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dc.contributor.advisorKnežević, Radomir
dc.contributor.otherJovanić, Aleksandra
dc.contributor.otherDonkov, Perica
dc.contributor.otherPavlović, Milivoj
dc.creatorPerović, Vanja
dc.date.accessioned2015-12-03T09:15:03Z
dc.date.accessioned2020-07-03T18:00:55Z
dc.date.available2015-12-03T09:15:03Z
dc.date.available2015-12-29T10:55:04Z
dc.date.available2020-07-03T18:00:55Z
dc.date.issued2015-03-31
dc.date.submitted2014-12-09
dc.identifier.urihttp://nardus.mpn.gov.rs/handle/123456789/1615
dc.identifier.urihttp://eteze.arts.bg.ac.rs/handle/123456789/50
dc.description.abstractKad se govori o umetnosti u doba digitalizacije, ona se utemeljuje na slici koja više nema primarnu vezu sa istinitošću sveta koji nas okružuje, što je rezultat promena mimetičko-reprezentativne paradigme predmeta predstavljanja. Ranije se slika bazirala na preslikavanju realnog, zatim na reprezentaciji određenih formi realnog, dok se sada okreće ka statusu komunikativnog medija i simulacije. Ako su parkovi-šume shvaćeni kao fragmenti prirode, onda umetnički projekat Digital Wood teži da rekonceptualizuje tu postavku. On treba da uveri u važnost očuvanja okruženja koje je podložno stalnim promenama, ali i sugeriše da je percipiranje parkova-šuma (u kontekstu klimatskih promena, genetike, biotehnologije i eksperimenata sa hibridnim rodovima biljaka) predmet stalne revalorizacije i preispitivanja. U radu se takođe preispituje uticaj tehnologije na svakodnevni život i prirodu, i istražuje se do koje mere je čovek sposoban da u tehnološkoj eri opšti sa prirodnim fenomenima na koje nema uticaj i koji su prepušteni slučaju, tj. prirodi. Parkovi (prirodni eksterijeri) više nisu spiritualne lokacije koje se nude kao mesto meditacije, mira i čistote – oni postaju mesto konzumiranja instant-zadovoljstava. Predstavljanje turističkih atrakcija kroz masovne medije – televiziju, reklame, film, časopise, brošure – i njihova interakcija sa drugim elementima u suštini prikazuju i preoblikuju doživljaj prirode i percepciju posmatrača. Cilj rada je i da utvrdi uslovljenost percepcije stalnim promenama u ekološkom, kulturološkom i tehnološkom kontekstu, kao i da istraži na koje načine dolazi do takvog uslovljavanja. Site specific radovi mogu da utiču na proces posmatranja, fokusirajući se na svakodnevno, poznato, nespektakularno u okviru datog eksterijera, poentirajući vizuelno transmutirane narative. Ovde se javlja dvostruka simulacija realnog, originalnog ambijenta – najpre, prikaz fragmenata prirode u fragmentu-surogatu (park), a potom i simulacija koju predstavlja sam rad u odnosu na šumu kao nenaseljeno i divlje prostranstvo. Predstava, ideja o prirodi je sve podložnija manipulacijama i određena je ekološkim apokaliptičnim narativima, kroz podatke i informacije o globalnom zagrevanju, zagađenju, izumiranju i nestajanju pojedinih biljnih i životinjskih vrsta. Posmatrači iskustvo o prirodi doživljavaju još jedino posredno – kroz medijatore, narative i konstrukcije. Ova instalacija bi trebalo da usmeri posmatračevu percepciju i svest o prirodi ka elementima rada kao znakovima koji postaju čitljivi i prepoznatljivi usled razvoja tehnike i tehnologije.sr
dc.description.abstractWhen it comes to an art in the digital age, it establishes an image that has no longer primary connection to the truth of the world around us, which is a result of mimetic-representational paradigms of the subject of representation. Previously, the image was based on mapping of the real, then to representation of certain forms of real, while now turns to the status of communicative medium and simulation. If forests or parks are seen as fragments of nature, then art project Digital Wood tends to reconceptualize this idea. It needs to point out importance of perserving environment which is subject of constant change, but also suggests that perception of parks and forests( in the context of climate change, genetics, biotechnology and experiments with hybrid kinds of plants) are topic of constant revaluation and reconsideration. This art project also examines the impact of technology on everyday life and nature, and explores the extent to which man in the technological era is capable of dealing with phenomena of nature on which he has no impact and which are left to chance and the power of nature. Parks (exteriors with elements of nature) are no longer spiritual locations that are offered as a place of meditation, peace and purity – they becomea place of consuming instant pleasures. Presentation of the tourist attractions in the mass media – television, commercials, movies, magazines, brochures – and their interactions with other elements essentially show and transform the experience of nature and the perception of the viewer. The aim of this project is to determine the dependence of perception on constant changes in environmental, cultural and thechnological context, and to explore the ways in which there is such conditionality. Site specific works may affect the proces of observation, focusing on everyday, familiar, unspectacular according to its exterior, pointing to visualy transmuted narratives. Here arises a double simulation of the real, the original setting – first, display of fragments of nature in the fragment – surrogate (park), and then the simulation represented by the work in relation to the forest as a wild and uninhabited space. Image, the idea of nature is susceptible to manipulation and is determined by environmental apocalyptic narratives, the data and information about global warming, pollution, extinction and disappearance of certain plant and animal species. Viewers experience the nature only indirectly – through mediators, narratives and structures. Installation should direct the viewer's perception and awareness of the nature towards elements of work as a signs who become readable and recognizable due to the development of thechnology.sr
dc.language.isosrpsr
dc.publisherУниверзитет уметности у Београду, Интердисциплинарне студијеsr
dc.rightsopenAccessen
dc.sourceУниверзитет уметности у Београдуsr
dc.title„Digital Wood“ (Digitalna šuma), digitalna višemedijska instalacija u eksterijerusr
dc.typeotheren
dc.rights.licenseARRen
dcterms.abstractКнежевић, Радомир; Донков, Перица; Јованић, Aлександра; Павловић, Миливој; Перовић, Вања;
dc.contributor.coadvisorVasić, Čedomir
dc.identifier.fulltexthttp://nardus.mpn.gov.rs/bitstream/id/56652/Vanja Perovic_Digital Wood.pdf
dc.identifier.fulltexthttp://nardus.mpn.gov.rs/bitstream/id/56653/Vanja Perovic_izvestaj komisije.pdf
dc.identifier.fulltexthttp://nardus.mpn.gov.rs/bitstream/id/56655/Vanja Perovic_Digital Wood_fotografije.pdf


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