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Abstract: This contribution builds on Lev Manovich's thesis that avant-garde procedures were incorporated into the very operation of software, as the computer as a meta-medium completely transcodes the reality. The text examines the foundations of computer science in mathematical formalism and considers Turing's computing machine as a starting point for the generative aspect of computer art. The generative art-making was practiced also in the neo-avant-gardes. Data processing introduces into today's world a decoupling between understanding and agency that was once thought to require active thinking. Juri Lotman's idea of periphery-centre dynamic explains the shift of mechanical and (once) avant-garde procedures to the center of the globalized culture. At the same time, the image of a human is radically changing as she finds herself in a new homogeneous environment made of information: she becomes an inforg (Luciano Floridi) together with artificial and hybrid agents. Identity as informational integrity is discussed with the examples of performances and happenings of Srečo Dragan from the conceptualist period, when he collaborated with Nuša Dragan and the extended OHO group. The discussion touches upon the latest new media works by Srečo Dragan, where a multitude of interfaces mediates between the self-awareness (memory, declaration statements) and the body of the participant, and builds an archive of connections for a society established through technology. Dragan’s idea of socialization with art foregrounds a performative educational practice that interferes with the user's identity.  
Keywords: new media art, the avant-garde, socialization, infosphere
Published in RUNG: 10.03.2025; Views: 285; Downloads: 0
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Abstract: Umetnostni žanri so način razdelitve homogenega področja. Mihail Bahtin v svoji viziji dialoškosti segmentira celoten svet na govorne žanre, kar vključuje tako ideje in besedila kot stvari, ki so del kulturnih praks. Ta najsplošnejša ideja žanra v svoji visoki stopnji abstraktnosti služi namenom Bahtinovega programa prepoznati in zavarovati človeške ideje. Na konkretnejši ravni so žanri vezani na tradicijo literature in umetnosti ali pa, na obravnavanem ožjem področju, na prakso novomedijske umetnosti, v teh primerih so uporabljeni v konstrukciji in razumevanju artefaktov. Razprava je sestavljena iz treh delov. V prvem je predstavljen človekov spoznavni odnos do sveta kot odprtost za čutne vtise in hkrati tudi kot uporaba deduktivnega logičnega sklepanja, kar primerjamo z delovanjem računalnika. V drugem delu so predstavljeni žanri kot način uvajanja reda v igrivo ustvarjalnost (Scott Rettberg, Lev Manovič, Espen Aarseth); žanri so hevristična orodja, ki omogočajo sorazmerno stopnjo stabilnosti pri našem delovanju in koordinaciji v različnih kontekstih. Sklepni tretji del je posvečen raziskovanju digitalne kulturne dediščine, ki je trenutno v nevarnosti, da izgine zaradi hitrega razvoja informacijskih tehnologij ter menjav platform in standardov. Gre za projekt ohranitve spomina na t. i. informacijsko revolucijo v fiksiranem predmetu, ki pa mora ujeti vsaj določen del sporočilnosti izjave, kot se daje prek recepcije v času muzejske hrambe in predstavitve. Tako so zbirke razumljene kot proces, ki uporablja arhiv predmetov za premislek in rekonstrukcijo sodobnega trenutka.
Keywords: izvorno digitalna kulturna dediščina, umetnostni žanri, novomedijska umetnost
Published in RUNG: 20.01.2025; Views: 377; Downloads: 11
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Abstract: Besedilo obravnava informacijski obrat, ki današnjo realnost razume kot infosfero, agente v njej pa kot relacijsko povezane informacijske organizme, človeške, naravne ter umetne ali hibridne. Pri razumevanju komunikacijskega delovanja sodobnih algoritmov izhaja iz ugotovitev Elene Esposito, ki razlikuje med informativnostjo sporazumevanja in inteligenco ter najde kontingentnost, ki je temelj za dojemanje inteligentnih odzivov v komunikaciji, ne v algoritmih, ampak v velepodatkih, kamor so jo odložili ljudje pri izdelavi in uporabi spleta. Podatke, organizirane v obliki diskretnih seznamov, ki jih pridobimo z odstranitvijo konteksta, algoritmi obdelujejo: reorganizirajo in asociativno povezujejo. Podobno kot v računalništvu obravnava sisteme tudi humanistika, na obeh področjih imamo opravka z diskretnimi podatki. Ta skupna lastnost podatkov v humanistiki in računalništvu omogoča prenos metod med disciplinama, npr. metodo ravni abstrakcije za obravnavanje sistema, zato v nadaljevanju predstavimo delovanje Turingovih strojev, njihovo števnost izračunljivih števil, povezano z mehanskostjo postopka. Implikacije Turingovih odkritij so pobuda za informacijsko filozofijo Luciana Floridija, ki informacijskemu obratu reče tudi četrta revolucija človeškega samorazumevanja in ga obravnava v tetralogiji, posvečeni infosferi. Predstavljena je Floridijeva konceptualna logika informacij, ki je logika načrtovanja modela sistema, ki zadosti zahtevam in skozi izdelovanje proizvaja vednost ab anteriori. Gre za inženirskooblikovalsko metodo, ki je v vedno bolj konstrukcionistično naravnanem svetu tudi metoda za podajanje odgovorov na odprta filozofska vprašanja. V sklepu besedila metodo izdelave informacijskega modela sistema predstavimo na primeru digitalnohumanističnega projekta, ki uporablja digitalizirano zbirko umetniških del, interdisciplinarno sodelovanje in računalniške algoritme za generiranje novih informacijskih organizmov, tj. modelov, ki interpretirajo Rembrandtov umetniški sistem.
Keywords: informacijski obrat, digitalna humanistika, informacijski organizem, metoda ravni abstrakcije, informacijska logika načrtovanja
Published in RUNG: 17.01.2025; Views: 426; Downloads: 11
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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. The pilot project of preserving the Nation – Culture project by Vuk Ćosić (2000) will be outlined in the conclusion. (ARIS J7-3158, Sustainable Digital Preservation of the Slovenian New Media Art) / Aleš Vaupotič is a literary comparatist, media theorist, and new-media artist. He works at the Research Centre for Humanities at the University of Nova Gorica. Between 2021 and 2023 he was the director of the Museum of Modern Art in Ljubljana, and in 2022 the commissioner for the Slovenian Pavilion at the Venice Biennial. He is currently the project leader in an interdisciplinary research project Sustainable Digital Preservation of the Slovenian New Media Art. Among his research foci are the theory of discourse, semiotics, comparative art studies, new-media theory, methodology of digital humanities and realism in the arts. His monograph Vprašanje realizma (The Question of Realism, 2019) explores the continuities and shifts between traditional and new media.
Keywords: genres, new media art, cultural heritage preservation
Published in RUNG: 30.09.2024; Views: 811; Downloads: 2
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Abstract: Razstava z naslovom Od blizu - Moderna galerija, Ljubljana, 22. 12. 2022-2. 4. 2023 - je drugačna od običajnih razstav v Moderni galeriji, od razstav v galerijah nasploh, saj na njej niso predstavljena samo umetniška dela, ampak predvsem postopki ohranjanja teh del v muzejih. Slike, kipi, tudi videi in prostorske postavitve, vse to se sčasoma spreminja ali celo poškoduje. Pose- bej usposobljene strokovnjakinje in strokovnjaki z zelo širokega področja umetniških, humanističnih in naravoslovnih disciplin si zato s svojim raziskovalnim in zahtevnim strokovnim delom pri- zadevajo ta dela čim dlje ohraniti v stanju, da jih lahko gledamo in doživljamo na razstavah.
Keywords: Moderna galerija, dostopnost razstav, restavratorstvo, konservatorstvo
Published in RUNG: 08.07.2024; Views: 1114; Downloads: 8
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