/ 1968
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DIGITAL FORTRESS: NATIONAL DIGITISATION STRATEGY IN SERBIA

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Digitisation of the national heritage is a complex process requiring a systematic approach at all levels, as a logical and balanced development of the national digitization project is necessary. A good national strategy should provide the needed systematic approach. Is there something that can facilitate faster adoption of this document, and are there any obstacles along the way? The search for answers leads from the previous efforts put in the digitization strategy document in Serbia, to the recommendations of the European Union in the field, including some examples of good practice in the neighboring countries that have some sort of national digitisation programs, but also the polemics of strategy sustainability.

The current state in Serbia confirms that unsystematic digitisation and sequencing of individual and closed projects, does not provide long-term results equal to the ones achievable by a clear policy and a systematic approach to digitisation. On the other part, creating a national digitisation strategy in Serbia looks like conquering a huge digital fortress. 

/ 1968
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CIVIL JOURNALISM IN DIGITAL 21st CENTURY

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In The World’s Eternal Humming I research civil journalism in digital age (especially online journalism), its basic characteristics and attributes, its phenomenal aspects, its relation to professional journalists and bloggers as well as the cooperation of media and citizen – reporters. I also analyze the key attributes of the screen culture and the digital paradigm – the radical media convergence and information overload. The paper offers some possible answers to the following questions: how can media follow those changes, how can media discuss various matters and cooperate with their audience? What are possible ways for media to give professional help to the growing needs of the citizens to express themselves and announce their stance in the global digital network? And is it actually necessary? In the conclusion I propose a short critical review on the position and the role of the citizen (online) journalism today.

/ 1968
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DECONSTRUCTION OF STEREOTYPES IN THE ANIMATED SERIES SOUTH PARK

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This essay has few levels. First part is about notional mechanism considering stereotype status, signification and importance of stereotype deconstruction in society. The second part is analysis of the characters, content and the way of implementation of deconstruction models in cartoon sitcom South park, emphasing research object, questioning the role of stereotype deconstruction and consideration of the possibilities of dispositive changes. Third part refers to the interpretation – theory implementation and presenting the results of research with discussion on ethics problems in the process of deconstruction of stereotypes with the suggestion for its implementation.

In the first part, I take over notional mechanism from two studies. One refers on media studies, and the other one on media ethics. The term of deconstruction is implemented here in such a formulation as it is constituted inside the philosophy and theory of Jacques Derrida. In the content analysis I explore which stereotypes are the most present in cartoon sitcom South park and in which way the deconstruction of narrative was done. I discover few ways of deconstruction of content stereotypes-that will be explained on the examples from the cartoon sitcom-as it follows:

1. Stereotype vs. stereotype: Implementation of thetorical power of the same mechanisms that stereotypes use.

2. Passive deconstruction of stereotypes: Exaggeration in stressing the traditional stereotypes without subversion of provided attitude.

3. Meta-position of stereotypes: When the stereotype is discussed, scientific discourse is used.

In this essay I will discuss the role of this cartoon sitcom reffering to the local context (the tough stereotype opinions inside some groups to whom the material for deconstruction of the stereotype should be offered), time and place of broadcasting content (Channel B92), superannuation of the spectators who are allowed to watch the show (18+) and intervening value inside this content framework. In the last part interpretive method will be present by theory of deconstruction and theory of sexuality and through affirmation of thesis and necessisity of deconstruction of media contents in local context.

/ 1968
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EMPTY SPACES OF SERBIA – BELGRADE

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The project “Empty Spaces of Serbia” explores a phenomenon of “empty spaces” or “emptied spaces”, i.e. objects of cultural-historical heritage, as well as other objects that have lost their original purpose: military objects, industrial areas, abandoned suburbs and villages etc. One of the main purposes of the project was to explore the possibilities of transformation of derelicted properties into multifunctional cultural or scientific centres. The first phase of the project was carried out from June to November 2009. It covered the City of Belgrade area with its 17 municipalities. In the first phase of the project more than 150 sites were discovered. The research steps consisted of data collection, systematization and creation of database of explored spaces. Unsolved property problems, lack of strategy on governmental and local level, as well as lack of initiative of potential users (organizations and individuals), turned out to be the main obstacles in recycling and reusing these spaces. The results of the first phase of the project support expanding of the database of deserted urban and rural properties, with emphasis on their great social significance. The database is aimed to be used by artists, cultural  and scientific institutions, as well as to instigate developingof strategies on governmental and local level, in order to transform and activate empty spaces.

/ 1968
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NEW MEDIA

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/ 1968
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MUSEUM AS A BUSINESS SYSTEM

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/ 1968
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A HOUSE AS A SCREEN: TRANSFORMATIONS OF MEDIA FUNCTION IN CONTEMPORARY ARCHITECUTRE

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Уколико урбани простор посматрамо као текст, јасно је да град нуди много могућности за различита читања. Захваљујући глобалној економији и развоју технологије, изглед и употреба града на крају 20. века се значајно мењају. Нови друштвени односи засновани на економском и технолошком развоју, условили су појаву друштва спектакла, које постаје кључно одређење градског живота. У савременом граду слика постаје основно средство комуникације. Измењени идентитет савременог града успостављају правила глобалног правца урбане изградње, али и трансформисана медијска функција у савременој архитектури. Увођење нових медија у процес архитектонског обликовања објеката истискује традиционалну медијску функцију архитектуре. У овом процесу установили смо неколико појава: релативизацију или поништавање фасаде; фрагментацију или употребу дела фасаде као простора излагања; и доминацију или третман фасаде као доминантног обележја куће. На основу посматрања ових појава установили смо нову типолошку класификацију медијске функције фасаде у савременој архитектури: фасада као носач маркетиншког садржаја; урбани екрани; архитектура као скулптура; и архитектура као медијска инфрастуктура.

/ 1968
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CONTEMPORARY CITY AS A SPACE OF SPECTACLE: STAGE OR SCENE

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The appearance and utilisation of cities significantly changed at the end of the 20th century. The city has become an arena which, thanks to the global changes, the IT society and the need for prestige among many cities around the world, as well as different shaping of the norms, culture of behaviour and the typification of lifestyles, has been transformed into the urban stage. By increasingly accepting scenographic characteristics, contemporary city has become the space where market ideology directs and determines means of communication, but also the way we perceive things. In the process of the characterisation of the contemporary city special place has been dedicated to the relationaship between the physical structure of the built environment, theatricality of buildings and the urban spaces, as well as the spectacle and urban and spacial shaping of performing events. However, in order to experience the urban space, we also need the ability to percieve the city scenographically. This is how the spectacle becomes one of the most important elements of the city life and an important factor that characterises contemporary city.

/ 1968
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CULTURE AND HAPPINESS

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The spirit of culture is contained in the Socratic call to self-knowledge, in order to improve our morale, wisdom and wellbeing, which not only brings happiness, but is the true happiness. Culture goes beyond information and knowledge into cognition that contributes to the flourishing of both the individual and social life. The real meaning of culture lies in our stronger, more conscious and alert presence in the world. We have to be aware of the fundamental difference between “having” education or culture as an accumulation of information and knowledge and “being” an educated, cultivated person as a result of reflective, alert and creative living. Culture is a biophilic, generative orientation, as it allows free flow and affirmation of life energies in their multiple expressions and forms. Not until we restitute to culture its original meaning, spirit, and Eros which permeated it from immemorial times, through the educational system and other social channels and institutions, the concept of culture will not be carried across to younger generations in that inspiring meaning and sense, and they will experience it as alien and hostile to their needs, interests, and pursuit of happiness.

/ 1968
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EFFECTS OF NEW COMMUNICATION TECHNOLOGIES ON TIME PERCEPTION

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The topic of the ever more accelerated pace of life and laments over the destructive effects of this phenomenon, is not new. It has already appeared in the nineteenth century with the invention of railways and telegraphs. Since the age of industrialization modern man has begun to experience a radical change in his relationship to time. With the globalization, which came on the wave of new information technologies, the imperative of speed, urgency, instantism, simultaneity, short termism, established as new units for measuring time. At the source of time acceleration are modern technologies, but Internet brought this process to a climax. Accordingly, it can be argued that speed is not just a secondary feature, but one of the determinants of modern civilization. There is a constant pressure of the acceleration and fragmentation of time which, overflowing from economic and technological spheres tends to colonize the entire psychological and social space. In this paper we do not deal with value judgements on technological speed per se, nor express nostalgic sadness for the good old slower times. We are interested in the way speed, as value-neutral, or even positively connoted term, refracts through psychological prism, specifically the perception of time, so establishing haste (urgency) as dominant mode of individual and social existence. In order to better understand and analyze the relationship between speed and haste, and its effects on psychosocial health, we distinguish between three kinds of temporality: physio-psychological, socio-psychological and techno-psychological. According to the results of a research carried out with regular Internet users, we try to show how they come to suffer a stressful conflict between these temporal modes and develop the so-called “pathology of present”.