/ 1968

MAN IS AN ESSENTIAL THEME

/ 1968

THE ROLE OF CULTURAL FACTORS IN THE PROTESTANTISATION OF ROMA IN SOUTHEASTERN SERBIA

The Protestantization of the Roma refers to a more recent process of mass involvement of the Serbian Roma in small religious communities of Protestant provenance. Cultural factors, reflected in the level of similarity between elements of the Romani cultural identity and the religious experience of the communities belonging to Protestant provenance, play a crucial role in the process of Protestantisation. Among these factors, the most important are: the role of music and dance in celebrating God, freedom and expressiveness in demonstrating spirituality, and closeness of the established religious bonds. Celebration and adoration in the Pentecostal movement are parts of religious service which particularly appeal to the Roma. By clapping their hands and swinging their bodies, they express their gratitude to God, and by shouting “Hallelujah” and “Amen” they confirm the testimonies and prayers of gratitude of other believers. With their eyes closed, they cross their arms across the chest or raise them and stretch them out towards preachers with microphones in their hands. Sometimes they even cry. Special attention in Protestant communities is paid to the first and direct individual experience of the people with whom they spend time during service. In common alienation, which is omnipresent in modern times and in the situation in which the Roma are observed as enemies by the majority, small religious communities represent oases of friendship, loving shelters and new families which protect them from solitude, fear, poverty and sickness. They heartily communicate with each other with their glances and smiles, before, during and after the service. Not only the designated member, but all other believers as well, will shake hands with anyone who enters their church, and give them a hug once they have met them.

/ 1968

VANE BOR BEYOND REALISM

/ 1968

CULTURE OF MEDIA OCULARCENTRISM

In the text, the media ocularcentrism is seen as a specific non-cultural self-affirmation by means of replicating the models of media representation. The development of scopic techniques is no longer inspired by the ideal of „Cartesian perspectivism“ but by maintaining fascination for visual exchange. In the post-industrial society, media images produce nothing; they do not construct the truth; they do not show the truth; they are produced as signifiers of monitoring mechanisms. In this way, hyperproduction of media images only confirms that there is a power over things that are in focus, not in declaration of acceptance of a certain interpretation as a civic duty but in agreement to participation in maintainance of monitoring mechanisms.

/ 1968

THEMATISATION OF SOCIAL ISSUES IN DIGITAL ART

The paper explores the strategy of social engagement of artists in the digital arts. Digital art is being developed as an artistic practice that arises in the context of digital technologies and their impact on the environment. Digital art relies not only on the technical possibilities of new technologies, but also on the analysis of their impact and understanding. The development of digitization and information technology has not only opened new approaches in processing image, sound and text, but also enabled the development of cyber-space, which is developing not only as a specific area of possible actions, but also as an object of artistic analysis. Hence the digital art opens up completely new topics, such as artificial intelligence, telepresence and telerobotics, databases, Internet activism, video games, narrative hypermedia environment, social networks, virtual worlds, etc. Cyber​​-space has been recognized as a new environment that can be artistically shaped and in which it is possible to achieve artistic actions in response to the existing social relations. Using new media, an artist rejects both the position of chronicler and critic of contemporary society. He becomes an active factor in creating a cyber-environment, while reinterpreting models of perceiving and understanding of online communication and web media.

/ 1968

MEDIA THEORY AS A SCIENTIFIC DISCIPLINE: ITS SUBJECT AND OBJECTIVES

У тексту су анализирани предмет и циљеви теорије медија. Теорија медија схваћена је као систематско промишљање масовних медија и специфичне медијске стварности. Њен циљ је посматрање медија и медијске стварности у њиховој свеукупности и свим њиховим видовима. Њом се тежи да се открију, опишу и протумаче опште одлике масовних медија, као и медијске стварности, било као производа специфичне стваралачке делатности, било као репрезентације емпиријске стварности и односа у њој. Разлог заснивања теорије медија као посебне научне дисциплине препознат је у потреби да се дефинишу, класификују и објасне специфичности медијске стварности, као и разумевања масовних медија.

/ 1968

SEARCHING FOR AESTHETICS OF MEDIA

The intensive development of communication technologies and the development of humanities, led to the establishment of a range of scientific disciplines which developed different approaches to mass and new media. However, these disciplines don’t set beauty in their focus, which open space to aesthetics of media as a separate discipline that would deal with this issue. To place such a defined subject in the focus of the research it is necessary to answer the question whether one can speak of the existence of a such separate subject of research, and what are the adequate methodological approaches? In the article will be considered a necessary conditions for establishing aesthetics of media as a separate cognitive discipline.

/ 1968

THE ADVANTAGES OF THE WORLD WIDE WEB FOR WOMEN’S OGANISATIONS IN COMPARISON TO TRADITIONAL MEDIA

Due to the speed of communication, transmission, searching for and representing information, its global availability and simplicity, Internet and web surpass other forms of public work and activist engagement. In this paper, we point out the advantages of new media technology which can be applied by women’s organisations for their presentations and political engagement in the protection and promotion of women’s human rights in relation to the earlier practice of marginalisation of women present in print media, radio and television. The paper is based on the five-month analysis of 10 women’s non-governmental websites in Bosnia and Herzegovina on the one hand, and the website of the Government Agency for the Equality of the Sexes in Bosnia and Herzegovina on the other. All the aforementioned sites were regularly observed from 1st October till 1st March 2010. Establishing the websites, women’s non-governmental organisations in Bosnia and Herzegovina made the first step towards the membership in the virtual world, but they still have to ‘’learn’’ how to use and benefit from this membership.

/ 1968

CULTURAL POLICY OF NATIONAL MUSEUMS IN SERBIA

The article presents the most important findings of the research project Cultural Policy of National Museums in Serbia. The paper actually discusses instruments of cultural policy of museum institutions either funded by the republican Ministry of Culture, or founded by the Republic of Serbia. The initial idea of the project was to define opportunities and needs for transformation of the museum institutions in Serbia, and to suggest adequate development strategies and activities of the institutions responsible for cultural heritage in the country.

/ 1968

MUSEUM PUBLIC IN SERBIA

The article presents the most significant findings of the Serbian museums public research conducted with the aim to get as complete as possible insight into the structure and needs of those who visit museums in Serbia, to establish the audience characteristics defining their numbers and relation to the museum as such and cultural life in general. This research could facilitate getting a clearer view of museum public in Serbia, and definition of recommendations and ways to increase their number.