This study investigates legal professionals’ knowledge of eyewitness testimony factors, including system and estimator factors, compared to laypeople. Previous research has questioned the adequacy of methods assessing legal actors’ understanding. To address this, 313 legal professionals and 400 laypeople completed a 21-item questionnaire embedded in case-specific scenarios using vignette methodology. Legal professionals achieved an accuracy rate of 66%, compared to 60.3% for laypeople. They more accurately identified estimator factors than system factors, with judges and prosecutors performing better than laypeople in both categories. These results reveal significant variations in knowledge of eyewitness testimony and underscore the need for targeted training programs. Enhancing legal professionals’ understanding of eyewitness factors could contribute to fairer and more accurate judicial outcomes.
Born-digital cultural heritage is an extremely broad category. However, there is no doubt that much of it includes activities that were created on the margins of the art world. Both the content itself, such as amateur games or demoscene productions, but also the efforts to archive them, are in effect often the work of amateur enthusiasts - dispersed groups that do invaluable work but at the same time do not meet institutional and academic standards, and often remain in tension with copyright law. In an era of increasing institutionalisation of digital heritage, how do we reconcile the expectations of all parties involved? Can the arrangement of this cooperation enable the rationalisation of resource management and facilitate similar activities in the future?
The article focuses on experiences from the COST Grassroots of Digital Europe project, in which we are trying to build a ‘network of networks’, connecting academics, GLAM institutions and enthusiasts, and providing all stakeholders with materials to support their work. Examples of good practices will be presented, but there will also be remarks on the difficulties and challenges of such an approach.
Otwarty dostępArtykułyJournal Article in Conference proceedings
Teatr Kombinat we Wrocławiu, Krupa Gallery Art Foundation we Wrocławiu, Miasto Wrocław
David Sypniewski is the creator of the titular bot in the performance "Grief//bot – a performance with the participation of an AI avatar." The event is an interdisciplinary and groundbreaking artistic and research project by the Kombinat Theatre in Wrocław, combining drama theatre, puppet theatre, and artificial intelligence technologies. In addition to the actor and puppet, the performance also features a bot, making the performance partially improvised and interactive, as it allows for a conversation between the audience and the bot. Sypniewski was a member of the creative team that designed the bot's role in the performance and its planned operation. He participated in a debate accompanying the performance, focusing on grief and technology. The performance premiered at the Krupa Gallery Art Foundation in Wrocław on February 20, 2026. The project received European Union funding from the National Reconstruction Plan.
Osiągnięcia artystycznePrace artystyczneauthorship of an artwork at an event
Wydział Interdyscyplinarny Uniwersytetu SWPS w Krakowie
Anna Treska-Siwoń (Kraków)
The exhibition "Pomiędzy / In Between," curated by Anna Treska-Siwoń, explored human relationships with ordinary, everyday objects. It featured works in a variety of techniques and media - from paintings to spatial objects, animations, and augmented reality. The exhibition was organized by the Interdisciplinary Faculty of SWPS University in Krakow and was part of the "Sztuka do Rzeczy - Design w Krakowie 2025" festival. The exhibition took place at the Open Gallery of SWPS University in Krakow and was open to the public from November 18th to 30th, 2025. As a companion event to the exhibition, the Have a Good Look collective held a happening on November 28th. Approximately 2,000 people attended the event. The Krakow festival has been held annually since 2018. The 2025 edition included approximately 70 events in 30 locations, organized by 34 entities. The festival is organized by the Department of Culture of the City of Krakow. Festival partners included the Łukasiewicz Research Network, the Faculty of Industrial Design at the Academy of Fine Arts in Krakow, the Podbrzezie UKEN Gallery, the Design Forum, the Scientific Library of the Polish Academy of Sciences, and the Nówki Art Foundation at the Academy of Fine Arts.
Osiągnięcia artystyczneInne osiągnięcia artystycznebeing a curator
