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I am that I am
No full textRad I AM THAT I AM je jedan rad na velikom platnu dimenzija 150 x 200 cm. Rad je napravljen u maniri apstraktnog ekspresionizma. Autorica je željela pronaći vlastiti rukopis i napraviti rad u kojem se vidi energija. Rad je bio performativni akt gdje je umjetnici bilo važnije kako se osjeća tijekom izvedbe rada nego završni produkt. Želja umjetnice je bilo istražiti vlastitu svijest i napraviti rad koji umjetna inteligencija nikad ne bi mogla napraviti. Rad se zove I AM THAT I AM iz dva razloga. Prvi je onaj očiti a to je ono sam što jesam, a drugi je biram ONO što jesam. Autorici je ovo prva apstraktno ekspresionistička slika na velikom platnu. Rad je rađen u akrilu bež i crne boje. Rad je bio propitivanje autentičnosti i vlastite svijesti i jedna vrsta oslobađanja.The work I AM THAT I AM is one work on a large canvas measuring 150x200 cm. The work is made in the manner of abstract expressionism. The author wanted to find her own handwriting and make a work that shows energy. The work was a performative act where it was more important for the artist how she felt during the performance of the work than the final product. The artist's desire was to explore her own consciousness and create work that artificial intelligence could never create. The work is called I AM THAT I AM for two reasons. The first one is the obvious one, which is what I am, and the second one is I choose WHAT I am. This is the author's first abstract expressionist painting on a large canvas. The work is made in beige and black acrylic. The work was a questioning of authenticity and self-awareness and a kind of release
Examples of reasarch, safe keeping and presentation of mosaics in Archaeological museum in Split
No full textU prvom dijelu ovaj rad daje sumarni pregled stanja pojedinih izabranih mozaika, čija je povijest istraživanja, zaštite i prezentacije bila vezana uz aktivnost Arheološkog muzeja u Splitu. Osim reprezentativnih primjera iz antičke Salone, pridruženi su im mozaici i iz antičke Isse i Narone. Drugi dio se bavi potencijalnim mogućnostima moderne tehnologije u muzejskom okruženju, te o očekivanju posjetitelja i utjecaja na njihovo osobno iskustvo i doživljaj. Izlaganje umjetnina i davanje kratkog opisa povijest postaje ili je već postao zastarjeli način pristupa postavljanja muzejskog postava. Također daje uvid u važnost korištenja društvenih mreža, svestranosti QR koda i njegove primjene kao i principe rada proširene stvarnosti. Spominje načine integracije proširene stvarnosti u već postojeći muzejski postav i njezin pozitivan doprinos.In the first part, this paper gives a summary overview of the condition of selected mosaics, whose history of research, protection and presentation was related to the activity of the Archaeological Museum in Split. In addition to representative examples from ancient Salona, mosaics from ancient Issa and Narona were also added to them. The second part deals with the potential possibilities of modern technology in the museum environment, and with the expectations of visitors and the impact on their personal experience. Exhibiting art and giving a brief description of the history is becoming or has already become an outdated way of approaching a museum display. It also provides an insight into the importance of using social media, the versatility of the QR code and its applications, as well as the working principles of augmented reality. It goes over different ways of integrating augmented reality into the already existing museum exhibition and its benefits
AUTOBIOGRAPHICAL DOCUMENTARY FILM TRY(ING)
No full textOvaj diplomski rad bavi se autobiografskim dokumentarnim filmom. Glavna karakteristika autobiografskog dokumentarnog filma je interpretacija stvarnosti iz redateljeve osobne perspektive. Intimnost i subjektivna perspektiva središnja su obilježja autobiografskog dokumentarnog filma, a najčešće su potencirane korištenjem osobnih materijala poput fotografija, videa i pisama.This thesis addresses the topic of autobiographical documentary film. The main characteristic of an autobiographical documentary film is the interpretation of reality from the director's personal perspective. Intimacy and a subjective perspective are central features of an autobiographical documentary film, and they are most often enhanced by the use of personal materials such as photographs, videos and letters
TASTE OF PAIN
No full textDiplomski rad autorice Marije Bebić pod nazivom Okus boli serija je radova povezana istom, u naslovu rada spomenutom tematikom. Rad je instalacija sastavljena od više fragmenata od kojih svaki funkcionira sam za sebe, ali u međusobnom odnosu čine iznimno snažno vezanu cjelinu. Autorica u prvom redu polazi od sebe u nastojanju da prodre u dubine vlastitih negativnih iskustava i da pritom analizira tragove koje je to iskustvo utkalo u njezino biće, odlučuje se za jednu vrlo kompleksnu priču čiji se sadržaj ispisuje u ovom tekstu. Tijekom procesa realizacije diplomskog rada naglašeno je autoričino potpuno učešće duha i tijela. Evidentna je borba autorice i djela te su postali vidljivi i inače nevidljivi slojevi autoričinih subjektivnih doživljaja tako da djelo na koncu kao da prožimaju ekstremna stanja, izvjesno nasilje, patnja i bol. Unatoč dosta ekspresivnoj, gotovo sirovoj i zazornoj estetici, u djelu se ipak iščitava ženstvenost, mekoća, nježnost i krhkost. U diplomskom radu Okus boli razvidno je da se autorica bavi socijalnom tematikom vezanom za žensko pitanje, zapravo feminističkim temama, pa je stoga razumljivo da se autorica referira na feminističke teoretičarke kao što su Julija Kristeva, Luce Irigaray i Judith Butler, te na psihoanalitičke teorije Jacquesa Lacana i feminističku kritiku koja se bavi Lacanovim stavovima o ulozi žene i ženskom identitetu, posebno u okviru umjetnosti. Autorica također citatima iz knjige Žene koje trče s vukovima psihoanalitičarke Clarisse Pinkole Estés potkrepljuje svoja razmišljanja kojima se vodila u procesu stvaranja svoga djela Okus boli. Artefakti koji sačinjavaju to djelo su: ● Objekt: rozi kušin/jastuk oblika kruga promjera 202 cm i visine 90 cm predstavlja žensku bradavicu ● Instalacija u prostoru: trakama izvezeni iskazi (u službi etiketiranja žene) na posebno izvedenoj podlozi (trake i podloga su pripremljeni bojanjem stare posteljine, a podloga je naknadno oblikovana pomoću smjese od drvofixa, gipsa, vode i pijeska) ● Pet skulptura: različite poze ženskog tijela sačinjene od kaširanog papira i žice, a koji su izvedeni iz pet gipsanih kalupa ● Objekt koji predstavlja ženski spolni organ: rad je veličine okvira dimenzija 205 × 210 cm, a sastavljen je od četiri trodimenzionalna oblika koji imaju mogućnost montiranja, dok je dio odabrane, odbačene tkanine zalijepljen direktno na platno. Autorica snima kamerom cijeli proces stvaranja ovoga djela te mu time daje karakter performansa. Ovim diplomskim radom ona nastoji ženskim pismom u vidu performansa iznijeti još jedanput na vidjelo društveni problem statusa žene u društvu kojim se već desetljećima bave kako pojedinci tako i određene društvene skupine, kako bi naglasili ženin marginalizirani društveni položaj, te opetovano senzibilizirali javnost u pogledu ove teme.Marija Bebić's graduation thesis titled The Taste of Pain is a series of works connected to the same topic mentioned in the title of the thesis. The work is an installation composed of several fragments, each of which works on its own. However, in relation to each other they form an extremely strongly connected whole. The author draws from herself in an effort to penetrate the depths of her own negative experiences and to analyze the traces that this experience has woven into her being. She decides to tell a very complex story, the content of which is written in this text. During the process of realization of the thesis, the author's full participation of mind and body was emphasized. The struggle between the author and the work is evident. Layers of the author's subjective experiences, which are otherwise invisible, have become visible, so that in the end, the work seems to be permeated by extreme conditions, certain kind of violence, suffering and pain. Despite the rather expressive, almost raw and ostentatious aesthetics, femininity, softness, tenderness and fragility can still be read in the work. In her graduation thesis The Taste of Pain, it is clear that the author deals with social issues related to women's issues, actually feminist issues, so it is understandable that the author refers to feminist theorists such as Julija Kristeva, Luce Irigaray and Judith Butler, and to the psychoanalytic theories of Jacques Lacan and feminist criticism that deals with Lacan's views on the role of women and female identity, especially in the context of art. The author also uses quotes from the book Women Who Run with the Wolves by psychoanalyst Clarissa Pinkola Estés to support her thoughts in the process of creating her work The Taste of Pain. The artifacts that make up the work are: • Object: a pink cushion/pillow in the shape of a circle with a diameter of 202 cm and a height of 90 cm represents a woman's nipple; • Spatial installation: tape-embroidered statements (serving to “label” women) on a specially prepared substrate (the strips and the substrate were prepared by dyeing old bedding, and the substrate was subsequently shaped using a mixture of wood fix glue, plaster, water and sand); • Five sculptures: different poses of the female body made of laminated paper and wire, made from five plaster molds; • An object representing the female genital organ: the frame of the work is 205 × 210 cm in size, comprising four three-dimensional shapes that can be mounted, while part of the selected, discarded fabrici s glued directly to the canvas. The author records the entire process of creating this piece with a camera, thus giving it the character of a performance. In this work, she tries to use ¨women's writing¨ in the form of a performance to once again bring to light the social problem of the status of women in society, which has been dealt with by both individuals and certain social groups for decades, in order to emphasize women's marginalized social position, and to repeatedly sensitize the public regarding this topic
History of tambura playing in Split from 1918. to 1970.
No full textTambure, kao jedan od hrvatskih narodnih instrumenata, svoju su popularizaciju i razvoj započele s pojavom narodnog preporoda u Hrvata pa nadalje. Kao žičano trzalačko glazbalo, vrlo brzo su se formirale različite inačice grupa svirača koje su skupno muzicirale, koje dovode do nastanka tamburaških sastava i orkestara. Te iste su često izvodile različite repertoare, od narodnih popijevaka, starogradskih pjesama i napjeva, budnica do obrada klasičnih skladbi i novokomponiranih skladbi za tamburaški orkestar, a često su se te skladbe izvodile i uz vokalnog solistu ili zbor. Pod utjecajem tih procesa, kao i drugih društveno- političkih i kulturnih okolnosti, u gradu Splitu se pojavljuju određene skupine i orkestri svirača tambura. Kroz period od 1918. do 1970., svirači ovog instrumenta šire određene političke i društvene ideje, razvijaju glazbeni život grada i sudjeluju u odgojno-obrazovnom procesu unutar škola i ustanova za odgoj. Najviše informacija nalazimo u tadašnjim dnevnim listovima Novo Doba, Jadranski dnevnik i Slobodna Dalmacija, kao i nekim drugim pisanim oblicima, poput monografija, biografija i sl. U tim djelima, vidljivo je da tambura kroz godine mijenja svoju konotaciju i područje djelovanja, odnosno ideja koje se promiču njezinim sviranjem, od idiličnih slika djetinjstva do slanja snažnih nacionalnih ideja. Isto tako, nailazimo na oglase prodaje tamburaških instrumenata, članke o položaju i razvoju tamburaških instrumenata i uvođenje instrumenta tambure u rad splitske glazbene škole. O nekim tamburaškim skupinama postoje zapisi djelovanja, kao i aktivnog sudjelovanja u glazbenim događanjima izvan Splita, poput sudjelovanja na državnim smotrama. Uz to, nalazimo zapise o nekim istaknutim sviračima tambure, odnosno tamburašima, a to su Jakov Gotovac i Špiro Kanazir. Iz svega toga navedenog, vidljivo je da je tamburaštvo činilo jedan mali dio kulturnog i društvenog života Splita, te da su potrebna daljnja istraživanja o ovome specifičnom fenomenu i ono što njega okružuje.Tambura, as one of the Croatian folk instruments, began its popularization and development with the Croatian national revival and onwards. As a string plucked instrument, different versions of groups of players were formed very quickly, which led to the creation of tambura ensembles and orchestras. They often performed different repertoires, from folk songs, old town songs and chants, vigils to arrangements of classical compositions and newly composed compositions for the tambura orchestra, and these compositions were often performed with a vocal solo or choir. Under the influence of these processes, as well as other socio-political and cultural circumstances, certain groups and orchestras of tambura players appeared in the city of Split. Throughout the period from 1918 to 1970, players of this instrument spread certain political and social ideas, developed the musical life of the city and participated in the educational process within schools and educational institutions. The most information can be found in the daily newspapers Novo Doba, Jadranski dnevnik and Slobodna Dalmacija, as well as in some other written forms, such as monographs, biographies, etc. In these works, it is evident that the tambura changes its connotation and area of activity over the years, that is, the idea that promoted by her playing, from showing idyllic images of childhood to sending strong national ideas. Likewise, we come across ads for the sale of tambura instruments, articles about the position and development of tambura instruments and the introduction of tambura instruments into the work of the elementary music school in Split. There are records of some tambura groups, as well as active participation in musical events outside of Split, such as participation in state parades. In addition, we find records of some prominent tambura players, namely Jakov Gotovac and Špiro Kanazir. From all the above, it is evident that tambura playing had a small part in the cultural and social life of Split, and that further research is needed on this specific phenomenon and what surrounds it