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1.
Razstava Peaces - raziskovanje miru kot čezmejne množine : 6. 3. 2025, Chemnitz, Germany
2024, artistic performance

Abstract: The exhibition reimagines peace as both a plural concept and multifaceted experience, exploring mainly its artistic, but also scientific, and societal dimensions. Opening on March 6, 2025 at Weltecho Chemnitz, this unique event hosted by the City of Chemnitz and supported by GO!2025 European Capital of Culture Nova Gorica - Gorizia as well as the ACROSS European university alliance, commemorates the Day of Peace and Remembrance through a collaborative, interdisciplinary showcase. Featuring contributions from ACROSS university students and young artists from Nova Gorica, Udine, Banja Luka, Chemnitz and beyond, the exhibition includes contemporary art installations, videos, photographs, live performances and a cinema program of short films and animations, challenging perceptions of hospitality, migration, and resilience, while speculating on peace as both a trans-human and trans-border priority. Besides a guided tour through the artworks, the opening event will feature two performances, a cinema screening and an international panel discussion, offering diverse perspectives on peacebuilding in a fragmented world. By colliding creative expression with cultural exchange, Peaces invites audiences to reflect on the complexity of peace as both a universal aspiration and a deeply personal imperative. Curated by: dr. pETER Purg, University of Nova Gorica (ACROSS), GO!2025 Design and setup by: Gašper Rebernik, Taša Mir, Matej Pirkovič (University of Nova Gorica School of Arts) Produced by the City of Chemnitz, with support of University of Nova Gorica School of Arts (Erasmus+), Chemnitz Technical University, GO!2025 European Capital of Culture Nova Gorica - Gorizia. Artists: Abiral Khadka, Aljaž Lavrič, Andrea Mariani, Ana Evtić, Anja Paternoster, Arta Kroni, Batul Al Aidi, Blaž Stantič Kobal, Blhar, Brina Fekonja, Doroteja Dolinšek, Emilija Vučićevič, EMMIR, Frederic Bußmann, Gašper Rebernik, Heidrun Friese, Ivana Kalc, Karel Doing, Kristina Pranjić, Maria Matiashova, Matej Pirkovič, Milena Brkić, Nika Karner, Natalie Bleyl, Peter Purg, Sandra Marić, Simone Dotto, Simon Weckert, Taša Mir, Tamara Kirina, Tamara Taskova, Tijana Mijušković, Dr. Ulrike Brummert
Keywords: exhibition, intermedia, peace, capital of culture, across, university, intercultural, film
Published in RUNG: 11.03.2025; Views: 593; Downloads: 2
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2.
Genre rules as the framework for preservation and study of new media literature : preserving the conceptual framework
Aleš Vaupotič, 2024, unpublished conference contribution

Abstract: At its core, human epistemology is based on two pillars: sense experience (consider the Humean empiricism, or phenomenology) and set-theory based logic. Quine in “Epistemology Naturalized” understands a human as a natural transformer of a meager input from senses into a torrential output of descriptions. For him also Carnap’s rational reconstruction (a logical reconstruction of the world from sense data) can be construed as creative and imaginative mechanical simulations, of the transformations from the world of experiential implications into various languages. Such a detached and rule-governed idea of games as playful alternative worlds, possibly in a reduced state as argued by Huizinga, can provide an important perspective on algorithms of new media literature, as well as its other features. Rules for particular works are summarized in genre-constructs, which will be considered for the domain where new media and literature intersect. The genres can be derived form literary traditions, and from the basic aspects of new media art that encompass the algorithmic building of communication artifacts from (more or less vast) archives of utterances in various media, and of other data. Espen Aarseth’s theory considered cybertext a perspective for the study of literature, and not a particular genre (Cybertext, 5). Finally, there is an important problem that needs to be addressed: today, several generations of work by digital media artists are firmly in the past, while media art remains synonymous with “new” and “emergent,” and the growing vastness of the loss consequently goes unacknowledged. The genre-rules based approach attempts to tackle the preservation issue by identifying the key elements of individual works that need to be recorded and preserved. The descriptions are already interpretations with an intrinsic goal of making the works re-enactable and accessible to the audiences of the future.
Keywords: new media genres, new media art preservation, Vuk Ćosić: Nation - Culture
Published in RUNG: 30.08.2024; Views: 2078; Downloads: 0
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3.
Museums in Slovenia show culture is positive and meaningful in the time of COVID-19 : Interview with Kaja Širok;
2020, interview

Abstract: UNESCO Intervju o tem kako je COVID prizadel kulturo in kako se kultura odziva. https://www.unesco.org/en/articles/museums-slovenia-show-culture-positive-and-meaningful-time-covid-19?TSPD_101_R0=080713870fab20004134773d487de09a6acff907ba8ca93927d23fa6798353c5d508e9b53b36f9c608c548d02714300023da781c1ecb720d6edfbed3a1d1bb3a4928f5ac7b24f316da74f9e45567aba275b266c0d7a61f9f0d55e537d897980f
Keywords: Culture, Museum, Sharing humanity
Published in RUNG: 16.05.2024; Views: 2283; Downloads: 3
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4.
Borderless aeasthetics : the new ugly
Sandra Jovanovska, 2024, master's thesis

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.
Published in RUNG: 10.05.2024; Views: 2242; Downloads: 27
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5.
An archaeology of photographic identification : lecture at the Society for Cinema & Media Studies Conference, Denver, Colorado, 13. 4. 2023
Eszter Polónyi, 2023, unpublished conference contribution

Abstract: This project returns to an early moment in the history of photographic IDs to better understand the current entrapment of our identities within what are by now massive infrastructures of automatized, unregulated and largely unauthorized identity extraction.
Keywords: media studies, surveillance studies, history of art, history of visual culture, cultural studies
Published in RUNG: 12.02.2024; Views: 2488; Downloads: 4
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6.
Mobility media : an archaeology of the photographic ID document
Eszter Polónyi, 2023, published scientific conference contribution

Abstract: Mobility, in the sense of freedom of persons choosing to move or reside in a state in which they have no prior citizenship, was one of the four original “freedoms” defined in the treaty that ratified European Union member states in 1957.1 In the past decade, this particular freedom, the freedom of movement, appears to have become significantly eroded. Mobility in the sense of migration, that is, mobility of persons for reasons of residency or employment, has become a point of contention among member states that it has divided more than unified, with measures affecting immigrants, refugees and asylum seekers featuring at the core of recent electoral agendas. Certain member states’ deterrence of the mobility of migrants from outside the EU has resulted in the return to protocols and practices of controlling movement into and out of sovereign territories, among the most conspicuous of which has been the re-establishment of a – by now largely defunct – network of nation-state borders. And while the reappearance of new walls, barricades and barbed wiring alongside certain nation-state borders since the mid-2010s have made headlines, there have been other measures with less press and physical visibility that have been set in place to manage and enforce mobility.2 The photographic identity document, meaning a document of state-issued identity certification, has become one such mobility management measure.
Keywords: cultural history, migration studies, history of art, history of visual culture, media archaeology, media studies
Published in RUNG: 12.02.2024; Views: 2826; Downloads: 0
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7.
8.
Mobility Media: an Archaeology of Identity Photography through Science, Art and Visual Culture
Eszter Polonyi, invited lecture at foreign university

Abstract: In an era of total surveillance, being in possession of a biometric ID document can still result in denial of one’s basic civil protections and human rights. The discovery of systematic errors in state-implemented facial recognition programs—such as in recognizing faces of color (Joy Buolamwini)—suggests the failure of current practices of global intelligence and mobility. This paper offers an archaeological investigation of the contemporary photo ID document. Returning to its invention in the 1920s, it examines the issues of conjectural knowledge (Carl Ginzburg), embodiment or tact (Béla Balázs) and the optical unconscious (Walter Benjamin) behind early “physiognomic” media.
Keywords: History of Science, History of Visual Culture, History of Art, History of Photography, Migration
Published in RUNG: 13.01.2023; Views: 2685; Downloads: 0
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9.
Kraljica Vida : a legend from a border land
Pietro Cromaz, 2021, undergraduate thesis

Abstract: Culture is one of the fundamental aspects of human existence. Because of that, it is necessary to preserve little aspects of it that make a particular community unique. Popular traditions and local habits are important to create and maintain one's own identity in the context of a vaster society. This research aims to enhance the folk culture of Benečija and to contribute to building a more concrete proof of the existence of this culture. The paper analyzes the history of this border land, focusing on its literature and on a particular legend titled ''Kraljica Vida,” which has been transcribed by the pen of many authors of both Benečija, and elsewhere. Through the comparison of these texts, it is possible to recognize the influence of different cultural currents, that have always characterized the identity of Benečija.
Keywords: folk culture, folklore, legend, Benečija, border land, Friuli Venezia Giulia, #Kraljica Vida, Atilla, San Giovanni d'Antro
Published in RUNG: 13.10.2021; Views: 5884; Downloads: 132
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10.
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