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Animistično mišljenje kot oblika estetskega izkustva umetniškega objekta/Narativni objekt
Meglič, Maruša (Author), Kariž, Žiga (Mentor) More about this mentor... This link opens in a new window, Mikuž, Jure (Mentor) More about this mentor... This link opens in a new window

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Abstract
Izhodišče moje magistrske naloge je raziskovanje animističnega mišljenja kot načina soočanja z umetniškim delom – umetniškim objektom. Do zanimanja za animistično mišljenje me je pripeljalo spontano ustvarjalno raziskovanje tekom magistrskega študija, ki se je odražalo kot iskanje dialoga in kompromisov z umetniškim materialom, ter oživljanje in poosebljanje umetniškega objekta. Animistično mišljenje in empatično doživljanje umetniškega objekta umeščam v središče lastne estetske izkušnje in ustvarjalnega procesa. Izhajam iz predpostavke, da je človek kot socialno bitje spontano naravnan k animističnemu mišljenju kot načinu razumevanja sveta, ter razširja dinamiko medčloveških odnosov tudi na odnos do tako imenovanih neživih stvari in pojavov. Ker pri sebi zaznavam jasno tendenco po animističnem mišljenju, hkrati pa jo doživljam kot kolektivno zatajeno razsežnost človeške inteligence, sem se odločila raziskati izvor animističnega mišljenja in ga opredeliti znotraj izkušnje umetniškega objekta. Animistično mišljenje gledalcu na ravni estetske izkušnje pomaga urejati kompleksnost simultanih dražljajev v celoto enkratnega izkustva, na širši ravni pa gledalca kot posameznika v svetu vpenja v mrežo pomenskih povezav in odnosov, ki ga osmišljajo.

Language:Slovenian
Keywords:slikarstvo, umetniški objekt, estetska izkušnja, animizem, antropomorfizem, empatija, magistrska naloga.
Work type:Master's thesis/paper (mb22)
Organization:ALUO - Academy of Fine Arts and Design
Year:2018
Views:504
Downloads:195
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Secondary language

Language:English
Title:Animistic thinking as a form of aesthetic experience of an art object/Narrative Object
Abstract:
The starting point for my MA thesis is researching animistic thinking as a way to face an artwork - art object. My interest in animistic thinking was born through spontaneous creative research during MA studies and was reflected in animating and personifying art objects as well as developing empathy towards them. Animistic thinking and empathic experience of an art object is at the centre of my own aesthetic experience and creative process. I start from the premise that humans as social beings are spontaneously oriented towards animistic thinking, which helps them understand the world and expands the dynamics of human relations further to include the relations towards the so-called inanimate objects and phenomena. As I can identify a clear tendency towards animistic thinking while experiencing it as a collectively concealed dimension of human intelligence, I decided to investigate the origins of animistic thinking and to define it within the experience of an art object. At the level of aesthetic experience, animistic thinking helps the spectator to arrange the complexity of simultaneous stimuli into an entirety of a unique experience, while on a broader scale it binds the spectator as an individual in the world into a network of semantic meaningful associations as well as meaningful relationships that give sense to the individual.

Keywords:painting, art object, aesthetic experience, animism, anthropomorphism, empathy, MA thesis.

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