/ 1968
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BLEJD RANER 1982

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The science fiction genre in literature and film has influenced many innovations in technology and user interface design. Many ideas from film and literature have already been put to practice, and many seemingly fantastic technologies and their influences on society are being considered for development in the near future. User interface design in the domain of human-machine interaction is an interdisciplinary form that combines art, technology and science. Notable anticipation of tech culture and interface design can be found in the film Blade Runner from 1982, which is set in November 2019. We will compare anticipated technologies and interfaces that are featured in the film with the technologies that we use today, with a brief analysis of the influence they might have had on our society.

/ 1968
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THE RELATION OF SCIENCE FICTION AND ADVERTISING

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The paper deals with the relation of science fiction and advertising, specifically in the representation of advertising in science fiction (film, literature and comics) and transformation of their forms into reality. It also includes examples of the influence of reality, which in the form of a certain esthetical discourse may offer a vision of the future and potential forms and modalities of advertising. Additionally, the paper covers possible modalities of advertising with use of (new) technologies, as depicted in the representations of the future in alternative film universes– i.e. in science fiction. Many authors have analysed the film Blade Runner and its visionary elements as prophecies of future reality, trying to answer the question how and to what extent, in their representations of the future, they were right in regard to the utilisation of technological innovations in modern advertising. The paper points to the cause-and effect relation between the occurrence of the fictive technologies in films and very fast prototyping and utilisation of the same or similar technologies for the purpose of advertising. The paper also reviews the consistence of the visual language of advertising through analysis of cult movies Blade Runner, Ghost in the Shell and Blade Runner 2049.

/ 1968
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DYING IN VIDEO GAMES

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It is estimated that over two million people can be nominated as gamers. All of them play video games, and most of them create characters in these games and identify with them to such an extent that the characters become avatars of the players. And avatars die. Sometimes they are revived, sometimes not, depending on the game rules applicable to these characters and the worlds they inhabit. Sometimes the worlds themselves also perish. At such moments, one command can forever delete tens or hundreds of thousands of digital characters. They perish forever, in an irreversible act of server deletion, irresistibly similar to the end of the world. The end of a digital world, but still a world,especially if we observe it from the point of view of its inhabitants. From the destinies of these avatars, whether they perish in separate incidents or digital genocides, we can learn a thing or two – if not about the meaning of digital existence then undoubtedly about the manner in which people relate to their own finite nature.

/ 1968
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STATUS – COMPLICATED

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The paper researches romance between humans and artificial intelligence, in terms of gender, in science fiction film narratives of the 21st century and examines the extent of the dominant matrix in which the man is human and the woman is artificial intelligence, subordinated to the male consumer/creator. Also, the paper explores what constitutes the gender identity of a woman as an Other in virtual and cybernetic environments, starting from the framework of the phenomenon of post human, as understood by Katerine Hayles and referred to by Slavoj Žižek, inspired by the cult essay A Cyborg Manifesto by Donna Harraway, as well as the gender determination as researched by Judith Butler in her dialogue with Simone de Beauvoir. In the film narrative slike Her by Spike Jonze (2013), Ex Machina by Alex Garland, Zoe by Drake Doremus (2018) and the debut film Ederlezi Rising by Lazar Bodroža (2018), a man creates and/or communicates with an android,building an emotional connection. On the other hand, in an episode of the BBC series Black Mirror titled Be Right Back (2013) directed by Owen Harris, there is a singular example of a woman re/creating the beloved man in the form of a silicone android. These examples destabilize rigid binary gender model, introducing new values to the concept of gender.

/ 1968
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IS HOPE STILL ALIVE

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The text deliberates on the motion of narratives between SF literature and digital games and their connectivity, from the appearance of the first digital games to modern network games intended for large number of players. The narratives which move from SF texts to games and vice versa, which place games into narratives, reflect not only real social relations under which they have occurred, but also offer (possible) solutions for the problems of the modern world, primarily those caused by neoliberal politics. In them, the modern concept of a self-sufficient individual as a generator of change is abandoned, insisting on the idea that success may be attained only in cooperation and coordination of a large number of interested actors, displacing the battlefield from the plane of the physical to the plan of the digital.

/ 1968
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REPRESENTATION OF BODY IN THE ICONOGRAPHY OF DEACON SRĐAN RADOJKOVIĆ

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On the example of the iconography of dean Srđan Radojković,this paper studies the aesthetics of the spiritualized body as a new transformed matter, as a specific feature of his icons (paintings). All the bodies painted in his icons speak volumes – in fact they tell stories;in them, images of messianic salvation are contemplated and depicted– as the Kingdom of Christ. In the icons of our dean the lightness of the immaterial body is visualised, released from bare corporality and transformed into divine, sacred spiritual harmony. As the subject iconography is based on established clerical, artistic and aesthetic assumptions, bodies of the saints are depicted as harmonic, balanced and self-delivering. To an extent, this is indeed a new aspect of the iconography in Serbia.

/ 1968
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FROM MADONNA TO MADONNA

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Rare images of pregnant women in art history have resulted in insufficient theoretical representation of this topic, which has only recently begun to be studied. The reasons behind rare images of pregnancy are multiple, such as secrecy from the public eye primarily due to the fear of miscarriage, death of the mother or the new-born in childbirth (because childbirth usually took place at home or in a private space, until the early twentieth century) as well as some religious and social attitudes towards pregnant women. Also, artists could easily edit their work by removing the painted belly if necessary, especially if it was a seated figure. This paper aims to show the images of pregnant women focusing on the Christian tradition. It brings together two symbolic figures through the motif of a pregnant woman: Madonna (Mother of God in the Western Christian tradition) as the central female figure of Christianity, and Madonna as a symbol of popular culture. Preserved examples that have changed the image of a pregnant woman throughout history are analysed chronologically. The body of a pregnant woman was observed in the past mainly through the dual attitude of Christianity towards the body, which made it problematic, but Christian references can also be found in the representations of pregnant women in the art and pop culture of today, with very developed symbolism.With the development of technology and medicine, the knowledge of the female body became deeper, while social changes led to new conceptions of pregnancy which then reflected in the visual culture. The development of technology and the phenomena of mass media and the social networks have enabled women today to create their own image of pregnancy.

/ 1968
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DEFENSE OF HUMANITY – DEFENSE OF PERSONALITY

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In this paper we will try to consider the problem of Body and Personality in the sci-fi romantic drama Her by American director Spike Jonze in the light of Christian anthropology and Theology of Personality. We understand Jonze’s art work as a case study related to the specific consequences of certain phenomena of postmodern society, such a salienation, loneliness or emotional instability. In his film, the director and screenwriter presents increasingly topical issues of our civilization,but also individual connection with high technologies in various aspects of life i.e. delicate relationships between man and self-conscious forms of Artificial Intelligence. By basing the film story line on the relationship between these two entities or two beings, Jones did not want to offersatire but to deal with the very delicate problem of personality ingeneral – alienation. As a result, the future world is inhabited by lonely individuals, inseparable from their smartphones, who receive love and attention from the virtual world. In his own aesthetic way, Jonze opened the Pandora’s Box of possible outcomes of life with machines, which has begun in our own timeline. Therefore, we cannot unambiguously determine whether Her is a film dystopia or a film utopia.

/ 1968
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IT IS TRULY RIGHT TO GLORIFY THE BODY

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The aesthetic-anthropological image of the body in the poetry of Ivan V. Lalić relies on the semantic values of Christian canonical thought. Starting from the biblical idea of creating the human being in the image of God (Gen. 1:26), Lalić shapes an aestheticized vision of the body in which its flesh is not only a material manifestation of a human being, but also a plan of existence that carries sublime meaning for the humans.The body renews and confirms the sublime (theandric) designation in the incarnation of God the Logos and his resurrection. Hence, the human body, as representation of the divine in humans, is something most precious in the experience of creation and is worthy of human glorification. Therefore, affirmation of such spiritual corporeality in the aesthetic experience and modern poetic experience, as well as its share in the theandric providential plan of salvation, requires a sharper focus of observation.