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Title:Borderless aeasthetics : the new ugly
Authors:ID Jovanovska, Sandra (Author)
ID Saksida, Kolja (Mentor) More about this mentor... New window
ID Colner, Miha (Mentor) More about this mentor... New window
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Language:English
Work type:Master's thesis/paper
Typology:2.09 - Master's Thesis
Organization:AU - School of Arts
Abstract:Through the lens of ugliness, the purpose of this Master’s thesis is to explore a potential model of a new unrestricted aesthetics. I, hereby, refer to an aesthetics beyond its canonical order, an individualistically-driven scheme of standards or perhaps no standards at all. All can be simplified with Eco’s quote on the opposition of the beautiful and the ugly: ’A beautiful nose shouldn’t be longer than that or shorter than that, on the contrary, an ugly nose can be as long as the one of Pinocchio, or as big as the trunk of an elephant, or like the beak of an eagle, and so ugliness is unpredictable, and offers an infinite range of possibility’. While the aesthetics of beauty has already positioned framework of rules in regards to proportion, symmetry, and harmony, the aesthetics of ugliness has no particular guidelines and limitations whatsoever. Unlike the beautiful, what we perceive as ugly doesn’t have its lawfulness, because for a long time in the history of art, ugliness was just the opposite face of beauty. As a consequence, the ugly embodies a big category of undetermined standards in visual arts and culture, which leads to it becoming a large unmapped territory of boundless autonomy. The ugly is in that context the key to facing and unleashing our phenomenological fears of bleak dark deformed realities that lie unchallenged and unaddressed on account of ugliness’ taboo status. Thus, when familiarised, I believe ugliness in art has a powerful impact, a quality that we have to yet begin to understand to get a full image of ourselves, for if we rely on beauty, as we did for such a long time in history, we are depriving ourselves of a true holistic proportion in art.
Keywords:art, man, ugliness, new, aesthetics, beauty, artist, time, image, Dada, history, context, different, body, personal, culture, transform, political, philosophy, standard, perspective.
Publication status:Published
Publication version:Version of Record
Place of publishing:Nova Gorica
Place of performance:Nova Gorica
Publisher:S. Jovanovska
Year of publishing:2024
Year of performance:2024
Number of pages:87 f.
PID:20.500.12556/RUNG-8995-428a2bdb-d4d0-e48e-2615-4b698b13ce55 New window
COBISS.SI-ID:194820611 New window
UDC:791.228
NUK URN:URN:SI:UNG:REP:NU8RM1D0
Publication date in RUNG:10.05.2024
Views:126
Downloads:4
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Licences

License:CC BY-NC-ND 4.0, Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International
Link:http://creativecommons.org/licenses/by-nc-nd/4.0/
Description:The most restrictive Creative Commons license. This only allows people to download and share the work for no commercial gain and for no other purposes.
Licensing start date:23.04.2024

Secondary language

Language:Slovenian
Title:Borderless aeasthetics - the new ugly : master's thesis
Abstract:Skozi lečo grdote je namen magistrskega dela raziskati potencialni model nove brezmejene estetike. S tem se sklicujem na estetiko onkraj njenega kanoničnega reda, na individualistično vodeno shemo standardov ali morda na nobene standarde. Vse skupaj lahko poenostavimo z Ecovim citatom o nasprotju lepega in grdega: “Lep nos ne sme biti daljši od tega ali krajši od tega, nasprotno, grd nos je lahko tako dolg kot Ostržkov, ali tako velik kot slonov rilec ali kot orlov kljun, zato je grdota nepredvidljiva in ponuja neskončno paleto možnosti.” Medtem ko je estetika lepote že postavila okvir pravil glede sorazmernosti, simetrije in harmonije, estetika grdega nima posebnih smernic in omejitev. Za razliko od lepega, tisto, kar dojemamo kot grdo, nima svoje zakonitosti, saj je bila grdota v zgodovini umetnosti dolgo le nasprotni obraz lepote. Posledično, grdo uteleša veliko kategorijo nedoločenih standardov v vizualni umetnosti in kulturi, zaradi česar postane veliko nestandardizirano ozemlje brezmejne avtonomije. Grdo je v tem kontekstu ključ do soočanja in osvoboditve naših fenomenoloških strahov pred mračnimi temnimi deformiranimi realnostmi, ki ležijo neizpodbijane in nenaslovljene zaradi tabu statusa grdote. Tako, ko se seznanimo, verjamem, da ima grdota v umetnosti močan vpliv, lastnost, ki jo moramo šele začeti razumeti, da bi dobili popolno podobo o sebi, kajti če se zanašamo na lepoto, kot smo to počeli tako dolgo v zgodovini , se prikrajšamo za pravo holistično razmerje v umetnosti.
Keywords:umetnost grdega, estetika, Dada, kultura, transformacija, filozofija, standardi, perspektiva, animacija, magistrske naloge


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