21. |
22. |
23. 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: 216; Prenosov: 4
 Celotno besedilo (582,37 KB)
Gradivo ima več datotek! Več... |
24. Bad blue humanity : an exploration of extremes at the beachPeter Purg, 2024, druga izvedena dela Opis: Closing in on the sea, the workshop explores tensions and spaces between more-than-human body and media technologies. Participants discuss their relationships with water in its manifold manifestations (a.k.a. Blue Humanities), ranging from environmental debates and natural-science considerations to philosophical, historical and literary pondering – and not least body/media contact with the sea as such. Between the studio and the beach – where water, earth, air and fire create both cosy comfort and contrasting confrontation – either individual or group artistic works and interventions emerge.
Ključne besede: workshop, blue humanities, water, happening, body art
Objavljeno v RUNG: 16.10.2024; Ogledov: 246; Prenosov: 0
Gradivo ima več datotek! Več... |
25. |
26. BLUE YE WINDElizabeta Sitņikova, Inga Šlangena, Eliza Cipruse, druga izvedena dela Opis: Inspired by Rosi Braidotti's posthumanist theory, this collective artwork, born from a blend of human and non-human creative forces, ventures beyond the human subject. It reveals unexpected artistic materializations where machines, like invasive species, permeate the natural environment. As the workshop particpants resonated with the disenfranchised maritime landscapes, they now take the audience along to question the boundaries between their nature and the blue expanse. Through sensory engagement that deprioritizes the visual, the audience is invited to reframe their perception and interaction with the sea, and their consistency of and with water.
Ključne besede: performance, happening, artwork, posthumanism, blue humanities
Objavljeno v RUNG: 16.10.2024; Ogledov: 217; Prenosov: 0
Gradivo ima več datotek! Več... |
27. |
28. |
29. Hell thunders : how sound influences the film narrativeMilan Bajčetić, 2024, magistrsko delo Opis: This master thesis deals with the theoretical and practical part of my short film “Hell Thunders”. In the theoretical part, the topic is about the usage of sound and how it influences the understanding of the film narrative, where my film was used as an example.
In the practical part, I will describe the process behind the pre-production phase, where I will also explain how and why I made specific sound choices that helped create the film.
Ključne besede: film, sound, music, narrative, information, metaphor
Objavljeno v RUNG: 09.10.2024; Ogledov: 298; Prenosov: 7
Celotno besedilo (11,12 MB)
Gradivo ima več datotek! Več... |
30. Poučevanje medijske arheologije : od-učenje in ponovna predstava o zgodovinskem jazuEszter Polónyi, 2024, objavljeni povzetek znanstvenega prispevka na konferenci Opis: The media archaeologist has been called an experimenter (Fickers and van den Oever), a circuit-bender (G Hertz and Jussi Parikka), a “thinkerer” (Ted Nelson, Lori Emerson, Erkki Huhtamo). With reluctance, sometimes media archaeologists self-designate as a “media/historians.” Rarely does the media archaeologist refer to themselves as “students” of media. However, several texts have appeared recently that suggest that media archaeology as a field is inherently pedagogic, in the sense that it presumes experiential, speculative, and embodied forms of knowledge acquisition (Fickers and van den Oever; Patrick Ellis and Colin Williamson, Wanda Strauven). This paper follows on the call by recent media archaeologists like Andreas Fickers and Annie van den Oever for a sensorially-engaged encounter with media artifacts. It suggests that, through such methods of experiment and re-enactment, media archaeology might represent a kind of un-learning of toxic subject positions embedded in media technologies themselves. Making the historical self into the field’s most important, but repressed, medium, the paper argues that media archaeology might be indispensable to historical writing because it presents historians and students of history with an opportunity to radically reimagine the self (Michel Foucault, Peter Galison, Claudia Rankine). (ARIS J7-3158, Sustainable Digital Preservation of the Slovenian New Media Art)
Ključne besede: media archaeology, experimental pedagogy, critical theory
Objavljeno v RUNG: 09.10.2024; Ogledov: 309; Prenosov: 2
 Povezava na datoteko
Gradivo ima več datotek! Več... |
