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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: 373; Prenosov: 2
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Opis: The Pierre Auger Observatory is the most sensitive instrument to detect photons with energies above 1⁢0[sup]17  eV. It measures extensive air showers generated by ultrahigh energy cosmic rays using a hybrid technique that exploits the combination of a fluorescence detector with a ground array of particle detectors. The signatures of a photon-induced air shower are a larger atmospheric depth of the shower maximum (�max) and a steeper lateral distribution function, along with a lower number of muons with respect to the bulk of hadron-induced cascades. In this work, a new analysis technique in the energy interval between 1 and 30 EeV (1  EeV=1⁢0[sup]18  eV) has been developed by combining the fluorescence detector-based measurement of �max with the specific features of the surface detector signal through a parameter related to the air shower muon content, derived from the universality of the air shower development. No evidence of a statistically significant signal due to photon primaries was found using data collected in about 12 years of operation. Thus, upper bounds to the integral photon flux have been set using a detailed calculation of the detector exposure, in combination with a data-driven background estimation. The derived 95% confidence level upper limits are 0.0403, 0.01113, 0.0035, 0.0023, and 0.0021  km[sup]−2 sr[sup]−1 yr[sup]−1 above 1, 2, 3, 5, and 10 EeV, respectively, leading to the most stringent upper limits on the photon flux in the EeV range. Compared with past results, the upper limits were improved by about 40% for the lowest energy threshold and by a factor 3 above 3 EeV, where no candidates were found and the expected background is negligible. The presented limits can be used to probe the assumptions on chemical composition of ultrahigh energy cosmic rays and allow for the constraint of the mass and lifetime phase space of super-heavy dark matter particles.
Ključne besede: ultra-high-energy photons, ultra-high-energy cosmic rays, Pierre Auger Observatory, extensive air showers
Objavljeno v RUNG: 30.09.2024; Ogledov: 425; Prenosov: 2
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Ključne besede: topological insulators, optical properties, synthesis
Objavljeno v RUNG: 30.09.2024; Ogledov: 333; Prenosov: 2
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Opis: Vsaka filmska produkcija je sestavljena iz predprodukcije, produkcije in postprodukcije. Diplomsko delo govori o težavah v vseh fazah ustvarjalnega procesa. Vsako poglavje se začne s prikazom, kako naj bi v profesionalnem svetu filma posamezna faza produkcije potekala, nato pa opisuje mojo lastno izkušnjo in težave, na katere smo z ekipo med ustvarjanjem naleteli. Teoretični deli so povzeti iz literature in intervjuja s slovensko asistentko režije Urško Kos. Nalogo začnem z opisom predprodukcije in njenih podpoglavj, kjer bralec lahko vidi, kaj vse je treba narediti, preden sploh lahko začnemo snemati film: od ideje do scenarija, iskanja ekipe, igralcev in lokacij ter do izposoje opreme tik pred snemanjem. Z opisom osebnega doživljanja vsake faze predprodukcije prikažem, koliko stvari gre lahko narobe že pri na videz povsem preprostih zadevah. V nadaljevanju diplomska naloga govori o produkciji filma oziroma o snemanju. Vsak snemalni dan povzamem v svojem poglavju ter opišem delo na setu med snemanjem kratkega filma. V primerjavi z navedenimi profesionalnimi okoliščinami, kjer popišem vse potrebne člane ekipe za potek snemanja, je vidno pomanjkanje ekipe v pri snemanju študentskega filma. V opisu zadnje faze, postprodukcije, naloga govori o delu na filmu po tem, ko je film posnet: od prvega pregledovanja materiala do montaže, po končani montaži slike pa urejanje barv slike in montaža zvoka. Faza ustvarjanja filma, ki pretežno poteka na računalnikih, a vendarle z raznolikimi zapleti. Zaključek je namenjen predvsem bralcem, ki se bodo v prihodnosti prvič srečevali s filmsko produkcijo. Celotna naloga je napisana z mislijo na generacije za menoj, ki se bodo s težavami filmske produkcije še srečevale, in z upanjem, da jim bo morda moja izkušnja pomagala pri prvih korakih. Zato v zaključku zapišem tudi nekaj vzpodbudnih besed.
Ključne besede: film, filmska produkcija, težave, snemanje, predprodukcija, postprodukcija, igralci, ekipa, scenarij, montaža, diplomske naloge
Objavljeno v RUNG: 30.09.2024; Ogledov: 310; Prenosov: 5
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Ključne besede: literarna zmožnost, matura, recenzije
Objavljeno v RUNG: 27.09.2024; Ogledov: 404; Prenosov: 2
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