Page 160 - Polona Tratnik, Transumetnost. Kultura in umetnost v sodobnih globalnih pogojih, Digitalna knjižnica, Dissertationes 10
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Transumetnost
Podoba vetrne kode 59–61 Shannon, Claude Elwood 96
popularnakultura 33–34,36,39,43–44 Schönberg, Arnold 29, 40–41, 90
postfordizem 27 Schwartzman, Simon 13, 85
postindustrijska družba 16, 45, 119, Scott, Peter 13, 85–86, 88
137, 141 Sedlaček, Sašo 46, 66, 69, 84, 97, 108–
postmodernost 13, 16, 19, 27, 57, 85, 90, 109, 122, 125–126, 129–134
94, 104–105, 107, 113, 122, 131–132, semiotika, semiologija 17, 21, 25, 36–
137–138, 141–142 37, 43, 80, 83–84, 88
postmodernizem 19–20, 30, 33, 45, Senzorium (gledališče) 65
56, 84, 90, 93, 98, 119–124, 138, 141 simbolizem, simbolisti 21–22, 24, 90
poststrukturalizem 22, 25, 43, 45, slikarstvo 20–21, 33, 37, 39–40, 60–61,
87, 97 63, 74, 75–76, 90
potrošništvo, potrošniška kultu- son:DA 51–53
ra, družba 16–17, 36, 44–45, 83, Spiller, Teo 61–62
96, 101, 108, 119–122, 126–127, 130– Stallabrass, Julian 13, 57, 116
131, 141 Strehovec, Janez 114–116
Prigogine, Ilya 137 Stengers, Isabelle 137
procesualnost, delo v procesu 21– strukturalizem 32–33, 35–36, 43, 87–
25, 27–30, 48, 53, 55, 61, 63, 65, 134, 88, 97
138, 142 Š
R Šund 33–34
računalniška umetnost, kultura, Šuvaković, Miško 20–21
Tparadigma 19, 27–28, 33, 43, 65, 85,
90, 108, 114, 142
renesansa 74, 76, 80–81 taktični mediji 17, 99, 101–102, 104–
retroavantgarde 97–98 105, 116
retroutopizem 98–99
revolucionarnost 29, 40, 83, 92, 105, Tarantino, Quentin 33–34
tehnologija 13–14, 16–17, 27, 42–43, 49,
107, 113
romantična paradigma 15, 43, 45, 56, 61, 63, 65, 68–69, 73–74, 78–80,
82, 86, 90, 94, 96, 98, 100–103, 108,
47–48, 76, 83, 93, 121 113–116, 119, 131, 136, 138, 141–142
Rossi, Paolo 71, 74–75, 77, 81 televizijska kultura, diskurz, televi-
®™mark 108 zija 22, 63, 99, 116
S Tesla, Nikola 98, 100
Thomas, Douglas 114
Sartre, Jean-Paul 38–39 tekst: berljivi, pisljivi, intertekst 22–
Saussure, Ferdinand de 32–33 23, 25–26, 28, 31, 43, 53
Podoba vetrne kode 59–61 Shannon, Claude Elwood 96
popularnakultura 33–34,36,39,43–44 Schönberg, Arnold 29, 40–41, 90
postfordizem 27 Schwartzman, Simon 13, 85
postindustrijska družba 16, 45, 119, Scott, Peter 13, 85–86, 88
137, 141 Sedlaček, Sašo 46, 66, 69, 84, 97, 108–
postmodernost 13, 16, 19, 27, 57, 85, 90, 109, 122, 125–126, 129–134
94, 104–105, 107, 113, 122, 131–132, semiotika, semiologija 17, 21, 25, 36–
137–138, 141–142 37, 43, 80, 83–84, 88
postmodernizem 19–20, 30, 33, 45, Senzorium (gledališče) 65
56, 84, 90, 93, 98, 119–124, 138, 141 simbolizem, simbolisti 21–22, 24, 90
poststrukturalizem 22, 25, 43, 45, slikarstvo 20–21, 33, 37, 39–40, 60–61,
87, 97 63, 74, 75–76, 90
potrošništvo, potrošniška kultu- son:DA 51–53
ra, družba 16–17, 36, 44–45, 83, Spiller, Teo 61–62
96, 101, 108, 119–122, 126–127, 130– Stallabrass, Julian 13, 57, 116
131, 141 Strehovec, Janez 114–116
Prigogine, Ilya 137 Stengers, Isabelle 137
procesualnost, delo v procesu 21– strukturalizem 32–33, 35–36, 43, 87–
25, 27–30, 48, 53, 55, 61, 63, 65, 134, 88, 97
138, 142 Š
R Šund 33–34
računalniška umetnost, kultura, Šuvaković, Miško 20–21
Tparadigma 19, 27–28, 33, 43, 65, 85,
90, 108, 114, 142
renesansa 74, 76, 80–81 taktični mediji 17, 99, 101–102, 104–
retroavantgarde 97–98 105, 116
retroutopizem 98–99
revolucionarnost 29, 40, 83, 92, 105, Tarantino, Quentin 33–34
tehnologija 13–14, 16–17, 27, 42–43, 49,
107, 113
romantična paradigma 15, 43, 45, 56, 61, 63, 65, 68–69, 73–74, 78–80,
82, 86, 90, 94, 96, 98, 100–103, 108,
47–48, 76, 83, 93, 121 113–116, 119, 131, 136, 138, 141–142
Rossi, Paolo 71, 74–75, 77, 81 televizijska kultura, diskurz, televi-
®™mark 108 zija 22, 63, 99, 116
S Tesla, Nikola 98, 100
Thomas, Douglas 114
Sartre, Jean-Paul 38–39 tekst: berljivi, pisljivi, intertekst 22–
Saussure, Ferdinand de 32–33 23, 25–26, 28, 31, 43, 53
