Pavol Breier is a Slovak documentary photographer. Subjects typical of his work are mountain and alpine nature and the lives of the people in its embrace. Photographs published in the portfolio includes three series. The common characteristic feature of them is time-lapse. Tales from Zázrivá tells the story of shepherds and herdsmen from Zázrivá. The series lends a new look to a story which is at once both old and new – the cabinet arrangements of mementos of the past bring us closer to the “salašník” or mountain shepherd of the 1970s, and his traditional pastoral life in an untouched landscape encircled dramatically by mountains, in dialogue with full colour, large-format evocative portraits from the present day. Hrob [Grave] is a documentary about an Orthodox religious pilgrimage in eastern Slovakia. In the 1970s, believers made this pilgrimage once a year to the hill of Horb to visit a hermit monk during the celebrations of the Feast of the Transfiguration. The author returned here after 50 years to capture the changes in this genius loci and the character of the pilgrimage itself. The monuments, covered before their unveiling, inspired Breier to create a series of photographs and photomontages in which the figures of socialist realism were transformed into phantoms of socialist surrealism. After November 1989, Breier saw that some monuments were covered up, to never be unveiled again. They were covered before their removal. By photographing them in this form, he documented the individual phases of life of these monuments, a time arc that has finally come to a close.
The uniqueness of the book is determined by its dual starting point and the parallel coexistence of mass media and literary artifact. This means that it simultaneously meets the predispositions of both media product and work of art as a source of aesthetic experience. These have contributed to changes in the book's content at the levels of media content and literary work, but they also affect its form, audience structure, production process, distribution, and reception. One of the most fundamental technological innovations is the advent of artificial intelligence (AI), which has accelerated and simplified communication in the creative process and in the creation of the book itself. Artificial intelligence is also changing not only the process of book creation but also the author's work-it can assist in generating text, editing, or designing the visual appearance of a book, thereby expanding the boundaries of creativity. The article defines the specifics of the book as both a mass medium and an artistic artifact. It examines its representation of artificial intelligence and its place in the cultural and creative industries. It offers theoretical insight into the issue and also draws attention to its practical aspects through selected examples of the use of generative AI in the creation of literary work as one of the determinants of book culture.
This study presents an analysis of the visual treatment of the motifs of dreams, life and death in the works of art Tod und Leben (1910-1915) by Gustav Klimt and El Sue & ntilde;o (La Cama) (1940) by Frida Kahlo through the prism of Freudian psychoanalysis. The interpretation is based on the ideas of S. Freud, specifically the life instinct (Eros), the death instinct and dreams representing a systemic space for the expression of unconscious psychological processes. The text draws attention to the different artistic approaches of the authors and to their unique reflection on the existential issue of the finiteness of human life. G. Klimt's work is interpreted as a symbolic visualisation of the collective dream of modernity, in which death is perceived as a suppressed but at the same time determining criterion of psychic life. On the other hand, F. Kahlo conceives of dreams as a fundamentally personal and unique space of physical vulnerability, pain and direct confrontation with death. The aim of this paper is to analyse and compare different ways of artistically processing existential anxiety and the finitude of human life, viewing selected works of art as visual reflections on life, death and dreams. From a methodological point of view, the paper is based on a comparative analysis of visual and iconographic elements that are closely linked to the interpretative framework of S. Freud's psychoanalysis, as well as the cultural-historical context of artistic modernism.
Art books for digital games are a special form of artistic expression that offers players and fans a deeper insight into the creative process of game development. This phenomenon is becoming increasingly popular, as game developers use art books not only to present artwork and conceptual designs, but also as effective marketing and monetization tools. Their roots can be found in the history of illustrated art books, a tradition dating back to the 16th century, whose purpose was to disseminate works of art and ideas. Contemporary game art books continue this tradition, but at the same time exhibit characteristics that differ from the original concept of livres d’artiste. The study focuses on the research question of whether game art books represent an authentic extension of the artistic dimension of digital games or rather a new model of charging for additional content. The aim of the study is to define the formal and content characteristics of game art books and to highlight their value for the professional public, creators, and collectors. The research uses the method of content analysis of selected art books, focusing on four categories: available versions, methods of acquisition, presentation of authorship, and content focus of the publication.
Virtual photography, produced for example through in-game photo mode features, represents a phenomenon that has gradually become established within the medium of digital games and player culture, while simultaneously entering the discourse of visual and media studies. This study focuses on the question of to what extent virtual photography can be regarded as a recognized form of art and what kinds of relationships it maintains with the tradition of classical photography. The analytical point of departure consists of the Photo Mode Awards and The Virtual Photography Awards competitions, which provide a space for examining the aesthetic principles and processes through which virtual photography is legitimized as independent artistic expression. The research concentrates on the comparison and analysis of community and discursive practices that have emerged around virtual photography, and specifically around these award platforms. The findings suggest that virtual photography constitutes a visual genre that builds upon classical photography, while also forming a distinct community and a further player subculture, thereby expanding both the forms of the medium and its media audiences. The study employs an exploratory case study framework to analyze the emerging field of virtual photography awards in digital gaming. By focusing on the Photo Mode Awards and The Virtual Photography Awards, the analysis is further enriched by primary data gathered through semi-structured interviews.
This study examines the concept of action-oriented perception in contemporary art through two examples from the Slovak context. Drawing on Ladislav Kesner's theoretical framework, it understands seeing as an embodied, active process rather than a purely visual or cognitive one. Kesner challenges the Cartesian mind-body divide, emphasizing that image perception involves perceptual-motor processes that prepare the viewer for action. Artworks thus function as stimuli that activate bodily responses, spatial orientation, and physical empathy. The study is grounded in broader reflections on corporeality in art and philosophy, including phenomenology and the concept of embodied knowledge. It also addresses historical shifts in the understanding of the body, highlighting its growing recognition as central to perception and experience. These ideas are examined through two case studies of contemporary Slovak artists. & Lcaron;udmila Hrachovinov & aacute;'s installations combine painting with spatial elements that encourage viewers to sit, lie down, or otherwise physically engage, turning viewing into a participatory act. Juraj G & aacute;bor's large-scale architectural interventions, situated in landscapes or built environments, require visitors to enter, climb, or traverse them. Both approaches demonstrate how contemporary art transforms vision into a dynamic, embodied experience in which perception and action are inseparably intertwined.
The study examines the impact of promotional videos featuring specific visual narratives and artistic elements in the communications of selected small and mediumsized enterprises on the emotional and cognitive domains of Generation Z. Based on an analysis of data from individual EEG (electroencephalography) measurements, FAA (frontal alpha asymmetry), GSR (galvanic skin response), and FEA (facial expression analysis), the study simultaneously processes a profile image of the examined videos through multimodal synthesis. The sample consisted of 12 participants aged 20-23. The collection, synchronization, and integration of neurobiological data took place in the iMotions software. Four promotional videos published on Instagram were used for testing, representing the brands Nehera (Video A with elements of highly stylized, cinematic, and artistic aesthetics), Mondieu (Video B with a specific atmosphere, aesthetic experience, and emotional stimulation), Footshop (Video C with minimalist visuals and elements of streetwear subculture), and Soaphoria (Video D with elements of minimalist marketing and the clean beauty concept). The results confirm the phenomenon of the internalization of emotional responses among young viewers and provide a basis for further research, as well as for the strategic optimization of small and mediumsized enterprises' communication on social media. The results also highlight the fact that different visual narratives and artistic forms in audiovisual content generate specific neurophysiological and behavioural profiles.
Franciska Leg & aacute;t's photographic practice investigates socially embedded narratives that shape both personal and generational identity. Her work draws on absurdity and subtle black humour as critical tools, allowing historical experience to be approached through human vulnerability and contradiction. Working primarily with staged photography, Leg & aacute;t adopts a documentary visual language that intentionally destabilizes the boundary between fiction and reality, encouraging viewers to question the reliability of memory and representation. In recent years, her artistic research has centered on the socialist past and its enduring psychological and cultural effects on her generation. In the series Hellish Eden (2021-2022), she reconstructs a past she did not directly experience but which nonetheless shaped her upbringing. Drawing from family stories and collective memory, the project presents fictional scenes that expose the paradoxical nature of Hungarian socialism-simultaneously familiar and alien, oppressive and absurd. The constructed imagery reflects how inherited narratives function as fragmented, emotionally charged reconstructions rather than coherent histories. Her series Different, Still the Same (2022) turns toward the cyclical nature of history and the persistence of intergenerational trauma. Through atmospheres of isolation and emotional tension, the work conveys feelings of mistrust, loneliness, and latent despair. Leg & aacute;t's ongoing project Melancholy of Freedom (2023-present) addresses contemporary migration, focusing on Hungarian emigrants in Berlin. By combining staged and documentary strategies, the series frames emigration as an ambivalent state shaped by desire for freedom, experiences of loss, and the unresolved weight of post-socialist memory.
The study examines the transformation of institutional strategies for engaging audiences with art in the context of contemporary Slovak and Central European cultural policy. Active support for participation and audience building covers a comprehensive set of strategies and practices that transform passive viewers into active co-creators of the meaning of a work of art. In a broader context, we are talking about an “educational shift” that builds on the principle of “from viewer to participant”. The goal of this trend is not to improve the accessibility of information to the audience, but to comprehensively transform organizational structures in institutions so that they can create conditions that facilitate engagement, interaction, and co-creation. The study analyses how the Slovak National Gallery (SNG) has redefined its approach to accessibility and public engagement through contextual, constructivist, and participatory pedagogical frameworks. The analysis is based on publicly available SNG Annual Reports (Slovenská národná galéria, n.d.a). Drawing on examples such as the interactive exhibition Take P(art) / Prečo (ume)nie? event, the Meetup SNG programme (2024 – 2025), the outreach project In the Display Window, and the digital platform Web umenia, the article demonstrates how mediation practices have evolved from traditional educational functions toward inclusive and dialogical models of audience interaction. These developments are interpreted in relation to European and national cultural policy documents (e.g., Koncepcia rozvoja kultúry SR 2030, Creative Europe Programme, UNESCO Culture 2030 Indicators), which emphasise participation, accessibility, and the democratisation of culture as key priorities. The paper argues that art mediation in the Slovak context operates not merely as an educational tool but as a socio-cultural practice that bridges artistic production, institutional communication, and civic engagement.
Peter Lančarič (b. 1989) works at the intersection of identity, intimacy, and public space, moving fluidly between analog photography, staged tableau, documentary, video, object, and performance. His long-term series probe how images rewrite self-narrative and relationships: REM frame treats dreams as cartographies of the unconscious; Anything else or will that be all? (2012–2016) binds analog photographs with scanned diary pages into an intimate score of tensions (light/dark, closeness/distance); The Stairs on a Street Corner builds a diaristic black-and-white grammar of vulnerability; Autobiography 1316 expands self-portraiture into cinematically lit reconstructions where props and gesture carry meaning. Exhibition projects such as Until ___ Do Us Part and The Exposition test thresholds of sharing and voyeurism, using architecture and “exhibition light” to question truth, spectacle, and the ethics of looking. In public space he works critically and participatorily – The Exhibition in the Crapper (an illegal intervention during a mall opening) and Special Commemorative Operation (a temporary memorialization of war) confront institutional narratives. A documentary strand – Coma Vigile and Mapping Another Culture – extends his practice toward care, social critique, and living DIY archives. Across projects he maintains a rigorous visual grammar (situational readability, calibrated light/time) and restrained post-production, joining lived rawness with precise editing while asking what images remember, whom they serve, and how much intimacy a public image can bear.
This paper presents the results of participatory research that examined the potential of action art and photography as tools for activating seniors. The research took the form of action workshops, in which 35 seniors participated throughout the year. The workshops, which lasted two to three days, were designed as creative outdoor meetings that combined artistic expression with data collection. The chosen methodology was based on the assumption that creative activity in a natural environment promotes social interaction, self-expression, and a sense of meaning. Colour in this process plays a decisive role in strengthening the emotional connection, communication and interpretation of the work. Artistically engaging seniors in the creation of photographs in the action space becomes an option that offers a new way of communication and self-reflection, while not forgetting the importance of their ability to create expressively. The main method of data collection was the analysis of photographic production, in which participants captured situations representing “action in space”. Subsequent semi-structured interviews made it possible to link the visual outputs with the subjective experiences of the authors. Thematic analysis combining visual and verbal data revealed five dominant categories: work, life, grandchildren, nature, and meaning. The results indicate that photography as a form of action art can be a significant activation tool in the senior population. The creative process proved to be a space for strengthening identity, reflecting on everyday life, and forming social bonds, confirming the effectiveness of the triad of seniors, photography, and activation.
This scientific paper represents a complementary and parallel extension of the initial empirical study “Deepfake: Digital Reincarnation of Art” (Štosel & Spálová, in press). The primary objective of the aforementioned study is to identify the attitudes of fans and followers on social media who responded to marketing and communication activities related to the application of generative artificial intelligence tools of the Deepfake type, in the context of the digital reincarnation of artworks presented within cultural institutions such as The Dalí Museum in Florida, the Danish Museum Fredericia, and the Liptov Museum in Ružomberok. This research study builds upon the same methodological foundations, while focusing on a different empirical dataset. The main aim of the research is to examine the attitudinal responses of participants on social media platforms such as Facebook, Instagram, and YouTube, in relation to three curatorial projects: Ask Dalí, Deepfake: Unstable Evidence on Screen and Interactive Holograms: Survivor Stories Experience of the three cultural institutions The Dali Museum, Museum of the Moving Images and Illinois Holocaust Museum. The output is framed within a qualitative approach, grounded in content-based sentiment analysis. This analytical procedure makes it possible to explore participants’ attitudes as articulated through comments on social media toward the application of generative artificial intelligence tools of the Deepfake type, with particular attention devoted to their use in the digital reincarnation of artworks.
This study examines the evolution of Slovak skateboarding photography through the lenses of everyday aesthetics, spatial performance, and subcultural capital. It explores how photography captures and co-constructs skateboarding as a creative reappropriation of urban space, with a particular focus on how the legibility of the trick and the decisive moment are visually codified. These photographic conventions are historically situated within a broader transformation of visual and media infrastructures. The first section maps the arrival of skateboarding into the Czechoslovak public sphere via newsreels and cinema, emphasizing its visibility in socialist urban contexts. The second part traces the post-1989 formation of communities and media platforms, culminating in the emergence of Boardlife magazine (2004–2009), which established editorial standards and a recognizable visual language. The third section investigates the rise of zine culture (2013–2018) as a grassroots response to the decline of print and as a form of bottom-up archiving. Zines expand the grammar of skate photography through diaristic documentation, spatial mapping, and participatory authorship, thus producing an alternative visual memory of the subculture. By combining visual analysis with cultural theory, the study frames skateboarding photography as both aesthetic practice and social record – a dynamic archive that negotiates between performance, identity, and urban transformation in the face of changing technological and social conditions.
This study examines the relationship between traditional and new media, using the character of Kent Brockman from The Simpsons as a case study. It investigates why new media are seen as potential solutions to the challenges facing traditional journalism, and whether they are suited to Kent Brockman’s situation. Methods used include semiotic and linguistic analysis, as well as text interpretation, to examine how traditional and new media, along with their respective problems and solutions, are portrayed. The results show that new media are depicted as remedies for issues such as low audience interest and irrelevance in traditional journalism. The advantages of new media — freedom, lack of censorship, large audiences, instant broadcasting and economic benefits — make them a promising alternative. In the episodes, new media help Kent Brockman regain his fame and relevance, enabling him to speak freely without censorship. Despite these benefits, Brockman repeatedly returns to traditional television. This suggests that, while new media offer potential for change, Brockman, as a figure of traditional journalism, prioritises his personal status and security over permanently adopting new media. In conclusion, new media present significant opportunities to address the problems of traditional journalism, but individual reluctance, as demonstrated by Brockman, can limit their transformative impact.
This paper focuses on the representation of identity and social issues in the episodic drama Wednesday, which addresses several taboo and marginalised topics, such as bullying, discrimination, social stigmatisation, and gender and social differences. The research is based on representation theory and other communication concepts that highlight the performative nature of identity and the mechanisms of “othering”. Wednesday uses narrative and characters to initiate conversations about marginalisation and journeys of self-discovery in the context of contemporary social trends and media influences. The paper also emphasizes the importance of the media as a tool for social education, prevention, and for building an inclusive society. It examines specific scenes and narratives from the first and second season that illustrate the dynamics of marginalisation, the struggle for self-definition and the overcoming of social barriers. Additionally, it examines how Netflix’s audiovisual production influences public opinion, promotes social inclusion, and encourages more ethical content production. Contemporary episodic works are an important means of raising social awareness and cultivating empathy within popular culture.
In my work Sphere Dance, I am exploring multiple sclerosis, the autoimmune illness that I suffer from. This project is part of my artistic research conducted within my doctoral thesis, Disease in Photography and Its Visuality. As a bearer of the disease and an artist, I examine my illness through personal experience, time, space, emotion, my body, family, scientific facts, and interviews with experts—and my visual/photographic reflection is a key component of this approach. I use indirect means of expression through staged photographs and collages rather than documentary photography, as I deem my experience with the illness hardly transferrable. Even though the disease is always present with me, it remains, in many ways, abstract. I decided to work through this deeply personal life theme to gain distance and perspective on both the disease and myself. I decompose my experience into the smallest details to consciously explore and process aspects that I am unable to perceive clearly in the everyday rhythm of life.
This study explores the integration of AI-generated images in digital media, with a specific focus on Slovak news and technology websites. It examines the extent to which AI-created visuals are used in articles covering artificial intelligence-related topics. The research selects three leading websites from both categories and analyzes articles published in October, November, and December 2024. These articles are identified through keywords such as “artificial intelligence,” “Gemini,” “Copilot,” “ChatGPT,” and “machine learning.” A key aspect of the study is determining whether the lead images accompanying these articles were generated using AI tools like Midjourney. The research employs a comparative analysis to highlight potential differences in the prevalence and application of AI-generated visuals across news and technology platforms. It is hypothesized that technology websites, due to their focus on innovation, are more likely to embrace AI-generated imagery, whereas news websites may rely on traditional visuals or stock photography to preserve journalistic integrity and audience trust. The study also explores the ethical, professional, and aesthetic implications of incorporating AI-generated images into digital journalism. It assesses how these visuals influence storytelling, audience perception, and the broader representation of AI-related themes. By highlighting the role of AI in visual content creation, this research contributes to a deeper understanding of AI’s impact on modern media practices. The findings offer valuable insights for journalists, editors, and media organizations, emphasizing the need for responsible and transparent use of AI-generated imagery in digital news environments.
This study explores the application of écriture féminine within the realm of digital gaming, focusing specifically on the digital game Gris. Rather than viewing feminine writing as a rigid methodological framework, this research conceptualises it as a creative approach characterised by fluidity and adaptability, capable of traversing various media forms. By examining Gris, a platform-adventure game created by Spanish developer Nomada Studio and published by Devolver Digital, the study identifies core elements of feminine writing present within the narrative, such as fluidity, challenging identity, cyclicity of motifs and the subversion of traditional narrative structures, and illustrates how these elements are manifested within the game. The analysis reveals that the creative processes inherent in feminine writing challenge the masculine coding that is often prevalent in digital games. Through a detailed examination of Gris, this study demonstrates how digital games can serve as a medium for feminine writing, offering new perspectives on identity, narrative, and representation that transcend conventional gender norms and encourage a more nuanced engagement with the concept of femininity in digital spaces. The present analysis thus recognises feminine writing in digital games as a fluid, creative process through which any single work of art can capture only a fraction of its potential meaning and true significance.
This paper explores Robert Frank’s seminal photobook The Americans, using Michel Foucault’s concept of heterotopias, as discussed in his 1967 lecture Des Espaces Autres. By analyzing the visual and thematic elements of the book, this study explores how Frank’s depiction of 1950s America challenges conventional narratives of American identity and space. The research places Frank’s work in the socio-political context of post-war America, emphasizing how his photographs capture both the utopian ideals and the underlying societal tensions of the era. His images, often subtle yet powerful, document scenes that reflect a fragmented and multifaceted nation, revealing disparities between appearance and reality. The concept of heterotopias, as described by Foucault, offers a broader look at Frank’s images, through which we can analyse their complex and paradoxical nature. His photographs not only represent physical spaces but also evoke mental and social spaces that are layered with meaning. Examining The Americans from this unique perspective reveals its heterotopic content, allowing the viewer to notice the coexistence of different social realities, albeit occasionally in conflict. By providing an insight into Frank’s photographic narrative and its correlation with Foucault’s theory, the study aims shedding light on the ways in which visual media can reveal complex social dynamics and question established cultural norms.
