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1.
Fenomen lažnega mobinga v javni upravi
Igor Škrinjar, 2011, diplomsko delo

Najdeno v: ključnih besedah
Povzetek najdenega: ...mobing, lažni mobing, zlorabe, percepcija, javna uprava, ...
Ključne besede: mobing, lažni mobing, zlorabe, percepcija, javna uprava
Objavljeno: 15.10.2013; Ogledov: 2633; Prenosov: 80
URL Polno besedilo (0,00 KB)
Gradivo ima več datotek! Več...

2.
Vizualno mišljenje in vizualna percepcija
Simona Erjavec, 2011, doktorska disertacija

Najdeno v: ključnih besedah
Povzetek najdenega: Zadetek v naslovu
Ključne besede: vizualno mišljenje, vizualna percepcija, teorije vizualne percepcije, slika, slikarstvo, doktorske disertacije
Objavljeno: 15.10.2013; Ogledov: 2992; Prenosov: 158
URL Polno besedilo (0,00 KB)
Gradivo ima več datotek! Več...

3.
Umetnost in uničevanje
Martina Vovk, 2006, izvirni znanstveni članek

Opis: 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.
Najdeno v: ključnih besedah
Povzetek najdenega: ...umetnost, uničevanje, institucionalna teorija, sodobna umetnost, percepcija umetnosti, Goreči križ, ...
Ključne besede: umetnost, uničevanje, institucionalna teorija, sodobna umetnost, percepcija umetnosti, Goreči križ
Objavljeno: 10.07.2015; Ogledov: 1064; Prenosov: 12
URL Polno besedilo (0,00 KB)

4.
Didaktična igra za spodbujanje razvoja percepcije slepih in slabovidnih otrok
Tamara Vodlan Mihelič, 2015, magistrsko delo

Najdeno v: ključnih besedah
Povzetek najdenega: ...slepi in slabovidni otroci, percepcija metode dela, didaktična igra, čutila, pravljica, ...
Ključne besede: slepi in slabovidni otroci, percepcija metode dela, didaktična igra, čutila, pravljica
Objavljeno: 14.10.2015; Ogledov: 2310; Prenosov: 79
URL Polno besedilo (0,00 KB)

5.
Maurice Merleau-Ponty
Simona Erjavec, 2012, izvirni znanstveni članek

Najdeno v: ključnih besedah
Povzetek najdenega: ...vizualna percepcija, predrefleksivno izkustvo, modernistično slikarstvo, ontologija slikarstva, ...
Ključne besede: vizualna percepcija, predrefleksivno izkustvo, modernistično slikarstvo, ontologija slikarstva
Objavljeno: 30.12.2015; Ogledov: 2207; Prenosov: 10
URL Polno besedilo (0,00 KB)

6.
Mušičevo slikarstvo in Merleau-Pontyjeva filozofija slikarstva
Nelida Nemec, 2016, doktorska disertacija

Najdeno v: ključnih besedah
Povzetek najdenega: ...barva, črta, prostor, figura, moderno slikarstvo, percepcija, telo, pokrajina, pokrajina telesa, predrefleksivno mišljenje, vizualno...
Ključne besede: barva, črta, prostor, figura, moderno slikarstvo, percepcija, telo, pokrajina, pokrajina telesa, predrefleksivno mišljenje, vizualno mišljenje, vizualna percepcija, disertacije
Objavljeno: 10.11.2016; Ogledov: 1216; Prenosov: 24
URL Polno besedilo (0,00 KB)
Gradivo ima več datotek! Več...

7.
Modernizacijski prelomi pri rastlinski pridelavi v 19. in 20. stoletju z demografskimi konsekvencami in takratno percepcijo novosti
Uroš Cerkovnik, 2015, diplomsko delo

Najdeno v: ključnih besedah
Povzetek najdenega: ...kmetijstvo, modernizacija, tehnologija, prebivalstvo, percepcija, industrializacija, ...
Ključne besede: kmetijstvo, modernizacija, tehnologija, prebivalstvo, percepcija, industrializacija
Objavljeno: 09.08.2016; Ogledov: 1867; Prenosov: 3
URL Polno besedilo (0,00 KB)

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