University of Arts in Belgrade
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The Internet and Transitions of Institutionality in Art Music: Case Study of the Internet Music Competition, an online music competition by the Teacher Association of Primary and Secondary Music Schools in Serbia
No full textIn this paper, we are analyzing in what ways transition of music competition as an important institution in the world of Art music to digital world of the Internet is changing how we understand some important aspects of music performance and music excellence. The paper deals with a case study of the Internet Music Competition, an online music competition founded in 2011 by Udruženje pedagoga osnovnih i srednjih muzičkih škola Srbije (Teacher Association of Primary and Secondary Music Schools in Serbia). This new form of music competition mirrors many aspects specific for the Internet as a communication medium, and as such represents an interesting case of transitions that Art music goes through in the Information age, as well as possibilities and opportunities that the Internet as a medium brings forth. It opens important question of value and characteristics of digital sound in music performance. Is it possible to get a clear impression of artistic and music excellence through a digitally recorded sound? What is being evaluated in an online performance, and what is lost with digital sound? This kind of interdisciplinary study is significant both for understanding heterogeneous transitions of Art music discourses which are happening on a global scale, together with beginning to question and analyze the specifics of Serbian society and culture as part of the new digital, information age
The Empathy of Writing and the Taboo of the Literary Canon: Feminist Assumptions of Jovica Aćin’s Dnevnik izgnane duše
No full textUloga imovine u organizovanom kriminalu: klasifikacija kriminala u odnosu na ulogu imovine
No full textEkonomski aspekt društvenog života, kao jedan od ključnih faktora za razumevanje društvenih procesa, ima ekvivalentan značaj i kao jedan od društvenih faktora za razumevanje kriminala. Evolucija razumevanja veze između organizovanog kriminala i ekonomije koja se u literaturi može pratiti od 70tih godina XX veka, inicirala je promenu paradigme o prirodi organizovanog kriminala. Tradicionalno viđenje organizovanog kriminala kao mafijaške organizacije postaje predmet debate u kojoj se tom shvatanju suprotstvlja argumentacija da organizovani kriminal nastaje u okolnostima koje predstavljaju antitezu glavnoj pretpostavki ekonomije — potpuno i besplatno garantovanje imovinskih prava.
Ukoliko država ne štiti imovinu ili sama stvara prepreke u pribavljanju njene zaštite, kriminalno preduzetništvo postaje karakteristika ekonomije u takvoj državi. Kada je zaštita imovinskih prava neodgovarajuća, nastaje okruženje koje pogoduje pojavi organizovanog kriminala. U okviru ekonomske dimenzije, osnovna funkcija organizovanog kriminala je da obezbedi ugovornu garanciju. Cilj ovog rada je da fokusiranjem procesa a ne učinilaca, ukaže na ekonomsku motivaciju u temeljima fenomena organizovanog kriminala, te potrebu uvažavanja ove činjenice prilikom opredeljenja metoda suzbijanja ove devijantne pojave
Procedural Aesthetics and the Emergence of NeuroArt
No full textAlthough Neuroart is related to the concept of Neuroaesthetics (S. Zeki), which is based on a
scientific approach to aesthetic perception of art, and to the concepts of Neuroplastic arts (G.
Novakovic) and Neuromedia (J. Scott) endorsing collaboration between artists and neuroscientists,
it is at the same time distinct from them. We are using the term literally to refer to those artworks
that are based on neural / brain waves signals and the use of brain-computer interfaces (BCI) or
more specifically, EEG headsets in the production and display of artworks. We focus on EEG-based
sound art, visual arts, interactive installations, and performance arts, and we identify Neuroart as a
novel, emerging form or sub-genre of new media art.
However, we do not limit Neuroart to human-generated artworks only. Given that Neuroart applies
to detection or inspection of neural electric signals, we claim that the electric nature of those signals
also applies to processes inherent in machine processing or neural computing such as Google Deep
Dream and other generic platforms that lay the foundations for computer and/or AI generated art
forms including database art, software art, visualization art, sonification art as well as those artworks
that result in material artifacts presented in traditional exhibition format.
We additionally claim that regardless whether the artworks of Neuroart are driven by a human or
machine, they can have the same aesthetic discursive value, but within a context of a newly defined
discipline of aesthetics that is Procedural Aesthetics. The Procedural Aesthetics (or the aesthetics of
signal), can be understood as the discursiveness of the very process of signals (intensities) emission
before they enter the sphere of conscious cognition. It is a pre-receptive and pre-semantics
phenomenon. It deals with the processes otherwise not available to human perceptive apparatus,
trying to reveal them, unmask them, by offering them to interpretation as cultural artifacts. And in
order to do this, it relies heavily on technology and technical equipment allowing us the access
to these ‘invisible’ processes through visualization, sonification, textualization, mapping and other
forms of interpretable representations displayed as artworks
The history of Danube loess research
No full textThe loess-paleosol sequences of the Danube basin contain the longest and most complete terrestrial records of Middle and Late Pleistocene paleoclimates in Europe. Consequently it is no surprise that scientific research into European loess began in this region and has a long and distinguished history. European loess research was initiated by Count Marsigli in the Serbian Vojvodina in the late 17th century, formed the focus of the international Loess Commission which straddled both sides of the Iron Curtain from 1961, and culminated with George Kukla's seminal studies in the 1970s correlating the loess archives with deep-sea sediments. The rise in popularity of the longer Chinese loess sequences in the early 1980s shifted the international research focus away from Europe, and it was not until the change of century that scientific investigation intensified in the region – this time with much more sophisticated tools for analysis.
Despite its potential as one of Europe's most valuable Quaternary archives, scientific research into Danube loess has until recently been hindered both by landscape heterogeneity and the large number of countries it covers. These have presented a major limiting factor in developing a unified research approach. For decades, regional/national loess stratigraphic models were defined separately. Difficulties in correlating such schemes persist, especially since these often change significantly with advances in dating methodologies. A cooperative effort is necessary to synthesize the available data, which requires not only the insights from but also the perspective provided by an appreciation of the history of the research.
In this study we present a critical historical overview of loess research in the Danube region. We classify the major research phases throughout the long tradition of Danube loess investigations into five categories: (1) the Early period (late 17th century until 1920) extending from Marsigli to Penck; (2) the Classic period (1920–1961) encompassing the contributions of Milanković and the development of pedostratigraphy; (3) the Modern period (1961-present) which oversaw Czech innovations and developments in geochronologic methods, in particular Amino Acid Racemisation (AAR) and luminescence dating; and (4) Contemporary research from Bronger's unified pedostratigraphy to orbitally-tuned timescales. Finally, (5) we present a vision of future Danube loess research
Carnevalito
No full textKompozicija je poklon Olivere Miljković (1935-2025) i sina Aleksandra Miljkovića (1975) Institutu za filozofiju i društvenu teorij
Maximus the Confessors Geometrical Analogies Applied to the Relationship between Christ and Creation
No full textTwo Historians in Front of the Economic Crisis of 2007–2008 : Hobsbawm and Judt between Marxism and the Legacies of 20th Century
No full textHow did intellectuals react to the economic crisis of 2007–2008 and its long-term backlash? What did they learn from the main twentieth-century political and social experiences, in order to make a new sense of the traditional cultures of the Left? In order to answer these crucial issues, this proposal will analyze the paths of the well-known historians E. Hobsbawm and T. Judt and their apparently similar, but actually different reactions to the crisis. First, I will focus on their respective books: How to Change the World (2011) and Ill Fares the Land (2010). On the one hand, Hobsbawm’s critical approach to the post-1991 world, shaped by his lifelong fidelity to Marxism and his persistent sympathy for the Russian Revolution, was connected to his catastrophic vision of the end of the both conflicting and collaborative dynamics between capitalism and socialism. On the other hand, Judt’s re-thinking of the social-democratic tradition, compelled by the global transformations of the social question, was inspired by his connections with the East Central European dissidents’ anti-totalitarian liberalism and by his critical approach to the engagement of the French intellectuals. Second, I will investigate their different interpretations of the „Golden Age“ of post-1945 Europe (with special regard to the long-term impact of the crisis of 1929 and to the influence of Soviet communism) and of the causes of its crisis. Third, I will show how, in spite of their common reference to Marx, late Hobsbawm’s and Judt’s historical visions – respectively combined with determinism and moralism – provide opposite ways of coping with the legacies of the 20th century and of criticizing the language of neoliberal economy within the Left
