/ 1968
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POSITION OF THE ARTIST IN POST-SOCIALISM

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The main objective of this study is to review the position of post-socialist artists in the current (global) system of art, as well as opportunities for their universal action in the local context. The paper deals with a need to analyze the impact of various contemporary and media art procedures and techniques in relation to the dominant postmodern expression of post-socialist artists, and seeks answers to the question why their work was generally characterized by art theorists as a simulation, unhistorical and traumatic? The reason for this research is the recent Unicredit award at the 54th Biennial of Contemporary Art in Venice, for this year’s representative of Serbia, Dragoljub Raša Todosijević, who was by accident or on purpose, taken here as a paradigm of postsocialist artists.

/ 1968
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INTERACTIVE INTERNET AND CONTEMPORARY TEACHING OF ENGLISH LANGUAGE AND LITERATURE

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The collection of papers “Virtual Interaction and Collaboration in the English Language and Literature Teaching” (edited by Biljana Radić-Bojanić) includes six relevant papers which discuss very current and significant topics related to the possibilities of using Internet sources in teaching. After the Preface by the editor, the first paper by Jagoda Topalov and Viktorija Krombholc – ”Virtual collaboration in foreign language teaching – TeachingEnglish.org.uk and Skype in the classroom” presents the possibilities of virtual collaboration between teachers. The second paper, “Virtual collaboration among students” by Biljana Radić-Bojanić focuses on the collaboration between students within the platform Writeboard; in the third article “Blog as a modern notice board in English language teaching” Vesna Lazović explores how blogs can enhance teaching and learning of English. In the next paper – ”Cyberclassroom – teaching the English language in a virtual space”, Jasmina Đorđević points to the possibilities of teaching in a virtual world offered by advanced technology. Nadežda Silaški explores moodle as a means for learning English for specific purposes (“Moodle as a platform for learning English for specific purposes”), while Vladislava Gordić-Petković in her paper “Internet as a research tool in teaching literature: resources and discourses” discusses changes brought by digital technologies into the field of reading. These papers successfully cover new approaches to teaching English Language and Literature, presenting advantages of these approaches and offering suggestions how to improve the teaching process. They are highly informative and should become a recommended reading-package both for teachers and students.

/ 1968
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MUSICAL LIFE IN BELGRADE

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/ 1968
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THE CONSTRUCTION OF KNOWLEDGE ABOUT/OF ART IN THE AGE OF DIGITAL MEDIA

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The digitization rush has left the hypertext as a computer-generated text in its wake. The broadening of the hypertext concept brings us to the possibility of a new interpretation not only of artistic practice, but of the theory and politics of that practice, correspondingly. When the sign (iconic, indexical, symbolic) became “fundamental” for thinking, the status of knowledge changed. With artistic practice as an example, that can be seen in the reconstruction/destruction/deconstruction of a work into a text and of the text into a hypertext. The rhetorical figures of the hypertext bring about a new hermeneutics of the code. The code, as a mode of linking lexias (units of reading), past traces of the archive or the database, translates the entire Gutenberg Galaxy into a Hypertextual Galaxy. The event of remedialisation or the digital McLuhan, reminds us that an artistic practice has always been an emphasized (hyper) process of virtualization and of creating the artistic as a media/discursive construct. The hypertext thus becomes a broad platform for reading/writing both in science and education on the one hand, and in literature, film, visual arts, theatre, fashion, nutrition and photography on the other hand. The work of art/text/hypertext can also be viewed as a paradigm in the construction of knowledge.

/ 1968
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VISIBILITIES OF IMAGES

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Rad se bavi različitostima koje su prouzrokovane promenom pitanja slike u tradicionalnom gledištu unutar umetnosti XX veka i promenama koje su prouzrokovane prvo mehaničkom reprodukcijom, kasnije videom i digitalizacijom slike, kao poslednjim dešavanjem po pitanju slike. Unutar takvog odnosa se javljaju dva gledišta koja se međusobno dopunjuju. Jedno, koje je okrenuto ka pitanju slike kao opisivanju društvene datosti i drugo, okrenuto ka lingvističkoj paradigmi, koja je bila glavni pokretač dešavanja u vizuelnim umetnostima. Ovakvo stanje je prouzrokovalo nove pomake u umetnosti i nova posmatranja koja dovode do razmišljanja unutar same umetnosti. Pojavljuje se težnja da se istrajava u sređivanju empiričkih podataka i sagledavanju strukturne podloge koja upućuje umetnost ka novom, širem prostoru ideja, ka ideji koja traži proširivanje sadržaja i ka novim mogućnostima izražavanja (medijsko proširenje). To dovodi do uspostavljanja vizuelnog i jezičkog aspekta, uspostavljanja relacije između objavljenog objekta i rasvetljavanja unutrašnjeg mentalno/duhovnog procesa, što možemo da pratimo na primeru video radova umetnika Bila Viole.

/ 1968
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NON-INSTITUTIONAL AGENTS OF CULTURAL POLICY IN SERBIA, MONTENEGRO AND MACEDONIA

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This paper presents the results of a study which investigated cultural policy partakers active outside the system of public/state cultural institutions in Serbia, Montenegro and Macedonia (non-governmental organizations dealing with culture, independent cultural associations, artists associations, informal art groups, non-profit cultural clubs, etc). Total of 112 independent cultural scene partakers participated in the study – 71 in Serbia, 22 in Macedonia and 19 in Montenegro. The analysis relied on a combination of qualitative and quantitative methods: a survey intended primarily to gauge five groups of capacities of the organizations surveyed (human, technical, financial, managerial and social) and, on the other hand, semi-structured interviews which provided data on and evaluations of cooperation at various levels (with other stakeholders of the independent scene, with donors, decision makers, the business community, media); insight into the most important problems facing non-institutional partakers of cultural policy and ways of overcoming these problems; as well as independent cultural scene partakers’ opinions regarding future directions of the scene’s development in their country and in the region. Out of the multitude of information gathered in the course of the study, we will restrict ourselves here to a brief presentation of the results concerning: a) the characteristics of the partakers of the independent cultural scene; b) the conditions under which the scene operates; c) cooperation between independent cultural scene partakers and several groups of their important stakeholders; and d) the measurement of the capacities of organizations belonging to the independent cultural scene in Serbia, Montenegro and Macedonia. Finally, we will also draw attention to some of the areas in which the creators of cultural policy in the above-mentioned countries might choose to intervene should they wish to further the activities of the independent cultural scene in their community.

/ 1968
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THE NEW ARAB CULTURE IN AN OLD GUISE?

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/ 1968
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TOWARDS UNDERSTANDING OF ARABISM

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/ 1968
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EUROPEAN MEDIA POLICY, WHERE IS IT GOING?

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Europe is a part of the world characterized by the decennial effort of its countries to form a unique kind of policy in all fields and therefore in media as well. The common policy rose from a desire for construction of a unique media space and a need for information exchange over the state borders. Even though this intention was not immediately realized, some other principles and values in the respect of realizing human rights, free flow of information, media pluralism, support of objective and independent media, cooperation and exchange of content were present at all times in the international framework and bound together the common point of view on these questions. Nowdays it can be concluded that the European media policy is very firmly established in spite of difficulties and differences. That is precisely why it is interesting to see which way is it going nowdays and what are its goals. Is there any danger from technological-commercial interests to overshadow needs for objective and qualitative informing and other contents, or does Europe have its own mechanisms to, without giving up on innovations, canalize their influence for the well-being of people and preservation of civilization’s values.