and the form of this ephemeral community. In conclusion, I propose that the atmosphere of places can be used to analyse the city-forming effects of the Night of Culture, to grasp better the specificity of the event and its risks and potentials. (shrink)

Our intention is to describe and analyse the experience gathered during the work on the project 'Presenting science is art. Popularising the results of social research at the Night of Culture festival in Lublin'. One of its aims was to provide practical knowledge about the challenges that accompany the popularisation of science, especially the outcomes of social research. The text deals with two aspects: the experience coming from popularisation activities at a mass, outdoor event such as Night of Culture in (...) Lublin, and the experience of working on the project with the invited experts. As it turned out, the project brought about many unforeseen situations and twists and turns, which revealed the flaws in our ideas concerning the popularisation of scientific knowledge. The article begins with an outline of the project – the underlying assumptions, target groups and outcomes. We then describe the difficulties we faced as a project team. We were aware of some of them from the beginning, others emerged during the work, and some only came to full light during the Night of Culture. In the last part of the article, we attempt at answering two fundamental questions – what was successful in the project and what should have been done differently? (shrink)

The article aims to present the results of empirical research and theoretical analyses concerning the transfer, co-creation, and utilization of scientific knowledge by various entities, emerging at the intersection of science and practice. The research was conducted using survey techniques and in-depth interviews among scientists engaged in research collaboration with entities outside the university, and through case studies of two institutions acting as external partners. Among them were the Lublin City Office and the Lublin Culture Workshops, a municipal cultural institution. (...) The work falls within the realm of social research, which directly (Zerubavel 1997) or indirectly (Sange 1990, Douglas 2011) addresses the functioning and adaptation of various social systems (in this case, institutions and organizations) from the perspective of the communicatively mediated cognitive processes occurring within them (Luhmann 2018, Weick 1995, Lenartowicz et al. 2016a, 2016b). In this context, the subject of cognition and the user of knowledge is not an individual human, but a social system/organization with the capacity to observe itself and its environment, to learn, and to anticipate its future (Hecker 2012; Walsh 1995, Luhmann 2018; Seidl 2006, Lant, Shapira 2001). It posits the existence of a kind of supra-individual rationality, which does not require something like a system's unique self-consciousness, akin to human consciousness, but operates on the principle of L. Fleck's thought collectives, which are emergent in nature with respect to individuals (Sady 2020, Luhmann 1990, Fleck 1986). The rationality of such collectives is defined by their belonging to a functional area of society, hence they differ in the case of entities belonging to the science, economy, politics systems, etc. The research focused on situations where, due to the need for knowledge, various organizations collaborate with scientific units. This research succeeded in characterizing the main stages of establishing and implementing such collaboration, and the main requirements associated with them. The study sought to determine the impact of the interaction of different rationalities on the nature of the co-created knowledge and to identify the conditions of its usefulness, both for external entities and for the scientific system. The adopted indicator of the usefulness of knowledge for the scientific system is the publication of results in scientific journals, while for external entities, its impact on the decision-making process, such as changing operational strategies. In this case, the mechanism of translating knowledge into changes in organizational practices was also examined, paying attention to the existing mechanisms of collective learning within the organization. (shrink)

Street festivals such as The Night of Culture (Noc Kultury) are aimed at fostering cultural participation. The growing popularity of such festivals raises the question, whether The Night of Culture creates an environment facilitating knowledge popularization. The paper explains that The Night of Culture creates an experience of engagement and immersion. The experience of immersion and engagement is grounded in blurring the clear distinction between representational objects and elements of so-called ordinary reality. Since the art installations at The Night of (...) Culture are often designed to be treated as an extension of the physical space in which the participant is located, from the participant’s perspective they lose the standard representational function. The paper explains that blurring the distinction between representation and reality impose serious limitation on treating the installations at The Night of Culture as the objects with a cognitive function. (shrink)

The organization of the cyclical open-air festival Night of Culture in Lublin in cooperation with a research group works on two levels. The first is the level of an offer of experiences and reflections for the audience of the Night of Culture. The second is the level of research – social and other – on the design, implementation and effects of the first level. On both levels, a phenomenon plays an important role that can be described from the perspective of (...) cognitive ecology with the term "affordance." A systematic analysis of this can lead to the third level: a meta-analysis of the street festival under discussion. I will not undertake such a complex task in this text, which is partly a review and then a "report", but I will make a brief reconstruction of the conceptual and design work of the Affordances Activity, in which I participated significantly and regularly, as well as will consider the stage of the production of designed objects and their subsequent operation during this year's (2023) edition of the Night of Culture, in which a group of volunteers (students of the Maria Curie-Sklodowska University) played an important role. Remarks of the aforementioned meta-research dimension of the project constitute a wide margin of the article. (shrink)

Henryk Chmielewski is the author of a historical comic book devoted to the 100th anniversary of Poland regaining its independence. The comic book of Chmielewski is a subjective vision of Polish history, because every act of creation is first of all an act of destruction. Artist says about very difficoult moment of Polish history (the 19th century, the early 20th century). He creates original story, argues, that the idea of Poland as an independent state was never not lost. Polish people (...) were formed armyduring the Napoleonic Wars, and Polish organisations started major uprisings (the Polish–Russian War of 1830–1831 and the January Uprising of 1863-64). Chmielewski creates an interesting picture of the world with the use of many varying forms, different codes (e.g. picture, word, photography). He use various means of expression: semantic, linguistic, compositional (see values, compotents: metannaration, digression, opposition "we" - "they", stereotype, appropriate words - freedom, Poland, Poles, relationship: fiction - real world, illusion, colloquial language). (shrink)

Wywiad przeprowadzono 2 września 2021 (forma: Zoom); opublikowano 27 sierpnia 2023.

Investigating the role of visualisations in science (broadly defined) is a meta-scientific question, a self-reflexive inquiry into, among other things, the method of research activity itself. In the field of philosophy, such a self-reflective inquiry can be illustrated by the following questions: Can visualisations express philosophical content? Can visualisations serve as philosophical arguments? In this article, I will discuss—also with the help of a poster—some of the weaknesses of a certain anti-cognitivist line of argument against considering visualisations as philosophical argumentative (...) tools. (shrink)

Although there have been many efforts in the last decade to reconcile the humanities and the information sciences, they have not radically changed the research standards prevailing in most humanistic departments. Against all appearances, the abrupt opening to quantitative methods in the digital humanities still has the character of a minority avant-garde movement. The article looks at the scientometric tradition, largely forgotten by the humanities, which may prove to be another interface bringing the two academic cultures back together. An account (...) of scientometric networks highlights the advantages and disadvantages of this orientation. The broader implications regarding the use of visual networks in the humanities are framed by the category of prostheticity, which aims to encapsulate their ambivalent status as both substitutes and cognitive enhancers. (shrink)

The article addresses a project of visualization of research on ambient music, including the historically changing subject of this research, its theoretical background and qualitative studies arising from it. In this study, the visualization of the research process is related to the concept of graphesis, or visual interpretation, discussed and partly problematized in the context of visual representation of interdisciplinary topics at the interface of various knowledge systems.

In this poster I compare two types of visualization that can be distinguished by the role of the viewer. In the first, which I call “closed visualization,” interpretation is seen as a decoding of meanings already set by the author. The other—“open visualization”—sees the viewer as an active co-creator of meanings. In its processual character, open visualization elicits the critical potential of the imagination and is open to new contexts and interpretations. As such, open visualization democratizes the production of knowledge (...) by enabling the critical analysis of the spectator. Instead of the hegemonic production of discourse typical of closed visualization, it introduces a “diagonal perspectivism” that allows problems to be seen from differentiated perspectives. As examples of the mentioned models of visualization I will analyze two projects: Neil Halloran’s The Shadow Peace: The Nuclear Threat and Aby Warburg’s Mnemosyne Atlas. (shrink)

The article deals with José Gil’s considerations on the relationships between the virtuality and the actuality of the dancing body. At first, it analyses Gil’s idea of projecting the current position of the dancing body into virtual images and explores Gil’s notion of the multiplicity of virtuality. Further, it demonstrates how in the space of the body a consistent compound of movements is created at the level of the monstrous virtual body. Finally, the article emphasizes that, despite the connections between (...) the actual position of the body and its virtual images, there is a fundamental distinction between the actuality and the virtuality of the dancing body. It shows that the idea of the distinction between the virtual and the actual reflects Gil’s concept of virtual memory as a zone of accumulated possibilities of movement. (shrink)

The verbo-visual metaphor is widely used in messages of a persuasive nature. It is also used in educational materials, where it serves to better explain and fix the presented material in the memory of the recipient. Metaphor is based on an incongruity that the recipient must notice and then read the mapping - read what the presence of the incongruity is supposed to convey. Researchers involved in identifying verbo-visual metaphors describe two types of incongruity that can occur in this type (...) of message: topic incongruity and property incongruity. Mastering the methods of identifying and analyzing metaphors is particularly useful for learning how to make the best use of this tool, i.e., how to produce memorable metaphors that explain the problem under consideration well. (shrink)

Knowing the subjective perspective of other agents, how the world manifests itself to them, through the prism of their specific embodiment and situated, remains beyond the limits of our direct cognition and sometimes even imagination. Simulations using virtual reality technology (VR) can partially bring us closer to the embodied perspective of other agents. This technology enables the experience of another body, as one’s own and causal, during the phenomenon of virtual embodiment. The user can be situated in a simulated environment (...) specific to the agent and experience it through the prism of modified sensory modalities (e.g., using the sense of echolocation in the case of a bat). However, the possibilities of simulation are significantly limited by technological and biological factors. The purposes of this text are to review currently developed simulations of being another agent and to analyze the potential of VR technology to experience the embodied perspective of other agents as one’s own. (shrink)

Environmental ethics deals with discussing the ethical framework of environmental values, their organization and regulation, and their ethical premises. One of the main cul-de-sacs that environmental ethics has is its anthropocentrism that can be observed through its diverse ethical approaches—even ecocentric ones, developed as non-anthropocentric egalitarian alternatives. This article aims to question the exclusiveness of Anthropos, the practices, values, and discourses that determine the scope and course of environmental ethics, and the exclusion of nonhuman animals or more-than human beings from (...) its focus. It first examines the main approaches in environmental ethics (land ethic, deep ecology, social ecology, and postmodern environmental ethics)—biocentric, ecocentric, anthropocentric, socialist, postmodern—and reveals that they are but limited to the human perspective, deeply rooted in human exceptionalism. All of these approaches provide us with a critical frame that still needs to be deconstructed so that they will not project an anthropocentric orientation. This article posits that the compass of environmental ethics, recently aligning itself to embrace the more-than-human world in its ecocentric attitude, still needs to be revisited for its discourses of exclusion. At this point, new materialism functions as a prolific theoretical site as it diminishes the classical boundaries between human and animal or subject and object that anthropocentric environmental ethics relies on. With such concepts as “agential realism” (Barad), “transcorporeal ethics” (Alaimo), “vibrant matter” (Bennett), or “storied matter” (Oppermann and Iovino) the new materialist view of the human and the nonhuman evolves to end set dualities in the discourses of environmental ethics. This article concludes that the new materialist theory destabilizes any anthropocentric position in environmental ethics and includes more-than-human beings in its ethical focus, discarding any dualities that serve anthropocentrism or human exceptionalism. (shrink)