The project is addressed to 28 young people from Visegrad countries, taking part in an 9-day workshop on pinhole photography in Poland. Youngsters are going to creatively construct a pinhole cameras using cans, boxes, other recycling stuff, and also some photosensitive paper, with the use of which they are going to take photos on location. Their works will be crowned with the local exhibition in one of the city galleries on the last day of the workshop.
Videogames have started to be used in the classroom with learning aims beyond fun and entertainment: they are not only tools to teach advanced logics, strategy, design, storytelling or programming but an obvious source of employability for learners: videogame industry is the number one creative industry in the world. However, what remains certainly unexplored is the possibility of guiding teachers and learners to create adapted videogames to their own needs for educational and training purposes. In order to help this process, CO-GAME proposes to take as a point of departure the historic
Aiming in creating the infrastructure to support and ensure the sustainability of European Film Education, we have developed an Action Plan: FILM PATHS to be realized by a trans-cultural network. Greece - THESSALONIKI FILM FESTIVAL, Poland - SPOLECZNA AKADEMIA NAUK and Hungary - LATERNA MAGICA, will contribute valuable insight, methods of practice, experience and consultation while they will reassess and expand their own policies.
The main aim of the project is to reveal the relationship between the modern and the traditional art in the fields of applied arts and design. The project wants to study the artistic tradition in European countries and to show how these ancient motives, symbols and techniques influence some contemporary artists. This project will demonstrate how a common heritage in Europe can participate in a better historical understanding and intercultural dialogue among European citizens.
Integration of East- and Southeast-Asian citizens by culture and art in Hungary: the integration of the Asian citizens in Hungary have to face with difficulties. The first and the most important problem is the language, and it is followed by the cultural diversities. One of the most hardest part of the integration is making the first step initiating a real, not just a “daily life” dialog and conversation between Hungarians and Asians. Without this communication, the knowledge and the related social acceptance can not be succeeded.
Byzantine bindings are the traditional bindings of Greek manuscripts from the medieval period to the seventeenth century. Indeed, the term "Byzantine" refers to the technique and this type of binding. Byzantine scholars have provided much of the texts of Greek culture that exist today. The work of Byzantine scholars and writers made during the long period of their influence was therefore essential for cultural transmission. Collections of Greek manuscripts are found mainly in Western Europe (but also in Russia and the Middle East) in the great libraries and monasteries.
The product of 35 years of research and archival work, the Slidefilm History Collection is the only private collection of filmstrips in Hungary. The analogue collection can boast of a nearly complete set of all the educational, popular science and entertainment filmstrips produced in Hungary since the 1920s, including 3,742 Hungarian produced filmstrips as well as 253 slides with voice-overs, 267 filmstrips produced abroad, 898 scripts and a large number of technical devices.
The richness and diversity of European cultures constitute an extremely rich heritage for the creation of a European identity, the main objective for the construction of a peoples' Europe. Personal stories teach us the importance of the details to get an anthropological view of places and social behaviours. At the same time, today there is a need to save everything that belongs to recent memory and that is not yet history. Moving images are the most captivating sources of personal stories.
This project aims to interpret migration phenomena as instances of creolisation. The original aspect of this project stands in the intuition of borrowing Glissant’s poetical vision of creolisation and to apply it to two distinct processes of creation. On one side we choose Performing Arts, namely theatre, in order to produce a play in which artists from diverse theatrical backgrounds are forced to the negotiation of expressive codes, practices and meanings. Therefore, the ‘creolisation’ of theatrical practices becomes an essential element of the play itself.
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