1. Osebni podatki v umetnosti : njihova zakonita obdelava in vloga etike v novomedijski kulturiAleš Vaupotič, Narvika Bovcon, 2024, objavljeni znanstveni prispevek na konferenci Opis: Besedilo obravnava vprašanja zakonite in etične obdelave osebnih podatkov v novomedijski kulturi in umetnosti ter dileme ob vključevanju takih kulturnih artefaktov v razstavne projekte in muzejske zbirke. Uvodoma predstavi Splošno uredbo o varstvu podatkov (2018), ki sta jo sprejela Evropski parlament in Svet Evropske unije, ter trenutne zakonodajne postopke Evropske unije za področje umetne inteligence. Problematiko varovanja osebnih podatkov osvetli skozi razmislek o etiki informacij, kot jo razvija Luciano Floridi, ter pojasni razmerje med trdo in mehko etiko, slednja se izkaže za posebej uporabno za razumevanje vloge novih informacijskih tehnologij v današnji družbi. Vlogo osebnih podatkov, obdelanih tudi z algoritmi umetne inteligence, in dileme, povezane z njimi, ilustrira na primerih novomedijskih umetniških del Vuka Ćosića in Sreča Dragana. Ključne besede: Splošna uredba o varstvu podatkov, mehka etika, novomedijska umetnost Objavljeno v RUNG: 17.10.2024; Ogledov: 326; Prenosov: 6 Celotno besedilo (582,37 KB) Gradivo ima več datotek! Več... |
2. Genre rules as the framework for preservation and study of new media literature : predavanje na Festivalu novomedijske kulture Speculum Artium, lecture series New technologies, new perspectivesAleš Vaupotič, 2024, vabljeno predavanje na konferenci brez natisa Opis: 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. Ključne besede: genres, new media art, cultural heritage preservation Objavljeno v RUNG: 30.09.2024; Ogledov: 416; Prenosov: 2 Povezava na datoteko Gradivo ima več datotek! Več... |
3. Genre rules as the framework for preservation and study of new media literature : preserving the conceptual frameworkAleš Vaupotič, 2024, prispevek na konferenci brez natisa Opis: 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. Ključne besede: new media genres, new media art preservation, Vuk Ćosić: Nation - Culture Objavljeno v RUNG: 30.08.2024; Ogledov: 681; Prenosov: 0 Gradivo ima več datotek! Več... |
4. Kako se približati umetninam, umetnicam in umetnikom, umetnosti?Aleš Vaupotič, 2023, samostojni strokovni sestavek ali poglavje v monografski publikaciji Opis: 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. Ključne besede: Moderna galerija, dostopnost razstav, restavratorstvo, konservatorstvo Objavljeno v RUNG: 08.07.2024; Ogledov: 799; Prenosov: 6 Povezava na datoteko Gradivo ima več datotek! Več... |
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6. Sustainable digital preservation of new media artNarvika Bovcon, Eszter Polónyi, Jaka Železnikar, Aleš Vaupotič, 2023, objavljeni znanstveni prispevek na konferenci Opis: This paper is about two pilot studies conducted in 2022 that aimed to develop a model for preserving and archiving new media art work in the context of a research project on the sustainable digital preservation of new media art that is being co-hosted by the Museum of Modern Art in Ljubljana. As the works of art selected for the study by Slovenian new media art pioneers Vuk Ćosić (2000) and Srečo Dragan (2005) were technically obsolete or non-functional by the time of the study, the question of how to bring the artworks back into existence and what components of each artwork to include in the collection and preservation process constituted one aspect of our research. But this process of reconstruction also raised questions about how the preservation of media art is reshaping the practice of archiving within an institution whose holdings were, until recently, largely in traditional mediums. An interdisciplinary approach addressed the problem from different points of view, involving the practitioners, experts from art-history, museology, computer science, media theory and intellectual property rights. Ključne besede: digital cultural heritage, new media art preservation, new media art archives Objavljeno v RUNG: 28.05.2024; Ogledov: 1192; Prenosov: 10 Celotno besedilo (5,46 MB) Gradivo ima več datotek! Več... |
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8. Sustainable digital preservation of the new media artAleš Vaupotič, Eszter Polónyi, Narvika Bovcon, Jaka Železnikar, 2023, objavljeni povzetek znanstvenega prispevka na konferenci Ključne besede: media studies, art history, new media art, archival studies, restoration studies, museum studies Objavljeno v RUNG: 12.02.2024; Ogledov: 2237; Prenosov: 9 Povezava na datoteko Gradivo ima več datotek! Več... |
9. Marko Jakše: Brez gospodarja / Senza padrone / Without a Master : 59. beneški bienale, mednarodna umetnostna razstava, 23. 4.–27. 11. 2022Narvika Bovcon, Ana Korenini, Borut Kovačec, Jaka Železnikar, Marko Jakše, 2022, programska oprema Opis: Spletna razstava - interaktivni generator videov iz širšega izbora slik Marka Jakšeta. Paviljon Republike Slovenije na 59. mednarodni umetnostni razstavi – La Biennale di Venezia, Tese all'Isolotto, Arzenali, Benetke, 23. april–27. november 2022. Marko Jakše: Brez gospodarja. Komisar: Aleš Vaupotič. Kustos: Robert Simonišek. Spletišče: Ana Korenini, Borut Kovačec (VIKIDA), Narvika Bovcon, Jaka Železnikar. Producenta: Moderna galerija, Ljubljana, in Kulturno izobraževalno društvo KIBLA. Razstavo in katalog je podprlo Ministrstvo za kulturo Republike Slovenije. Ključne besede: 59. beneški bienale, Marko Jakše, Paviljon Republike Slovenije, slikarstvom, spletna razstava, interaktivni generator videov Objavljeno v RUNG: 19.07.2023; Ogledov: 1645; Prenosov: 14 Povezava na datoteko Gradivo ima več datotek! Več... |
10. Uvodna besedaAleš Vaupotič, 2022, predgovor, uvodnik, spremna beseda Opis: Paviljon Republike Slovenije na 59. mednarodni umetnostni razstavi – La Biennale di Venezia, Tese all'Isolotto, Arzenali, Benetke, 23. april–27. november 2022. Marko Jakše: Brez gospodarja. Komisar: Aleš Vaupotič. Kustos: Robert Simonišek. Odnosi z javnostmi: Aurora Fonda, Mateja Lavrič. Zasnova paviljona in koordinator postavitve: eiletz ortigas | architects. Prevodi: Ennio Francavilla, Tamara Soban. Video: Gorazd Krnc. Fotografije: Dejan Habicht, DK, Matej Kristovič, Tomaž Lunder. Spletišče: Ana Korenini, Borut Kovačec (VIKIDA), Narvika Bovcon, Jaka Železnikar. Tehnični koordinator: Tomaž Kučer. Restavratorka-konservatorka: Nada Madžarac. Tajnica: Ana Žan. Tehnična ekipa: Boris Fister, Vojko Kmetič, Janez Kramžar, Armin Salihović, Duško Škrbin. Producenta: Moderna galerija, Ljubljana, in Kulturno izobraževalno društvo KIBLA. Moderna galerija se zahvaljuje lastnikom umetniških del: Slavojka Akrapovič, Matija Gorjanc, Boštjan Jančar. Razstavo in katalog je podprlo Ministrstvo za kulturo Republike Slovenije. Ključne besede: 59. beneški bienale, Marko Jakše, Paviljon Republike Slovenije, slikarstvom, prostorska postavitev, razstava Objavljeno v RUNG: 19.07.2023; Ogledov: 1453; Prenosov: 12 Celotno besedilo (169,36 MB) Gradivo ima več datotek! Več... |