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 Role of Art and Cultural Institutions in the Global Eco-social Crises
No full textIt has become clear that climate change is a great danger to the planet's ecosystem, and that the survival of life of all living species on Earth is endangered. Humanity has become aware of the crisis of the environment and its pollution, but not of the assumption that possible solutions to that crisis are related only to the change of mode of social production. Today's eco-social crisis is causally connected with global capitalism, that is, the mode of production that led to it. Therefore, it is a great misconception that the environmental crisis, which is perceived as a problem of all humanity, can be solved by the universalist attitude of the entire human species that strives to preserve the planet, if we ignore the social tensions in which we live. The systemic changes are needed to deal with the crisis of the environment and its pollution. Herewith, the role of culture and art cannot be neglected. Art that deals with environmental issues in an engaged way has the potential to rethink the field of political, as well as to politicize the attitude of art towards the problem of environmental protection. The clear and critical positions of artists in the public sphere initiate the necessary discussions on the eco-social crisis, but also establish new and different models of fair work with the environment. As for the cultural institutions, they need to rethink and re-imagine, but also to decolonize their methodology of working in order to face the eco-social crisis of today. Still, in many local contexts, the institutions cannot be considered independent from dominant ideological constructs they are bound to reproduce in the cultural sphere
Humanizam i humanizmi: (Ra)stezanje pojma
No full textU ovom radu autori nastoje da ponude pregled različitih učenja koja se
svrstavaju pod kapu humanizma. Mada se rad prevashodno usredsređuje na humani-
stičke doktrine, teoriju humanizma često nije jednostavno razlučiti od huma-
nizma u praksi, te će svakako biti referisano na različite praktične programe
humanizma. I u jednom i u drugom slučaju ispostavlja se da je humanizam toliko
razuđen, ako ne i bezobalan pojam, da je možda uputnije govoriti o humanizmima, u
množini. Iako jedan pregledni članak ne može da predoči podrobnu i sveobuhvatnu
istoriju (ideje) humanizma i sve varijacije kroz koje je on prošao i prolazi kod
svojih značajnih zastupnika, autori veruju da čitaocima može pružiti osnov za
razumevanje i okvir za dalja istraživanja i promišljanja humanizma/humanizama.In this paper, the authors have offered an overview of various teachings that fall
under the umbrella of humanism. Although the paper primarily focuses on the humanist
doctrine, it is often not easy to distinguish the theory of humanism from humanism in
practice. In both cases, it turns out that humanism is such a wide-ranging concept that
perhaps it is instructive to talk about humanisms instead. Although a single review article
cannot present a detailed and comprehensive history of (the idea of) humanism and all
the variations it has gone through, the authors believe that this work can provide readers
with a basis for understanding and a framework for further research and reflection on
humanism/humanisms
The Kingdom of Yugoslavia an the return of the “planned elite“: The case of Professor Dr Đorđe Joannović
No full textThe paper analyses the society of the newly created Kingdom of SCS/
Yugoslavia, which aroused great expectations from various members of the intellectual
elite. Majority of them, educated in the West as the “planned elite”, returned to the
country to help its social development. Nevertheless, the case of the Viennese professor,
the influential European pathologist and oncologist Prof Dr Đorđe Joannović (1871-
1932), although different from others, can be considered paradigmatic. Returning to
the country of his parents and leaving the comfortable life of Viennese scientific circle
Joannović devoted himself to building several medical institutions in Belgrade, from
the Faculty of Medicine to the Institute of Pathology. However, many who, like Dr
Joannović, enthusiastically came to the new country, ready to work and contribute to
its overall development, experienced severe disappointment, and even personal tragedy.
In this context, the fate of the famous doctor and distinguished Viennese professor, the
first Serbian oncologist, one of the world’s pioneers in the study of autoimmune diseases,
the founder of many medical institutions and the world-renowned scientist, is one of
the paradigms of the Yugoslav society. The strong connection with the students and
the support he provided to them, his loyalty to the principles of university autonomy
and his reluctance to put himself at the service of the authoritarian and repressive
government brought him into conflict with the bearers of the state terror of the Sixth of
January regime. From the conflicts and pressures to which he was exposed from the top
of the government, the well-known and recognised European scientist seeked salvation
in suicide
The heritage of Oedipus’ Sphinx: the destiny of self-identification
No full textРад излаже историју саморазумевања човека пратећи промене кроз које је пролазило разумевање митског сусрета Едипа и Сфинге. Прво се детектује образац према коме модерна у Едипу препознаје и слави тријумф човека над природом и његово одговарајуће уздизање у сувереног субјекта. Средишњи део рада нуди преглед савремених (ре)интерпретација Сфингиног наслеђа које сугеришу пожељност или неопходност „нове митологије”. Оне врхуне у налазу да је Едип, у компулзивном настојању да потпуно рашчара свет, прогнао сваку тајну и занос из њега, па је дошло доба за његово „поновно зачаравање”. Завршни део рада искушава и препоручује трећу стратегију: просветитељско демитологизовање просветитељства као последњег мита, разоткривење да је Едип тајна Сфинге, да је она његов конструкт. Стога је на њему да преузме одговорност за пројекције произашле из несигурности у властити идентитет и статус у свету, уместо да митским
представама обнавља образац непријатељског држања према природи и свему различитом од себе.The paper seeks to signalize the history of human self-understanding through the changes that the mythical encounter between Oedipus and the Sphinx underwent. First, a pattern is detected according to which the modern in Oedipus recognizes and celebrates the triumph of man over nature and his corresponding elevation into a sovereign subject. The central part of the paper offers an overview of contemporary (re)interpretations that restore the right to the Sphinx and suggest the desirability or necessity of a “new mythology”. The central part of the paper offers an overview of those contemporary (re)interpretations that restore the right of the Sphinx and suggests the desirability or necessity of a “new mythology”. The finding is that Oedipus, in a compulsive endeavour to completely disenchant the world, banished every secret
and ecstasy from it, so the time has come for its “re-enchantment”. The final part of the paper tests and recommends a third strategy: the Enlightenment’s demythologization of the Enlightenment as the last myth, revealing that Oedipus is the secret of the Sphinx, his construct. That is why it is his responsibility for insecurity into his own identity and status in the world not to move narcissistically onto projections of everything different from himself that he has subjugated or will subjugate, but, for the sake of both himself and the world, less intimidated, more peacefully and in solidarity approach to it
The Forces of Architectural Design
No full textGreg Lynn’s theorization of the animate form and animate design in architecture referred to the consideration of structural changes in the creation of architectural form caused by the advent of computer-aided design. His concept of animate form represented a departure from the idea of the autonomy of form created in abstract, atemporal space. In contrast, Lynn recognizes in the new software the opportunity to subordinate the (virtual) architectural form to the dynamic principles of motion and force. Similar to Deleuze’s idea that “[f]orce is presence and not action,” Lynn defines force as virtual motion and identifies it in the logic of 3D software’s vector curvilinearity, which indexically signifies the continual change in the form’s geometry. However, the “virtual force,” representing a simple geometric law, is also an analogue of the material force that actualizes the form by translating it into a technical structure. This duality, which echoes Leibniz’s distinction between the primitive and derivative forces, allows the category of force to overcome the paradigm of realization of the (autonomous) form. In this presentation, this double character of force will be used to interpret the point of “/” as that in which one can encounter simultaneity and absolute parallelism of the ideal and real aspects of architectural design
Between the Primitive and Plastic: Deleuzian Ontology of Architectural Design
No full textThe discursive difference between the ideal and material architectural object could almost be completely reduced to the issue of translation of the former into the latter. Within such a perspective, it becomes difficult to think of architectural design beyond the order of precedence, which defines the Form’s ontological autonomy from its material expression. In my presentation, I will try to reinterpret this relationship using Deleuze’s theory of fold. Regarding Leibniz’s distinction between the primitive and (derivative) plastic forces, through which Deleuze interprets the difference between soul and matter as the difference between the one and many, the concept of fold offers the possibility of a “twofold” reading of design methodology. Such duality would refer to overcoming the paradigm of “materialization” of form, that is, the always one-way translation process, understood as the multiplication of the one. In other words, Leibnizian hylomorphism is reflected in the concept of the fold on the level of its position between the corresponding processes of unification and multiplication. Using the concept of harmony, which is the unity of the multiple, Deleuze defines this kind of correspondence as a necessary twofoldness, i.e. “the double operation of transcendental actualization and realization” – the former as intrinsic and the second as extrinsic folding. Nevertheless, their mutual order remains an order of precedence: the intrinsic folding is necessarily primitive, or primary since its only reference is the self. In the methodology of architectural design, however, this order becomes impossible with the question of form being posed with respect to the problem of morphogenesis. Between the actual and the real, the morphogenetic process itself then turns into an infinite correspondence, whereby the primitive quality of form would have to identify with its plasticity
The Metamorphic Role of the Artist Across the Digital Technology Timeline
No full textThe intersection of art and technology has reached unprecedented heights, with digital technologies emerging as novel tools and collaborators in the realm of artistic creation. How do artists navigate the intricate web of challenges (concerns of authenticity, authorship, and copyright) while embracing the potential of digital collaboration and appropriation?
From ‘isolated genius’ to ‘entrepreneur’, the fusion of art and technology has redefined what it means to be an artist, with tasks such as coding, digital rendering, data analysis, as well as social networking, becoming as crucial as traditional craftsmanship.
Through a chronological exploration of pivotal moments, Jelena Guga will uncover how artists have not merely reacted to digital trends but actively forged new pathways, redefining their identity and impact and unveiling a narrative of adaptability, innovation, and reflection.Information on the symposium, here: https://ulus.rs/blog/iaa-europe-symposium-arts-and-robots/?lang=en
Recording of the symposium, here: https://www.youtube.com/watch?v=-UNUyesqlY
Napred, ne posustajući, prema kraljevstvu lepote i ljubavi. Put do socijalizma Herberta Markuzea
No full textSocialists today can learn from Marcuse. Starting from this premise this paper discusses and elaborates on Herbert Marcuse’s trajectory to socialism. Marcuse successfully eluded the trap of “economism”, and turned to subjectivity in search of a socialist solution. The transition to socialism is possible through the creation of new anthropology expressed through the concept of “new sensibility”. The prototype of a new socialist human is an anti-superman. Peace and beauty are important characteristics of Marcuse’s socialism. “Libertarian socialism”, “feminist socialism”, “integral socialism”, “socialist humanism”, “socialism as the work of art”, and “utopian socialism” are all terms that testify to Marcuse’s open and many-faceted understanding of socialism in all of its complexity of meanings. Some of those meanings can inform debates on future prospects of socialism.Današnji socijalisti mogu nešto naučiti od Markuzea. Polazeći od ovog stajališta, u ovom radu se raspravlja i elaborira Markuzeov put prema socijalizmu. Tragajući za socijalističkim rešenjem, Markuze je uspešno izbegao zamku ekonomizma i okrenuo se subjektivnosti. Prelaz u socijalizam moguć je stvaranjem nove antropologije izražene pojmom „nove osetilnosti“. Prototip novog socijalističkog čoveka je anti-supermen. Mir i lepota važne su karakteristike Markuzeovog socijalizma. „Libertarijanski socijalizam“, „feministički socijalizam“, „integralni socijalizam“, „socijalistički humanizam“, „socijalizam kao umetničko delo“ i „utopijski socijalizam“ pojmovi su koji svedoče o Markuzeovom otvorenom i mnogostranom razumevanju socijalizma u svoj njegovoj kompleksnosti značenja. Neka od tih značenja mogu nadahnuti savremene rasprave o izgledima socijalizma