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21.
Digital Video in Digital Humanities Methodology
Narvika Bovcon, Marco Buziol, Aleš Vaupotič, 2016, objavljeni znanstveni prispevek na konferenci

Opis: The paper presents a digital reconstruction of the building that hosts the new headquarters of the Academy of Fine Arts in Venice as a digital humanities methodology case study. The building has been appropriated for different functions throughout history, from being a hospital for incurables to an orphanage. Recently the space was re-functioned for the studios of the Art Academy. In the project we have integrated multifaceted information about the different stages of the building's use in the medium of digital animation. Finally, the digital 3-D model was used for exhibiting contemporary art works by students of the Academy and videos by artists from the Society for Connecting Art and Science ArtNetLab.
Najdeno v: osebi
Ključne besede: digitalna humanistika, vizualizacija podatkov, video, Beneška akademija za likovne umetnosti
Objavljeno: 09.01.2017; Ogledov: 1670; Prenosov: 46
.pdf Polno besedilo (34,98 MB)

22.
Visualization of the WomenWriters Database: Interdisciplinary Collaboration Experiments 2012 – 2015
Aleš Vaupotič, Narvika Bovcon, 2017, samostojni znanstveni sestavek ali poglavje v monografski publikaciji

Opis: In the exploration of visualization methods in the WomenWriters database and consequently, the creating of interactive diagrams and other graphical interfaces that are presented here, the Research Centre for Humanities and the School of Humanities of the University of Nova Gorica collaborated with the University of Ljubljana. The visualization prototypes were realized by the students at the Faculty of Computer and Information Science, University of Ljubljana, as part of Introduction to Design and Graphic Design courses, supervised by Narvika Bovcon, PhD, assistants Jure Demšar and Tadej Zupančič. The work spanned from 2012 to 2016. More then three hundred students were involved in the process. In the end, the most interesting visualizations were selected from the results and are presented in this article.
Najdeno v: osebi
Povzetek najdenega: ...Design and Graphic Design courses, supervised by Narvika Bovcon, PhD, assistants Jure Demšar and Tadej...
Ključne besede: information visualization, digital humanities, comparative literature, project management, interdisciplinary collaboration
Objavljeno: 19.05.2017; Ogledov: 1810; Prenosov: 41
.pdf Polno besedilo (10,46 MB)

23.
Jezero
Narvika Bovcon, Aleš Vaupotič, umetniško delo

Najdeno v: osebi
Ključne besede: Sylvia Plath, Mirror, vizualizacija podatkov, 3D tisk, 3D skeniranje, tipografija, srebrna skulptura, miniatura, portret
Objavljeno: 03.07.2017; Ogledov: 1316; Prenosov: 0

24.
Citat
Narvika Bovcon, Aleš Vaupotič, umetniško delo

Najdeno v: osebi
Ključne besede: George Eliot, Middlemarch, vizualizacija podatkov, 3D tisk, tipografija, srebrna skulptura, miniatura
Objavljeno: 03.07.2017; Ogledov: 1307; Prenosov: 0

25.
Literarne avtorice
Narvika Bovcon, Aleš Vaupotič, umetniško delo

Najdeno v: osebi
Ključne besede: literarne avtorice, literarna zgodovina, feminizem, vizualizacija podatkov, 3D tisk, srebrna skulptura, miniatura
Objavljeno: 03.07.2017; Ogledov: 1494; Prenosov: 0

26.
Blago
Narvika Bovcon, Aleš Vaupotič, umetniško delo

Najdeno v: osebi
Ključne besede: španske literarne avtorice, literarna zgodovina, feminizem, vizualizacija podatkov, 3D tisk, simulacija blaga, srebrna skulptura, miniatura
Objavljeno: 03.07.2017; Ogledov: 1455; Prenosov: 0

27.
A Network of Themes
Narvika Bovcon, Aleš Vaupotič, 2017, izvirni znanstveni članek

Opis: Gerhard Richter's books Text – a collection of painter's verbal statements about his artistic method – and Atlas – 783 sheets with images, mainly photographs and visual notations – are two archives that complement the understanding of his diverse artistic practice. The paper presents a textual model that experimentally simulates a possible ordering principle for archives. Richter's statements in the book Text are cut up and used as short quotations. Those that relate to multiple aspects of the painter's oeuvre are identified as hubs in the semantic network. The hubs are organized paratactically, as an array of different themes. The paper presents a methodological hypothesis and an experimental model that aim to connect the research of real networks with the paradigms of humanistic interpretation. We have to bear in mind that the network is a result of the researcher's interpretative approach, which is added to the initial archive included in the book Text. The breaking up of Richter's poetics into atoms of quotations is an experimental proposal of a new textuality in art history and humanities, which has its own history. In comparison to digital archives with complex interfaces that often tend to obscure the content, the elements in our experiment appear as specific configurations of the semantic network and are presented in a limited number of linear texts. The method of listing of quotations gathers the fragments into a potential “whole”, i.e. a narrativized gateway to an archive according to the researcher's interpretation.
Najdeno v: osebi
Ključne besede: artistic archive, narrativization, networks, author's poetics, Gerhard Richter
Objavljeno: 11.07.2017; Ogledov: 1510; Prenosov: 115
.pdf Polno besedilo (400,90 KB)

28.
Prostor, vržen iz tira
Srečo Dragan, Aleš Vaupotič, Narvika Bovcon, 2017, intervju

Opis: Prostor, vržen iz tira, razstava Sreča Dragana, likovnega umetnika, videasta, konceptualista in novomedijskega umetnika, tudi energičnega univerzitetnega profesorja, mentorja ter producenta in organizatorja odmevnih dogodkov in sodelovanj, pokriva pet desetletij umetniškega delovanja in ustvarjanja. V zasnove in izvedbe včasih tehnično izjemno zahtevnih projektov so bili vpleteni mnogi sodelavci in ustvarjalci. Do leta 1987 je Srečo Dragan umetniško deloval v tandemu z Nušo Dragan. Razstava se v naslovu navezuje na Draganovo retrospektivo v Moderni galeriji v Ljubljani leta 2000 z naslovom Čas, vržen iz tira: 1968–2000, ki privzema del Hamletovega verza: »The time is out of joint.« Takrat je razstavo pospremil programski zapis: »Inštitucija tehno-modificiranega pogleda kot primarnega okolja Draganovega medijskega ustvarjanja je od vseh, ki smo to predstavitev pripravljali, zahtevala spremembo klasične pregledne razstave v obliko kot-darazstave. To je bil osnovni model-ideja, ki omogoča polje za testne in problematične transferje za nove tehnologije, tehno-znanosti in elektronske, še posebej pa kibernetične umetnosti. / Trije interaktivni razstavni prostori-teritoriji, ki jih zasedajo nematerialne strukture kot-da-umetniška dela, predstavljajo aktivne točke komunikacije« (black.fri. uni-lj.si/sdmg2001). Tako kot na prelomu tisočletja se tudi letošnja retrospektiva vzpostavlja iz avtorskega urejevalnega in reaktualizirajočega postopka. Dela niso preprosto dana na ogled, ampak na novo aktivirana prek preteklih in sodobnih kontekstov. Naslov namiguje, da se nekaj zanimivega tokrat dogaja s prostorom. Pomembno vlogo igra pet stopenj rekonceptualizacije projektov, označene so bile z napisi na tleh galerije: konceptna tabla 1.0 vsebuje izvirni koncept, rekonceptualizacija 2.0 je instalacija-dokument dela kot novo avtorsko delo, tabla 3.0 rekonceptualizira kot modul za razstavljanje zgodovinsko kontekstualiziranih projektov na skupinskih razstavah, 4.0 konceptualizira robotsko vodenje obiskovalca po razstavi in končna faza 5.0 – to je živa podatkovna baza komentarjev obiskovalcev Draganovih razstav ter udeležencev v njegovih projektih.
Najdeno v: osebi
Ključne besede: Srečo Dragan, "Prostor, vržen iz tira", novomedijska umetnost, intervju z umetnikom
Objavljeno: 30.08.2017; Ogledov: 1382; Prenosov: 0
.pdf Polno besedilo (2,24 MB)

29.
Condensations and Extensions
Aleš Vaupotič, Narvika Bovcon, 2017, objavljeni povzetek znanstvenega prispevka na konferenci

Opis: Every reading of a text follows a complex mechanism, which is outlined in phenomenological terms in Roman Ingarden's Das literarische Kunstwerk (1930) and later in reader-response criticism. Also Roland Barthes's explorations of intertextuality point in a similar direction of the text as heterogeneous and open texture. The complex mechanisms that allow the reader to gain meanings and construct represented objects etc. are scrutinized to emphasize the importance of the reader's collaboration in the readerly act and the transformations to the textual experience that depend on historical circumstances, on cultural and personal experience of the reader. Considering these critical traditions, any text is always interactive, an ad hoc construct, it comes to life only in contact with alien contexts whereby it virtually looses its supposed lasting identity. In Theorising the Digital Scholarly Edition (Literature Compass 7.2, 2010) Hans Walter Gabler attempts to provide a conceptual framework for a critical scholarly edition, a text genre which is supposed to preserve the original documents and the texts and/or works. However, Gabler rejects the ideology of preservation of memory in the »pure« form and argues for a relational and contextual idea of edition as a »knowledge site«. In addition, he states that the digital medium and the print medium can coexist since they serve different purposes, the printed edition is used for reading and the digital one for »use« and study purposes. The so-called old scholarly editions (pre-positivist) had a strong emphasis on the commentary, which added to the authorial function of the editor as the mediator between the vast textual archive and the receptive abilities of the addressee. Text-edition as a dynamic and collaborative »knowledge site« is sometimes introduced by the characteristics of a particular text. Dora García's art project and video installation The Joycean Society (2013) documents with a video (53 min.) and by exhibiting artefacts the reading process of the mysterious Finnegan's Wake (1939) by James Joyce, the multiple readings within a single heterogeneous reading group of the same book for 30 years. The second case study is the artist's book by a Slovenian net.artist Teo Spiller Znakovnost novih medijev (Semiotics of New Media, 2011). The printed illustrated pages are intended to be read in parallel with browsing the online versions of the art projects presented. Another key dimension of such book-projects is the swift change and disappearance of the on-line part of this plural reading-interface. The third example considered are the projects by Jaka Želaznikar, a Slovene digital poet, that relate to the works of one of the main Slovenian poets Tomaž Šalamun (1941-2014). Among them Železnikar's on-line project Izbris Šalamun (Deletion Šalamun, 2015), which is an on-line edition of two poetry books by Šalamun, Letni čas (Season, 2010) and Ta, ki dviga tačko, spi (The one, who rises the paw, sleeps, 2015), enables the reader to selectively delete the words from poems. The text will examine the reader's reception of the poems in the printed version and in the on-line interface. In this case, too, the context of the edition will be considered (the link with the publishing house and the printed edition, the role in promotion activities of the on-line edition in respect to the printed one).
Najdeno v: osebi
Ključne besede: cybertext, digital media, electronic edition
Objavljeno: 30.08.2017; Ogledov: 1249; Prenosov: 0
.pdf Polno besedilo (514,26 KB)

30.
Salon ZDSLU 2017
Aleš Vaupotič, Narvika Bovcon, razstava

Opis: Odprtje letošnjega (MAJSKEGA) SALONA ZDSLU 2017, PODOBA V MEDIJU, MEDIJ V KONTEKSTU, smo v Zvezi društev slovenskih likovnih umetnikov morali zaradi objektivnih razlogov zamakniti v jesensko - zimski čas, a nas bo že v prihodnjem letu Narodni muzej na Metelkovi znova gostil v pomladanskem obdobju. Najstarejša slovenska razstava, katere prvo odprtje sega v leto 1909, in najpomembnejša razstava članov ZDSLU znova prinaša številne novosti, tokrat iz sveta novomedijske in video umetnosti. Za vodjo projekta in selektorja, ki je tudi idejni vodja SALONA ZDSLU 2017, smo povabili prof. Srečo Dragana, ki je s svojo ekipo v Ljubljanski muzejski četrti, na ogled postavil pravo parado novomedijskih umetnin in likovno vizualnih artefaktov. Skupaj s profesorjem dr. Janezom Strehovcem sta med 97 prijavami na razpis izbrala 27 projektov pri katerih sodeluje 30 avtorjev, članov ZDSLU. »Fokus tokratnega salona je na prehodih slike, grafike, kipa in fotografije v protokole medijske umetnosti. S poudarkom na uporabi konceptov novomedijske umetnosti v medprostorih, ki jih ti sprožajo z usodnimi preboji v posameznih fazah umetniškega raziskovanja. Ti ključni momenti se realizirajo v natisnjenih izjavah, postavitvah artefaktov v nov, drugačen kontekst, v beleženju sledi komuniciranja - dekodiranega branja in ozaveščanja, da obstaja skupno polje doživetja, tako za avtorja kot za gledalca/obiskovalca. To seveda zahteva odgovornega in angažiranega avtorja in aktivnega, radovednega obiskovalca, ki postane udeleženec v projektu. Za vse vključene ustvarjalce je značilno, da v svojih delih izumljajo nove načine komuniciranja, širijo programska polja delovanja v širšo družbeno okolje in ustvarjajo posebne strategije za predstavljanje svojih lastnih stališč,« je med drugim v svojem tekstu v katalogu zapisal Dragan.
Najdeno v: osebi
Ključne besede: Majski salon, ZDSLU, novomedijska umetnost, skupinska razstava, selekcionirana razstava
Objavljeno: 05.03.2018; Ogledov: 1022; Prenosov: 0
.pdf Polno besedilo (426,46 KB)

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