| dc.date.accessioned | 2019-05-29T11:55:16Z | |
| dc.date.available | 2019-05-29T11:55:16Z | |
| dc.identifier.uri | http://95.216.75.113:8080/xmlui/handle/123456789/80 | |
| dc.description | Biography: Polona Tratnik, Ph.D., is Dean of Alma Mater Europaea – Institutum Studiorum Humanitatis,
Faculty and Research Institute for Humanities, Ljubljana, where she is a Professor and Head of
Research as well. She also teaches courses at the Faculty for Media and Communication at
Sigidinum University in Serbia, at the Academy of Fine Arts and Design of the University of
Ljubljana, at the Faculty of Education of the University of Maribor and at the Faculty for Design
of the University of Primorska. She was a Fulbright Visiting Scholar and a Guest Professor at
the University of California Santa Cruz (2012). She was a Guest Professor as well at the Capital
Normal University Bejing (China), at the Faculty for Art and Design Helsinki TAIK (Finland),
and at the Universidad Nacional Autónoma de México (Mexico City). She is president of the
Slovenian Society of Aesthetics (since 2011) and an Executive Committee Member of the
International Association of Aesthetics. She has authored seven monographs, including the
Hacer-vivir más allá del cuerpo y del medio (Mexico City: Herder, 2013), Art as Intervention
(Sophia, 2017) and Conquest of Body. Biopower with Biotechnology (Springer, 2017). | |
| dc.language.iso | en | |
| dc.type | Presentation | |
| dc.title | Media Art and Politics: The Question of Tomorrow | |
| dc.contributor.author | Tratnik, Polona | |
| dc.description.abstract | The author addresses the relevance of the question of tomorrow for the new media art and reconsiders similar functions of art and visualizations from the past cultures – anticipation, vision and the claim for a change. The request for art to make an intervention in a total life program is to be found in the historical artistic avant-gardes. The author will study the case of Slovenia, where critical theory of society has had a particularly relevant role for the comprehension of art. With some globally very relevant venues for media art, such as Kapelica Gallery and Aksioma, the production of media art is here still signified by this intellectual tradition. Contemporary production could be understood as the heir of the artistic revolutions of the 1980s, when art challenged the vigilance of the organs of state security. Another relevant reference for today’s comprehension of media art in this context is tactical media, which “do not just report events, as they are never impartial they always participate” (Geert Lovink and David Garcia). Tactical media present a revival of art as politics, this time with the use of new media in a do-it-yourself fashion. The author will rethink the activist dimension of media art in reference to romanticism, but also to some ancient functions of visual media to perform a change, e.g. the cave paintings where picturing animals served the hunting magic, to increase the number of animals. | |
| dc.subject | Media Art | |
| dc.subject | politics | |
| dc.subject | visualizations | |
| dc.subject | avant-garde | |
