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82. Game theory : introduction and applicationsGraham Romp, 1997, higher education textbook Abstract: Game theory : introduction and applications
Keywords: teorija iger, linearno programiranje, aplikacija, formatiranje, matematična ekonomija, časovne vrste, makroekonomija, poslovanje, cikli, klasična politična ekonomija, ekonomske teorije, postkeynesianizem, dinamični modeli, oligopoli, plače, modeli, agregati, mednarodni finančni odnosi, politika okolja, medkulturna komunikacija, ekonomsko ravnotežje, učbeniki, vaje
Published in RUP: 10.07.2015; Views: 3417; Downloads: 105
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83. Business dynamics : systems thinking and modeling for a complex worldJohn Sterman, 2000, higher education textbook Abstract: Business dynamics : systems thinking and modeling for a complex world
Keywords: dinamični sistemi, dinamična analiza, sistemi, teorija sistemov, informatika, informacijski sistemi, sistematika, mišljenje, modeliranje, modeli, testiranje, poslovne odločitve, nelinearno programiranje, svet, perspektive, poslovni proces, vedenje, prenova, reinženiring, inovacije, teorija racionalnih pričakovanj, predvidevanje, struktura, orodja, diagrami, polarizacija, denarni tokovi, borzništvo, vrednostni papirji, stabilizacija, novi proizvodi, razvoj, pozitivizem, delo, cikli
Published in RUP: 10.07.2015; Views: 3258; Downloads: 102
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89. Umetnost in uničevanje : problematika percepcije sodobnih umetniških praks v primeru gorečega križaMartina 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.
Keywords: umetnost, uničevanje, institucionalna teorija, sodobna umetnost, percepcija umetnosti, Goreči križ
Published in RUP: 10.07.2015; Views: 3184; Downloads: 34
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90. Modernost in postmodernost v luči vrnitve potlačenegaErnest Ženko, 2008, original scientific article Abstract: At the end of 1970s, the academic arena witnessed the entrance of postmodernity - the topic that significantly marked the end of the previous century. The development of the theoretical movement, which gained dominance in the 1980s, was concomitant with the emergence of new trends in art (first in architecture and literature and later on in other fields) jointly labelled with the term "postmodernism". This and the following decade gave birth to an enormous number of theoretical texts and saw the organization of numerous conferences. During this time, postmodernism developed into postmodernity, thus spreading from the field of art to cultural and social reality. Perceived as a form of rebellion against the modern, the postmodern came into fashion. However, its gradual disappearance from fashion led to a shift in the status of postmodernity - in the course of time, this topic was no longer discussed in academic circles and became an increasingly stigmatized theoretical subject, while the term itself started to be used to describe the present condition of society. The article presupposes that the reason for such attitude towards postmodernity lies in the attitude of postmodernity towards modernity, and traces the development of the modern project since it origins in the 18th century Enlightenment philosophy. Enlightenment authors developed several notions, including the objectivity of science, universality of morality and law, and autonomy of art, that provided the base for the development of the Enlightenment project that can be understood as the inner logic of modernity. In the 20th century, however, the project aiming at establishing a rational society and transcending the myth-based view of the world revealed its darker side as argued by Horkheimer and Adorno. Their analysis of the Enlightenment revealing that the Enlightenment rationalization of social practices involved the reduction of the mind to a mere formal level forms the basis of the postmodern critique of the Enlightenment and modern projects. The dominant form of postmodernity is thus understood in the sense of anti-modernity the aim of which is to completely reject modernity, including its ideals stemming from the Enlightenment philosophy. According to the article, such rejection has resulted in the revival of premodern values and social practices. The author of the article believes that this process can be understood through methodological presumptions based on Freud's psychoanalysis, and interprets postmodernity and postmodernity-related discontent in the light of the return of the repressed
Keywords: modernost, postmodernost, teoretska psihoanaliza, kritična teorija
Published in RUP: 10.07.2015; Views: 3208; Downloads: 43
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