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DEFINING ART

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There are two opposite approaches when we speak about art and status of a work of art. The first approach, according to the essentialist theory, tries to find some intrinsic property of art which it considers to be independent from social and historic influence. The existence of such essence would give to such work of art a universal and timeless transhistorical and transcultural value. The second approach starts from the premise that the status of a work of art is always a matter of convention, not essence. This view rejects the perceptual and phenomenological approach, emphasizing a whole series of contextual conditions – social, cultural and institutional – without which it is not possible to talk about the status of a work of art. Art is redefined on contextual, rather than aesthetic qualities, taking into account the historical and social context in which works of art are created, presented, interpreted and finally – consumed.

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SKETCHES FOR THE THEORY OF NEW MEDIA

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The text “Sketches for the theory of new media” suggests open problems for eclectic discussion of new media in the field of contemporary aesthetics and art theory; it indicates the status of new media artwork and the replacement of the concept of artwork by artistic apparatus. More precisely, ‘new media’ denotes different artistic practices that are based on innovative working with artistic or extra-artistic media. ‘New-media artistic practice’ denotes introducing non-standard media into a standardized and customarily closed art discipline. For instance, new media may signify introducing photography, film or video into the respective contexts of painting, sculpture or music. ‘New media’ also denotes experimental investigations of the relations between various traditional and new media within traditionally defined mono-medium practices. Therefore, ‘new media’ likewise denotes all those intermedia and hybrid art practices that emerge in combinations of different kinds of media (the mixed media, multimedia, poly-media, extended media, art and technology, computer art, cyber art, tactical media, etc). Whereas the hybridization of media was important for the 1950s and ’60s neo-avant-garde practices, it was introduced into art education only in the seventies. ‘New media’ denotes precisely those art practices that are based on artwork-programming (computer art, digital art, cyber art). In parallel with ‘new media’, one may also use the term ‘meta-media’, as defined by Lev Manovich. Meta-media is identified with computer multimedia and digital communication networks. The new-media art is no longer interested in observing and presenting the outer world in a new way but in finding new ways to approach and use data previously accumulated in the media. Meta-media art and culture are based on the digital computer as a technology vital for processing, representing or simulating information, which means imitating and positing the sensory effects of all other media.

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PERMANENT CRISIS

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The term crisis is primarily associated with the world economic crisis and thus the question of relationship between capitalism and crisis comes to the fore. Is a crisis something that disrupts normal functioning of the system from the outside and assumes short duration followed by restoration of balance and return to the normal process of market regulation and setting? Or is it an essential and immutable characteristic of the capitalist mode of production, which leads to conclusion that capitalism is historically presented as a continuous movement from one crisis to another, indicating permanent crisis as the main feature of late capitalism and the present moment? What are the consequences of entering into a permanent crisis?

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CONTEXT – DIFFERENT THEORETICAL FRAMEWORKS

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This article presents different theoretical frameworks for analyzing the notion of context. It starts from linguistic interpretation as the earliest attempt of defining the context in relation to the performative: conventional and participatory context. Then, it continues with deconstruction of the context which represents breaking with the linguistic approach and, at the same time, raising the context to the level of a term. The next theoretical framework is the Bourdieu’s concept of a social field as a field of forces that gives to the context a relational character – set of relations rather than elements – and sets it free from substantial recidivism. Nevertheless, the Deleuze’s term of a rhizome and assemblage as rhizomatic model of connectivity makes a radical shift from dualistic matrix evident in all previous approaches: formalistic (artwork vs. context), linguistic (text vs. context, subjective vs. objective), deconstructivist (presence vs. absence, the recipient vs. sender) and the social field as a field of forces (in vs. out). The liquid context – the term taken from Bauman (liquid modernity) is a new framework for defining the context which is related to contemporary moment and contemporary art and includes achievements of all previous theoretical frameworks.

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EDITOR’S NOTE

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PROGRAMING OF THE COMMERCIAL RADIO

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A WORD ON ARCHITECTURE

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ELEMENTS OF DEMAND IN THE TOURISTIC PROMOTION OF THE OUTER BELGRADE MUNICIPALITIES

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At the beginning of promotional activities, providers any tourist offer must define who they are addressing to, since tourists are a very heterogenous category different in its demographical, socio-economical, psychological and other characteristics. Outer Belgrade municipalities have real, versatile potentials and concrete offers for different kind of tourists, despite numerous limitations and generally underdeveloped tourism. However, it is crucial to define target markets and elements of tourist demand of priority significance for every tourist destination, especially for those which are just emerging on the tourist market. Therefore, it is very important to have a realistic insight into the advantages and disadvantages of the tourist offer and into the offer of competitive destinations. Emerging tourist destinations, like BLO, shouldn’t tend to meet all the elements of demand in all markets, but focus their promotional efforts on those elements of tourist offer whose demands are correspondent to the existing offer, having in mind all the limitations in regards to volume, structure and quality of the existing offer in its territory.

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THE ROLE OF MODERN DESIGN IN THE CONTEXT OF PROFESSIONAL ETHICS

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This paper offers analysis of the role of modern design in the context of professional ethics, so as to better understand the reaches of responsibility which design has in the society and for the society. As a discipline, design can be used positively or negatively depending on whether ethical codes apply or not, both before and during designing. As an active society member, a designer cannot remain indiferent and ethically neutral, because the effects of his/her activity can be fatal. Examples will be given of how designer skills and reaches can be used to realize certain benefits both for the individual and the society as a whole.

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POSITIONING OF THE RECEPTION THEORY

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The aim of this paper is theoretical positioning and defining of a reception theory, namely the theory that led to one of the most influential epistemological shifts in the theoretical discourse of the 20th century, from the analysis of art work and the author to the analysis of recipients (readers, viewers, listener), which thus becomes the main category of meaning in a contemporary theoretical discourse.