20.500.12556/RUL-130900 Taksonomija vizualnega Taxonomy of the Visual. V diplomi me lasten način gradnje likovnih del po principu repeticije oblik vodi k raziskovanju formalnega vidika vzorcev in načina njihove percepcije. Vizualno percepcijo »utelesim« na podlagi spoznanj z začetka 19. stoletja o človekovih senzoričnih organih, nato pa pristranskost, perspektivo, ki jo poraja vsako živo telo, osvetlim še s spoznanji biologa in filozofa Jakoba von Uexkülla ter teorije avtopoiesisa, ki dodatno pojasnjuje odnos med zaznanim in zaznavajočim. Na ta način utemeljim, zakaj je percepcija nujno aktiven proces, pogojen z biološkim, evolucijskim ustrojem človeka. V ustvarjanju me torej zanima lastna pristranskost, zaradi česar se pogosto postavljam v stransko vlogo urednika, ki ureja, preoblikuje podatke, katerih del je tudi sam (saj so na nek način njegov lasten telesni proizvod). Ob tem pa prav opazovani podatki podajo nove podatke o opazovalcu samem. Nastale vzorce zato dojemam kot strukture, v katerih so vpisane tako nekatere moje lastnosti, kakor tudi lastnosti uporabljenega materiala in njegova zmožnost sprejemanja vplivov iz okolja. Nekatera lastna dela pri tem raziskujem z biološkega vidika – podobnosti med ustvarjenim vzorcem in (mikro)organizmom vidim predvsem v načinu povezave posameznih modularnih enot v celoto, v njihovi zmožnosti »integracije« zunanjih vplivov ter v dinamiki, ki jo v urejeno strukturo vnaša pojav motnje. This thesis explores formal aspects of patterns and the way they are perceived. It stems from my individual approach to constructing visual art, which relies on the principle of formal repetition. I “embody” visual perception by looking at its physical aspects in the context of early 19th century notions of human sensory organs. I then look at bias, a perspective generated by each living body, and further elucidate it by referring to the work of biologist and philosopher Jakob von Uexküll and the theory of autopoiesis, which provides an additional framework for understanding the relationship between what is being perceived and the subject perceiving it. In doing so, I explain why perception is inevitably an active process, conditioned by human biological and evolutionary structures. I explore my creativity predominantly by focusing on my own bias, which is why I often adopt the (side) role of an editor, editing and reworking information which I am part of (since it is produced by my body). This perceived information simultaneously provides new data about the observer. I thus see the resulting pattern as a structure which is imprinted by my features as well as the characteristics of the material used and its ability to receive environmental stimuli. I further examine my works through a biological lens – I see the similarity between created patterns and (micro)organisms primarily in the way in which individual modular units connect into a whole, in their ability to absorb external stimuli, and in the dynamics triggered in balanced structures by disturbance. slikarstvo vizualno percepcija vzorec perspektiva motnja red organizem diplomska naloga painting visual perception pattern perspective dissorder order organism BA thesis true false false Slovenski jezik Angleški jezik Diplomsko delo/naloga 2021-09-18 09:00:43 2021-09-18 09:00:45 2022-09-09 04:18:37 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 20978 2010.pdf 2010.pdf 1 F5AED5A852E8EA97753A7ED1C411F179 7d2c9f41dff7711ca8aa4d63e52a6496f7592dc4af1a6c9e6f710374d0daa0a6 e21c9be6-184d-11ec-a523-00155dcfd717 https://repozitorij.uni-lj.si/Dokument.php?lang=slv&id=148083 Akademija za likovno umetnost in oblikovanje 0 0 0