University of Arts in Belgrade
Digital Repository of the Institute for Philosophy and Social Theory, University of BelgradeNot a member yet
4571 research outputs found
Sort by
The Towers of Jerusalem and Ontological Presuppositions of Creation: Exegesis and Philosophy in Maximus the Confessor' Quaestiones ad Thalassium’,
No full textThe link between biblical exegesis and philosophy was established first in the Septuagint project and by authors such as Aristoboulos of Alexandria and Philo, and subsequently developed by New Testament authors and exegetes, such as John, Paul, Justin the Martyr and the Valentinian Gnostics. The ratio- nale that justified this link resides in a strong belief that the truth of the Logos of God equally inspires natural theoria as well as biblical allegoria. Maximus the Confessor (580–662) belongs to the line of biblical interpreters who hold that since Christ the Logos is the author of the Bible and of the cosmos or creation, the words or logoi of the Bible and the creation correspond one to another
Worrying impact of artificial intelligence and big data through the prism of recommender systems
No full textTransfer from social to semantic web brought us to an era of algorithmic
society, placing issues such as privacy, big data and AI in the spotlight. although neutral
by their nature, the power of big data algorithms to impact societies became major
concern outcoming with fines issued to Facebook in the US. These events were initiated
by alleged breaches of data privacy connected to recommender system technology,
which can provide individualized content to internet users. This paper seeks to explain
recommender systems, while elaborating on their social effects, to conclude that their
overall impacts might be increase in retail sales, democratization of advertising, increase
in internet addictions, social polarization (echo chamber issue), and improvement
of political communication. Also, more research should be deployed into low intensity
addictions, as potential outcome of recommender systems, and it should be explored
how they affect political participation and democracy
Utelovljenje Metaverzuma kao arificijelnog života: na preseku medijskih i 4E kognitivnih teorija
No full textIn the last decades of the 20th century we have seen media theories and cognitive sciences grow, mature and reach their pinnacles by analysing, each from their own disciplinary perspective, two of the same core phenomena: that of media as the environment, transmitter and creator of stimuli, and that of embodied human mind as the stimuli receiver, interpreter, experiencer, and also how both are affected by each other. Even though treating a range of very similar problems and coming to similar conclusions, this still has not brought these two disciplines closer together or resulted in their interdisciplinary approach. They did coalesce in regards to traditional media such as film, but more points of connection are needed for untangling interactive and immersive media environments and their effects on human cognition, action, and perception. With the rise of VR and VR-like systems, especially as they start to evolve into the Metaverse as their main platform of interconnectivity, the tissue of the body becomes almost physically intertwined with that of the virtual surrounding it inhabits through immersion. Simultaneously, the interest in these disciplines arises anew, and especially the need to use their concepts in an interdisciplinary way. This paper’s main interest is to bring these disciplines together in problematising the position of a physical body and its sensory-motor capabilities and their development within synthetic surroundings as Metaverse and anticipate potential downsides of Metaverse’s uncontrolled growth. We will do so also by looking into Metaverse as an artificial-life-like phenomenon, following artificial-life rules and evolving a completely new ‘corporeality’, a body which is completely adapted to virtual spaces. We call this body the Dry Body, an entity sharing cognitive resources with the physical body it is not a physical part of, but has to extend to.U poslednjim decenijama 20. veka videli smo kako medijske teorije i kognitivne nauke rastu, sazrevaju i dostižu svoje vrhunce analizirajući, svaki iz svoje disciplinske perspektive, dva srodna osnovna fenomena: medije kao okruženje, prenosioce i kreatore stimulusa i otelovljeni ljudski um u dinamičnoj interakciji sa okruženjem, kao i načine na koje mediji i um utiču na i transformišu jedno drugo. Iako tretiraju čitav niz veoma sličnih problema i dolaze do sličnih zaključaka, to ipak nije dovoljno približilo ove dve discipline niti je rezultiralo njihovim interdisciplinarnim pristupom rešavanju ovih pitanja. Pomak je napravljen kroz kognitivne teorije medija u kojima je fokus uglavnom na tradicionalnim medijskim formama poput filma. Ipak, potrebno je uspostavljanje više tačaka povezivanja za rasplet interaktivnih i imerzivnih medijskih okruženja i njihovih efekata na ljudsku kogniciju, akciju i percepciju. Sa usponom sistema virtuelne realnosti (VR), posebno u trenutku kada počinju da evoluiraju u Metaverzum kao svoju glavnu platformu povezivanja, tkivo tela postaje gotovo fizički isprepleteno sa tkivom virtuelnog okruženja u kom egzistira kroz uranjanje. Istovremeno sa Metaverzumom, iznova se javlja interesovanje za ove dve discipline, a posebno potreba da se njihovi koncepti koriste na interdisciplinaran način. Cilj ovog rada je da spoji ove discipline u problematizaciji položaja fizičkog tela i njegovih senzorno-motoričkih sposobnosti i njihovog razvoja u sintetičkom okruženju kao što je Metaverzum, kao i da predvidi potencijalne negativne strane nekontrolisanog rasta Metaverzuma. Metaverzum ćemo posmatrati kao fenomen veštačkog života, prateći pravila veštačkog života i razvijajući potpuno novu „telesnost“, odnosno telo koje je potpuno prilagođeno virtuelnim prostorima. Ovo telo nazivamo Suvim telom. Ono je entitet koji deli kognitivne resurse sa fizičkim telom čiji nije fizički deo, već se na njega proširuje. Polazimo od premise da svaka nova, inovativna tehnologija u svom razvoju sledi pravila algoritama rasta, što znači da se njeno konačno ‘krajnje stanje’ nikada ne može znati ili predvideti unapred, kao ni promene koje ona donosi u postojeći svet i njegov ekosistem. Što je veća inovacija, to je veći uticaj i promena na stvarni stvarni svet i naša biološka tela u njemu. Metaverzum, kao krajnja tehnička inovacija u oblasti virtuelnosti i manifestacija veštačkog života koji evolutivno prioritizuje „suva tela“, nosi sa sobom značajne i nepredvidive načine na koje se naša biološka tela dalje koriste i razvijaju. Konačno, naglašavamo važnost kontrolisanog, praćenog i doziranog kognitivnog učešća u Metaverse-u, kako bi se uspostavio i sačuvao kognitivni balans između suvih tela i bioloških tela
Contingency and Convergence in the Theory of Evolution: Stephen Jay Gould vs. Simon Conway Morris
No full textDebating the interpretation of the Burgess Shale fossil records, Stephen Jay Gould and Simon Conway Morris have formulated two conflicting theses regarding the nature of evolutionary processes. While Gould argued that evolution is essentially a contingent process whose outcomes are unpredictable, Conway Morris claimed that the omnipresence of convergence testifies that it is in fact deterministic, leading to predictable and inevitable outcomes. Their theses have been extensively researched from various perspectives. However, a systematic parallel analysis of the core arguments each of them offered in support of their thesis has been lacking. I argue Conway Morris has successfully exposed the core weaknesses of Gould’s thesis and offered a comprehensive account in favor of the major role of convergence in evolutionary history. On the other hand, I will point out some of the weak points in the latter’s arguments supporting the
deterministic view of life’s evolution. Although Conway Morris has been more successful in arguing for the deterministic nature of the evolutionary processes, both theses could be improved if their shortcomings are taken into consideration
Svedočenje u kamenu: arhitektura rata od Klugea do Heršera i Vajcmana
No full textThe article contributes to creating an outline of the significant postwar theoretical approaches that examine the role, purpose, and significance of architecture in war and war crimes. Starting from the Clausewitz thesis that “war is not autonomous”, this paper attempts to reveal “the blood that has dried in the codes” (Foucault), politics hidden behind the four walls of architecture. From the concepts of Brutality in Stone (Kluge), Warchitecture (Herscher) or Forensic Architecture (Weizman), through the lenses of architecture, the article exposes war, politics, and ideologies that shape and drive architecture by reimagining and repurposing it both in its primary, functional and cultural, representative sense. A shift from “the era of the witness” (Felman) to the decade of evidence (Weizman) promotes architecture and its remains to the level of science, global governing, and law. The connection of timely-distanced emancipatory practices influenced by Holocaust studies establishes a discursive field for architecture as a performative rather than representative practice. The theoretical frame of the postwar landscape as second nature (Adorno) is crucial for discussing the role of architecture in the Holocaust. Furthermore, it stresses the work of Herscher and Weizman as a contribution to the critique of the depoliticized processes of resolution of the contemporary war crimes and post-conflict reconciliation. Architecture as a societal practice could potentially have a central position in memory and knowledge production, as well as the production of a counter-public sphere.Svedočenje u kamenu mapira značajne posleratne teorijske pristupe koji ispituju ulogu, namenu i važnost istraživanja arhitekture rata i ratnih zločina. Polazeći od Klauseviceve teze da rat nije autonoman, tekst pokušava da otkrije „krv koja se osušila u kodeksima zakona“ (Fuko), politike skrivene “u svoja četiri zida” arhitekture. Kroz koncepte „brutalnosti u kamenu“ (Kluge), arhitekture rata (Heršer) i forenzičke arhitekture (Vajcman), kroz prizmu arhitekture – rad izlaže rat, politike i ideologije koje su oblikovale i usmerile arhitekturu preoblikujući i prenamenjujući je i u primarnom – funkcionalnom, ali i u kulturalnom, reprezentativnom smislu. Pomak od „dekade svedoka“ (Felman) do dekade dokaza (Vajcman) arhitekturu i njene ostatke čini osnovom nauke, globalnog upravljanja i zakona. Povezivanjem vremenski udaljenih emancipatornih praksi nastalih pod uticajem studija Holokausta, formira se diskurzivno polje za mišljenje arhitekture i kao performativne, a ne isključivo reprezentativne prakse. Teorijski okvir posleratnog pejzaža kao „druge prirode“ (Adorno) je ključni za razumevanje uloge arhitekture unutar Holokausta. Posebno se ističe i rad Heršera i Vajcmana u kritici depolitizovanih procesa rešavanja ratnih zločina i postkonfliktnih politika pomirenja. Arhitektura kao društvena praksa može imati centralno mesto u proizvodnji znanja i sećanja, kao i u stvaranju kontrajavne sfere (Kluge)
Holokaust i etika turizma: memorijalna mesta u naracijama o odgovornosti
No full textThe issue of Holocaust tourism might be a quite sensitive, but nevertheless very important topic in the domain of the Holocaust remembrance. As tourism is often associated with leisure activities, it is quite challenging to put tourism into darker contexts of history and death. Also, different people coming to the Holocaust-related places with different motives make the issue of designing educational tours even more complex. This paper will try to expose questions related to dark tourism, Holocaust tourism, auratic memorial places, and to discuss ethical approaches to the Holocaust memory in the beginning of the 21st century. The text argues for the tourist experience as a memorable and educational tool with an active transformational potential, which will turn the visitor into a witness who further contributes to survival of the legacy of the Holocaust in the future.Pitanje turizma Holokausta može biti prilično osetljiva, ali ipak veoma važna tema u domenu sećanja na Holokaust. Kako se turizam često povezuje sa aktivnostima u slobodno vreme, prilično je izazovno staviti turizam u mračnije kontekste istorije i smrti. Takođe, različiti ljudi koji dolaze na mesta vezana za Holokaust sa različitim motivima čine pitanje osmišljavanja edukativnih tura još složenijim. Ovaj rad će pokušati da razotkrije pitanja koja se odnose na mračni turizam, holokaust turizam, auratična memorijalna mesta, kao i da prodiskutuje etičke pristupe sećanju na Holokaust na početku 21. veka. U tekstu se zagovara turističko iskustvo kao nezaboravno i edukativno sredstvo sa aktivnim transformacionim potencijalom koje će posetioca pretvoriti u svedoka koji dodatno doprinosi opstanku nasleđa Holokausta u budućnosti
Politika i perverzija (de Sad Pjera Paola Pazolinija danas)
No full textВ статье делается попытка рассмотреть фильм Пьера Паоло Пазо- лини “Сало, или 120 дней Содома” не просто как экранизацию произведения маркиза де Сада, но как возможный ответ на про- блемы современного общества, реанимирующего фашизм, но уже не как политическую идеологию, а как “естественную” форму чувственности современного человека. Пазолини воплощает в фильме неполитическую логику фашизма как логику перверсии, скрытую за фасадом политической идеологии, опираясь на свою оригинальную “семиологию реальности”, выражением которой является кинематограф. В статье показано, что “Сало” последова- тельно противоречит ключевым принципам кинематографической выразительности самой теории Пазолини, в которых реальность себя проявляет (действует как сама жизнь). Это позволяет соединить несоединимое – шок от сцен пыток и сексуального насилия с куль- турной аллегорией, анестезируеющй визуальное насилие. Для Пазолини и насилие, и культура – механизмы анализа эфемерной субстанции власти, неизбежно порождающей те или иные формы фашизма и перверсии, а де Сад – первооткрыватель основных чувственных (пластических) синтагм власти, воплощенных в фигу- ре либертена. Садический либертинаж, совмещающий в себе идею свободы и практику пыток, оказывается в самой сердцевине совре- менной политики, ее действующим бессознательным.The article attempts to examine Pier Paolo Pasolini’s film Salo, or 120 Days of Sodom, not
only as an adaptation of Marquis de Sade’s work, but as a possible response to the problems
of modern society, which reanimates fascism, no longer as political ideology, but as a “natu ral” form of contemporary human sensibility. Relying on his original “semiology of reality,”
the expression of which is cinema, Pasolini’s film embodies the non-political logic of fascism
as the logic of perversion, hidden behind the facade of political ideology. The article shows
that Salo consistently contradicts the key principles of cinematic expressiveness of Pasolini’s
theory itself, which focuses on moments in which “reality” reveals itself (acting as life itself).
As a result, the film connects the unconnected – the shock of scenes of torture and sexual
violence with a cultural allegory that anesthetizes effect of visual violence. For Pasolini, both
violence and culture are mechanisms for analyzing the ephemeral substance of power, whi ch inevitably generates some form of fascism and perversion, while de Sade is the discove rer of the basic sensual (plastic) syntagmas of power, embodied in the figure of the libertine.
The sadistic libertinage, which combines the idea of freedom and the practice of torture,
finds itself at the very heart of contemporary politics, its operative unconscious.U radu se daje pokušaj analize filma Pjera Paola Pazolinija „Salo, ili 120 dana Sodome“ ne
samo kao ekranizacije dela markiza De Sada, već i kao mogućeg odgovora na probleme sa vremenog društva, koje reanimira fašizam, ali ne kao političku ideologiju, već kao „prirodan“
oblik senzibilnosti savremenog čoveka. Pazolini u filmu utelovljuje neopolitičku logiku fašiz ma kao logiku perverzije, skrivenu iza fasade političke ideologije, oslanjajući se na svoju ori ginalnu „semiologiju realnosti“, čiji je izraz kinematografija. U radu je pokazano da „Salo“ po stupno protivreči ključnim principima filmskog izražavanja same Pazolinijeve teorije, u kojima
se realnost očituje (deluje kao sam život). To dozvoljava da se spoji nespojivo – šok od scena
mučenja i seksualnog nasilja s kulturnom alegorijom, koja anestezira vizuelno nasilje. Za Pa zolonija i nasilje, i kultura predstavljaju mehanizme analize efemerne supstance vlasti, koja
neumitno rađa različite oblike fašizma i perverzije, a De Sad – pronalazača osnovnih senzibilnih (plastičnih) sintagmi vlasti, utelovljenih u figuri libertena. Sadov libertinizam, koji
spaja u sebi ideju slobode i praksu mučenja, obreo se u samom jezgru savremene politike
kao njeno delujuće nesvesno
Politika trećeg puta: evrokomunizam i njegova jugoslovenska procena
No full textThis paper deals with a critical stage in the dissolution of the Soviet Communist (Bolshevik) Party’s domination in the Communist commonwealth. The gradual emancipation of European Communist parties, starting with Yugoslavia (1948), through the developments that caused the Soviet interventions in Hungary (1956) and Czechoslovakia (1968), gave birth to independent strategies of political struggle, autonomous from Moscow’s ideological centre, which were implemented by the largest Communist parties in Western Europe. The attempts aimed at the syncretism of the communist platform, and ideas of political rights and adapting to the parliamentary regime resulted in the “Third Road” movement, which strove to unify the positive experiences of the two ideologically opposed sides of the Cold War international constellation. Although it was a belated and, eventually – purely ideological concept, the movement itself and the idea of Eurocommunism has remained as an important testimony of an attempt at finding new paths in the struggle for a more just society.U radu se analiziraju kritični momenti disolucije monolitnog istočnog bloka kojim je domini rala sovjetska komunistička (boljševička) partija. Evolutivna emancipacija evropskih komu nističkih partija počev od Jugoslavije (1948), preko sovjetskih intervencija u Mađarskoj (1956)
i Čehoslovačkoj (1968), dovela je do konstituisanja samostalnih i u odnosu na Moskvu ne zavisnih strategija političke borbe, koje su primenjivale najveće komunističke partije u Za padnoj Evropi. Pokušaji sinkretizma komunističke platforme sa idejama poštovanja građan skih prava i adaptacije u parlamentarne režime zapadnih država, oblikovale su pokret “trećeg
puta” koji je pokušao da objedini pozitivna iskustva obe ideološki suprotstavljene strane
hladnoratovske međunarodne konstelacije. Iako zakasneo i politički nerealizovan, pokret i
ideja evrokomunizma su ostali kao važno svedočanstvo o pokušaju pronalaska novih puteva
u borbi za pravednije društvo
ŽELIM DA PANIČITE, O knjizi Andreasa Malma Korona, klima, kapitalizam. Ratni komunizam u 21. veku, FMK, Beograd, 2022.
No full textNa šta mislimo kada kažemo... Ekonativizam, antiekspertski populizam i aproprijacija zelene politike u Srbiji
No full textOvde izlažemo javnopolitički relevantne komentare
i preporuke nastale na osnovu prve faze istraživanja
„Izrada smernica za uključivanje aktera koji nedostaju pri
osmišljavanju i sprovođenju javnih politika u oblasti zaštite
životne sredine: komparativno antropološko istraživanje
Loznice i Pljevalja“ izvedenog u okviru programa „Srbija
i globalni izazovi: ka pravednijim i demokratskim javnim
politikama“ koji Fond za otvoreno društvo podržava pri
Institutu za filozofiju i društvenu teoriju Univerziteta u
Beogradu. Istraživanje izvodimo u dobroj veri da njime
možemo da doprinesemo inkluzivnom osmišljavanju javnih
politika koje se ne bi rukovodilo isključivo interesima
ijedne od strana u aktuelnom dubokom društvenom
sukobu. Njegovi nalazi su u globalu sumorni, mada pružaju
i tračak nade oličen u smernicama iznetim na kraju teksta.Ova publikacija je nastala u okviru projekta “Program stipendija
Fondacije za otvoreno društvo” koji realizuje Institut za filozofiju i
društvenu teoriju Univerziteta u Beogradu, uz podršku Fondacije
za otvoreno društvo. Stavovi izrečeni u tekstu predstavljaju
stavove autora