/ 1968
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ROLE OF CREATIVITY IN THE PHILOSOPHY OF HISTORY OF NIKOLAI BERDYAEV

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In 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
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ATTITUDES OF PRIMARY AND SECONDARY SCHOOL STUDENTS TO ART CULTURE

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The 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
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THE ELEMENTS FOR IMPLEMENTATION OF INCLUSION

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In 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
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ECONOMIC GROWTH AND SUBJECTIVE WELL-BEING IN DEVELOPED COUNTRIES

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The 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
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BECOMING-GROUND OF A FIGURE: PETER EISENMAN’S THE GALICIAN CITY OF CULTURE

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This 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
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UKIYO-E BETWEEN POP ART AND (TRANS)CULTURAL APPROPRIATION

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This 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.

/ 1968
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CONTEXTUAL PRACTICES WITHIN THE ROOMATE ARTIST IN RESIDENCE PROJECT

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The text examines contextual practices through the example of The Roommate Artist in Residence Project launched by the Visual Arts Department of Students’ City Cultural Centre and performed at Students’ City (New Belgrade student campus) in late 2014. While taking into consideration the local context and specificities, the text reveals the key aspects and strategies of participatory art applied within a specific project, namely: research and work with community, shedding light on a specific social problem, placing emphasis on the creative process and unforeseeability of the outcome of the art process, appropriation of methods and forms of everyday life communication in art projects, delegated performance. The problems of students residing at Students’ City, no longer aparent for becoming habitual, were seen in a new perspective and attained transparency through the analysis of art activities of the internationally performing artist Aleksandar Jestrović or Jamesdean, the first participant to the The Roommate Artist in Residence Project. The text inevitably links the reflection of micro-context experiences with the examination of changes and courses developing in a broader social and historical context.

/ 1968
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THE UNDERGROUND AND ITS CONTEXT

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The Emir Kusturica’s film appeared in 1995 and immediately it stirred spirits. After winning the Golden Palm in Cannes, an even more inflammable debate ensued. Not only film professionals but also philosophers, culture workers, politicians joined the debate. It spilled over to the countries of the west as well, and in the meantime the film has gained popularity with the audience, which raised the stakes in the public debate. This paper partly describes the course of debate development and lays out several different viewer standpoints which, depending on the context the viewer acknowledges, open up a number of political and also cultural issues regarding history of Yugoslavia. The most accessible level is the level of melodrama, comprehensible to viewers all over the world. Also, there are issues related to communist ideology in a multinational country and the role of the Communist Party. The most intricate and also most important ones are the issues regarding the film role in the history of Yugoslavia, its ideological position and the manner in which the film was used to manipulate the masses, being the most popular, influential media available to widest public.

/ 1968
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ORIGIN AS A GRIMASE: NIETZSCHE’S VIEW OF GENEALOGY

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Classical understanding of genealogy sees it as a process of tracing an origin though lineage: a search for the beginning. It descends all the way to the first ancestor and tends to take the very beginning out of the lineage, to consider it as something atemporal, something that is created in itself, that has no origin, but produces one. That atemporal beginning is considered necessary. Since it has no origin, it has no context to come out of. Nietzsche’s genealogy, however, shows that the beginning is always arbitrary: it is always contextual, because it has its own history. There is always something that precedes that which is seen as an original, someone who is „more first“ than the first. Establishing a beginning is always a matter of convention. Classical genealogy de-contextualizes the beginning, while Nietzsche’s genealogy does exactly the opposite: it puts it in a context, it contextualizes it. The consequences of Nietzsche’s understanding of genealogy, as Foucault shows us, bring not only a radically different understanding of a method, but also crucially affect the understanding of the Greek arche – the basic principal that transcends time and any historical context. Genealogy shows how precisely that context determines even what is considered to be originless – something that escapes every context.

/ 1968
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PARADOXES OF CONTEXT: MICHAEL FOUCAULT’S HETEROTOPIES

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This paper investigates the context – cultural context and culture as a context – as a paradoxical structure that is simultaneously found within a space and outside of it. Therefore the paper differentiates between the space as a given category, and the locus as something that contextualizes space by giving it identity. The context needs a referential point and that point, paradoxically, belongs to the context (it is a foundational myth) and also resides outside of the context since it cannot be contextualized (that point is outside of time and space). Heterotopies emerge as theoretical instruments that indicate that every culture while demanding homogeneity still comprises varied spaces, different loci, nonconformity of words and things, as well as things and their contexts within a culture, thereby leading to a problem of establishing an order, rules of the order and its effectiveness. This postulate leads towards the language and the problem of communicability of culture, i.e. two opposed forces that act in every context: the one force that tries to close and thereby preserve the autonomy (politics of identity) and the other that opens toward different contexts (politics of translating).