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1

Ciała między skalami w negantropicznych sztukach performatywnych

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Borowski M.

Pamiętnik Teatralny

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2024

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tom 73

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nr 3

65-84

EN

This article offers an analysis of selected performative projects which, using a variety of technological and media dispositives, problematize scaling procedures and confront audiences with non-human scales. This perspective guides the analysis of activist projects of the artist collective Earth Art Studio, which uses existing digital infrastructure and Google maps as instruments of care for the environment. Yuyan Wang’s video installation The Moon Also Rises (2022), in turn, serves as an example of a technological dispositive thanks to which the viewers can have a bodily experience of planetary-scale phenomena. Also evoked is one of the key works of land art, Robert Smithson’s The Spiral Jetty (1970), and, most importantly, his film under the same title, made in collaboration with Nancy Holt. This return to the past of performative arts clearly shows that they have been problematizing the question of scale for at least half a century, anticipating, as it were, the critics of the Anthropocene, who have relatively recently begun to call for a revision of the scalar regime of modernity.

PL

Artykuł jest analizą wybranych projektów performatywnych, które, korzystając z rozmaitych dyspozytywów technologicznych i medialnych, problematyzują procedury skalowania i konfrontują odbiorców z nie-ludzkimi skalami. Z tego punktu widzenia zostały poddane analizie aktywistyczne projekty kolektywu artystycznego Earth Art Studio, wykorzystujące istniejącą infrastrukturę cyfrową i mapy Google jako narzędzia troski o środowisko naturalne. Natomiast wideoinstalacja Yuyan Wang The Moon Also Rises (2022) posłużyła jako przykład takiego dyspozytywu technologicznego, który pozwala odbiorcom doświadczyć cieleśnie zjawisk przebiegających w skali planetarnej. Przywołane jest też jedno z kluczowych dzieł sztuki ziemi – The Spiral Jetty (1970) Roberta Smithsona i przede wszystkim jego film pod tym samym tytułem, przygotowany we współpracy z Nancy Holt. Ten powrót do przeszłości sztuk performatywnych pokazuje wyraźnie, że co najmniej od pół wieku problematyzują one kwestię skali, niejako wyprzedzając tych krytyków antropocenu, którzy stosunkowo niedawno zaczęli nawoływać do weryfikacji skalarnego reżimu nowożytności.

2

W drodze do Negantropocenu: Splątania ciał i technologii w spekulatywnych sztukach performatywnych

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Borowski M.

Pamiętnik Teatralny

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2024

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tom 73

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nr 3

9-18

3

Archiwa antropocenu. Mockument przyrodniczy i dekolonizacja natury

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Borowski M.

Prace Kulturoznawcze

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2018

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tom 22

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nr 1-2

97-111

EN

The present article is set in the context of the discussion about the Anthropocene as a new geological epoch of Earth and the period of human dominance over nature. This debate is focused mainly on the relationships between scientific discoveries and politics. However, critics of the Anthropocene have pointed out the era of unprecedented exploitation of natural resources is accompanied by such forms of representing nature in scholarly discourse and popular culture which sanction the human dominance on Earth. In this context the text concentrates on wildlife documentary as one of the typical representational forms of the Anthropocene. However, the main thematic focus is on critical and parodic representations of documentary discourse, gathered under umbrella term ‘mockumentary’. Such parodic elements can be identified already in a canonical mockumentary The Falls (dir. P. Greenaway, 1980), which subversively quotes the methods of archiving natural anomalies after an ecological catastrophe. However, the latter part of the article is devoted to those films which manifestly depart from anthropocentric perspective. Their critical potential results from the dismantling of traditional conventions of representing nature, in order to introduce other, non-human points of view. In this context the text offers a comparative analysis of two thematically and formally linked mockumentaries (Farce of the Penguins and Surf’s Up, both 2007) which refer to a renowned French wildlife documentary March of the Penguins (2005). The comparison demonstrates the possible scope of the critique of the Anthropocene in popular culture.

4

Modelowanie pandemii w narracjach spekulatywnych: «„Andromeda” znaczy śmierć» (1969) Michaela Crichtona i „The Andromeda Evolution” (2019) Daniela H. Wilsona

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Borowski M.

Jednak Książki. Gdańskie Czasopismo Humanistyczne

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2022

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nr 14

38-51

EN

Covid-19 pandemic has brought public attention to digital methods of modeling contagion, which have been used not only to predict the future of the infection, but also assess its scope of impact on population and the chances for achieving herd immunity. As a result new outbreak narratives come into being in which algorithmic data processing gains agency in shaping the dynamics of contagion. His unprecedented reliance on modeling tools has decidedly changed the way we think about epidemic, conceptualized now as a phenomenon which to an equal extent is shaped by natural, cultural and technological factors. He paper argues that the major outlet for these new metaphors of contagion, which Milton Singer termed syndemic, are speculative narratives combining fiction with scientific and medical data as well as insights into the functioning of the digital modeling apparatus. His aspect of the current pandemic provides a good vantage point for taking a closer look at a handful of speculative narratives which bring to the foreground the relationship between modeling and social impact of contagion. By reading Michael Crichton’s technothriller The Andromeda Strain (1969) and its sequel, Daniel H. Wilson’s The Andromeda Evolution (2019), I intend to demonstrate how speculative fabulations engages and contests methods of contagion modeling, bringing into play other forms of non-scientiIc knowledge and practices of survival.

5

Przeciwko autorytetowi tekstu II: „Anatomia Tytusa" Heinera Mullera i performatywny wymiar tekstu dla teatru

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Borowski M.

Przestrzenie Teorii

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2008

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nr 9

179-192

EN

Muller's manifold critical relationship with the tradition of playwriting allows seeing his Anatomy Titus Fall of Rome as a borderline case between the canonical form of drama and the text understood as the raw material for the stage. The complex structure of Muller's text may serve as a good material for demonstrating that the structure of the text for the stage is always conditioned on the one hand by the dominant theatre conventions and on the other hand by the receptive habits of the audience. The main objective of the present essay is to demonstrate that the theatrical character of a text is not an immanent feature of its form, but rather it is a manner of reading this text in a specific historical and theatrical context, with a specific purpose in view.

6

How to Dwell in Garbage Patches? Waste Communities in the Aftermath of Ancestral Catastrophe in Chen Qiufan’s The Waste Tide (2013) and Wu Ming-yi’s The Man with the Compound Eyes (2011)

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Borowski M.

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nr 14

151-167

EN

The article approaches the problem of dwelling in areas affected by environmental crises through the lens of two speculative fabulations. Chen Qiufan’s The Waste Tide (2013) and Wu Ming-yi’s The Man with the Compound Eyes (2011) both depict the intrusion of human-induced catastrophes into the life of coastline communities in Southeast Asia, requiring them to work out forms of dwelling and remembering that make space for the assemblages of beings that emerge out of the devastated landscapes inherited after the modern era. Each of the novels tackles a different aspect of this problem. The Waste Tide shows the catastrophic effects of mass production and recycling of electronic garbage which, shipped to junkyards in the Global South, not only exacerbates the environmental pollution, but also exerts a negative impact on the local indigenous and migrant communities, threatening their economic status and social cohesion. Inspired by Martin Heidegger’s meditations on poetic dwelling, The Man with the Compound Eyes features the so-called Great Pacific Garbage Patch, a gigantic collection of plastic waste gathering on the surface of the ocean and hitting coastal regions, wreaking havoc on local life. By investigating the two novels, I look for models of remembering and dwelling together that go beyond the anthropocentric notion of memory rooted in an individual self and offer new models of dwelling in times of catastrophe.