Lepopisana

The narrator is an African American living on a farm in Dickens, on the outskirts of Los Angeles. We know his last name is Me but don't know his first name. He is tried at Supreme Court for re-establishing segregation and for keeping a slave. From the courtroom we go back in time to read about what happened before the trial. One day people noticed their community of Dickens "disappeared" overnight. There are no road signs, no city limits, it seems it all ruined their sense of community. Me re-establishes the city limits and road sighs, but it's not enough. He continues by segregating the local high school, the buss, posting "whites only" signs in the public places. He succeeds in restoring the sense of community and giving people back their identity. I think identity is an important topic in the book, personal identity as well as identity of a community. Me's father once said to his son: "You have to ask yourself two questions: Who am I? and

V nadaljevanju se bom osredotočila na štiri dejavnike, ki tvorijo opis umetniškega dela: motiv, medij, formo in kontekst. Glede na to, da so opis, interpretacija in presoja soodvisni procesi in se med seboj prepletajo, bo tako tudi v spodnjih podpoglavjih. Poleg teoretske podlage vsako podpoglavje vsebuje tudi, kako se teorija vidi v mojem praktičnem delu. Črka kot motiv Po Ferdinandu de Saussureju je naloga črkopisa ta, da nosi lingvistični pomen. Temu so sledili tudi številni tipografi, ko so razvijali tipografije z namenom reprezentacije govorjene besede. Črke so tako nosilci govorjenega jezika, besed, besedila. Videz črk ne bi smel biti posebno opazen, lingvistična vsebina pa naj ima prednost pred videzom oz. vizualnim delom, osebnim izrazom, dekoracijo. Oblikovanje tipografij je šlo svojo pot, črke pa so vznemirjale tudi številne likovne umetnike. Na primer Kaligrami Guillauma Apollinaira predstavljajo hkrati slikovno kot lingvistično komponento. Lahko jih beremo k

I've been into this green moth world for quite a long time now. In spite of that I never stopped to think about what I was really doing. OK, it started as practicing watercolours, but I think it became having a life of its own somehow. A couple of months ago I visited Slovenian Biennial of Illustration. Just a day later M and I went to Villa Manin in Italy where we saw an exhibition of Lorenzo Mattotti's works. I found his comics and illustrations the most powerful and memorable. So, much later, while browsing through the Mattotti exhibition catalogue, I stopped to think what I was doing with the moths. I realised I've been sort of illustrating Lorca's Romance Sonambulo, the way I saw and felt it. I intentionally avoid using the word "understand", because it has nothing whatsoever to do with it. So, what now? Who knows ... I might do a kind of fan art zine in, say, ten copies ... or something ... * Že nekaj časa se potikam po svetu, kjer ni ničesar

I started reading this book while I was waiting for professor J in a café. I have never in my life spent an hour waiting for someone. I kept reading long after my espresso disappeared, occasioanally giving him a call, but nothing happened. I was reading about inventing / bending news, conspiracies and corruption in different layers of society while the man was sitting in Medical Emergency Unit waiting phonelessly.  Colonna is hired to work at a newspaper which will never be published. It is called Domani, because it doesn't want to report about events that already happened, but wants to present its readers with "something more". It's exactly this "something more" that appeals to il Commendatore who finances the newspaper, however not with the aim to inform people but to blackmail the high and powerful. Colonna befriends Braggadocio, a journalist with a knack in uncovering conspiracies. He explained how Mussolini wasn't killed by the partisans

Od opisa, preko interpretacije k presoji Vsako umetniško delo je mogoče interpretirati, pravzaprav lahko rečemo, da si delo samo želi interpretacije. Preden pričnemo z interpretiranjem, delo opišemo. Opis si lahko zabeležimo, ni pa nujno, umetniško delo lahko opisujemo tudi medtem, ko si ga ogledujemo, ko razmišljamo o njem v razstavnem prostoru. Za namen opisovanja uporabimo informacije, ki izhajajo iz samega dela. To so notranje informacije, ki jih združimo v tri skupine: motiv, medij in forma. Poleg notranjih informacij upoštevamo tudi zunanje informacije, ki se nanašajo na dejstva o umetniku in času, v katerem je delo nastalo oz. o kontekstu. Vse štiri vrste informacij tvorijo pomen. Vsako umetniško delo ima temo, nekaj, kar obravnava. Že sam opis je lahko interpretacija, saj je poleg izpraševanja o mediju, motivu, formi in kontekstu, sprašujemo, kaj bi lahko delo pomenilo. Od opisovanja zdrsnemo k interpretaciji, od tu pa je logično nadaljevanje presoja, ko delo umestim

Yeah, I know ... perhaps I should start thinking about moving on with this one. However, not just yet. A couple of months ago I said I would start painting Erebus, but I still haven't reached that yet. That's the huge blue moth , remember? The reason for not painting him just might be long nights, below zero temperatures and the smell of ice. Now days are getting longer, it's warmer and Erebus appears to be less scary. As if this has anything to do with the moth. Well, it does ... Anyway, I've got my Prussian blue ready and I bought some Fabriano Artistico watercolour paper with rough texture, which I love, but in the mean time I'll stick to green Luna just for a little while more. Moonmoth 2, WIP  * Ja, ja, saj vem. Morda bi morala razmisliti o spremembi. Morda je bilo dovolj zelene vešče. Morda pa ne. Pred nekaj meseci sem pisala o tem, da bi slikala Erebusa, vendar do sedaj še nisem prišla do tja. To je tisti modri nočni metulj , se spomnite?  Ra

Eyes mark the shape of the city. We read this book as if it was reported by a camera. It gave me the impression as if I was watching a film. The story takes place in a big city, in a single night, after the last train left. The main themes of the novel are sleep, or lack of it, solitude and another world, a different reality lurking in TV screens, mirrors and the dead of night in general. Mari decides to spend the night awake at Denny's, reading a book. It's where Takahashi , a friend of her sister Eri finds her before his all night practice with the jazz band. It seems Mari's not going to be left alone. Kaoru, a love hotel manager asks her to help her talk to a beaten up Chinese prostitute. Takahashi told her Mari was fluent in Chinese. Mari's sister Eri doesn't want to wake up. One day she decided to go to sleep for a while and didn't wake up. While she sleeps all sorts of weird things happen. Shirakawa can't sleep. Among other things he spends

  Je interpretacija umetniškega dela samo ena? Poznamo različne teorije o veljavnosti interpretacij umetniških del. Nekatere zagovarjajo mnenje, da ima umetniško delo samo en pomen in eno pravilno interpretacijo, namreč umetnikov pomen, druge spet upoštevajo samo umetniško delo. Po slednji teoriji interpretiramo samo tisto, kar vidimo, ne pa tudi drugih okoliščin, ki bi lahko vplivale na nastanek dela. Nasprotni pogled ponuja mnenje, da je pomen umetniškega dela sestavljen iz vrste pomenov, ki izhajajo iz časa, ko je delo nastalo, in upoštevajo okolje, družbo. Umetnikov namen je čisto lahko del lingvističnih, kulturnih in umetniških dejavnikov časa, v katerem je umetnik delal, in tako bi namen igral vlogo v interpretaciji, vendar izključno umetnikov namen ne določa pomena umetniškega dela. Ne nazadnje nekateri pristopi k interpretaciji dopuščajo, da je interpretacij istega umetniškega dela lahko več. Umetniško delo torej nima samo enega pomena, več pomenov je lahko celo koristn

What do we get when we mix a green moth with Spanish surreal poetry and put them into a circle? I don't know, but it just might look like a moon. * Kaj dobimo, ko zeleno veščo zmešamo s špansko nadrealistično poezijo in vse skupaj stlačimo v krog? V resnici ne vem, čeprav je po svoje podobno luni.

  Dunaj na prelomu stoletja   V začetku 20. stoletja je dunajska šola zgodovine umetnosti zagovarjala stališče, da naloga modernističnega slikarja ni prenašanje lepote, temveč novih resnic. V tem času se je pričelo razmišljati o vlogi posameznika kot gledalca, ki v proces vrednotenja umetniških del prinese svoje spomine, izkušnje in poprejšnje znanje o umetnosti. Tako pridobljene nove izkušnje pa shrani v bazo znanja, ki v nadaljevanju vpliva na prihodnje vrednotenje umetniških del. (glej Kandel, 2012, str. 112−209) Umetniki so zaradi pojava novih tehnologij (npr. fotografski aparat) iskali nove izraze, nove resnice, ki jih z ne bi mogli prikazati s pomočjo novih tehnologij. Svet umetnika se je tako obrnil navznoter, stran od tridimenzionalnega zunanjega sveta k večdimenzionalnemu notranjemu jazu ter nezavednemu. Pomembno je postalo samoraziskovanje. Pri iskanju novih izrazov in novih resnic so umetniki raziskovali ne samo druge, ampak tudi sebe, in ne samo zunanjo podo

Virtus, non copia vincit. (Pogum zmaga, ne mnoštvo) Priznam, da mi je zelo težko pisati o tej knjigi. Pa ne samo zato, ker jo je napisala moja mama in da temelji na pismih in dnevniških zapisih mojega deda po očetovi strani, ampak zato, ker sem jo doživela zelo čustveno. Ne spomnim se več kdaj me je kakšna knjiga ganila do solz in to zelo. Saj veš (ali pa tudi ne), ko sediš na avtobusu in bereš in vsake toliko nehaš in gledaš skozi okno, da se ti oči nehajo solziti in potem v vzvratnem ogledalu ujameš pogled voznika avtobusa, ki najbrž ne ve kaj bi si mislil.  Roman obravnava dedovo življenje od konca šolanja na vojaški akademiji, razporeditve na delo v Ljubljano in kasneje v Varaždin, od koder se je ob izbruhu druge svetovne vojne vrnil v Ljubljano. Zaradi sodelovanja z Osvobodilno fronto so ga Italijani zaprli in ga kasneje, kot oficirja, poslali v taborišče za vojne ujetnike v Italiji. Najprej v Averso, kasneje v Acquapendente, po padcu Italije 1943 pa so ga, skupaj