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41.
42.
DETERMINATION OF Fe2+ IN LIQUID SAMPLES BY THE USE OF AMPLIEFIED THERMAL LENS SPECTROMETRY
Humberto CABRERA, Dorota Korte, Leja Goljat, Mladen Franko, 2017, objavljeni povzetek znanstvenega prispevka na konferenci

Ključne besede: AMPLIEFIED THERMAL LENS SPECTROMETRY, Fe2+
Objavljeno: 30.08.2017; Ogledov: 223; Prenosov: 0
.pdf Polno besedilo (12,87 MB)

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Comparison of Colorimetric Reagents and Their Applicability in Thermal Lens Spectrometry
Mladen Franko, Mikhail A. Proskurnin, Leja Goljat, 2017, objavljeni povzetek znanstvenega prispevka na konferenci

Ključne besede: thermal lens spectrometry, colorimetric reagents, mercury
Objavljeno: 30.08.2017; Ogledov: 145; Prenosov: 0
.pdf Polno besedilo (71,63 KB)

46.
Overview on the height of a hyperideal in Krasner hyperrings
Hashem Bordbar, Irina Cristea, Michal Novak, 2017, objavljeni povzetek znanstvenega prispevka na konferenci

Ključne besede: Krasner hyperring, prime hyperideal, Noetherian hyperring
Objavljeno: 30.08.2017; Ogledov: 105; Prenosov: 0
.pdf Polno besedilo (1,59 MB)

47.
Reducibility in hypergroups (crisp and fuzzy case)
Irina Cristea, 2015, objavljeni znanstveni prispevek na konferenci

Ključne besede: fundamental relation, reduced hypergroup, fuzzy set
Objavljeno: 30.08.2017; Ogledov: 89; Prenosov: 0
.pdf Polno besedilo (300,72 KB)

48.
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).
Ključne besede: cybertext, digital media, electronic edition
Objavljeno: 30.08.2017; Ogledov: 90; Prenosov: 0
.pdf Polno besedilo (514,26 KB)

49.
Vključevanje nanotehnoloških raziskav v likovno umetnost
Aleš Vaupotič, 2017, recenzija, prikaz knjige, kritika

Ključne besede: Uršula Berlot, nano tehnologije, nano umetnost, tehno-slike
Objavljeno: 30.08.2017; Ogledov: 93; Prenosov: 0
.pdf Polno besedilo (1,65 MB)

50.
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.
Ključne besede: Srečo Dragan, "Prostor, vržen iz tira", novomedijska umetnost, intervju z umetnikom
Objavljeno: 30.08.2017; Ogledov: 47; Prenosov: 0
.pdf Polno besedilo (2,24 MB)

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