/ 1968
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GLOCAL MULTIMEDIA ART

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Glocalisation and Multimedia Art synchronization exclude negative effects of globalisation on the one hand and extreme local nationalism on the other hand, as well as predominance of mass media technology on human race. The real glocal approach existentially aims to artistic and scientific experiences conjoined. The Mass media (photography, comics, poster, radio, film, video-art, television and the internet) are very helpful to the artist: such media make special presentations possible (street or online performances), thus actualizing the next step in artistic development of maturing as artistic individualisation: social individualisation or socialisation through digitalized, bare, but penetrative feedback information. Once more in a nutshell: Multimedia Art is not just logically created multimedia from a technological point of view, but a synergic intensification and orchestration of Art work. Multimedia Art also emphasises intensification of existential supportings through “Einfühlung” (Empathy) and specifically New Inventing Perception, so we become more aware of personal freedom and individuality. There are not too many quality Multimedia Art works in the world, especially performances, due to their high costs, but we can invent some Primary Multimedia works of Art to use in practice, which we tried to show in the paragraph Experiences from practice.

/ 1968
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THE LIGHT OF ALEXANDRIA BEACONS

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Information literacy is important for successful use of an electronic library to which users access by Internet. Application of information and communication technologies has been increasingly expanding and becoming part of everyday life in all developed countries of the world. Alexandria Proclamation on Information Literacy and Lifelong Learning proclaims that information literacy and lifelong learning are the beacons of the information society, illuminating the courses to development, prosperity and freedom.“ Lifelong learning is the value that different countres and international institutions have set as universal and it is an important mission of every modern library. IFLA (International Federation of Library Associations and Institutions) recognizes information literacy as a “basic human right in a digital world that promotes social inclusion of all”. The paper provides some definitions of information literacy, short review of the Alexandria Manifesto, as well as strategic documents of Serbia in this important domain.

/ 1968
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THE QUESTION OF CULTURAL POLICY AS A POLICY

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The relationship between politics and culture in a multiparty representative democracy is in its very essence problematic. On the one hand there is the cultural sphere, stressing that culture and the arts must be independent and autonomous, even if – by force of circumstance – they are financially dependent on government. On the other hand, cultural policy as public policy cannot simply be excluded from the political system and delegated to the connoisseurs. The ruling policy which won the election has a democratic mandate to regulate public affairs – even in the field of culture. Due to the high specialization of social subsystems, which have become operationally closed organisms, there is an even greater threat of democratic deficit if politicians have to stay away from culture and arts. This attitude shakes the very foundations of democracy as a political form of government in which the governing power is derived from the people. A positive alternative to the arm’s length principle as an insulation of arts from politics, which potentially reduces the ability to attract and retain political support, should therefore be replaced by an arm-in-arm approach, i.e. a policy of interaction between the political authorities, professionals and citizens/users. This new deal should be based on inclusion in the political process (participative democracy) and the dialogue between them (deliberative democracy). The article proposes some elements that would enable this process.

The modern democratic formula is hidden in the winning combination of a strong state and strong civil society, where the magical balance between differentiation, politics and professionalisation is to be found. Only this balance can mutually neutralise the various dangers such as: differentiation with the unresolved problem of coordination and integration, politics that can change into partocracy, and professionalism that can succumb to opportunism and lead to technocracy. At the centre of this balance lies the need for re-affirmation of the public value of culture which presupposes its re-politisation.

/ 1968
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SYNTHESIS OF ART: SOME QUESTIONS

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/ 1968
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THIS WILL KILL THAT

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/ 1968
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BLAMING THE VICTIM

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/ 1968
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GARBAGE COLLECTORS AND/OR ARTISTS: IS IDOLATRY OF WASTE UNCULTURED

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In this papers the authors attempt to explore the relationship between contemporary art and industrial waste material and its interface with society. In addition, the paper deals with the physical and mental human pollution in modern society and the role of the artist as a witness and a visionary. Discarded objects, exploited and abandoned, like tired old men, became objects of idolatry and a new obsession for a number of artists. Question is how did it come to legitimate glorification of rubbish and waste, ie. many discarded and worn items of industrial production and mass culture.

/ 1968
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METAPICTURES AS A MEANS OF CREATING CULTURAL VALUES

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Mitchell’s (2005) definition of metapicture appears as a term that includes a combination of television, literature, visual and musical arts, and the like, but also all forms of advertising (political and economic). Projected images fully mimic the process of mental representation in the human consciousness and their overlapping leads to blurring the boundaries between real and unreal. This phenomenon is intended to disturb the individual reasoning and induce him to accept the notion which is imposed on him. The modern media take on an educative role of traditional communities and create a new form of metapicture, consisting of a number of elements of different cultures and artistic genres, movements and pseudo events. In the contact with beings and new forms of reality man never before in his history met, except in the imagination and ecstatic visions, the ideas imposed through the screen lead to patterns of cognitive bias. However, metapictures are images that contain a specific depth and complexity, and require and attract attention. These are the pictures with the creative driving force which the work discuss.

/ 1968
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CULTURAL AND CREATIVE INDUSTRIES IN EUROPE

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As a result of transition from capitalist to post-capitalist societies and from economy of goods to service economy, the development of cultural and creative industries is becoming the focus of a growing number of countries. As there is no internationally accepted definition of the sector or tools for its analysis, understanding of the sector and instruments of cultural policies used for its development vary significantly from country to country. Through comparative analysis of the cultural policies of Great Britain, Spain, Serbia and Croatia this paper aims at giving an insight into the different stages of development and support measures related to cultural and creative industries and offers recommendations for further development of this sector in each country. Comparative analysis is based on statistical reports, laws, policies and strategic plans of these countries, and organized in eleven topics that are emerging as key issues for cultural and creative industries: the definition of sector and state policies and objectives related to it; mapping and data analysis; regionalization; inter-sectorial cooperation; education and training; diversity and tolerance; ICT; tax policy; copyright and intellectual property rights; support to small and medium enterprises; and internationalization. Great Britain is an example of a state that seriously analyzes the sector, strategically plans its development and cultural policy measures that encourage it. Spain is a country that has recently redefined cultural and creative industries as a national priority and has largely drawn regulations, measures and models from the experience of the UK. Serbia and Croatia are examples of countries that have not yet recognized the potential of cultural and creative industries and continue to have very traditional measures and regulations related to culture and its development, which causes the underdevelopment of the creative sector.