Two Perspectives on Ecological Art

In the paper “Two perspectives on ecological art”, we will compare two perspectives on sustainability and the practicality of an ecological artwork. One perspective is from Latvian media artist Maija Demitere, researching slow media art, deep sustainability, and food production. Demitere uses micro-gardening prototypes as an instrument to inform the public on the problems of food production (local food, biodiversity, pesticides, herbicides, pollution caused by agriculture). Demitere uses gardening in combination with DIY (Do it Yourself) technologies to talk about slow living, ecology of the mind, and mindfulness. The second perspective is offered by Jan Glöckner. Glöckner is a German artist and researcher. His research interests are collaborations between fungi and Hominidae. Glöckner reaches out with diplomatic gestures towards fungi to re-localise humans within the larger domain of living entities. He is working on an ethical framework that draws from deep ecology and Tibetian Buddhism to ensure the rights of microorganisms and macroorganisms in artistic, industrial, and research setups. The first part of the paper will focus on recycling, waste management, waste produced by households, and the artists’ perspective on the problem. The second part will focus on a specific case of the exhibition “Life” by Olafur Eliasson at the Foundation Beyeler in Riehen, Switzerland. The second part will also look at the idea of “artistic greenwashing”. The last part of the article will attempt to conclude what can be considered an actual sustainable artwork and propose possible key points that describe a (deep) ecological artwork. The paper uses such methods as case studies, literature analysis, and autoethnography.

Towards a New Popular Theatre (?). Reflections After the Completion of UBUmaterial Performative Archive on Instagram

The article describes the building of UBUmaterial performative archive on Instagram during the COVID-19 lockdown by Papalangki Theatre Company in Greece (2020–2021). Through an innovative format, UBUmaterial started as the attempt of three actors-narrators isolated due to pandemic to rehearse and somehow present Ubu Roi by Alfred Jarry. However, exploring the Instagram and play’s potentialities, the three actors soon would be transformed into narrators of their own effort, using their households and adopting a commenting stance on their everyday situation. Thus, the dramaturgy of UBUmaterial’s posts (videos) integrated most of the traditional popular theatre’s features and strategies. After a reflection on the contemporary meaning of “popularity” in theatre/performance, the article suggests that UBUmaterial (as well as other digital forms of theatre) may be considered a form of modern popular theatre.

Cultural and Social Inclusion Efforts – A Significant Aspect of Early Lithuanian Children’s Literature

Children’s literature is an important part of national culture. Its mission has always been to help mature a young person, to form valuable foundations of personality. The aim of the article is to reveal the work of early Lithuanian children’s literature, especially of the 19th century, playing an important role in the life of society, i. e. playing the role of a mechanism of cultural and social inclusion, changing society and human mentality. It is necessary to emphasise that the field of children’s literature discussed here also includes early Lithuanian writing, which cannot be directly considered children’s literature, but it undoubtedly integrated the care for children (in the form of catechisms, elementary publishing, etc.). What functions of cultural and social inclusion did the texts intended for children (or also for children) perform, and what impact did they have? Methods used: sociology of literature, cultural analysis, interpretation of the text. The phenomenon of inclusion is an important aspect of Lithuanian children’s literature and culture. This is also testified by the history of Lithuanian books for children and works of particular writers. It is significant that in the cultural situation of the 19th century, children’s literature contributed to overcoming children’s illiteracy and helped create and unite the readership community in the making. Children (and often youth) were getting used to the book, a completely new form of communication for them. Little by little, people became aware of the importance of reading, writing, and education in general. Some texts of educational type have been left by Lithuanian writers of the 18th–19th centuries, and their traditions were continued by the creators of the early 20th century, portraying the fate of the book smuggler, the wish of a country child to learn, the authority of a published book, and other similar aspects. The book and the ability to read decrease seclusion, include the child and the youth into community life, and open wider horizons for thinking. Different aspects of inclusion (and there are more of them than mentioned in this paper) can also be found in modern children’s literature. A book and literature dedicated to the child or young person help to survive social seclusion, isolation and show the ways and means of overcoming them. Finally, children’s literature adjusts to the social environment, participates in society modelling, change, and establishes itself as an integral part of an inclusive society. Today children’s literature is perceived as an integral part of an inclusive society.

Virtuālā realitāte pret bulingu jauniešu vidū. Imersīvo mediju izteiksmes līdzekļi psihosociālajā izglītībā

Within the framework of the international project “Virtual Reality As a Tool for Countering Bullying Amongst Youth” – “VR not bullies” – the author, colleagues, and partners created a cycle of 6 workshops for bullying prevention where virtual reality (VR) videos are used as a tool. The aim of the project was to promote empathy for bullying victims, understand the causes of bullying, and demonstrate examples of positive behavior. As part of the “VR not bullies” project and in this article, the author has sought answers to questions about what technological and artistic means of expression to use to model empathic responses in viewers; analysis of literature and case studies (including self-produced material) have been applied. Short VR videos are a convenient technology to use when working with young people and working in groups. Although it is not a cheap method, it allows you to look at situations that would otherwise be unavailable for geographical, financial, or other reasons. Short VR videos are a fast and effective medium to promote emotional empathy and other perspectives, and their inherent interactivity stimulates young people’s interest and attention. However, more traditional methods, such as reading stories or role-plays with in-depth, long-term involvement, may be more effective in building competitive empathy and understanding.

Reģionālie mediji Latvijā: Covid-19 izraisītās krīzes izaicinājumi

A multi-stage study was conducted to find out what is the role of regional media in the crisis caused by the coronavirus Covid-19, what problems do the media face, what is the opinion of consumers about the work of regional media: 1) audience surveys (1428 respondents); 2) survey of national and regional media (26 respondents); 3) analysis of the content of the regional newspaper Alūksnes un Malienas Ziņas (during the state emergency, March 12, 2020 –June 10, 2020); 4) in-depth, semi-structured interviews with regional media consumers (audience); 5) in-depth, semi-structured interviews with regional media editors. The Covid-19 crisis changed the work of regional media. The ways of obtaining media information diversified, mutual communication and the created content changed, and interaction with the audience increased. The number of subscribers and advertisers decreased significantly (up to 50 %), and therefore the total revenue, creating a serious threat to the existence of the media. The financial situation forced several media executives to reorganise the media – to reduce the number of employees and their salaries, decide on reducing the periodicity of newspapers, and raise prices. Several regional media leaders predict that the media will be shut down if the situation does not improve. The public appreciates and trusts the work of the regional media, they are happy to consume them as well, but more and more often, they cannot afford to pay for them. The results of the survey confirm that with each decade of life achieved, people’s interest in local events (news in the municipality and region, culture and sports) and, consequently, the intensity of regional media consumption increase. Local proximity increases mutual trust between regional media workers (their content) and local community residents (audience). Interactions (seeking advice and assistance, participating in content creation, recording violations of restrictions) were particularly active during the Covid-19 crisis when the doors of state and local authorities were closed (the work took place from home) throughout the emergency. The rapid spread of Covid-19 changed the traditional agenda of regional media – methods of information gathering and mutual communication (remote interviews, video conferences, and meetings, virtual meetings on electronic communication platforms), as well as the content created. The results of the content analysis confirm the priority status of the Covid-19 topic (multiplicity, intensity, location) in the content of the regional newspaper Alūksnes un Malienas Ziņas. With the materials dedicated to Covid-19, journalists informed the audience about the latest events, explained the decisions made by the government, motivated them to act responsibly, appealed to conscience, called for mutual help, condemned, comforted, and also saved. During the emergency, journalists performed not only the functions of an informant but also an educator, psychologist, and social worker (educating, explaining, reassuring, motivating, and helping), while reducing one of their main functions – the watchdog function. The regional press is the only mechanism of balance of power in the regions that exercises power control in local governments, as well as the only ones that regularly record the uniqueness of the local environment, promote the construction of local identity, create a sense of belonging, ensure objective information from reliable sources. Without receiving the necessary support from the state authorities (financial assistance, tax relief, arrangement of legislation), the existence of regional media will be endangered in the coming year, thereby a versatile media environment, diversity of opinions, availability of objective information, as well as preservation of literary Latvian language and culture will also be in danger.

Māksliniecisko pētījumu pieejas attīstība jauno mediju mākslas izglītībā Liepājas Universitātē 2007.–2010. gadā

In 2007, first students started their studies at Liepāja University New Media Art bachelor level programme. It was the first programme in Latvia that was developed based on topical ideas about art as research and practice-based artistic research. This approach to art education can be described as strongly critical to neoliberalist treatment of art and, particularly in Europe, was also a part of reaction from the side of art educators and practitioners to changes started by the Bologna process in the field of higher (art) education. The approach was integrated purposefully into the philosophy of New Media Art studies and research at Liepāja University, first of all by establishing MPLab – a Laboratory of Art Research as a space for creative growth where every student has more freedom and independence but is required to be able to mobilise independently and think critically and creatively. In this article, the basic assumptions for programme development, main events, and results are presented and analysed, based on inner planning and implementation documents of the study process, as well as research papers discussing the basic assumptions of the philosophy of the study programme. In the centre of philosophy and content development of the bachelor and later master and doctoral level study programmes at Liepāja University was the idea of art as a research activity. It is connected to the recognition of the dimension of science in art, more concretely, that art does not need commentary to become “scientific”. Similar to the science where the goal and the product of the actions is the new, emerging knowledge, the art can also be oriented toward the development of knowledge, in the process of artistic creativity, through experimentation, observation, reflection, and abstraction that influence the following process of art-making. The inquiry and experiment, as well as collecting and presenting data about materials and environment the artist works with, is an essential part of the artistic activity, especially in contemporary art. Based on practice, an artist is driven to the questions and hypotheses that later can change the course and result of his/her artistic work. The art based in practice is also becoming more and more interested in life and involvement in social processes, practical issues, and the critical discourse of the art. An element of the philosophy of artistic research is also an orientation to change and active action. Artistic research tends to the new, but it is planned not only as a performative but also transformative action; therefore, it is important to think about social responsibility and social engagement in the context of artistic research. Activity, engagement, orientation towards the change, and thought-through practice-based training are the most important elements of contemporary art to encourage social and cultural sustainability development. That is why in the education of young artists, a special place should be reserved for understanding society, its risks, and the economic and political contexts in which the artist is working. However, the issue of sustainability has to be treated in connection to local communities. Socially responsible art – art as research – is possible only by studying and integrating into the artistic research process the human needs in the place where they emerge and in active dialogue with local communities. All these elements were integrated into the philosophy of the research and studies when the programmes of new media art were started at Liepāja University. The aim of the article is to discover what and how theoretical thinking on practice-based artistic research programmes in the space of higher education of art was implemented in practice, involved in the development of New Media Art programmes at Liepāja University in the period from 2007 to 2010. The methods used include document analysis and analysis of secondary literature; however, in general, a descriptive approach was used. Conclusions show that by purposeful integration of the topical and in-depth view on art education at university and new approaches to art in society invented in the active discussions within the network of international experts, it was possible to create a contemporary centre of critical creativity at Liepāja University able to engage into artistic research of reality and virtuality in the contemporary technologically saturated cultural environment.

Nacionālā valoda zinātnē: Latvijas piemērs

The aim of the paper is to show and describe the current situation in the Latvian scientific language based on a case study of the problem about the place of a national language and its existence in science in modern globalised time, when the dominance of English as the lingua franca of science grows. More specifically, the paper analyses the November 2019 conceptual plans of the Latvian Ministry of Education and Science about a new concept of doctoral study programmes that would lean towards using English as the doctoral dissertation language in hopes for scientific excellence, and the public reaction and opinion on this concept. The descriptive method is used within the paper, including the contemporary literature review focused on the language of science globally, issues of multilingualism and glocalization, and the problems caused by these issues. Via empirical discourse content analysis, the authors looked at various documents, including Latvian law that governs the rights and rules of the Latvian language use in various contexts. They examined a wide array of mainly online content and diverse online community discourse related to the question of what language should be used (Latvian or English) within the doctoral dissertation process. For a comparison of the situation, the paper also provides a brief insight into the regulation of the language used in the development of dissertations in Lithuania. During the study, 21 different sources, that is, articles posted on various Latvian news media sites and 304 online user comments, predominantly anonymous, under these articles relating to the issue of language choice in doctoral dissertations were analysed. All the mentioned sources, to a greater or lesser extent, discussed the issue of what place Latvian has as a language of science and whether English should be the dominant language in doctoral studies, what implications the choice and usage of a language could have, and what far-reaching impact this might have on science, education, and society. The material revealed a breadth of opinions, depending on what group a person is more likely to represent, ranging from the Ministry stance to organisations and the general public. Some had a very pro-English stance, and some showed significant concern for the Latvian language. The main trend in online community user opinions could be condensed as such: there is a variety of language choices for a doctoral dissertation – a dissertation written in Latvian; a dissertation written in English; or leaving the language choice up to the doctoral student. This would ensure that the language choice fits the doctoral students’ goals and field of research. Making English mandatory would not likely lead to guarantee scientific excellence as what matters is the research content itself, not the language used. The national language in science is a current and important issue in Latvia, as there is a need for state language use in a scientific register, and this usage should be developed further. The Ministry document discussed is still a draft report, and it is not yet known what final decisions on the PhD process and dissertation language will be taken by policymakers in the future. This paper shows that language choice and use in science is not just a matter for scholars and PhD candidates, but an issue that can and does gain interest from various groups of society and gets discussed online in multiple ways, allowing people to express their opinion on policy and societal issues. Latvian is a scientific language, and it has a place within the international scientific discourse, and it should not be made to step aside for the dominant lingua franca.

Salīdzinājumu tulkojuma kvalitāte Noras Ikstenas „Soviet Milk” un „Молоко матери”

Nora Ikstena’s “Mātes piens” (Mother’s Milk; published in English as Soviet Milk) is one of the novels in the book series “MĒS. Latvija, XX gadsimts” (We. Latvia. The 20th Century). It describes the difficulties that can arise in the mother-daughter relationship, describes the Soviet time’s environment and its impact on everyday life. The historical novel “Mātes piens” has been published in 25 countries, which means that this novel has been translated into many different cultures, which are less familiar with the mentality of the Latvian people and the USSR times in Latvia. Therefore, it is crucial how the text is translated or whether the style and the particular poetics of Nora Ikstena’s language in this novel are accurately reproduced. Therefore, the scientific research work “Quality of Translated Comparisons of Nora Ikstena’s “Soviet Milk” and “Молоко матери”” was developed. Comparisons requiring the translator to take into account both the content and the meaning of the words were analysed, as well as the aspect of language imagery and culture. The novel was translated into English by Margita Gailīts, and into Russian by Ludmila Nukņeviča. The events of the novel “Soviet Milk” take place from the end of the Second World War until the 1980s. The main character is a daughter, whose story is intertwined with the life stories of her mother and grandmother. The novel portrays the daughter’s struggle with her mother’s depression, which has deprived her of emotional intimacy with her mother since birth; the daughter continues to hope and gain her mother’s love, helping in times of crisis and ignoring several rejections. Although the translation process is very old, the question about the translation quality is still relevant. Using sources of information and gaining theoretical knowledge of the translation process, an error estimation method was developed that allows the word “quality” to be quantified. Literary translation is mostly separated from other translation types and put into a separate category, usually because the meaning of a literary work cannot be clarified in simple terms presented today. It is also difficult to analyse what the reader expects from the translation. Since there cannot be one right way of translating literature, the sense of the translator’s ethical duty to the author is the most important. However, this is very limited by how well the translator understands the author’s intentions and what is said and how much freedom the translator is given to change the text to find the most appropriate way to express the idea in the language. (Sager 1994) Four groups were divided by Juliane House’s theory (House 2014; House 2017) about overt errors. Text translation errors are divided into 2 categories – covert and overt. Covert errors are difficult to notice because, superficially, from a grammatical point of view, the sentence is correct, but its content is not logical or acceptable. The overt errors detected are obvious, constitute a systematic error. Overt errors are divided into 7 groups: 1 – not translated; 2 – a slight change in meaning; 3 – a significant change in meaning; 4 – distortion of meaning; 5 – breach of SL system; 6 – creative translation; 7 – cultural filtering. 64 comparisons in Latvian, 64 equivalents in Russian, and 55 equivalents in English were excerpted (9 comparisons were not translated). Translations of comparisons were divided into 4 groups: 1) accurately translated, 2) translations with minor changes, 3) culturally harmonized translations, 4) untranslated comparisons. Translations of comparisons that scored 5 points or more are considered qualitatively translated, given that there are no significant errors. There is no single fundamental criterion for the quality of a translation against which all translated texts can be judged. There are several definitions of quality translation, and quality is affected by many factors. The translations of comparisons in both foreign languages (English and Russian) are of high quality; they received high marks if they were analysed according to the error evaluation table because the maximum number of points that could be obtained was 6 points and no comparative translation was lower than 5 points. The Russian translation is more successful (comparative translations more often scored 6 points) than the English translation, which can be justified by the fact that the Russian language is historically and geographically a neighbor of the Latvian language, but the English language and culture are remote. Phraseological comparisons are translated literally and also more accurately into Russian; there are more of the same equivalents in the target culture. When evaluating comparisons that use the concepts of biblical story motifs or images of Greek mythology, they are mostly accurately translated into the target languages, as the target cultures are well acquainted with this religion and Greek mythology. One of the most important findings – not only literal translations are of high quality; it is much more important to express them in a way that is understandable to the target culture while maintaining the author’s writing style and the text’s main idea, paying attention to details.

Return of Memory: The Conception of Lithuanian tremtis and Latvian trimda During the National Revival of the Late 20th Century

Latvian and Lithuanian National Revival (or Awakening) of the late 20th century can be defined not only as a time of restoration of independence but also as a time of recovering memory. This article explores one of the main traumatic moments for the Baltic nations in the 20th century – deportations and other kinds of displacement. It was prepared based on a fragment of the dissertation thesis “Collective Memory in the Lithuanian and Latvian Literary Press during the National Revival of Late 20th Century” (defended in 2020). The article mainly relies on texts published by the Lithuanian and Latvian Writers’ Unions: the weekly Literatūra ir menas (Literature and Art) and the monthlies Pergalė, since 1991 Metai (Victory, since 1991 The Year) and their almost analogous Latvian counterparts Literatūra un Māksla, Karogs (Flag) and Avots (Spring). The first part of the text discusses the problems of Lithuanian and Latvian concepts of deportations and émigré, and terms Lith. tremtis, Latv. trimda. The second part provides a concise overview of reflections on Lithuanian deportations and Latvian émigré, political emigration. The article ends with conclusions about the main differences and similarities between those displacement experiences.