336 research outputs found
Animals and philosophers: Preface to my critics
No full textThe author is here seeking to expose his book Philosophical Animal zoographical persuasion to philosophy, to his own remorseless analysis - and that way defend the book from potential criticism by the others. On the other hand, the author believes that this will open up the space for discussion about the book and themes that book provokes. This discussion is not going to be mere neatly registered response and/or appropriate praise but a contribution inspired by the book, resonating back to it
"Author Meets Critics: Predrag Cicovacki, Author of Gandhi's Footprints, Meets Critics Sanjay Lal and Carlo Filice"
No full textTwo critics respond to Predrag Cicovacki’s book, Gandi’s Footprints. Cicovacki opens the discussion by presenting his motivations for exploring a paradox, that Gandhi’s work is widely revered but not widely emulated. Cicovacki explores a resolution to the paradox by suggesting how Gandhi’s promising visions may be followed without being imitated, especially Gandhi’s insight that we must seek spiritual grounding for life in a materialistic world. Critic Sanjay Lal affirms Cicovacki’s insight but suggests that precisely because Gandhi’s aspirations for spiritual life were profoundly transformative we should take care not to dilute them into our conventional wisdoms. Critic Carlo Filice asks how Gandhi’s commitment to unified reality could be more clearly articulated once a distinction is drawn between spirit and matter, also how Gandhi’s nonviolence could manage to embrace important exceptions. In reply to critics, Cicovacki proposes an approach to Gandhi informed by the insights of Tagore
(In)Visible Hand(s)
No full textIn this paper, the author discusses the regulatory role of the state and legal norms, in market economy, especially in so-called transition countries. Legal policy, and other questions of the state and free market economy are here closely connected, because the state must ensure with legal norms that economic processes are not interrupted: only the state can establish the legal basis for a market economy. The free market’s invisible hand is acting in questions such as: what is to be produced, how much is to be produced, for whom it is to be produced, how it is to be produced. During the transition period but also in the establishnig EU, the role of legal norms is much more important then it (is) would be expected: problems of transition are more connected with ethics and psychology, then with legislation.Law and economics, legal norms, (de)regulation, State
Ascending the Nonviolence Continuum: Sanjay Lal, Author of \u3cem\u3eViolence, Nonviolence, and Moral Worth, \u3c/em\u3eMeets Critics
No full textIn this author-meets-critics discussion, Sanjay Lal presents the main ideas of his book Violence, Nonviolence, and Moral Worth, arguing that nonviolence meets violence along a continuum where there are degrees of greater and lesser examples, including a wide range of examples that combine both tendencies. Lal defines nonviolence in terms of three components that emphasize attitudes over actions: (1) a willingness to not harm others, (2) wanting to facilitate the well-being of others, (3) and not sacrificing one\u27s own moral worth. Three critics share their praises and concerns: Predrag Cicovacki challenges Lal to be more specific on the definition of moral worth, on the relationship between violence and nonviolence, and on the account that he gives for value theory and value conflict. Jennifer Kling asks if beliefs can serve as pre-existing grounds for action, if reconceptualizations of pop culture are bound to any limits, and if there are good reasons for assuming that all people are approachable. Danielle Poe asks what it means to reconceptualize popular culture as an approachable resource of nonviolent insight. Answering these questions, Lal reflects on what it means to be inspired by Gandhi’s example
A middleware for distributing XML data between mobile application servers
No full textThis research seeks to introduce architecture of new approach of distributing XML data files between different mobile application servers. The importance of this study is to set a multi level of security defense for interchanging XML data files between different servers. The main objective and goal of this study is to transmit XML data files between different Mobile Application Server (MAS) using internet cloud infrastructure in a secured manner coupled with reliability and quality of communication. Taking into consideration that the system architecture attribute is to be independent, scalable and flexible of using cloud computing. Furthermore, this architecture designed to minimize the risk of any alteration, data loss, data abuse, data misuse of XML critical business data information. As cloud computing, using existing cloud network infrastructure to get advantage of the scalability, operational efficiency, and control of data flow are big consideration in this architecture. A test has been made to measure the performance of the Real-time Interactive Data Exchange system (RIDX), one by using standard TCP protocol, and one by using RIDX UDP protocol. As a result, starting from 4 nodes up to 10 nodes in the cloud, RIDX architecture performance showed good results, conversely the study showed that using RIDX UDP protocol as a transport protocol gives better performance than standard TCP, moreover, using RIDX UDP transport protocol assures the reliability and lossless of data transmission to all nodes, therefore, RIDX acts as a reliable multicast transmission
The Luminosity of Love
No full textWe long to love and to be loved. We also fear love because we risk betrayal by those we love, or we betray them. Predrag Cicovacki\u27s charming book, Luminosity of Love, uses the extraordinary love story of the great unconventional Serbian poet Laza Kostić and the vivacious aristocratic young woman, Lenka Dundjerski, as a starting point for a wide-ranging discussion of the nature of love, its importance in the Western philosophical tradition, and its relevance for living a meaningful life in our high-tech materialistic world of the 21st century. By combining real love stories and philosophical reflections on them, the author focuses on the moments of betrayal that bring us to a crossroads at which point we may choose to retreat from loving, and instead satisfy ourselves with substitutes for love. Alternatively, we may realize that our fear and sense of betrayal need not get the last word when it comes to love, and that we can aspire to transform ourselves into more caring and radiating personalities. Our struggle to realize this aspiration is a love story--the ultimate love story that should concern us. This book is a superb philosophical essay about the transformative power of love.https://crossworks.holycross.edu/hc_books/1007/thumbnail.jp
Predrag Milošević - portret muzičkog stvaraoca
No full textPredrag Milošević (1904–1988) was a composer, conductor, pianist, professor, music writer and organizer. A multitalented and versatile creative music figure, he enriched and contributed to the musical life in Serbia in the inter-war and post-war periods in many ways. His compositional oeuvre – although relatively small – represents a valuable milestone in the history of Serbian music, most no-tably with the genres of chamber and symphonic music. The monograph Predrag Milošević – Portrait of the Music Artist, highlights all of his versatile artistic ac-tivities.
Milošević was born in Knjaževac, Serbia in 1904. He started piano studies at the Academie der Tonkunst in Munich (with Professor Eduard Bah) from 1922– 24, then continued studies of piano, and also composition and conducting at the State Conservatory in Prague, where he studied with professors Jaroslav Křička (composition) and Pavel Dědeček (conducting). Milošević mastered composi-tion with Josef Suk at the Meister School in Prague, and also attended a master class in conducting with Nikolai Malko.
The central position in his professional trajectory was occupied by con-ducting, which lasted for several decades and gave fruitful results. He started as a choir conductor already in his student days in Prague, leading the choir “Hlahol” which was quite famous and internationally recognized at that time. After returning to his homeland, Milošević was engaged as the Opera conductor in the Belgrade National Theater (from 1932 to 1941), conducting over twenty opera and ballet premieres of both international and domestic works. He was the only Serbian conductor of that time who had five of the most important Mozart’s operas on the repertoire (The Magic Flute, Cosi fan tutte, Don Giovanni, The Abduction from the Seraglio , Le nozze di Figaro). At the same time, he also acted as the choir-leader of the Belgrade Singing Society (Beogradsko pevačko društvo), performing well known cantatas, oratorios and church choir music by Dvořák, Handel, Verdi, Mokranjac and others. This important domain of his work is presented in a separate chapter (III. PERIOD OF RISING – VERSATILE CONTRIBUTIONS TO THE MUSIC LIFE OF BELGRADE 1932–1941, III.1, III.2. III.3) and documented with many excerpts from reviews published in daily newspapers and periodicals from the inter-war period.
During the Second World War, Milošević was imprisoned in camps in Warburg, Nürnberg and Hamelburg in Germany. In difficult times and condi-tions, he still managed to organize quite a rich music life, establishing a “Music Section” with a choir, chamber orchestra, giving performances, organizing lec-tures in various fields of music theory. A separate chapter of this book is dedicated to this period of hardship in Milošević’s life, based on the memoirs that he published in a joint collection of memories Muzika iza bodljikavih žica / Music behind Barbed Wires.
After the war, Milošević continued with his engagement as the opera con-ductor at The National Theater in Belgrade (1945–55), then at the Serbian National Theater in Novi Sad (1955–60), where he acted also as the director for two years. From 1945, Predrag Milošević was employed as the professor of com-position at the Music Academy; from 1948 he also led a class of conducting, and from 1960–67 was the Dean of this institution. Among his versatile activities, the book also gives an insight to Milošević as a pianist, lecturer and music writer. For many years, he published music reviews in periodicals.
Being the most long-standing and central area of his artistic career, conduct-ing was perhaps the reason why Milošević did not manage to compose more. Namely, Sonatina for piano, String Quartet and Symphonietta – which he com-posed during his studies, are his only three significant works, but their quality positions Milošević as an important figure in the history of Serbian music. The value and significance of these three compositions are not only historical in the sense of documenting a period in Serbian music history; these works are highly professional, showcasing a skillful compositional technique, individually round-ed, fresh in ideas, expression and sound even today. As such, they rightfully de-serve to be thoroughly analyzed and that is why the sixth chapter is the longest and most important part of this monograph. The encompassing results of precise analytical interpretation of his compositional oeuvre – presented here – are the first of this kind in our musicological-theoretical literature.
The interesting point in Milošević’s compositional expression is that he start-ed with impressionism in the Sonatina, and then stylistically turned to neo-ba-roque and neoclassicism in the String Quartet and Symphonietta. Like many of his fellow composers who studied in Prague (known as The “Prague Group”) and brought some of the new, contemporary tendencies from Prague back home
– thus enriching Serbian music, Milošević turned to these new tendencies, but they were filtered through his own artistic prism. Thus, the stylistic turn from impressionism to neoclassicism in such a short period (1926–30) and within only a few compositions, was even more compact and strikingly successful.
The main characteristics of Milošević’s compositional style are: a distinc-tive linear-melodic flow paired with skillful transformations of motifs, leading to thematic unity; polyphonic textures, also displaying his mastery in counter-point techniques; well-orchestrated rhythmic and harmonic ostinatos, and spe-cific sense for rhythmic movement and metric diversity. Harmonic features in the Sonatina show impressionistic obscuring of tonal functions, which evolve to free tonality in the Quartet and atonality in Symphonietta with dissonant chordblocks built of fourths, bi-chords, and “mini-clusters”. Milošević’s treatment of form, on the one hand, shows a traditional starting point (sonata form, rondo, fugue, ternary forms), but it is enriched with individual interventions on the other hand, which lead to merging of different formal patterns. The sonata cy-cle of the String Quartet introduces baroque forms of each movement: Preludio, Passacaglia, Fugue, merging a compressed sonata form of the first movement with imitative and fugato-like sections; the third movement is a rondo form but in a manner of the fugue. The polyphonic texture as being logical in the neo-baroque Quartet, is linked not only to this composition; it is also present in Symphonietta as the result of various counterpoint techniques which Milošević masterly employs, and can be observed as one of the defining characteristics of his own compositional style. The use of block-type ostinatos and static ostina-tos with a resulting coloristic effect, the emerging of thematic material from the mutual core, the “synthetic” principle in section building, along with the harsh and dissonant harmonic structures, fourth-chord blocks, bi-tonal and poly-tonal plains – all these combined stand as the most significant features of Milošević’s compositional style in Symphonietta.
Sonatina, String Quartet and Symphonietta, despite being his student (and graduation) compositions, show all the attributes of a mature author. Characterized by the richness of thematic ideas, original melodic profile, undu-lating metro-rhythmic sculpting and compositional proficiency, these composi-tions stand not only as his personal creative peak, but represent exemplary pieces in the anthology of Serbian music.Kompozitor, dirigent, pijanista, muzički pisac, pedagog, redovni profesor i dekan Fakulteta muzičke umetnosti, prevodilac, organizator muzičkog života, društveno angažovan poslenik, sve su to bila profesionalne okupacije vezane za ime samo jedne ličnosti – Predraga Miloševića, čije je sveukupno stvaralačko zračenje ostavilo dubokog traga u izgrađivanju srpske muzičke
kulture i umnogome ga na osoben način obogatilo. Predrag Milošević rođen je 11. februara 1904. godine u Knjaževcu, malom mestu istočne Srbije; preminuo je januara 1988. godine u Beogradu. Autorka ove monografije imala je čast i zadovoljstvo da lično upozna
Predraga Miloševića 1986. godine. Susreti sa njim su se odvijali u prijatnoj poslovnoj atmosferi u njegovom domu u Gogoljevoj ulici na Banovom Brdu. Pričao je o svojoj mladosti i dolasku u Beograd, evocirao sećanja sa školovanja, studija, putovanja, o vremenu provedenom u logoru za vreme Drugog svetskog rata. Govorio je o dirigentskoj i pedagoškoj karijeri. Iako sa izuzetno raznolikim i bogatim životnim i profesionalnim iskustvom,
pripovedao je skromno ali sa žarom, zanimljivo i živo, sa puno duhovitih dosetki. U to vreme, iako u poodmaklim godinama, Milošević je radio na svojoj knjizi „O drugima – o sebi”. Nažalost, u delu zaostavštine Predraga
Miloševića, poklonjenom Fakultetu muzičke umetnosti u Beogradu, nije nađen trag o ovom rukopisu i nije poznato da li ga je završio. U to vreme je i dalje aktivno pisao i prevodio, i sa budnom pažnjom pratio sva značajnija
događanja u svim oblastima kulturnog života, često uzimajući i sam učešća u njima. Iako tako mnogostranog umetničkog profila, celokupna delatnost Predraga Miloševića nije do sada bila predmet šireg, sveobuhvatnog sagledavanja, koji po značaju svakako zaslužuje, te ova monografija ima za cilj da osvetli stvaralački doprinos i ostvareni kvalitet u svim domenima njegovog delovanja
Nathan from Gaza
No full textNathan iz Gaze (1643?-1680), punog imena Nathan Benjamin ben Elisha Hayyim haLevi Ashkenazi ili Ghazzati, bio je teolog, kabalista i pisac rođen u Jerusalemu. Nakon ženidbe 1663. godine preselio se u Gazu, gde je postao poznat kao promoter jevrejskog mesijskog pretendenta Šabetaja Cvija (Shabetaj Zvi / Sabbataij Zevij) opravdavajući njegove postupke, uključujući i njegovo konačno otpadništvo. Putovao je po južnoslovenskim zemljama i Italiji šireći mesijansko učenje Šabetaja Cvija koje se temeljilo na Lurijanskoj doktrini Kabale. Umro je u 37 godini, 11. januara 1680., u Skoplju u Makedoniji. Zbog osobitosti njegovog lika, rada i mesta boravljenja ovde predstavljamo tri izvora koji nam donose potpuniju sliku o njegovom delovanju: Nathan of Gaza - From Wikipedia, the free encyclopedia / Ghazzati, Nathan Benjamin ben Elisha ha-Levi - From Jewish Encyclopedia / Granice mesijanizma: refleksije povodom slučaja Natana iz Gaze - Krstić Predrag i Između mita i stvarnosti: (pre)oblikovanje legende o Natanu iz Gaze u srpskoj/jugoslovenskoj periodici - Albahari Biljana/.Nathan of Gaza (1644?-1680), also Nathan Benjamin ben Elisha Hayyim haLevi Ashkenazi or Ghazzati, was a theologian, a kabbalist and author born in Jerusalem. After his marriage in 1663, he moved to Gaza, where he became famous as a propagandist for the Jewish messiah pretender Shabetaj Zvi (Sabbatai Zevi). He justified his actions, including his final apostasy. He traveled throughout South Slavic countries and Italy spreading the messianic teaching of Shabetaj Zvi theories based on the Lurianic doctrine of Kabbalah. He died at the age of 37, on January 11, 1680, in Skopje, Macedonia. Due to the especially nature of his character, work and place of residence, we present here three sources that bring us a more complete picture of his work: Nathan of Gaza – From Wikipedia, the free encyclopedia / Ghazzati, Nathan Benjamin ben Elisha ha-Levi – From Jewish Encyclopedia / The limits of messianism: reflections on the case of Nathan from Gaza - Krstić Predrag and Between myth and reality: (re)shaping the legend of Nathan from Gaza in Serbian/Yugoslav periodicals - Albahari Biljana/.Nathan of Gaza - From Wikipedia, the free encyclopedia - link [https://en.wikipedia.org/wiki/Nathan_of_Gaza]Ghazzati, Nathan Benjamin ben Elisha ha-Levi - From Jewish Encyclopedia - link [https://www.jewishencyclopedia.com/articles/6651-ghazzati-nathan-benjamin-ben-elisha-ha-levi
Corrigendum PARTICLE SWARM OPTIMIZATION OF A HEAT PUMP PHOTOVOLTAIC ENERGY SYSTEM
No full textCorrigendumMarko Mančić1, Emina Petrović1, Vlastimir Nikolić1, Milena Jovanović2, Predrag Rajković1, Miloš Simonović1PARTICLE SWARM OPTIMIZATION OF A HEAT PUMP PHOTOVOLTAIC ENERGY SYSTEM 1Faculty of Mechanical Engineering, University of Niš, Serbia2Faculty of Occupational Safety in Niš, University of Niš, Serbia FACTA UNIVERSITATIS, Series Working and Living Environmental Protection Vol. 13, No 3, 2016, pp. 165 -176, DOI: 10.22190/FUWLEP1603165M The Editor-in-Chief has been informed that in the article ‘Particle Swarm Optimization of a Heat Pump Photovoltaic Energy System’, FACTA UNIVERSITATIS, Series Working and Living Environmental Protection Vol. 13, No 3, 2016, pp. 165-176, DOI: 10.22190/FUWLEP1603165M, co-author’s names - Predrag Rajković and Miloš Simonović - have been omitted. After further discussion with the corresponding author, the Editor-in-Chief has decided to publish a corrigendum for this article. Link to the corrected article - DOI: 10.22190/FUWLEP1603165
O pinhasu
No full textThe text presents a story about Pinkas, the record of Jewish Community, confiscated during Second World War by the Nazis. History of Sarajevo’s and Bosnian Jewish Community is covered in Pinkas. The author makes use of existing documents and literature reconstruction of Bosnian history and Sarajevo’s Pinkas itself.The text presents a story about Pinkas, the record of Jewish Community, confiscated during Second World War by the Nazis. History of Sarajevo’s and Bosnian Jewish Community is covered in Pinkas. The author makes use of existing documents and literature reconstruction of Bosnian history and Sarajevo’s Pinkas itself
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