20.500.12556/RUL-130895 Lažje si je predstavljati konec sveta It is Easier to Imagine the End of the World Diplomsko delo Lažje si je predstavljati konec sveta zarisuje teoretski okvir in praktično izvedbo serije modrotiskov Neznani fotograf, ki na podlagi fotografij, posnetih med letoma 1941 in 1944 ter preobraženih sprva v digitalne kolaže in zatem v modrotiske (ter sitotiske), preiskuje in preizprašuje sodobne oblike in vzvode (kapitalističnega) ideološkega aparata, njegovo navidezno neideološkost, nezamenljivost in njegovo vizualno, simbolno manifestacijo (oziroma njeno nevarno odsotnost). S pomočjo teorije kapitalističnega realizma serija (modrotiski Neznani fotograf 1–4) – z njo pa tudi diplomsko delo – izpostavlja tudi fenomen napačnega spomina in koncept ironične distance (potlačitev ne obstaja navkljub, temveč s pomočjo sprejetja potlačenega, kapitalizem pa ne navkljub, temveč s pomočjo antikapitalizma), nasloni pa se tudi na vprašanje gospodarjevega pogleda in teorijo recepcijske estetike ter koncept emancipiranega gledalca, ki zaznamuje tudi serijo Neznani fotograf, katere vprašanja o sodobnih ideoloških aparatih in njihovih (vizualnih) manifestacijah se vsebinsko izpopolnijo le skozi gledalca in njegov (vizualni) horizont pričakovanj. The BA thesis It is Easier to Imagine the End of the World outlines the theoretical framework and practical implementation of the cyanotype series The Unknown Photographer, which (on the basis of photographs taken between 1941 and 1944 and transformed first into digital collages and then into cyanotypes and screen prints) explores and questions the current (capitalist) ideological apparatus, its seemingly non-ideological stance, seeming irreplaceability and its visual, symbolic manifestations (or their absence). Through the theory of capitalist realism, the series (cyanotypes The Unknown Photographer 1–4) – and with it the thesis – also explores the false memory phenomenon (fausse reconnaisance) and the concept of ironic distance (capitalism does not exist despite, but because of anti-capitalism). At the same time, it focuses on the question of the master's gaze, the theory of reception aesthetics and the concept of the emancipated spectator. The latter concept also heavily influences The Unknown Photographer series, whose questions about modern ideological apparatuses and their (visual) manifestations are finalized and completed only through the viewer and his (visual) horizon of expectations. Slikarstvo ideologija kapitalizem fotografija cianotipija sitotisk diplomska naloga. Painting ideology capitalism photography cyanotype screen printing BA thesis. true false false Slovenski jezik Angleški jezik Diplomsko delo/naloga 2021-09-18 09:00:35 2021-09-18 09:00:36 2022-09-09 04:18:36 0000-00-00 00:00:00 2021 0 0 0000-00-00 NiDoloceno NiDoloceno NiDoloceno 0000-00-00 0000-00-00 0000-00-00 1970-01-01 20973 1978.pdf 1978.pdf 1 3D2F5757E30102FD427592D971EFD435 9899cf28d00b8647a6d00aa6853489100fd2e9714b133f6ae2bbaba52beb4fb3 dce60017-184d-11ec-a523-00155dcfd717 https://repozitorij.uni-lj.si/Dokument.php?lang=slv&id=148078 Akademija za likovno umetnost in oblikovanje 0 0 0