/ 1968

THEATRE IN TOGO

/ 1968

THE PSYCHOPATHOLOGY OF TELEVISION WATCHING

/ 1968

IN SEARCH OF VAMPIRES

The vampires. Some of the most intriguing creatures of various world mythologies. From the 18th century till today, the archetype image of vampires went through many transformations – on the one hand they were the gothic image of a male masculine figure and on the other – the image of cosmetic contemporary man. The 19th century promoted vampires as very specific creatures that needed exploring, the 20th century introduced the fascination with the horrific aspect of the vampires, and finally the 21th century exploited the idea of vampires equal to men, while the creatures from the past were treated as minority members. What have we actually found looking for the truth about vampires? And is that the truth that we wanted to see? How much did it change the iconic face of an ancient race?

/ 1968

MEDIA CULTURE IN THE SHADOW OF MEDIA ECONOMY – “THE MONEY THAT MAKES PROGRAMS OR PROGRAMS THAT MAKE MONEY”

Некада су у теоријским разматрањима друштвене улоге медија доминирале теме везане за васпитни, идеолошки и пропагандни утицај медија. За разлику од ранијих времена, данас се о медијима више говори као о подручју интензивних комерцијалних и профитних активности него као о чиниоцима и средствима културног развоја. Све је очигледније да некадашњу политику и праксу, које су се залагале за афирмацију и ширење медијске културе, наткриљује сенка економске експлоатације медија. Будући да се данашња медијска пракса све више валоризује са становишта економске ефикасности, теоријска интересовања се постепено измештају ка питањима економске експлоатације медија.

/ 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.