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21.
Predromaničko i romaničko slikarstvo u Istri
Željko Bistrović, 2009, review article

Found in: ključnih besedah
Summary of found: ...stensko slikarstvo, romanika, otonska umetnost, podeželska romanika, zgodnjeromansko slikarstvo, benediktinska komponenta, Istr...
Keywords: stensko slikarstvo, romanika, otonska umetnost, podeželska romanika, zgodnjeromansko slikarstvo, benediktinska komponenta, Istra
Published: 10.07.2015; Views: 965; Downloads: 16
URL Full text (0,00 KB)

22.
Aleš Erjavec: Postmodernism, postsocialism and beyond. Newcastle, Cambridge Scholars Publishing, 2008
Polona Tratnik, 2009, review, book review, critique

Abstract: Aleš Erjavec: Postmodernism, postsocialism and beyond. Newcastle, Cambridge Scholars Publishing, 2008, 196 str.
Found in: ključnih besedah
Summary of found: ...filozofija, umetnost, vizualna kultura, knjižne ocene, ...
Keywords: filozofija, umetnost, vizualna kultura, knjižne ocene
Published: 10.07.2015; Views: 1111; Downloads: 11
URL Full text (0,00 KB)

23.
Možnosti sodobne estetike
Polona Tratnik, 2008, original scientific article

Found in: ključnih besedah
Summary of found: ...estetika, umetnost, filozofija umetnosti, ...
Keywords: estetika, umetnost, filozofija umetnosti
Published: 10.07.2015; Views: 1216; Downloads: 11
URL Full text (0,00 KB)

24.
Kritične ideje Tomaža Brejca o modernizmu
Ješa Denegri, 2008, original scientific article

Found in: ključnih besedah
Summary of found: ...modernizem, postmodernizem, temni modernizem, slovenska umetnost, estetika, ...
Keywords: modernizem, postmodernizem, temni modernizem, slovenska umetnost, estetika
Published: 10.07.2015; Views: 1144; Downloads: 10
URL Full text (0,00 KB)

25.
Odsevi Egipta v Sloveniji
Tomislav Kajfež, 2008, review article

Found in: ključnih besedah
Summary of found: ...Egipt, obujeni Egipt, likovna umetnost, arhitektura, oblikovanje, ...
Keywords: Egipt, obujeni Egipt, likovna umetnost, arhitektura, oblikovanje
Published: 10.07.2015; Views: 1211; Downloads: 13
URL Full text (0,00 KB)

26.
(Bio)umetnost in manipuliranje z živim
Polona Tratnik, 2008, original scientific article

Abstract: The author argues that the modern project of disenchanting the world through genome discovery has not succeeded, but has rather raised numerous anthropological, sociological and philosophical questions related to the role of biotechnology in contemporary society. Biotechnical discourse has been introduced into the art sphere in the late eighties mostly due to V. Flusser, who suggested the artists to start manipulating living material. Today bioart is one of the key fields of contemporary art. It is defined mostly through manipulation of living material, but also through intervening discourse concerning biotechnology and the questions it raises. This corresponds to a characteristic tendency of contemporary art where an art project represents some sort of a platform for manipulation of information. Thus, art is fundamentally socially, anthropologically and philosophically engaged, it becomes an important sphere of discourse. On one hand art is linked to the experimental, which provides for a certain degree of unpredictability - in this manner it is an expression of the characteristic contemporary perception that there is no such thing as an absolute path towards truth and universal knowledge, since one is always bound to various levels of interpretation and understanding. On the other hand the questioning of existing meanings, values and convictions makes art inclined to manipulation of social or political force, which makes it essentially socially engaged, and results in the production of new meanings and points of view. The author establishes how contemporary philosophical comprehension propels the evolution of bioart. From the initial link to computer culture and genetics, after the year 2000, bioart has focused on direct manipulation of living matter. This is a distinctly interdisciplinary field of art as contemporary bioartistic projects demand the collaboration of specialists from other spheres of activity, mostly scientists. The work itself is performed in laboratory conditions and demands specific biotechnological tools and expertise. Bioart is one of the contemporary socially-representative practices of discourse, intervening current questions arising from the increasing use of biotechnology. The author examines the persistence of certain modern paradigms, the attempts to rationaliye the world, the striving towards totality and the absolute, the progress and the freedom, which are inherent in the contemporary understanding of the role of natural science in society. The tendencies, observable in the use and development of new biotechnological tools and procedures as well as biological knowledge, are demonstrated by the persistency of the purpose to accomplish the modern project of disenchanting the world, while on the other hand it is becoming clear that a project like this is substancially elusive and unfeasible
Found in: ključnih besedah
Summary of found: Zadetek v naslovu
Keywords: sodobna umetnost, bioumetnost, biotehnologija, interdisciplinarnost, genetika, vlažna dela, moderne paradigme
Published: 10.07.2015; Views: 1329; Downloads: 11
URL Full text (0,00 KB)

27.
Mode-2 aesthetics
Ernest Ženko, 2007, original scientific article

Found in: ključnih besedah
Summary of found: ...estetika, umetnost, avtonomija, vednost, aesthetics, art, authonomy, knowledge, ...
Keywords: estetika, umetnost, avtonomija, vednost, aesthetics, art, authonomy, knowledge
Published: 10.07.2015; Views: 1264; Downloads: 10
URL Full text (0,00 KB)

28.
Umetnost in uničevanje
Martina Vovk, 2006, original scientific article

Abstract: In conventional notions of art, the concept of destruction usually carries a negative connotation and is not associated with creative acts. However, it can be demonstrated that destruction has, on several levels, from summons to the destruction of canonised values of traditional art (historical avant-gardes, Futurism, Dadaism) and more conceptually grounded reflections about the demolition of the notions of traditional art (Duchamp, abstraction of 'pure painting' to the extreme limits of the medium) to the actual violent and destructive acts in creation (the diverse neo-avantgarde practices, Body Art, Viennese Actionists, YBA, 'idiocy,' etc.), been continually appearing in the development of art at least since the beginning of the 20th century. In the changed prerequisites for art from the 1960s onwards, the perception of artwork requires knowledge of theory and history of art, 'an atmosphere of artistic theory, a knowledge of art history: an artworld' (Danto), which elevates an object from common reality into the artistic sphere. According to the institutional theory, the recognition of artwork takes place procedurally within the art world, which Danto defines as an 'institutionalised discourse of reasons,' as an interpretation of the meaning of a work that takes into account the current critical and historical perception that motivated the work; only such interpretation allows the registration of a certain work as artistic. In the discourse of reasons in the conceptualisation of the work The Burning Cross-i.e., in the interpretations of meaning that accompanied the work at its origin-several possibilities can thus be indicated. Medved interprets The Burning Cross as a deconstruction of a uniform meaning and criticism of logocentrism, which denies the cross the superordinate meaning of a Christian symbol and establishes it rather as a meta-linguistic symbol, which opens the possibility of the shaping of meaning. To this interpretation we would like to attach ours, which recognises in the The Burning Cross a workof art that signalises the cognition of the extreme degree of metaphysical nihilism and which in the symbol of the cross, this traditional supreme symbol of Christianity, detects a vacated symbolic spot of transcendence, which concurs with the basic realiyation of the post-modern period - that there is no metaphysical guarantee of being. Such an interpretation, which like Medved's takes into consideration the development of the iconography of the cross in the entirety of Veryel's work to date, allows us to sum up the meaning of Veryel's iconography of the cross in three degrees (symbol recognition, symbol cleansing, establishment of meaning). Alongside such conceptual interpretations of the work there also appear readings which analyse The Burning Cross from a sociological point of view andfrom the standpoint of performance theory (Milohnić); the latter examines the work within the framework of performances in Slovenia from the 1990s that trigger a 'moral panic.' Through the discourse of reasons-i.e., through interpretations of the workćs meaning that recognise the latter as a part of an other world-the world of art-a world of interpreted things-the work is entered into the catalogue of art. This is also proven outwardly by the acceptance of the work into the institutionalised frame of the art world-the international art exhibitions. Outside the discourse of reasons concerning themeaning of the work, however, the perception and acceptance of the work proves to be much more problematic because of the destructive procedure employed. In its reactions to the event in the media, the wider public disqualifies the work as non-artistic, as vandalism, propagation of religious intolerance, ideological and political incitation and even psychopathology. The discourse of the disqualification of the work The Burning Cross seemingly normalises only when the work is declaratively entered into the institution ofart, which informally guarantees the work its autonomy, or more likely, whenan immunisation against the (alleged) provocative intention of the authorsis achieved through the mechanism of the legal system.
Found in: ključnih besedah
Summary of found: Zadetek v naslovu
Keywords: umetnost, uničevanje, institucionalna teorija, sodobna umetnost, percepcija umetnosti, Goreči križ
Published: 10.07.2015; Views: 1258; Downloads: 14
URL Full text (0,00 KB)

29.
Srednjebizantinski slonokoščeni skrinjici iz Pirana in Kopra
Nataša Golob, 2005, original scientific article

Found in: ključnih besedah
Summary of found: ...rozetne skrinjice, bizantinska umetnost, srednji vek, ikonografija, mitologija, slovenska Istra, ...
Keywords: rozetne skrinjice, bizantinska umetnost, srednji vek, ikonografija, mitologija, slovenska Istra
Published: 10.07.2015; Views: 889; Downloads: 13
URL Full text (0,00 KB)

30.
Likovna izpovednost in zakramentalna simbolika dveh prizorov iz cikla fresk v Marija Gradcu pri Laškem
Tomislav Vignjević, 2005, original scientific article

Found in: ključnih besedah
Summary of found: ...likovna umetnost, zgodovina umetnosti, ikonografija, freske, Marija Gradec pri...
Keywords: likovna umetnost, zgodovina umetnosti, ikonografija, freske, Marija Gradec pri Laškem
Published: 10.07.2015; Views: 824; Downloads: 4
URL Full text (0,00 KB)

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