/ 1968
/ 1968
TRANSITION
/in Critiques and Reviews /by Kcs21blAA / 1968
LOGIC OF THE EMBODIED SUBJECT AND CONTEMPORARY CULTURE
/in Studies /by Kcs21blAAThe body’s emergence from theoretical anonymity offers a possibility for a different rethinking of contemporary culture. A need arises for a polyvalent thinking that follows the logic of the embodied subject of contemporary culture, as opposed to the binary thinking of modernist culture. The text will fuse the post-generic constructions of the body in anthropology and philosophy with the cyborg techno-bodies of digital culture.
/ 1968
ROLE OF CREATIVITY IN THE PHILOSOPHY OF HISTORY OF NIKOLAI BERDYAEV
/in Studies /by Kcs21blAAIn introduction, the paper determines an anthropological propositions of Nikolai A. Berdyaev’s philosophy underlying his teachings on creativity. According to him, a man is not just an object of nature, but its supernatural subject. He is a measure of all things, a microcosm. Next follows deliberation about the nature of cognition where Berdyaev equates a gnoseology with the creativity act, because only acting can provide knowledge. Further on, in the section about creativity, Berdyaev diverges from the patristic, negative anthropology based on atonement of original sin, and directs toward a positive man’s mission that is not only to create, but to enrich „life“ of the God Himself. Finally, his learning about philosophy of history is presented: people preparing for the coming of the „Kingdom of God“ through creativity (in the form of a metahistorical order) are also created as free persons. Therefore, the process of world „objectivization“ is canceled, and the „second coming of Christ“ is prepared.
/ 1968
ATTITUDES OF PRIMARY AND SECONDARY SCHOOL STUDENTS TO ART CULTURE
/in Studies /by Kcs21blAAThe paper presents results of a research aimed at determining how students evaluate Art as a school subject and how they assess Arts teachers’ traits. The research was based on a questionnaire given to a sample of 220 primary and secondary school students. The research results indicate that a quarter of students classify Art classes among favorite subjects, those often being the students with lower general success rate than students with the higher one. There are no statistically significant differences when comparing the results of research in relation to variables: students’ gender, the mark in Art, age and educational institutions. Art teachers’ traits are a critical factor for students who put Art classes in the group their favourite subjects, followed by the contents of the subject and the teacher’s approach to work. Results of the research on the Art teachers’ traits raise questions of teachers’ competences and motivation for work. More than a half of the respondents considered that Art as a subject is less valued when compared with other subjects, and they recognized the role of art teachers as a crucial one in encouraging the youth interest in visual arts. Concluding remarks indicate that the characteristics of the subject can be viewed through the competences of teachers to make the planned contents more accessible and interesting to each individual student. It is believed that the results of the study indicate that the subject of Art requires complex scientific research with the aim to create a solid and broad scientific basis and provide the social support for its further improvement. Key actors in encouraging the youth interests in visual arts and the promotion of multiple functions that Art has in the overall development of personality, and thereby in improving the status of arts in relation to other subjects, are not only school and Art teachers, but education policy-makers as well.
/ 1968
THE ELEMENTS FOR IMPLEMENTATION OF INCLUSION
/in Studies /by Kcs21blAAIn Serbia, disabled people represent about 10% of the population. This marginalized social group has the potential to become a productive part of society. Social activities, first and foremost in culture and art, represent an excellent field for the application of the social model of attitude towards people with disabilities and establishment of an inclusive society. Creating an inclusive society is today’s imperative. The elements for the implementation of inclusion are presented in three steps that allow easy and sustainable way of including people with disabilities in the work of cultural institutions. This sensitive social group represents a potential that not only can increase the share of participation of audience in the work of cultural institutions, but can also become a productive factor in the work of cultural institutions with their creativity and ability.
/ 1968
ECONOMIC GROWTH AND SUBJECTIVE WELL-BEING IN DEVELOPED COUNTRIES
/in Studies /by Kcs21blAAThe paper examines the Easterlin paradox, regarding long-term lack of correlation between the economic growth and subjective well-being of populations. The analysis covered 14 relatively developed European countries during the 2002-2012 period. The data coming from European Social Survey confirm the paradox, i.e. indicate the lack of correlation between economic growth and changes of the average subjective wellbeing of populations. The explanation of these results can be found in the relative income hypothesis, GDP’s diminishing marginal utility, hedonic adaptation principle, and in the aspiration level theory. The results, among other things, support utilitarian idea of transition of developed societies policies’ primary goals, from economic growth to rising of subjective well-being.
/ 1968
BECOMING-GROUND OF A FIGURE: PETER EISENMAN’S THE GALICIAN CITY OF CULTURE
/in Context in Arts and Media /by Kcs21blAAThis study is about understanding of the Deleuze’s concept of becoming in the context of figure-ground relations, through Peter Eisenman’s architectural project „The Galician City of Culture“ built in Santiago de Compostela (Spain). Locating the study within the frames of ontology and phenomenology of space, theory of text and cultural analysis, the main hypothesis of this paper is that Eisenman’s project „The Galician City of Culture“ performs transgression of the language of modernist architecture, blurring the boundaries between figure and ground. In other words, Eisenman’s figurative form of „The Galician City of Culture“ is caught up in the act of becoming-ground (of a tectonic expression, but also of a broader social and cultural context). Developing this hypothesis through historical, comparative, theoretical and analytical method, the main aim of this study is understanding the architectural practice not as a mere art object, situation or an event, but as a work that is formed in the dense network of surrounding texts of society, landscape and culture, which is not exempted from these networks but occurring in the midst of them, determined by them and also determinative for them. In what way does Eisenman’s architecture perform the transgression of the language of modernist architecture? How can that, which is an architectural form, at the same time be understood as transgression and vice versa, how can that, which is deviation, derogation, unfolding, at the same time be the form? How can we understand the concept of a figure becoming-ground in the context of the Eisenman’s concrete example of architecture? These are the key questions of this study. In theoretical context, the study is based on the investigations of Gilles Deleuze, Felix Guattari, Colin Rowe, Le Corbusier, Jean Lyotard, Rosalind Krauss, Georges Bataille and Homi Bhabha.
/ 1968
UKIYO-E BETWEEN POP ART AND (TRANS)CULTURAL APPROPRIATION
/in Context in Arts and Media /by Kcs21blAAThis essay is based on a curatorial research of Muhamed Kafedžić – Muha’s artworks and our collaboration 2012-2015. The work juxtaposes, on the one hand, the paintings of this Sarajevo-based artist and, on the other hand, questions the meaning and applicability of cultural appropriation theories on his work. The goal is to present a complex procedure of appropriation of processes and styles in art history, in Kafedžić’s example a hybrid of Japanese ukiyo-e woodcuts (17th to 19th centuries) and the USA Pop art painting (20th century), predominantly by Roy Lichtenstein. By contextualizing the artworks in question and using an innovative approach, the original templates are transformed with a set of new meanings and readings. With great knowledge and respect of the original artworks and authors, Muha’s research is deep and visible in his appropriation method. In the context of Bosnia and Herzegovina, the intention has been to emphasize how Muha’s artwork has an element of dislocation and outsideness, regarding both the place and the national tradition, which consequentially develops into a trans-cultural perspective, using Japanese (pop) art as a trans-national networking point. Among the referenced artworks are series such as “100 Views of Ukiyo-e, Volume I: Masters”, showing homage to ukiyo-e masters from the 17th to the 19th century with a variety of subject-matter (theater, mythology, erotica, samurai, courtesans, landscapes, animals), playing with a context of Bosnia and Herzegovina as in “History re-painting” and “36 Odd Views of Sarajevo”, “100 Great Waves” as an homage to and street art/mural reinterpretation of Hokusai’s famous painting “Great Wave of Kanagawa”, as well as “Utamaro Lichtenstein” which playfully and directly references both Lichtenstein and Hokusai, demonstrating the two core influences of Muha’s work.
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