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Tema diplomskega dela je plastika v umetnosti. Raziskujem, preučujem plastiko kot material njeno materialnost, teksturo, izraz, v tem kontekstu tudi njeno sporočilnost, ikonološko in ideološko vrednost umetnega odpadnega materiala, odpadkov. Plastika me zanima kot materialni odtis, preostanek človeka. Gre za abstraktni in abstrahirani, poenostavljeni pristop do uporabe nekonvencionalnih materialov, predvsem plastike in najlona, njune perforacije, zvijanja, lepljenja, modeliranja, rezanja in taljenja. To ustvarja večplastno konstrukcijo slikarskega prostora na slikarski površini. S takšnim pristopom v delu izpostavim material, materialnost, teksturo in reliefnost slike, odnos svetlo – temno, odnos dvodimenzionalnega in tridimenzionalnega, transparenco in reliefen, tridimenzionalen, taktilni karakter. Uporaba plastike kot odpadnega materiala prinaša s seboj preučevanje vpliva plastike na okolje, naravo in človeka samega. Delo je tudi reprezentacija ekologije, ekoloških vprašanj, vprašanja odpadne plastike ter notranje ekologije, antropoloških in eksistencialnih vprašanj. Iščem odgovor, reakcijo na sodobno, trenutno situacijo sveta. Plastika kot material v mojih umetniških delih dobi novo vrednost in obstaja, živi v neskončnosti, neskončnem kontinuumu, v absolutnem in neskončnem zdaj. The topic of the thesis is plastic in art. I am researching and studying plastic, as a material, its materiality, texture and expression, in this context also its message, iconological and ideological value, as artificial waste material, as waste. I’m interested in plastic as a material imprint, remnant, as human remains. It’s a case of an abstract and abstracted, simplified approach to the use of unconventional materials, especially plastic and nylon, their perforation, bending, gluing, molding, cutting, and melting. This creates a multilayered construction of the painting space on the painting’s surface. With such an approach, in my works I emphasize the material, materiality, texture, and relief of the painting, the relationship between light and dark, the relationship between two-dimensional and three-dimensional, transparency and embossed, three-dimensional, tactile character. The use of plastic as a waste material, brings with it the questioning of the impact of plastic on the environment, nature and human themselves. The work is also a representation of ecology, ecological issues, issues of waste plastic and internal ecology, and anthropological and existential questions. I’m looking for an answer, a reaction to the contemporary, current situation of the world. Plastic, as a material and in my works of art acquires a new value and exists, lives in infinity, the infinite continuum, in the absolute and infinite now.

Diplomsko delo raziskuje tematiko neskončnosti in njeno simboliko pri argentinskem pisatelju Jorgeju Luisu Borgesu. Za analizo uporablja kratke zgodbe Alef (Aleph 1949), Babilonska knjižnica (La biblioteca de Babel 1941) in Vrt razcepljenih stez (El jardín de senderos que se bifurcan 1941). Borges se je s tematiko neskončnosti in večnosti na zanimiv način ukvarjal čez svoj celoten opus do te mere, da so ga poimenovali za »pisatelja neskončnosti«. Najbolj značilni simboli, ki jih lahko povezujemo s konceptom neskončnosti v njegovih delih, so zrcala, sanje, labirinti in knjige. V zgodbi Alef je neskončnost prikazana kot točka, ki vključuje celotno vesolje, vključno s to točko, kar dela njo in vesolje neskončno. V Babilonski knjižnici se srečamo s knjižnico (metafora za svet), ki je neomejena in ciklična, s tem pa neskončna. V Vrtu razcepljenih stez avtor bralcu predstavi časovni labirint, v katerem je čas neskončen, pluralen, zmožen se je deliti in cepiti. Neskončnost avtor uporablja, da bi bralca prepričal, da nič ni realno, da živimo v neskončnem vesolju, ki nima nikakršnega transcendentalnega smisla. V vseh treh delih Borges ustvari literarni (neskončni) labirint, s katerim namiguje na pomembnost literature, ki je v svetu brez smisla sama smisel in v katerem ima pisatelj božjo moč. Undergraduate thesis researches the theme of infinity and her symbols in Argentinian writer Jorge Luis Borges. For analisis uses short stories Aleph (Aleph 1949), The Library of Babel (La biblioteca de Babel 1941), The Garden of Forking Paths (El jardín de senderos que se bifurcan 1941). Borges explored in a very interesting way the themes of infinity and eternity throughout his entire opus so much that he was named »the writer of infinity«. The most typical symbols that we can relate to the concept of infinity in his work are mirrors, dreams, labyrinths and books. In Aleph the infinity is shown as a dot that includes all universe including this particular dot, which makes it and the universe infinite. In The Library of Babel we are met with a library (metaphor for the world) that is unlimited and cyclic and with that infinite. The Garden of Forking Paths is a time labyrinth in which the time is eternal, plural, able to divide and fork. Infinity is used by the author to convince the reader that nothing is real, that we are living in an infinite universe that has no transcendent sense. In all three stories mentioned Borges creates literary (infinite) labyrinth with which he implies on the importance of literature that is, in a world with no sense, the only sense and in which the author has a power of God.

POVZETEK Diplomsko delo Dojemanje neskončnosti premice je sestavljeno iz dveh delov: teoretičnega in empiričnega. V teoretičnem delu so predstavljene Van Hielejeve stopnje geometrijskih predstav, definicije premice in neskončnosti, neskončnost števil, neskončnost premice, ponazorila neskončnosti premice, ponazoritvene vaje za izboljšanje predstav o premici in premica kot del učnega načrta. Namen diplomskega dela je bil ugotoviti, ali učenci dojemajo neskončnost premice ter analizirati stanje v osnovnih šolah. Pri raziskovanju so bile uporabljene deskriptivna, kavzalno-neeksperimentalna in kavzalna eksperimentalna metoda pedagoškega raziskovanja. Rezultati so pokazali, da učenci v četrtem razredu, ko se prvič srečajo s premico, še niso na stopnji razvoja, na kateri bi analitično razumeli neskončnost premice. Na deklarativnem nivoju sicer povedo, da je premica neskončno dolga oz. neomejena ravna črta, vendar pa si na konceptualnem nivoju premice ne predstavljajo kot take. Osnovni razlog je vizualna oz. delno analitična narava dojemanja geometrijskih pojmov na tej razvojni stopnji. Ugotovljeno je bilo, da bi bilo potrebno premico v višjih razredih, ko so učenci že sposobni dojeti in razumeti neskončnost premice, obravnavati na vizualnem in analitičnem nivoju in dosledno upoštevati spiralnost učnega načrta oz. izgradnje kognitivne mreže. V četrtem oz. petem razredu bi se torej le pridobivale izkušnje, ki so predpogoj za abstrahiranje pojma v višjih razredih. ABSTRACT The thesis Perception of Infinity of a Line consists of two parts: a theoretical and empirical part. The theoretical part presents Van Hiel’s levels of geometrical reasoning, definitions of a line and infinity, infinity of numbers, illustrative exercises for improving the perception of a line and a line as a part of curriculum. The aim of the thesis was to find out if students comprehend the infinity of the line, and to analyse the situation in elementary schools. A descriptive and experimental method were used in this research. The results have showed that the students of the 4th class, who get familiar with the line for the first time, are not on the development level which would enable them an analytical perception of the infinity of the line. They say that a line is unlimited and straight, but they cannot comprehend that on a conceptual level. The basic reason is visual and partly analytical way of perception of geometrical concepts at this stage of development. Consequently, line should be dealt with in higher classes of elementary school when students are able to perceive and comprehend the infinity of a line, and coverage on visual and analytical level is possible. At the same time the spiral of curriculum and construction of cognitive network should be taken in serious consideration. To sum up, work in 4th and 5th class should be focused on getting experience which would form a framework for abstraction of the concept in higher classes of elementary school.