In the modern world, museums as cultural institutions are constantly striving to attract the attention of educational institutions with their pedagogical activities. The theoretical part of the paper emphasizes the educational role of museums, describing the key elements and the main characteristics of learning in the museum. In the empirical part of the paper, we present the results of the research that show the attitudes of students from both social and natural sciences towards visiting museums, on the teaching of art (...) science in the museum, and on the use of museums as an area for informal learning. The study was conducted among students of the Teacher Education and Pre-School Education at the Faculty of Humanities and Social Sciences, University of Split, students at the Faculty of Economics, Faculty of Natural Sciences and Mathematics and students of the Faculty of Medicine, University of Split. A total of 158 students were included: 52 students of natural sciences and 106 from the field of social sciences. Of the total number of students, 147 were women, and 11 were men. The results showed that students of social and natural sciences have the same attitudes, i.e., both groups mostly agree with the claims which express positive attitudes about the importance of museum as good learning environment. (shrink)

This article examines the breathing and breathless body in Camille-Vidal Naquet’s Sauvage. Respiration has been characterised by Peter Sloterdijk, in the first volume of his Sphären trilogy, as the first extension of the womb. The air we breathe is a “nobject” that escapes the subject-object relation, like the placenta before it. Sauvage engages the respiratory, alongside the placental and the acoustic, as three pre-oral “nobjects” for exploring what Leo Bersani has termed the body’s “somatic receptivity”. Duration, framing, lighting, and camera (...) movements cultivate a spectator’s receptivity to these “nobjects” and participate in acts of sphere formation. This provides a framework for thinking about how cinema itself might function as a “nobject”: a connective medium or sphere that supports and augments a subject, providing a field of protection and attention. However, the film’s presentation of breathlessness also signals a blocked receptivity, an inability to take in, introducing friction and resistance to the discourse of immediacy and exchange that characterises philosophical reflections on breath. Breathlessness has implications for thinking about bodily autonomy and forms of freedom that speak to the queer politics of Sauvage, as well as questions about movement and stillness, animation and lifelessness, that reflect back on the medium of film itself. (shrink)

The body at close range: volume and the unlistenable in Catherine Breillat's Anatomy of Hell -- Sonic subjection: Gaspar Noé's Irreversible and the dystopian limits of the resonant body -- A stranger everywhere: the écho-monde of Tony Gatlif's Exiles -- Feedback, asynchronicity, and sonic sociabilities: Arnaud des Pallière's Adieu -- Listening at the limit: non-human noise in Lars von Trier's Antichrist -- Listening to things: Foley as "alien phenomenology" and Peter Strickland's Berberian sound studio.