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Kritična kriminologija je že precej časa bolj ali manj uveljavljena kriminološka usmeritev. Obsega spekter raznovrstnih perspektiv, ki izhajajo iz različnih političnih ali ideoloških nazorov, teoretskih izhodišč, metodoloških pristopov in raziskovalnih ciljev. Namen naloge je analizirati razvoj od t.i. »radikalne« kriminologije do izoblikovanja poznejših »kritičnih« kriminoloških perspektiv. Uvodoma je v nalogi kratko predstavljeno razmerje med radikalno in kritično kriminologijo. V tretjem razdelku so nato v grobem izpostavljena najpomembnejša teoretska izhodišča radikalne kriminologije. V osrednjem razdelku so opisani razlogi za nastanek radikalne kriminologije v poznih šestdesetih letih 20. stoletja, njene osrednje ideje ter njihova »radikalna« narava, nato pa še posebnosti tematskih in raziskovalnih orientacij radikalnih kriminologov v različnih zahodnih državah. V nadaljevanju (v petem razdelku) je obravnavan razmeroma nagel zaton radikalne teorije in skorajda istočasen vzpon drugih perspektiv, ki se retrospektivno umeščajo v kategorijo, ki ima dokaj ohlapno oznako »kritična kriminologija«. Najprej je na kratko prikazan družbenozgodovinski kontekst poznih sedemdesetih in osemdesetih let 20. stoletja, nato pa še poglavitni vidiki krize radikalne kriminologije. V nadaljevanju podrazdelka so predstavljene najvplivnejše usmeritve kritične kriminologije, ki so se v precejšnji meri izoblikovale ravno kot odziv na krizo radikalne kriminologije. Naloga se zaključuje s povzetkom in ovrednotenjem ključnih ugotovitev. Critical criminology is a well-established criminological orientation. It encapsulates a wide spectrum of different perspectives, which are based on a multitude of world-views, theoretical backdrops, methodological approaches, and research goals. It is the main aim of this thesis to analyse the development from the so-called radical criminology to the establishment of various critical criminological perspectives. First, the relationship between radical and critical criminology is briefly explained. Then, we examine radical criminology’s main theoretical foundations. In the main section, we explore the key reasons for radical criminology’s rise to prominence in the late nineteen sixties, its main ideas, their “radical” nature and the main theoretical and thematical differences through different western countries. In the following section, we explore the subsequent fall of radical criminology’s influence in conjunction to the almost simultaneous rise of the various perspectives loosely labelled as “critical criminology”. The analysis is placed in the context of the neoliberal and neoconservative backlash of the late nineteen seventies and early eighties. Through the main critiques levelled at radical criminology, I try to illustrate its internal and ideological crises. In the following subsections, we briefly review the three most influential critical criminological perspectives that had arisen mostly as a response to radical criminology’s early demise. The thesis ends with a summary of the main issues discussed and a short critical assessment thereof.

Ecov Baudolino: srednjeveški sanjač ali odprti avtor? Diplomsko delo skuša preko analize izbranih izsekov romana Baudolino pisatelja Umberta Eca ugotoviti, v kolikšni meri je koncept odprtega dela, ki ga je avtor definiral v odmevnem eseju iz leta 1962, prisoten v njegovem literarnem ustvarjanju. V prvem delu strnjeno predstavimo osnovne poteze odprtosti umetniškega dela, ki jih Umberto Eco začrta v omenjenem eseju. Pregledamo okvirno kategorizacijo odprtih del, koncept umetniškega dela kot epistemološke metafore ter način, kako so sodobni avtorji uporabili nedeterminiranost v literaturi v svoj prid. V drugem delu naloge si ogledamo izbrane dogodke iz romana Baudolino in jih analiziramo v skladu s prej prikazanimi teoretičnimi predpostavkami. Posebej se osredotočimo na simbolno interpretacijo fantastičnih elementov v romanu, ki služijo kot odprti elementi. Eco's Baudolino: medieval myth-weaver or open wordsmith? The following thesis will analyze several segments of Umberto Eco’s novel Baudolino in an attempt to identify to what degree the concept of the Open Work appears in the author’s literary creations. In the first part of the thesis, we will take a look at the core definitions of what constitutes an open work, as defined in the 1962 essay of the same name. We will outline the categorization of open works, the concept of art as epistemological metaphor and the ways in which modern authors have used indeterminacy as a creative tool. In the second part of the thesis, we will more closely examine some episodes from the novel Baudolino and analyze them in accordance with the theories outlined above. Special attention will be devoted to the symbolic interpretation of the fantastic elements in the novel, which serve as open elements.

Doktorska disertacija izhaja iz naslednjega vprašanja: na kakšen način se arhitektura danes lahko na produktiven način vzpostavlja v odnosu do sodobne družbe? Produktiven način razumemo kot način delovanja arhitekture, ko ta lahko prispeva k oblikovanju boljše družbe. To določajo različne stalno spreminjajoče se družbene discipline, vsaka s svojim problemskim poljem. Nanje lahko pogledamo z različnih zornih kotov in tako poskusimo razumeti kompleksnost sodobne družbe. Kljub njeni kompleksnosti, sodobno družbo uravnava neka specifična logika, ki je lastna (globaliziranemu) neoliberalnemu kapitalizmu, za katerega je značilno, da se vzpostavlja skozi politične, ekonomske, okoljske, humanitarne, zdravstvene in ostale krize. Zanima nas, kakšna bi morala biti vloga arhitekture v sodobni družbeni situaciji, da bi pozitivno doprinesla k družbi in bila s tem kritično relevantna. Z disertacijo kažemo, kako lahko sodobna arhitektura v 21. stoletju deluje avtonomno in s tem aktivno ter kritično soustvarja svoj družbeni kontekst. Delovanje arhitekture na avtonomen način je delovanje znotraj družbe, vendar tako, da se v njej določa sama, torej brez podrejanja obstoječi družbeni realnosti. Drugače rečeno, pri delovanju znotraj družbe gre za razumevanje problematike, ki se jo preartikulira na avtonomen, arhitekturi lasten način. Zaradi tega trdimo, da mora arhitektura izboljševati družbo tako, da se ukvarja s sodobnimi družbenimi problemi. Arhitektura je na ta način že delovala v preteklosti, na primer v obdobju razsvetljenstva in v obdobju modernizma. Takšno delovanje je prekinil neoliberalni kapitalizem, ki je posegel v napredno usmeritev ter delovanje arhitekture. V disertaciji iščemo načine, s katerimi bi arhitektura, tako kot že v 20. stoletju, lahko delovala progresivno tudi danes. Orodja, s katerimi sodobna arhitektura to lahko doseže, opredeljujemo kot razširjene strategije sodobne arhitekture. Sodobni čas lahko razumemo skozi različne vidike, ki ga opredeljujejo. V disertaciji smo se posvetili politični, ekonomski in ekološki problematiki ter jih zaobjeli s tremi vidiki, ki so stične točke med arhitekturo in družbo. Zanima nas arhitekturna reartikulacija teh vidikov. V njej je moč in družbena relevantnost arhitekture. Trije vidiki, ki nas zanimajo, so politični, ekonomsko-družbeni in ekološko tehnični. Znotraj vsakega od njih smo, da bi dokazali praktične implikacije naše teze, poiskali arhitekturne ustvarjalce, ki s svojim delom na posebej produktiven način v svojih projektih (kljub temu, da sicer delujejo univerzalno, znotraj večih vidikov) poudarjeno naslavljajo problematiko po enega izmed treh vidikov, ki smo jih izpostavili. To so arhitekturni biroji Njiric+, Lacaton & Vassal in Ecosistema Urbano. Njiric+ deluje na poudarjeno političen, Lacaton&Vassal na ekonomsko - družben in Ecosistema Urbano na ekološko-tehničen način. Njirićevo politično delovanje temelji na subverziji špekulativnih pristopov zasebnih in javnih naročnikov, ki so se vzpostavili zaradi odsotnosti produktivne državne in mestne politike. Lacaton & Vassal standardni model varčnosti zamenjajo z ekonomskim pristopom, ki s tipološko spremembo in alternativno materialno artikulacijo ustvarja arhitekturo izobilja, ki omogoča in vzpodbuja popolnoma nove modele uporabe. Ecosistema Urbano skozi integracijo okoljske tehnologije in narave ustvarjajo projekte, ki kažejo na novo možno vizijo ekološko integrirane arhitekture. Našteti biroji naslavljajo in se spoprijemajo z opisano tematiko z različnih robnih pozicij. Njiric+ deluje na geopolitičnem obrobju Evrope Lacaton & Vasal in Ecosistema Urbano pa delujejo na obrobju strokovnega zanimanja, saj sicer izhajajo iz močno arhitekturno profiliranih okolij. Trije izbrani biroji delujejo z razširjenimi strategijami 21. stoletja, uporabo katerih smo skozi analizo pokazali na primeru njihovih arhitekturnih projektov. Sodobno arhitekturo vzpostavljajo z razumevanjem sodobnega časa, reartikulacijo političnih, ekonomsko družbenih in ekološko-tehničnih vprašanj. S strategijami, ki smo jih raziskali pri izbranih praksah, smo pokazali, na kakšen način se lahko arhitektura danes, na družbeno kritičen in produktiven način vzpostavlja ter tako sooblikuje 21. stoletje. The doctoral thesis stems from questioning how architecture can actively establish itself in relation to contemporary society. In large part, this is determined by the globalised neoliberal capitalism, establishing itself predominantly through political, economic, environmental, humanitarian, healthcare, and other crises. We are interested in determining the role of our profession in the current environment so as to positively contribute to society, rendering it relevant. With this dissertation, we demonstrate how contemporary architecture in the 21st century works autonomously, thereby actively and critically co-creating its societal context. Architecture functioning autonomously means working within society, but without subordinating itself to the established societal realities. We envision working within society as understanding the scope of the problem, and rearticulating it in an autonomous way, as only architecture can. We therefore state that architecture must enhance society by dealing with current societal issues. Architecture had previously functioned in the aforementioned way, i.e. during the eras of Enlightenment and Modernism. Such workings were interrupted by the flourishing neoliberal capitalism, which put a stop to architecture’s progressive standpoints and agendas. In this dissertation, we search for ways in which architecture, as it had done in the 20th century, could function progressively today. The tools with which contemporary architecture might achieve this are defined as expanded strategies of contemporary architecture. We understand contemporaneity through various points of view that, in turn, define it. Within the dissertation, we discussed the political, economic and ecological points of view and encompassed them with three perspectives that function as junctures between architecture and society. The three points of view we’ll keep in focus are the political, economic-social, and ecological-technical points of view. So as to prove the practical implications of our thesis, we looked for creators of architecture that fit each of those points of view, and that address with their work in an especially productive way the issues highlighted by each of our perspectives. These are the architectural offices Nijric+, Lacaton & Vassal, and Ecosistema Urbano. Njiric+ works in a notably political way, Lacaton & Vassal’s approach is economic-social and Ecosistema Urbano apply an ecological technical point of view. Njirić’s political activity lies in his subversion of speculative approaches to private and public clients that have established themselves in the absence of productive national and municipal politics. Lacaton & Vassal have replaced the standard austere model with an economic approach that takes a typological change and an alternative material articulation to create the architecture of plenty, enabling and encouraging entirely different models of use. Through integrating eco-friendly technology and nature itself, Ecosistema Urbano create projects that demonstrate a new possible vision of an ecologically integrated architecture. The offices address and deal with the described issues from various borderline positions. Njiric+ is active at a geopolitical borderline of Europe while Lacaton & Vassal and Ecosistema Urbano are active at the edges of professional interest, as they otherwise come from architecturally well established environments. The three selected offices work with the expanded strategies of the 21st century, and we have demonstrated their use with their architectural projects. They have established contemporary architecture by understanding our contemporary times and rearticulating political, socioeconomic and ecological-technical questions. By researching these strategies, implemented by selected offices, we demonstrated how architecture today can establish itself in a socially critical and productive way, co-creating the 21st century.

Pričujoče besedilo se ukvarja s Schleglovo politično filozofijo, izpeljano iz njegove teorije ironije. Ironija je bistveni del romantičnega odnosa do sveta, kot se kaže v t. i. »progresivni poeziji« ter odprtosti in fragmentarnosti romantične biti in jezika. Toda ključen kritik koncepta ironije, Hegel, njeno igro nedokončanosti označi za samovoljnega subjekta oz. za zlo, ki uničuje skupnost, romantike pa razume kot protipol svoje spekulativne filozofije. Po drugi strani pa je Kant, kljub racionalizmu transcendentalnega idealizma, z estetsko sodbo o lepem in sublimnem veliko bližje romantikom, saj je prvo sodbo mogoče razumeti kot podlago intersubjektivnosti, potrebne za igro ironije, drugo pa kot tisto »nikoli spoznavno«, ki to igro sploh omogoča. Tako ironija ne onemogoča nastanka v – najširšem možnem pomenu – politične skupnosti. Taka skupnost vendar temelji na pluralizmu lokalnih narativov in decentraliziranosti, v čemer je treba iskati povezavo s poststrukturalizmom in postmodernizmom. S tem je Heglova kritika ovržena. Še več, daljnosežna povezava med romantiko ter poststrukturalizmom in postmodernizmom kot obzorji ironične skupnosti, kot se bo izkazalo, korenini ravno v njej. The following paper discovers Schlegel’s political philosophy derived from his concept of irony as the crucial segment of romantic ontological perception of the world. Romantic irony manifests particularly in the so-called “progressive poetry”, openness, and fragmentarity of romantic essence and language. The leading critique of such concept of irony is Hegel’s. It considers its playful openness and inexhaustibility an evil, arbitrary and isolated subject who undermines any possibility of community, based on universality of law. Nevertheless, Kant and his judgment of beautiful and sublime are of much closer proximity to romantic irony than Hegel’s speculative idealism – the former with Arendt’s further concept of intersubjectivity, essential for ironic playfulness, and the latter with its “revealing” of limits to our knowledge which in turn enables the game of irony. Hence, romantic irony does not disable any formation of political – in its broadest sense – community. An ironic community, that is to say, is founded on pluralism of local narratives and dispersion which bring us to 20th century poststructuralist and postmodernist paradigms. Hegel’s critique is then refuted. Furthermore, it will be argued in this paper that the very same critique represents the ground on which a far-fetched correlation between romanticism and postmodernism plus poststructuralism, respectively, as the horizons of ironic community, is actually based.

Instalacijska umetnost se je pojavila v 60. letih 20. stoletja. Kot novomedijsko umetnost so jo uveljavljeni modernistični kritiki in teoretiki negativno sprejeli – Michael Fried jo označi kot preveč performativno prakso. Toda prav zaradi performativne vloge, ki jo ima pri obiskovalcu, je kaj kmalu postala priljubljena oblika likovne umetnosti, ki služi kot protiutež visokomodernistični greenbergovski likovni praksi. Instalacijski diskurz vznikne ob ontološkem obratu, ki iz modernizma rodi postmodernizem. Z intersubjektivnim razumevanjem gledalčeve izkušnje je teorija instalacijske umetnosti skoraj povsem podvržena fenomenološki razlagi, za povrhu pa lahko obiskovalčevo vlogo razumemo kot predvsem performativno. Danes je instalacija ena izmed najbolj uveljavljenih likovnih oblik, termin pa je pogosto tudi zlorabljen. Definicija instalacije mora ostati dovolj odprta, vendar hkrati ne sme biti preširoka. Instalacija je izrazito prostorsko utemeljena, vendar hkrati odvisna od posameznega obiskovalca. Aktivacijo obiskovalca instalacije je definirala že Claire Bishop, Anne Ring Petersen pa je njeno definicijo instalacije nadgradila s konceptom performativnosti. Kot danes prevladujoči likovni izraz se je instalacija v zadnjih petdesetih letih razvijala, z razvojem instalacijske umetnosti pa se je razvijal tudi instalacijski diskurz. Tako likovna forma kot diskurz nista zaključeni tvorbi, zato bo razvoj potekal še naprej, zanj pa bo potrebno nadaljnje teoretično motrenje sprememb, ki se pojavljajo v likovni umetnosti. Installation art first appeared in the 1960s. As new media art, it received a negative reception from established modernist critics and theorists - Michael Fried characterizes it as an overtly performative practice. However, it soon became a popular form of fine art, precisely because of the performative role it has in the visitor, which serves as a counterweight to the highly modernist Greenbergian art practice. Installation discourse emerges at the ontological turn, which initiates postmodernism out of modernism. With an intersubjective understanding of the viewer's experience, the theory of installation art is almost entirely subject to phenomenological interpretation, and on top of that, the role of the visitor can be understood as primarily performative. Today, installation is one of the most established art forms, and the term is often misused. The definition of the installation must remain sufficiently open at the same time, but not too broad. It is distinctly spatially based, but at the same time dependent on each individual visitor. The activation of the installation visitor was already defined by Claire Bishop, later Anne Ring Petersen upgraded her definition of the installation with the concept of performativity. As today's dominant artistic expression, installation has developed over the past fifty years, and installation discourse has also developed in accordance with the development of installation art. Both the artistic form and the discourse are not finalized creations, so the development will continue, which will require further theoretical study of the changes occurring in the visual arts.

Pričujoče magistrsko delo je posvečeno ruski dramatičarki Nini Nikolajevni Sadur in njenemu dramskemu besedilu Pannočka (rus. Панночка). Sadurjeva velja za izredno kompleksno avtorico, kar med drugim dokazujejo raziskovalci, ki si glede žanrske umestitve Nine Sadur niso enotni. Dramatičarko sicer najpogosteje prištevajo med postmoderniste in tudi naša izhodiščna teza je predpostavljala, da gre za postmodernistično avtorico. Prvi del magistrske naloge se ukvarja z značilnostmi obdobja, poseben poudarek je namenjen dramatiki. Za eno najbolj prepoznavnih in ključnih značilnosti postmodernizma velja intertekstualnost, ki je podrobneje predstavljena v nadaljevanju naloge. V slovenskem prostoru je na področju intertekstualnosti velik doprinos storil Marko Juvan. Osnoval je sistem medbesedilnosti, s pomočjo njegove teorije pa smo raziskali intertekstualnost v drami Nine Sadur. Širom sveta poznana dramatičarka je v Sloveniji še precej neznana, pričujoče magistrsko delo pa predstavlja njene literarne vplive in poskuša izluščiti tipične poteze njenega literarnega ustvarjanja. Sadurjeva se v štirih dramah navezuje na ruske klasike, posebna vez pa jo povezuje z Nikolajem Vasiljevičem Gogoljem. V magistrski nalogi nas je zanimal njen dialog z ruskim klasikom in njegovim Vijem (1885) v dramskem tekstu Pannočka (1985−1986). Podrobneje smo preučili intertekstualnost, ki se neposredno nanaša na Nikolaja Vasiljeviča Gogolja, izluščili pa smo tudi ostalo medbesedilnost, ki se kaže na različnih ravneh dramskega besedila. The thesis is dedicated to the Russian playwright Nina Nikolaevna Sadur and her dramatic text Pannochka (Russian: Панночка). Sadur is considered an extremely complex author, as evidenced by researchers who are not unanimous about the genre placement of Nina Sadur. The playwright is most often considered a postmodernist, therefore the thesis also assumes that she was a postmodernist author. The first part of the master's thesis deals with the characteristics of the period, with special emphasis on the drama. One of the most recognizable and key features of postmodernism is intertextuality, also presented in more detail. Marko Juvan's system of intertextuality is the best known in Slovenia, therefore, his theory is used to explore the intertextuality in Nina Sadur's play. The world-famous playwright is still quite unknown in Slovenia, so the thesis presents her literary influences and tries to identify typical features of her literary work. In four dramas, Sadur has a connection with Russian classics, and a special connection with Nikolai Vasilyevich Gogol. The thesis is mostly interested in her dialogue with the Russian classic and his Viy (1885) in the dramatic text Pannochka (1985−1986). Hence, the intertextuality that directly refers to Nikolai Vasilyevich Gogol is examined in more detail. Also, extracted is the rest of the intertextuality, reflected at different levels of the dramatic text.

Pričujoča naloga se ukvarja z analizo in primerjavo tekstov treh različnih teoretikov in teoretičark, ki so v svojem delu raziskovali opus nizozemskega umetnika Karla Appela – Willemijn Stokvis, Rudija Fuchsa in Jeana-Françoisa Lyotarda. Analiza preučuje slogovne opredelitve Appelovega dela, ki jih teoretika in teoretičarka predstavijo, in kritično ovrednoti njihova teoretska izhodišča in zaključke. Preko kritične analize naloga raziskuje razloge za pluralnost slogovnih opredelitev Appelovega opusa ter odnos med njegovo umetnostjo in teorijo. Namen naloge je osvetliti razlike v analiziranih slogovnih opredelitvah, interpretirati te razlike v kontekstu razumevanja Appelove umetnosti ter ponuditi novo slogovno opredelitev umetnikovega opusa, ki je oblikovan na osnovi kritičnega branja. This thesis analyses the work of three different theoreticians who wrote on the art of the Dutch artist Karel Appel – Willemijn Stokvis, Rudi Fuchs and Jean- François Lyotard. The following text focuses on the stylistic analysis each theoretician provides, a critical assesment of the basis of their theoretical frame and an evaluation of their findings. The thesis will investigate the causes for the pluralist nature of stylistic analyses of Appel's work and the relationship between his work and theory. The goal of this thesis is to highlight the differences in stylistic analyses, to interpret these differences in the context of understanding Appel's art and to propose a new stylistic analysis of the artist's work, based on critical reading of the aforementioned works.

Diplomsko delo govori o Los Angelesu kot postmodernem mestu. Najprej smo analizirali ključna teoretična izhodišča, pristope in pojme, ki so povezani s postmodernim mestom. Nato smo analizirali mesto Los Angeles glede na demografsko in gospodarsko strukturo ter si pogledali, kakšno je mesto vizualno in kaj je zanj značilno. V zadnjem delu smo opisali urbano omrežje Slovenije in njeno demografsko ter gospodarsko strukturo ter v zaključku naredili primerjavo med obema. This paper discusses Los Angeles as a postmodern city. First, we analysed the main theoretical basis, approaches and definitions that are connected to a postmodern city. Then we analysed the city of Los Angeles from the demographical and economical point of view. We described what the city looked like and what its specifics were. In the last part of this paper, we described the urban network of Slovenia and its demographical and economical structure and in the end, we made a comparison of the two.

V turizmu se dogajajo veliki premiki tako na ponudbeni strani kot na strani turistov. V literaturi so novodobni trendi na področju turizma zelo pogosta tematika in veliko avtorjev le-te povezuje s širšim družbenim pojmom postmodernizma. V magistrski nalogi sem se osredotočil na vidik tega pojma, ki se nanaša na luksuzni turizem v Sloveniji. Na podlagi virov in intervjujev z nekaterimi turističnimi deležniki dveh destinacij sem ugotovil, da se ponudniki vse bolj zavedajo novodobnih trendov, ki jih lahko povežemo s postmodernostjo, vendar je v praksi prisotnih še nekaj vrzeli, zaradi katerih luksuzni turistični potencial dveh slovenskih destinacij ni izkoriščen v popolnosti. V empiričnem delu naloge sem uporabil kvalitativne raziskovalne metode intervjujev, ki so bili opravljeni z direktorjema javnih zavodov za turizem in kulturo destinacij Rogaška Slatina in Podčetrtek, s predstavniki nekaterih turističnih ponudnikov omenjenih destinacij in predstavnico turistične agencije iz Rogaške Slatine. Na koncu sem primerjal odgovore intervjuvancev ene in druge destinacije ter ocenil, katera destinacija ima več skupnih točk s teorijo o postmodernem luksuznem turizmu. Ugotovitve sem povezal tudi s strategijo luksuznega turizma Slovenske turistične organizacije in kvalitativno ocenil, katera destinacija je z njo bolj skladna. In tourism, there are big changes both on the supply side and on the side of tourists. In the literature, modern trends in the field of tourism are a very common topic and many authors associate these trends with the broader social concept of postmodernism. In my master's thesis, I focused on the aspect of this concept, which refers to luxury tourism in Slovenia. Based on sources and interviews with some tourism representatives of the two destinations, I found that providers are increasingly aware of modern trends that can be associated with postmodernity, but in practice there are still gaps that prevent the luxury tourism of the two Slovenian destinations to reach its potential in full. In the empirical part of the thesis, I used qualitative research method of interviews conducted with directors of public institutes for tourism and culture in Rogaška Slatina and Podčetrtek, representatives of some tourist providers of these destinations and a representative of a tourist agency from Rogaška Slatina. In the end, I made a comparison between the answers of the interviewees of one and the other destination and assessed which destination has more in common with the theory of postmodern luxury tourism. I also linked the findings to the luxury tourism strategy of the Slovenian Tourist Board and qualitatively assessed which destination is more in line with it.

V sodobni konzumaciji podatkov, informacij digitalnega medija, razumevanje vizualnih vsebin postaja pomembna in značajna za daljši razvoj kulture in vizualne sfere človeštva. Prav tako je sodobno razumevanje vizualnih podob skozi digitalno dobo, doprineslo eskalaciji vprašanja vizualne kompleksnosti, naravne in matematične »lepote«, generativnosti in dekoracije. Vprašanja se dotikajo postmodernizma in njene kritike, v kontekstu razumevanja oblikovanja in oblikovalca kako dvodimenzionalnega, tako tudi trodimenzionalnega prostora. Zato kot ključen element za raziskovanje vprašanja izhajam iz stališča ornamenta, kot izgubljenega elementa oblikovalskega sveta. Cilj mojega diplomskega dela je kritika postmodernega razumevanja ornamenta s stališča industrializacije in digitalizacije, v kateri bom kot glavni del diplomskega dela bom predstavil digitalno orodje za izdelavo ornamenta, ki bi služil oblikovalcem kot novi element pri oblikovanju in na ta način ozavestil oblikovalce o potrebi transparentne in skrite vizualne kompleksnosti, generativnosti, vplivu in nujnosti sodobnega ornamenta. In the modern consumption of data and digital information, the understanding of visual content becomes important for further development of culture and visual sphere of humankind. With the beginning of digital era, the contemporary understanding of visual content has uprisen the questions of visual complexity, nature and mathematical “beauty”, generativity and decoration. The question is in relation with postmodernism and its critique, in the context of understanding design and designer of two-dimensional and three-dimensional space. In that sense, as a main element of research, I come from the viewpoint of ornament, as a lost element of visual media. The goal of my thesis is a critique of postmodern understanding of ornament in the context of industrialization and digitalization, in which as a main element of the research and outcome I am presenting a digital tool for producing ornaments. The tool will serve designers as a new element in designing, thus make designers aware of the need for transparent and hidden visual complexity, generativity, influence and necessity of contemporary ornament.