Medijska Arheologija Book of Abstracts

MEDIJSKA ARHEOLOGIJA
Knjiga saetaka
MEDIA ARCHAEOLOGY
Book of abstracts
Fakultet dramskih umetnosti, Beograd, 29-30. oktobar 2015.

Faculty of Dramatic Arts, Belgrade, 29-30 October 2015
Meunarodni nauni skup

MEDIJSKA ARHEOLOGIJA
KNJIGA SAETAKA
International Conference
MEDIA ARCHAEOLOGY
BOOK OF ABSTRACTS
Fakultet dramskih umetnosti, Beograd

Faculty of Dramatic Arts, Belgrade
Meunarodni nauni skup MEDIJSKA ARHEOLOGIJA

Fakultet dramskih umetnosti, Institut za pozorite, film, radio i televiziju
Beograd, 29-30. oktobar 2015.
International Conference MEDIA ARCHAEOLOGY
Faculty of Dramatic Arts, Institute for Theatre, Film, Radio and Television
Belgrade, October 29-30, 2015
Programski odbor
Prof. mr Zoran Popovi, Fakultet dramskih umetnosti, Beograd
Prof. dr Nevena Dakovi, Fakultet dramskih umetnosti, Beograd, Predsednica odbora
Prof. dr Mirjana Nikoli, Fakultet dramskih umetnosti, Beograd
Prof. dr Milena Dragievi ei, Fakultet dramskih umetnosti, Beograd
Prof. dr Jelica Novakovi-Lopuina, Filoloki fakultet Univerziteta u Beogradu
Prof. dr ak Boniel, Univerzitet u Lionu
Vanr. prof. dr Iris van der Tuin, Univerzitet u Utrehtu
Prof. dr Miel Pavlovski, Univerzitet Sv. irilo i Metodije, Skoplje
dr Ljiljana Roga Mijatovi, nauni saradnik, Fakultet dramskih umetnosti, Beograd
Program Committee
Prof. Zoran Popovi, Faculty of Dramatic Arts, Belgrade
Prof. Nevena Dakovi, Faculty of Dramatic Arts, Belgrade, President of the Board
Prof. Mirjana Nikoli, Faculty of Dramatic Arts, Belgrade
Prof. Milena Dragievi ei, Faculty of Dramatic Arts, Belgrade
Prof. Jelica Novakovi-Lopuina, Faculty of Philology, University of Belgrade
Prof. Jacques Bonniel, Universit Lyon2
Ass. Prof. Iris van der Tuin, Utrecht University
Prof. dr Miel Pavlovski, Univerzitet Sv. irilo i Metodije, Skoplje
Ljiljana Roga Mijatovi, PhD. Research Fellow, Faculty of Dramatic Arts, Belgrade
Glavna i odgovorna urednica / Editor in chief
dr Ljiljana Roga Mijatovi
Lektura i korektura / Proofreading
mr Aleksandra Protulipac
mr Gorana Vencl
Institut za pozorite, film, radio i televiziju FDU
institutfdu@yahoo.com
Konferencija je organizovana uz podrku Ministarstva prosvete, nauke i tehnolokog razvoja
Republike Srbije kao deo projekta br. 178012 Identitet i seanja: transkulturalni tekstovi dramskih
umetnosti i medija i deo meunarodnog projekta COST IS1307 Novi materijalizam.
The Conference has been organized with the support of Ministry of Education, Science and
Technological Development of Republic of Serbia as part of the project no. 178012 Identity and
memory: transcultural texts of dramatic arts and media, and part of the international project COST
IS1307 New Materialism.
SADRAJ / CONTENTS
UMETNOST, NAUKA I TEHNOLOGIJE / ARTS, SCIENCE AND

TECHNOLOGIES _9
Dobrivoje Lale Eri - Evropska mrea digitalne umetnosti i nauke / European Digital Art
and Science Network _10
Dobrivoje Milijanovi, Chris Bruckmayr - Audio-vizuelni rad esti talas masovnog
izumiranja / Audio-visual performance The Sixth Wave of Mass Extinction _11
PLENARNO PREDAVANJE / KEYNOTE _13

Jelica Novakovi-Lopuina i Sven Peeters - Iskopavanje Principa: Od arhivskog rada do
dobre prie/ Digging up Princip: From archive work to a good story _14
FILM I MEDIJACIJA KULTURNOG SEANJA / FILM AND MEDIATION OF

CULTURAL MEMORY _15
Nevena Dakovi - Istorijski revizionizam: etnici i srpski filmski narativi / Historical
Revisionism: Chetniks and Serbian Screen Narratives _16
Aleksandar S. Jankovi - Ra umirue ideologije - kraj partizanskog filma 1989 -1991 / The
Rust of Dying Ideology The End of Partisan Film 1989 - 1991 _17
Boris Petrovi - Ratni plakat Velikog rata / War Posters of the Great War _18
Velimir urgus Kazimir, Aco Divac - Pokretne slike i izbledeli naratori / Moving Pictures
and Fading Narrators _19
ZAPISI MATERIJALNE PROLOSTI U SADANOSTI / SCRIPTS OF THE

MATERIAL PAST IN THE PRESENT _21
Miel Pavlovski, Loreta Georgievska - Jakovleva - AIUI: irilo i Metodije u digitalnom dobu
AIUI: Cyrill and Methodius @ Digital Age _22
Marina Mualo - Kad sjeanje postane povijest: sluaj rukopisa Rudolfa Habedua
Katedralisa / When the Memory Becomes History: the Case of Manuscripts of Rudolf
Habedua Katedralis _23
Aleksandra Mani - Svear ordana Bruna / Candlebearer by Girdano Bruno _24
ukasz Byrski - Stari sistemi pisanja u prizmi modernih medija i kulture / Ancient Writing
Systems in the Prism of Modern Media and Culture _25
MEDIJSKI NARATIVI SEANA / MEDIA MEMORY NARRATIVES _27

Mirjana Nikoli - Konstrukcija ili rekonstrukcija seanja u narativima TV serija Vie od igre
(1976) i Montevideo, Bog te video (2012) / Construction or Reconstruction of Memory in
Narratives of TV Series Vie od igre and Montevideo, Bog te video _28
Dragana oli Bilanovski - Medijsko pamenje - ekranizacije dela Branislava . Nuia u
kinematografiji i televiziji / Media Remembrance - Adaptation of Branislav . Nui's
Work in Cinema and Television _29
Sofija Boi, Duan R. Bajagi - Istorijske teme u tampanim medijima u Srbiji: primer
Srpskog/ Knjievnog lista (20022015) / Historical Topics in Print Media in Serbia:
Serbian/ Literary magazine (20022015) _30
Maja Risti - Reprezentacija pozorinog festivala u elektronskim medijima: BITEF 2005 2015 / Representation of Theatre Festival in Electronic Media: BITEF 2005-2015 _31
PLAY: VIDEO IGRE / PLAY: VIDEO GAMES _33

Mirko Stojkovi - Pervazivna igra Zatamnjenje - igra u monomitu, Bloomsday u Beogradu
/ Pervasive Game Fade to Black - Gamer in Monomyth Bloomsday in Belgrade _34
Aleksandra Jovani - Prilagoavanje pravila: raunarske igre i umetnost / Bending the
Rules: Computer Games and Art _35
Vera Mevorah - Ozbilnost igranja: Video igre kao umetnost u Srbiji / Seriousness of Play:
Video Game Art in Serbia _36
Bilana Mitrovi - Medijska arheologija i igranje MMORPG video-igara / Media Archeology
and MMORPG Video-games Playing Experience _37
DIGITALNE ARHIVE I DISEMINACIJA SEANA / DIGITAL ARCHIVES AND

DISSEMINATION OF MEMORY _39
Aleksandra Milovanovi - Digitalne arhive i ouvanje kolektivnog seanja: Fama kolekcija
Sarajevo / Digital Archives and Preservation of Collective Memory: Fama Collection
Sarajevo _40
Nataa Dela - Nova drama arhiva seanja: mnemotop Beograda u dramama dve
spisatelice / New Play Archive of Memories: Belgrade Mnemotop in Two Playwrights'
Dramas _41
Milena Jokanovi - Novi stari mediji: umetnike arhive u digitalno doba / The New Old
Media: Artist's Archives in the Digital Age _42
Irina Stojkovi Kiki - Teatroslov - digitalno seanje na pozorite u Srbiji / Teatroslov Digital Memory of Serbian Theater _43
Nikola orevi, Marko orevi i Sonja Vrkati - Intersticium: arhiviranje neostvarenog /
Intersticium: Archiving the Unaccomplished _44
(NOVA) HUMANISTIKA I ZNANE U DIGITALNOM DOBU / (NEW)

HUMANISTICS AND KNOWLEDGE IN THE DIGITAL AGE _45
Divna Vuksanovi - ta istrauje arheologija medija: kritika uma u digitalnom dobu / What
Explores the Archeology of the Media: Criticism of Mind in the Digital Age _46
Ljilana Roga Mijatovi - Stvaranje znanja u dobu velikih podataka: kritika pitanja za
novu pismenost / Crafting Knowledge at the Age of Big Data: Critical Questions for New
Literacies _47
Neda Radulovi - Posthumanizam kao nova ili stara kritika misao / Posthumanism as
New or Old Critical Throught _48
Nedelko Kovai - Pol Otlet i Mundaneum / Paul Otlet & Mundaneum _49
Dragana Kotica - Uticaj drutvenih medija na jezike promene / The Impact of Social
Media on Language Transition _50
OIVLjAVANE PROLOSTI - NASLEE, IDENTITET, ZAJEDNICA /

REVIVING THE PAST - HERITAGE, IDENTITY, COMMUNITY _51
Milena Dragievi ei - Posredujui prolost - politike spomenika i prakse neslaganja od Rastka Petrovia do Ane Vilenice / Mediating the Past - Monument Policies and
Practices of Dissent - from Rastko Petrovi to Ana Vilenica _52
Jacques Bonniel - Stvaranje naslea u kvartu drutvenog stanovanja: Toni Garnier u Lionu
/ La patrimonialisation dun quartier dhabitat social: la cit Tony Garnier Lyon _53
Vinja Kisi - Izlaganje zamilenog Balkana: Viak ili dobra praksa u medijaciji
(trans)nacionalnih seanja / Exhibiting the Balkans Imagined: An Excess or Good Practice
in Mediating (Trans) National Memories _54
METAMEMORIJA I STRATEGIJE SEANA/ METAMEMORY & MEMORY

STRATEGIES _55
Ksenija Radulovi - Digitalna baza Muzeja pozorine umetnosti Srbije / Digital Database of
Museum of Theatrical Arts of Serbia _56
Ivan Medenica - Medijsko pamenje istorijskog seanja: rani performansi DAH Teatra /
Media Remembrance of Historical Memory: Early Performances of DAH Theatre _57
gnes Bakk - Postoji li onlajn pozorite sa svojom onlajn zajednicom? - Onlajn pozorine
strategije za stvaranje novih zajednica / Is There an Online Theatre with its Online
Community? - Online Theatre Strategies for Creating New Communities _58
Franjo Maleti, Blago Markota - Odrivi modeli digitalizacije arhivske grae javnih
medijskih servisa u regionu Balkana sa naglaskom na stanje meta-podataka / Sustainable
Models of Digitization of Archive Content of Public Service Media in the Balkan Region
with Emphasis on the State of Metadata _59
NACIONALNI IDENTITET I KULTURNI OBRASCI/ NATIONAL IDENTITY AND

CULTURAL PATTERNS _61
Vesna uki - Duhovna pokolebanost: uticaj sekularizacije na kolektivno pamenje i
politiku identiteta u Srbiji nakon Drugog svetskog rata / Spiritual Vacillation: the Impact of
Secularization on Collective Memory and Identity Politics in Serbia after World War II _62
Radomir D. orevi - Grafit-murali kao vid urbanih medija i u funkciji prezentacije
prolosti i nacionalne homogenizacije / Graffiti Murals as a Form of Urban Media and in
the Function of the Presentation of the Past and National Homogenization _63
Danijela Vientijevi - Oivlavanje arheolokih lokaliteta Srbije u funkciji kulturnog
turizma / Revival of Archaeological Sites in Serbia in the Function of Cultural Tourism _64
Jovana Karauli - Digitalno artikulisanje tragova prolosti - Studija sluaja: Svesokolski slet
u Beogradu 1930. godine / Planned oblivion vs. Digital articulation of the past - Case
study: Sokol's rally in Belgrade, 1930 _65
(RE)PRODUKCIJA SEANJA I IDENTITETA / (RE)PRODUCTION OF

MEMORY AND IDENTITY _67
Ana Martinoli - Kreiranje alternativnog medijskog prostora u trenutku raspada Jugoslavije
programska i produkciona analiza medijskog projekta Radio Brod / Creating an
Alternative Media Space at the Time of the Breakup of Yugoslavia - the Programming and
Production Analysis of the Media Project Radio Brod _68
Zorana Popovi - Seanje i transkulturno prevoenje: adaptacija serije Betipul - Na terapiji
u Srbiji / Memory and Transcultural Translation: Adaptation of TV Series Bettypol on
Therapy in Serbia _69
Jagoda Stamenkovi - Dekapitacija Evrope - reprezentacija nasila i smrtne kazne u
evropskom filmu / Decapitation of Europe - Representation of Violence and Capital
Punishment in European Cinema _70
Vladimir Ceri - Silovanje i pansko drutvo u filmovima Pedra Almodovara / Rape and
Sapnish Society in Films of Pedro Almodovar _71
Jelena Gledi - "Iskopavanje" bloka 70: Posredovani identitet kineske populacije u Srbiji od
1995. do 2014. / Excavating Block 70: Mediated Identity of the Chinese Population in
Serbia from 1995 to 2014 _72
INTERNET, NOVI MEDIJI, UMETNIKE PRAKSE I OTPOR/ INTERNET, NEW

MEDIA, ARTS PRACTICES & DISSENT _73
Nina Mihalinac - Umetnost devedesetih, internet i medijski aktivizam / The Arts of the
90s, Internet and Media Activism _74
Vlatko Ili - Umetniki mediji i naslee avangardnih pokreta / Art Movements and Legacy
of the Avant-garde movements _75
Lidija Marinkov Pavlovi - Internetske meme kao pole diskurzivnog konstruisanja
identiteta i prostora otpora / Internet Memes As a Field of Discursive Construction of
Identity and Space of Resistance _76
Ana Letuni - Politike produkcije novomedijske umjetnosti: Studentski kulturni centar u
Beogradu 1970. / Policies of production of new media art: the Student Cultural Center in
Belgrade in 1970 _77
UMETNOST, NAUKA I TEHNOLOGIJE

//
ARTS, SCIENCE AND TECHNOLOGIES

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Dobrivoje Lale Eri

Center for the Promotion of Science
European Digital Art and Science Network
European Digital Art and Science Network is a project that aims to link up scientific aspects and
ideas with approaches used in digital art, through fostering interdisciplinary work and intercultural
exchange. The project represents a unique blend of modern scientific discoveries and current
practice in the field of digital art - interactive art, digital music and sound, digital design, digital
architectural installations, animation, film, photography and visual effects, digital communities and
social networks, hybrid art, performance and choreography.
There is also strong emphasis on arts role as a catalyst in processes of social renewal. By creating
images and narratives dealing with the potential risks and rewards inherent in technological and
scientific development, artists exert an important influence on how our society comes to terms with
these innovations. Project coordinator is Ars Electronica from Linz, and beside The Centre for the
Promotion of Science from Belgrade, project partners are Science Forum from Dublin, GV Art from
London, Laboral from Gijon, Etopia from Saragossa, Kapelica Gallery from Ljubljana and DIG gallery
from Kosice. European Digital Art and Science Network is funded through the Creative Europe
program of the European Commission.
MEDIJSKA ARHEOLOGIJA Knjiga saetaka // MEDIA ARCHAEOLOGY Book of Abstracts |
10
Chris Bruckmayr
Ars Electronica Futurelab
Dobrivoje Milijanovi
Faculty of Dramatic Arts, University of Arts in Belgrade
Audio-visual performance The sixth wave of mass extinction

Audio-visual performance The Sixth Wave of Mass Extinction premiered at the opening of Ars
Electronica Festival 2015, in a train hall of the abandoned postal logistics center in downtown Linz,
Austria. Artistic team comprised of sound and visual artists used modern audiovisual tools and
procedures to transform the abandoned concrete hallway into immersive audio-visual
environment. In this performance we reflected upon how this seemingly unnoticed loss of species
affects city dwellers. Do the loss of species and the change from a through wilderness influenced
environment towards a designed world effect our (collective) psyche? Does it sadden us or are we
beyond the still deeply ingrained remnants of the life in the wilderness, we all stem from as the
human animal?
The Sixth Wave of Mass Extinction displayed critical use of both new and obsolete tools and
procedures to produce waves of auditive and visual noise in the performance space. By invading
audiences personal spaces, these huge bubbles of noise shook the people and made them resonate
with performances beat.
By carefully selecting various analogue and digital audio-visual tools and instruments from the
domain of DIY electronics, circuit-bending and data-bending, and then using them to perform live
on-stage, we built micro-universes that filled the performance space and immersed the audience
into a different reality. The performance aimed at the amygdala of our post-modern societies both
sonically and visually to unearth the potentially hidden unease we all might harbor faced by the
sixth wave of mass extinction. An amygdala protected by smart technologies and 21st century
policing systems. With us already are the silent ghosts of all the gone species, so who is next?
11
PLENARNO PREDAVANJE
//
KEYNOTE
Jelica Novakovi-Lopuina
Filoloki fakultet Univerziteta u Beogradu
Sven Peeters
Digging up Princip
From archive work to a good story
Graenje mostova i spajanje obala jeste strast koja nam je oboma Jelici Novakovi iz Beograda i
Svenu Petersu iz Antverpena ve neko vreme zajednika. Obeleavanje stogodinjice Principovog
pucnja a ujedno i poetka prvog mondijalnog obrauna pruilo nam je priliku da nastavimo s naim
istraivanjem veza izmeu Nizozemlja i Srbije/Jugoslavije. Za tim vezama smo tragali dijahrono i
sinhrono, u holandskim i flamanskim tampanim izvorima, pokuavajui da razaznamo lik Gavrila
Principa pod stoletnim slojem sedimentnih naslaga. itavih stotinu godina Princip je trpeo
etiketiranje, interpretiranje, revidiranje, ideologiziranje, stigmatizovanje, simbolizovanje. Na cilj je
bio da na osnovu pisanja holandske i flamanske tampe ali i na osnovu knjievnih i likovnih izvora
razotkrijemo ove slojeve i damo pregled i sintezu predstava o Principu i njegovom inu u
poslednjih sto godina, zakljuno sa komemorativnom 2014.
Srpsko-nizozemski ugao gledanja na Gavrila Principa i poetak rata nije nimalo nesuvisao ako se
zna da je Bosanac srpskog porekla u ruci drao belgijski pitolj kada je pucao u austrijskog
prestolonaslednika. Ili ako se zna da su zbog ratnih stradanja Belgija i Srbija nazivane dvoma
siroiima i najveim rtvama Prvog svetskog rata. Na to su ukazivali pisci poput britanskog
istoriara Dorda M. Treveljana i umetnici poput britanskog slikara nemakog porekla Sigismunda
Gecea, koji je ovekoveio Srbiju i Belgiju na svom muralu Brittanica Pacificatrix. I sa Holandijom
postoje paralele koje daju nove uvide, jer iako je Holandija ostala neutralna tokom rata, holandski
narod je od samog poetka pokazao veliko saoseanje kako prema svom susedu Belgiji tako i prema
dalekoj Srbiji. Prihvatio je skoro milion belgijskih izbeglica, a u Srbiju je slao medicinsku pomo i
ambulante Crvenog krsta.
Metoda kojom smo se sluili pripada anru literarne non-fikcije. Mada ivimo i radimo u razliitim
gradovima, na jugoistoku i na severozapadu Evrope, virtuelnim putem zajedno istraujemo.
Rezultate svojih istraivanja predstavili smo, dakle, onako kako smo ih i mi razmenjivali: skajpujui.
Na dijalog smo zapoeli u nekadanjoj anarhistikoj kafani Zlatna moruna koja je nedavno ponovo
otvorena pod tim imenom. Preostala tri dijaloga odvijala su se u Amsterdamu, Antverpenu i Briselu.
Premiljajui pisane izvore koje smo pronali i citirajui iz njih u tematskom i hronolokom sledu,
ponudili smo jedan iri kontekst i dali smo svoju imagoloku analizu i sintezu. Na meoviti pogled
ne poiva, dakle, na amaterskoj impresiji ve na strunoj i dokumentovanoj analizi kontakata i
predstava koje su meusobno stvarane. Mi, naime, ve godinama istraujemo istoriju odnosa Srbije
i Nizozemlje kao i imagologiju koja je iz toga proistekla.
14
FILM I MEDIJACIJA KULTURNOG SEANJA

//
FILM AND MEDIATION OF CULTURAL MEMORY
Nevena Dakovi
Fakultet dramskih umetnosti Beograd
Istorijski revizionizam: etnici i srpski filmski narativi

Cilj ovog rada je analiza reprezentacije i funkcije etnika u filmovima o I i II svetskom ratu kao
osnovi i eksponentu istorijskog revizionizma. Funkcije i figure etnika u klasinim partizanskim
spektaklima su nesporno bile kao antagonista, izdajnika, arhi neprijatelja partizana i vernih
nemakih saradnika. No prvi stidljivi, nezgrapni i relativno nezapaeni pokuaji utemeljenja
drugaijih figura etnikog pokreta nastali su jo tokom I i II svetskog rata - The Chetnics (1942,
Louis King) i izazovniji The Undercover (1943, Sergei Noblandov). Od ovih prvih filmova drugih o
naem ratu, protei e mnogo vremena (prekinutog samo specifinom pojavom etvorodelne
serije Poslednji in, 1981, da bi u novoj atmosferi preispitivanja i revizije istorije I i II svetskog rata
nastala punokrvna ostvarenja poput serije Ravna Gora (2013) i filma Za kralja i otadbinu (2015,
Rado Baji).
Nevena Dakovi
Faculty of Dramatic Arts Belgrade
Historical Revisionism: Chetniks and Serbian Screen Narratives
The aim of this paper is to analyze the representations and functions of the Chetniks in the movies
about World War I and World War II as a base and the exponent of historical revisionism. The
functions and figures of Chetniks in the classic partisan spectacles have indisputably been set as
antagonists, traitors, the enemy partisans and faithful German collaborators. But the first shy,
clumsy and relatively unnoticed attempt to establish different figures Chetnik Movement emerged
as early as during the First and the Second World War - The Chetnics (1942, King Louis) and
challenging The Undercover (1943, Sergei Noblandov). From these first films of the "others" about
"our" war much time will pass (interrupted only by a specific appearance of four-part series
Poslednji in, 1981, so that in the new atmosphere of requestioning and revision of the history of
World War I and World War II, a full-blooded achievements such as the series Ravna Gora ( 2013)
and the film Za kralja i otadbinu (2015, Rado Baji) would be created.
16
Aleksandar S. Jankovi
Ra umirue ideologije - kraj partizanskog filma 1989 -1991.
Usled velikih politikih turbulencija krajem osamdesetih u Srbiji (kao delu SFRJ) koje su anticipirale
reviziju i regresiju nacionalnog diskursa, i posle finansijskog kolapsa Neoplanta filma i poslednjeg
velikog partizanskog spektakla (Veliki transport, 1983, Veljko Bulaji), ideoloko itanje II svetskog
rata upada u zanimljiv i specifian vakuum. Medijski, ovaj kratak period je zanimljiv zbog salonskog
revizionizma u svim aspektima koji predstavlja distorziranu i zakasnelu sliku zaostavtine Crnog
talasa. Vreme uda, Gorana Paskaljevia (1989), Gluvi barut, Bahrudina Bata engia (1990), Seks,
partijski neprijatelj broj jedan, Duana Saboa, (1990) i Original falsifikata, Dragana Kresoje, (1991)
zapoinju prirodnu promenu geneze anra i ideologije uvodei nacion u predstanje katarze. Ovi
filmovi e u stvari zapoeti ali i odmah zavriti pitanje stranputice i implozije umirueg sistema
velike istonoevropske drave. Uz novozavetne alegorije (Vreme uda) preko prijateljskih izdaja
(Original falsifikata) do nacionalne konfuzije poetka rata (Gluvi barut) ovi filmovi spadaju u
zaudan deo jugoslovenske kinematografije, jer za razliku od drava koje su svoju pravdu i slobodu
dobili kao recidiv pada Berlinskog zida, SFRJ e svoju katarzu (i pravdu) doekati na sasvim
drugaiji i kataklizmian nain.
Aleksandar S. Jankovi
Faculty of Dramatic Arts Belgrade
The Rust of Dying Ideology The End of Partisan Film 1989 - 1991
Following the financial collapse of Neoplanta Film and the last great partisan spectacle Veliki
Transport, 1983, Veljko Bulajic, (The Great Transport), the ideological reading of WW2 falls into an
interesting and peculiar vacuum due to significant political turbulences during the late 1980s in
Serbia (as part of SFRY) which anticipated a revision and regression of the national discourse.
Media wise, this short period is interesting because of salon revisionism in all aspects, giving a
distorted and belated picture of Black Waves legacy. Vreme uda (Times of Miracles), Goran
Paskaljevi (1989), Gluvi barut (Deaf Gunpowder), Bahrudin Bata engi (1990), Seks, partijski
neprijatelj broj jedan (Sex, Party Enemy Number One), Duan Sabo, (1990) and Original falsifikata
(The Original of a Forgery), Dragan Kresoja, (1991) are the films which herald a change in the
genesis of the genre and its ideology by taking the nation into a sort of pre-catharsis state. In effect,
these films almost simultaneously started and finished the issue of sidetracking and implosion of a
dying system of a great East European state. By showing New Testament allegories (Times of
Miracles), friendly betrayals (The Original of a Forgery) and national confusion during the wars
early days (Deaf Gunpowder), these films belong to a wondrous part of Yugoslav cinematography.
Unlike states which got their justice and freedom with the fall of the Berlin Wall, SFRY will get its
catharsis (and justice) in a completely different and cataclysmic manner.
17
Boris Petrovi
Universit Paris Sorbonne
War Posters of the Great War

This proposal offers an analysis of the several key war posters used in World War One to describe
the enemy. More precisely, it would focus on those posters where Serbs were represented as
enemies; those posters aimed at dehumanizing the enemy, so that going to war against such enemy
would be made easier. Dehumanization of enemies has always been a persuasion tool aimed at
galvanizing the participants of a certain war, giving them extra reasons to go wars against such
enemies but also, perhaps more importantly, exculpating participants from any guilt that would
come from murdering such enemies.
Our methodology of analysis would coincide with the historical and factual context. World War One
was a time when Freuds theories where presented and lively debated upon in Europe many of
the techniques of dehumanization on an enemy can be traced back to Freuds ideas - enemy as the
Great Other, enemy as an incarnation of the beastly Id, enemy as a force driven against civilization
as such, enemy as the incarnation of all of our fears, etc.
The presentation would follow another line of inquiry. World War One posters followed a line
developed in the 19th century, that of usage of allegorical representations of nations as women
Columbia for U.S.A, Britannia for Great Britain, Marianne for France etc. A nation would be
represented as a women, adorned with motherly features one should protect a nation as he would
his own mother. Down those lines, we shall also represent a visual formulation of the enemy as an
allegorical representation of all of the above mentioned traits anti-civilization, anti-Christian, anti
(or sub) human, etc. We shall aim to analyze that visual formulation as an allegory placed in a larger
cultural and anthropological context to try and see how a certain society sees itself by analyzing
how it sees its enemies.
18
Velimir urgus Kazimir

Aco Divac
Moving Pictures and Fading Narrators

The intention of this paper/presentation is to bring attention to, explore and explain the forgotten
parts of film history: the phenomena of narrators and the retelling of films as part of cinema and
social culture. Our archaeological view is influenced or deflected by todays prism.
It was the time, at the turn of the 20th century, an era of flourishing hybrid art forms, reflecting the
optimism in better futures through technological progress. Film as a new art form was sharing the
destiny and often the venues of popular culture, for example cabarets, back rooms of cafes and
fairgrounds.
The beginning of the art of film was more syncretistic, as the social and physical milieu was, with
dancing, music, magicians, illusionists, comedians, heelers, fortune tellers, fighting and shooting
even. A far cry from todays stereotype of sacred silences of dark cinema rooms.
The so called silent movies were not silent at all as narrators were one of the main cinema features,
a fact well known but easily forgotten. Their role varied from describing the actions, explaining the
plot to entertaining the public.
Retelling films had emerged and existed as a genre, a kind of oral culture or subculture in the period
after the Second World War until the late sixties and seventies. It was a spontaneous vocal
companion of overall development of film cultures and film critiques, a substantial part of film
culture of the time.
19
ZAPISI MATERIJALNE PROLOSTI U SADANOSTI

//
SCRIPTS OF THE MATERIAL PAST IN THE PRESENT
Miel Pavlovski
University Ss. Cyril and Methodius
Loreta Georgievska - Jakovleva
University Ss. Cyril and Methodius
AIUI: Cyrill and Methodius @ Digital Age

The digital (virtual) space is the place (some would go as far as to call it the most democratic of all
spaces) where ideas and opinions class, where new meanings are being created, where new values
and beliefs are being forged. At the same time, digital space is the site where meaning is shaped and
defined. This paper aims at exploring possible changes in meaning when examining Cyril and
Methodius via digital space. Hence, said transformations practically help forge new meanings about
the past. By situating Cyril and Methodius within the context of the virtual media space, this paper
aims at examining how a cultures heritage and its representation within digital time stand in direct
correlation with the needs of contemporary politics and dominant discourses. Thus, the
representations of Cyril and Methodius forged within the digital space breathe new meanings into
old legacies, i.e., they de/construct and re/construct it. The research shows that said process
though mostly chaotic and partial is always compatible with powerful (even if oftentimes
contradictory) discourses. Along those lines, if juxtaposing the meaning of a cultures heritage with
said cultures contemporality, we can in fact ascertain its function, meaning, and influence on
contemporary cultural processes. Or, to paraphrase Simon During, to examine the ways in which
past traces and representations enter contemporary (popular) culture.
22
Marina Mualo
Fakultet politikih znanosti Sveuilita u Zagrebu
Kad sjeanje postane povijest: sluaj rukopisa Rudolfa Habedua Katedralisa
Autentine slubene dokumentacije poetka emitiranja i prvih desetak godina rada Radio
Zagreba, nema. Nagaanja o namjernom ili sluajnom unitavanju ili otuenju, ionako nita ne
mijenjaju. Izvori su rijetki, a svaka rekonstrukcija mogua veinom iz povremenih ili prigodnih
tekstova u dnevnom tisku ili periodici. Ondanja se znanost nije bavila Radio Zagrebom niti je itko
mogao pretpostaviti da e ba taj radio postati referentnom tokom razvoja ukupne hrvatske
radiodifuzije. Uostalom, odgovore na slina pitanja ne znamo ni danas, ali poueni iskustvom i
razmaeni tehnologijom, jednostavno skladitimo sve.
Novinska arhiva Hrvatske radiotelevizije raspolae s oko sedam milijuna novinskih lanaka i meu
najbogatijima je u regiji. Usprkos zapoetoj digitalizaciji materijala, veina (oko 75%) jo nije dola
na red. Gradivo se i danas pretrauje iskljuivo osobno i runo, a pronalazi zahvaljujui (i)
iskustvu samih arhivara. U jednoj takvoj pretrazi naen je i rukopis novinara i knjievnika Rudolfa
Habedua-Katedralisa (1894.-1960.) pod naslovom Prilozi za pribiranje provjerene grae o
povijesti pobuda, o osnutku i o prvom razdoblju rada Radio stanice Zagreb. Potjee iz 1951. godine,
kad je autor zabiljeio svoja sjeanja na poetke Radio Zagreba. Prvom je emitiranju i osobno
prisustvovao. Proet duhom vremena u kojem je nastao i izraenim pripovjedakim pristupom,
tekst je mjeavina povijesnih injenica, vrijednosnih sudova i sjeanja. Iako povijest uvijek
sumnjiavo gleda na sjeanja, neosporno je da moe biti koristan u restauraciji oteene slike
osnutka i razvoja radiodifuzije u Hrvatskoj. Ovaj rad donosi kratak izbor nekih autorovih biljeki o
Radio Zagrebu i ljudima koji su ga stvarali.
Marina Mualo
Faculty of Political Science, Zagreb
When the memory becomes history: the case of manuscripts Rudolf Habedua Katedralis
There is no authentic official documentation of broadcasting and the first ten years of "Radio
Zagreb". Speculation about the intentional or accidental destruction, does not change the fact. The
sources are rare, and every reconstruction is possible only by using occasional articles in the
newspapers or periodicals. At that time, the science was not interested at the "Radio Zagreb", and
nobody thought that this radio could be the origination for development of all Croatian
broadcasters. Similar doubts, what will be important in the future, we do have even today, but
based on the experience and technology, we are simply saving all.
Newspaper archives of Croatian Radio Television has around seven million articles and is one of the
most extensive in the region. Despite initiated digitization of materials, most of them (about 75%)
are queuing. The material is being searched even today exclusively in person and by hand, and
findings often are based on the experience of archivist. In one of such searches, we found the
manuscript of journalist and writer Rudolf Habedu-Katedralis (1894th-1960th), entitled
"Contributions to the gathering tested materials on the history of the initiative, on the draft and on
the first period of broadcasting Radio station Zagreb". It originates from 1951, when the author
wrote his memories of the beginnings of "Radio Zagreb". He personally attended the first broadcast.
Text is a mixture of historical facts, value judgments and memories, imbued with the spirit of the
times, written in very narrative style. Although history is always looking suspiciously at the
memories, it could be very helpful for restoring unknown history of broadcasting in Croatia. This
article provides a brief selection of some of the author's notes on "Radio Zagreb" and the people
who created it.
23

,

(deep time media)
,

, XX XXI .
. ,
.
. ,
.
,
.
, 1964. .
,
1992. 212,
,
, , 2011.
. , ,
, ,
.
Aleksandra Mani
Institute for Literature and Art, Belgrade
Candlebearer by Girdano Bruno
Starting from the concept of deep time media " of Siegfried Zielinski and his theory of variantology,
we explore the relation of "philosophy of theater" and "theatricality of philosophy" of Giordano
Bruno, to the contemporary understanding of the links between theater and philosophy in the XX
and XXI century . The relationship between philosophy and theater is long and deep. Renaissance
thought insists on this connection, in the first big return on a pre-Socratic Greek philosophy "in a
tragic period". Denis Diderot, in The paradox of acting, achieves a sort of such a return inherent to
the Enlightenment. In Paris in the sixties, we are witnessing the return of Diderots ideas in
discussions about theater. This is the age when the theater - and philosophy is shuttered by the
question of Artos theater of cruelty, and the links between thinking and body are investigated in
the theater. "The theater is what is happening between actor and spectator," says Jerzy Grotowski
to Eugenio Barba in 1964. In the study of the relationship between philosophy, the body and the
theater we start from Brunos Candlebearer, by Ljubomir Draki in 1992, in Belgrade theater Atelje
212, and Machiavelli's Mandragola, from the same year, at the National Theatre, putting them
against the performance of the Candlebearer as a monodrama, in 2011 in Rome. Through these
settings, we intend to reveal types of political, or more precisely, social engagement, philosophical
visions of the world, the dramatic levels of Brunos philosophy and their functioning in the modern
world.
24
ukasz Byrski
Jagiellonian University in Krakw, Poland
Ancient Writing Systems in the Prism of Modern Media and Culture

The proposed topic will explore the phenomenon of how the writings of past or exotic cultures
were and are represented in the cinematic and television movies. There is considerable amount of
examples were the other type of writing system is seen in the movies. When they appear they
either play important role or just take minor part as a decoration. The more important are the ones
from the first group. Many of these examples contain mistakes. If they occur they are effect of
ignorance of the authors or maybe rather common belief in society about this matter which is in
agreement with what filmmakers want to show to general public and because of this there is no
need for scientific consultation. This common belief is what will be the core of this presentation as
it is not as common as one would may think. It is one of the effects of globalization and
westernization (americanization) of popular culture. For the Serbian society it may have no sense
at all as two alphabets are used in parallel and thus it is not so esoteric knowledge to be able to use
more than one writing system which is somehow similar to the situation in the antiquity or
medieval times with the one difference that reading was not so widespreadly learned skill at those
times. In the western countries on the contrary even knowledge of Greek alphabet taught at school
in the past now is a black magic or hieroglyphics.
25
MEDIJSKI NARATIVI SEANA

//
MEDIA MEMORY NARRATIVES
Mirjana Nikoli
Konstrukcija ili rekonstrukija seanja u narativima TV serija
Vie od igre i Montevideo, Bog te video
Televizijske serije danas predstavljaju ne samo medijski ve i drutveni, kulturoloki i ekonomski
fenomen. U istoriji elektronskih medija, prvi serijski programi vezani su za radio i fenomen
sapunskih opera dramskih minijatura, obino melodramskog zapleta koje su emitovane u vie
dnevnih termina i uivale veliku popularnost ena kao slualake publike. Sapunske opere svoj
razvijeni oblik dobijaju na televiziji, u televizijskim serijama koje su generalno postale samosvojan
fenomen televizije kao medija. Nekada redovni nedeljni, a danas i dnevni, termini u kojima se
emituju igrane strukture serijskih programa, neizostavni su deo programa modernih tv stanica.
Osim to predstavljaju vrlo privlaan deo programa, kontinuirano obezbeuju veliki deo
specifikovane publike i stalne oglaivae, televizijske serije su i vaan deo kulturnog identiteta i
segment koji ima potencijal da se kroz njega ouvaju seanja, rekonstruie prolost, a potom otvori
prostor za neke oblike njene reinterpretacije pri ponovnom emitovanju itavih ili delova serijala.
Centralna tema ovog rada je analiza narativa tv serija Vie od igre (1976) i Montevideo, Bog te video
(2012) koje spaja jedinstvena tematika fudbal. Sport kao tema i motiv igranih i dokumenatrnih
filmova i tv serija, poslednjih godina je sve popularniji u domaoj produkciji, mada ovaj trend
poinje jo sedamdesetih godina serijom Vie od igre, a kulminira serijom (i filmom) izuzetne
popularnosti Montevideo, Bog te video. Radnja obe serije je smetena u Srbiju, tridesetih godina XX
veka, pri emu u seriji Vie od igre pratimo rivalitet dva fudbalska kluba Radniki i Graanski, u
fikcionom sprskom gradiu Gradina, dok serija Montevideo, Bog te video govori o pripremama
fudbalske reprezentacije Kraljevine Jugoslavije za svetsko prvenstvo u fudbalu u Urugvaju 1930.
godine. Obe serije iza centralne teme, prate i interpretiraju drutvene, politike, istorijske i kulturne
prilike iste zemlje, u istom periodu, ali sa istorijski razliitih pozicija pozicije unitarne,
socijalistike Jugoslavije (Vie od igre) odnosno samostalne i tranzicione Srbije (Montevideo, Bog te
video). U kojoj meri aktuelni politki diskurs utie na razliitu (re)interpretaciju prolosti, kako se
itaju medijski tekstovi u premijernom i repriznom emitovanju TV serija od kojih neka mogu biti i
nakon vie decenija, neka su od centralnih pitanja ovog rada. Njima se dodaje i dilema u kojoj meri
su umetnika dela i narativi audiovizuelnih umetnosti adekvatna arheoloka graa za izuavanje i
ouvanje kolektivnog seanja i identiteta.
Mirjana Nikoli
Construction or reconstruction of memory in narratives of TV series
Vie od igre (1976) and Montevideo, Bog te video (2012)
The main topic of this paper is the analysis of the narratives of two TV series: Vie od igre (1976)
and Montevideo, Bog te video (2012), which are connected by a common theme - football. The plot
of both series is set in Serbia, during 1930s. TV series Vie od igre follows rivality of two football
clubs Radniki and Graanski, in a Serbian fictional town of Gradina, while the series Montevideo,
Bog te video presents the preparation of the Yugoslav national football team for FIFA World Cup in
Uruguay in 1930. Behind the central theme, both series interpret the social, the political, the
historical and the cultural conditions of the same country (Kingdom of Yugoslavia), during the same
period, but with historically different positions - positions of a unitary socialist Yugoslavia and of
Serbia as an autonomous and transitional country. Some of the main questions of this study are
how political discourse affects the (re)interpretation of the past, how to read media texts in their
premiere or in re-run broadcasting after several decades. Finally, the research question of this
paper is what are the capacities of artworks and narratives of audiovisual arts for the study and
preservation of the collective memory and identity.
28
Dragana oli Biljanovski

Medijsko pamenje - ekranizacije dela Branislava . Nuia u kinematografiji i televiziji

Studija revitalizuje medijsko pamenje pozorinih, filmskih i televizijskih umetnika, u pristupu
delima Branislava . Nuia (1864-1938.), naeg najveeg komediografa i svestrane umetnike
linosti, koji je obeleio kraj 19. i 20. veka. Na pragu evropskih integracija, u kojima smo bili
prisutni krajem 18, 19 i 20. veka, nae znamenite velikane iz svih oblasti prepoznaje evropska
kultura kao imid i brend juno istonog podneblja Evrope i sveta. Delom i imenom genijalnih
umova moemo stvarati publiku novog milenijuma i snove nacionalnog povratka u budunost.
Publikacijom Nui prvi srpski scenarista i Hadi- Loja, 1996. godine, Stevan Jovii, otkriva, da je
drama Hadi- Loja Branislava Nuia smimljena za film, 1908. godine u Beogradu, i zato tvrdi da je
prvi srpski film snimljen 1908. godine a prvi filmski scenarista je upravo Branislav Nui.
Septembra 1930. godine, Nui odlazi u Be sa Margitom i Dejanom Dubajiem, na snimanje skea
Paramunt- parada, pod nazivom Evo nas opet. Stvaranjem drave SHS 1918, Nui postaje prvi
Naelnik Umetnikog odeljenja Ministarstva prosvete, od 1919. do 1923. godine, i definie stavove
Ministarstva o filmskoj produkciji na dravnom nivou. Posle Drugog svetskog rata 1945, prva
ekranizacija po delu Branislava Nuia bila je Muva u produkciji Zvezda filma Beograd 1950. godine.
Potom slede ekranizacije i drugih Nuievih ostvarenja na filmu i televiziji do savremenog doba.
Veina ekranizovanih dela Branislava Nuia i danas, prve decenije dvadeset prvog veka,
povremeno se prikazuju, na brojnim novonastalim privatnim i lokalnim televizijskim stanicama u
Srbiji, ali i bivim jugoslovenskim zemljama. Nova publika, kao i ona kojoj je u ivom seanju, vreme
to ostade iza nas, podjednako uiva u reprizama, bez obzira na pojedine negativne ocene
televizijskih ostvarenja.
Dragana oli Biljanovski
Media Remembrance - Adaptation of Branislav . Nui's Work in Cinema and Television
The aim of this paper is media memory of the theater, film and television artists, and creative
approach to works of Branislav . Nui (1864-1938), the greatest comedist and versatile artistic
personality, who marked the end of the 19th and the entire 20th century. He is a writer not only of
comedy but also other literary genres: drama, melodrama, one-act plays, novels, poetry, vaudeville,
couplets, amusing talk, librettos for operas, operettas, film scripts, etc. On the verge to European
integration, in which we have been present since the end of 18th, 19th and 20th centuries, from the
time of Dositej Obradovic, Vuk Karai, PP Njego and many others. Personalities like them are
recognized by European culture as the image and the brand of South Eastern Europe and the
world. Partly by name and domestic brilliant minds we can create an audience and realize the
dreams of national return in the future. The study shows Nusics ratio and interest to create new
visual arts, cinema, from the early twentieth century, and then advocating for legislation of film and
television productions as he was a head of the Art Department of the Ministry of Education of the
Kingdom of SHS. Greatest part of the study discusses work of Branslav Nui in film and television,
after World War II, starting from 1950 up to the present time. Branislav Nuis screened work
today, in the first decade of the twenty-first century, occasionally appears in the emerging private
and local television stations in Serbia, but also in former Yugoslav countries. The new audience, as
well as those who remember it in the memory, the time that remained behind us, equally enjoys
and looks forward to each retransmission of his works.
29
, .

:
/ (20022015)

/ , , .
, 2002. ,
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, ,
.
: , , , ,
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/

,
.

, , , ,
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,
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Sofija Boi, Duan R. Bajagi
Institute for Modern History of Serbia
Historical Topics in Print Media in Serbia: Serbian/Literary magazine (20022015)
In this paper we analyze the articles in the field of historiography published in Serbian/Literary
magazine, the monthly magazine for literature, art and culture. This significant periodic publication
brought, starting from 2002 to the present day, among other things a large number of reports on
the history, older and recent, the general and national. Their authors were professional historians,
as well as experts from other related disciplines interested in the history of Serbia and the Serbian
people. Historical themes have been published in different sections: critiques, promotions, awards,
researches, anniversaries, interviews, excerpts from books and other, but also as assays outside the
regular sections. In more than one hundred so far printed numbers of SM/SLM Serbian intellectuals
voiced essential results of their research and their views of the many questions from the Serbian
past that are current in our time also, often provoking polemics and deep divisions in contemporary
Serbian society. By analyzing their texts we will determine how the contemporary Serbian science
interpret issues related to the functioning of the states in which lived Serbian people throughout
history and the nature of government, institutions, political systems, political parties, movements,
ideologies, elite, international relations, diplomacy, military, education, science and culture. By
focusing on themes such as, for example, Serbian dynasties and rulers, great figures from Serbian
history, the relationship towards the West and the East, the Balkan Wars, World War I, World War
II, genocide, the creation of Yugoslavia and its disintegration, the Serbian-Croatian relations and
others, the intention is to establish a picture of the past which offers one of the representative
printed media in Serbia, that is in what way influence the shaping of public opinion and the
formation of social consciousness of the past times.
30
Maja Risti
Reprezentacija pozorinog festivala u elektronskim medijima: BITEF 2005 - 2015.

Osnovni cilj rada: Bitef festival u elektronskim medijima je da istrai naine ouvanja slike o Bitef
festivalu, kao jednog od najznaajnijih pozorinih festivala i kulturnih brendova u Srbiji od
zaborava, prvenstveno u televizijskim emisijama: Hronika Bitefa, koja se emituju svake godine na
programima Radio televizije Srbije. Rad eli da istrai i naine prezentovanja arhivirane grae
(prikazi i snimci prvih predstava, izvetaji sa okruglih stolova, kamerom zabeleene portrete
reditelja) prolost Bitefa u kultnoj emisiji: Trezor, koja se takoe emituje na programima javnog
servisa. Sadrajima i repriziranjem ovih emisija, Bitef se titi od zaborava. Ove emisije ire priu,
seanje, jednu iluziju na veliinu ovog festivala. Najznaajnije predstave, reditelji, od Grotovskog,
preko Pitera Bruka, do Boba Vilsona, Tomasa Ostermajera, zabeleeni su u intervjuima, u emisijama
su prikazani delovi njihovih reija. Sauvane su od zaborava njihovi razliiti (revolucionarni)
pogledi na pozorite, ivot i umetnost. Na osnovu njihovih predstava i emitovanih i reiranih
priloga publika ima razliite doivljaje, recepciju i seanje na ovaj, prvo avangardni, a sada ak
meinstrim festival.
Bitef je ostavio najznaajniji trag na estetski razvoj naeg pozorita. Mladi reditelji, dramski
umetnici, uili su na Bitefu. Za osnivanje Bitefa vezuju se i seanja na dva velika imena u istoriji
Srpskog pozorita: Miru Trailovi i Jovana irilova, konceptante i osnivae ovog festivala. I o njima
postoje prie koje su mediji zabeleili na razliite naine i u razliitim formama: izvetajima,
intervjuima, prikazima. Mediji su uspeli da prolost pretvore u sadanjost. Tema seanja i
arheolokog medijskog uvanja dogaaja sa Bitef festivala bie u radu istraeno upotrebom
metode studije sluaja emisija: Trezor i Hronike Bitefa, ali i korienjem socioloke teorije
prizora i medijske recepcije Viktorije de Aleksander i teorije nostalgije Svetlane Bojm.
31
PLAY: VIDEO IGRE

//
PLAY: VIDEO GAMES
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1922. . ,
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34
Aleksandra Jovani
Akademija umetnosti u Beogradu
Prilagoavanje pravila: raunarske igre i umetnost

Tokom protekle decenije esto se diskutovalo i dolazilo do razliitih odgovora na pitanje da li su
video i kompjuterske igre umetnost ili ne? Trite je dopunjavano igrama razliitih tema i anrova,
tako da je postalo potpuno jasno da granice izmeu komercijalnih i umetnikih igara postaju sve
nevidljivije. Stoga, sve manje postoji potreba da se analizira koje su to karakteristike nekih igara
koje ih kvalifikuju u kategoriju umetnikih dela. S druge strane, evidentno je da su video i
kompjuterske igre uticale na aktuelnu umetnost, dotle, da se organizuju izlobe umetnikih radova
srodnih igrama. Video i kompjuterske igre se cene i kao umetnika forma sama za sebe, ali i kao alat
za kreiranje umtenikih dela.
Pravila su kljuni element kompjuterskih igara. Ona su esencijalna za igraa, jer odreuju njegove
akcije, a kompjuteru su pravila neophodna kako bi mogao da obradi igraeve aktivnosti. S druge
strane, igranje je dobrovoljna aktivnost koja e biti u direktnoj vezi sa ciljem, motivacijom,
progresijom igre, povratnom reakcijom na igraevu aktivnost, nagradama, konfliktima, izazovima,
uenjem... Sve ovo znamo iz teorije igara i teorije dizajna kompjuterskih igara, koje su do sada
veoma podrobno obraene oblasti, pa se metode za kreiranje uspenih igara mogu testirati na
umetnikim igrama. Ako neki rad, u formi igre, ne pretenduje da bude komercijalna kompjuterska
igra, pitanje je, kako primenjene metode funkcioniu u umetnikom delu? Ali i koja pravila moemo
da promenimo, prilagodimo ili zanemarimo, a da uspeno kreiramo umetniko delo u formi
kompjuterske igre?
35
Vera Mevorah
Univerzitet umetnosti u Beogradu
Ozbiljnost igranja: Video igrice kao umetnost u Srbiji

Umetniki projekat Aleksandre Jovanovi, Over 7 seas & 7 mountains, jednostavna i prijatna
vizuelna evokacija na jednu od prvih video igrica Space Invaders, jeste umetnika video igra koja
kroz svoj narativ poziva na razmiljanje o svakodnevnim problemima mentalnog zdravlja u
dananjem drutvu. Nadalje, projekat digitalne drutvene igre (board game) Can you feel the spill?
autorskog tima Les Mislerebles (Isidora Todorovi, Andrea Palati and Luka Ranisavljevi) posebno
se fokusira na ekoloko i drutveno pitanje izlivanja nafte kroz teoretizaciju koncepta ozbiljnih
igara Klarka Abta (Clark Abt) i njegove primene u umetnikim aktivistikim praksama. Delo
Katarine Kaplarski, Symbols of Fortune, komunicira kroz digitalizovanu formu deije igre abica od
papira, probleme i neophodnost optimistikog pogleda na svet u drutvenom sistemu sa malo
odgovora, a puno pritisaka. Ova onlajn umetnika dela imaju zajedniku temu ozbiljnosti u igri, ili
umetnikog suprotstavljanja elementu razonode i poigravanja u kulturi video igara, koju umetnici
koriste kako bi ukazali na niz drutvenih problema u svetu danas. Kroz analizu ovih dela u irem
diskursu video igara kao umetnosti, cilj nam je da doemo do boljeg razumevanja ovog anra
savremene umetnosti u posebnom kontekstu srpskog drutva.
Vera Mevorah
University of Arts in Belgrade
Seriousness of Play: Video Game Art in Serbia
Aleksandra Jovanovics Over 7 seas & 7 mountains, a simple, easy looking evocation of one of the
earliest computer games, Space Invaders is a video game artwork that provokes thinking about
some common issues of mental health today. Then, a digital board game project by Les Mislerebles
trio (Isidora Todorovic, Andrea Palasti and Luka Ranisavljevic), Can you feel the spill? focuses on
ecological and social issue of oil spills around the world while theorizing the concept of Serious
games (Clark Abt) and its uses in art activism. The online artwork game by Katarina Kaplarski,
Symbols of Fortune, communicates through digitally mediated children paper fortune teller the
necessity of staying optimistic in the world with little answers and lots of pressure. These Internet
based artworks all share a theme of seriousness in play, or the artistic opposition to the element of
leisure and playfulness in computer gaming culture, which these artists use to stress a number of
social issues that our both local as well as global. By analyzing these works in the wider discourse of
video game art we are hoping to come to a better understanding of this contemporary art genre in
its specific Serbian context.
36
Biljana Mitrovi
Medijska arheologija i igranje MMORPG video-igara
Cilj ovog rada je da razmotri i analizira mogunosti uvanja i arhiviranja igrakog iskustva videoigara u kojima veliki broj igraa istovremeno pristupa svetu igre MMORPG (massively multiplayer
online role-playing games). MMORPG video-igre, kao novomedijska praksa imaju specifinu
strukturu koja se izmeu ostalih mogunosti moe beleiti upravo drugim novomedijskim
sredstvima/opcijama. Video-igre spadaju u digitalne medije, ije igranje poseduje odreene
odrednice performansa, kao vremenskog i prostornog ina odreenog sa sada i ovde. Sa druge
strane, bitan faktor u beleenju, uvanju i arhiviranju ove vrste izvoenja predstavlja svrha ovakvih
tragova igrake prakse znanje, odnosno prenoenje znanja o odreenim postupcima i nainima
postizanja ciljeva u svetu igre. Imajui to u vidu, u radu se analiziraju pristupi kao to su tekstualno
beleenje, beleenje slike, video-snimci i komentari igraa i lanova igrake zajednice, koji se
najee prezentuju na internetu i mogu da predstavljaju svojevrsne arhive igrakih iskustava ali i
uvanja dizajna igara: na YouTube kanalima, galerijama slika, forumima, blogovima ili
specijalizovanim sajtovima. Na ovaj nain ispoljava se specifina vrsta sajber-kulture, nastale iz
kulture uestvovanja i multiplikovanja uloga pojedinca kao igraa, autora i korisnika.
Biljana Mitrovi
Media archeology and MMORPG video-games playing experience
The aim of this paper is to review and analyze possibilities of storing and archiving MMORPG
(massively multiplayer online role-playing games) video game playing experience. MMORPGs as a
new media practice have a specific structure which, among other possibilities, can be recorded by
other new media resources/options. Video games are digital media, the playing as well as
interaction with them contain certain characteristics of (art) performance as a temporal and spatial
act defined with "here and now". On the other hand, one of the notable factors in the recording and
archiving of this kind of performance is the purpose of tracing of the playing practice showing and
exchanging know-how and show-how. Having that in mind, analyzed recording practices are:
textual recordings, screenshots, video clips, players and gaming community members comments,
usually presented on the Internet. These recordings may represent archives of gaming experience
but also preservation of game design on platforms such as: YouTube channels, image galleries,
forums, blogs or specialized web pages. In this way a specific form of cyber-culture is expressed,
culture emerging from the participatory culture and multiplication of one's role as a player, author
and user.
37
DIGITALNE ARHIVE I DISEMINACIJA SEANA

//
DIGITAL ARCHIVES AND DISSEMINATION OF MEMORY
Aleksandra Milovanovi
Digitalne arhive i ouvanje kolektivnog seanja: Fama kolekcija Sarajevo
U ovom radu bie ispitana metodologija i struktura projekta Fama kolekcija, kao izvora informacija
ili modela za sline projekte i naine formatiranja digitalnih arhiva. Cilj ovog rada je da pokae kako
proces digitalizacije (dokumenta, seanja, pamenja, itd), kao nain formiranja digitalnih arhiva,
prevodi prolost u aktivno dostupnu sadanjost. Posle raspada SFRJ projekat Fama poeo je
prikupljanje i sistematizaciju seanja stanovnika Sarajeva u periodu 1992-1996. Posebnost ove
arhive je u tome to sadri seanja prikupljena neposredno po zavretku rata, te tako predstavlja
korpus svedoenja koja nisu promenjena pod uticajem drugih svedoka, kulturnih i politikih inioca
ili medija. U ovom radu bie predstavljeni i analizirani transmedijalni tekstovi Fama kolekcije koja
se sastoji od: video serije (Oralna istorija, 10 VHS), filma (Vodi za preivljavanje, Suada Kapi,
2005), enciklopedije Opsada Sarajeva 1992-1996, Edukativnog paketa (podeljenog svim
regionalnim bibliotekama i arhivama), dve mape Raspad Jugoslavije 1991-1999 i Mapa za
preivljavanje, Internet sajta Fama Collection, 3D muzeja opsade Sarajeva umetnost ivljenja. Fama
kolekcija digitalizuje seanja kako bi pamenje na dogaaje iz prolosti bilo sauvano i preneto
buduim generacijama. Ovaj projekat, zajedno sa drugim digitalnim projektima, predstavlja
znaajan izvor za mogue tumaenje raspada SFRJ (1991-1999) u regionalnoj edukaciji i utie na
optu istorijsku sliku i sud o ovom istorijskom periodu.
Aleksandra Milovanovi
Digital Archives and Preservation of Collective Memory: Fama Collection Sarajevo
This paper will investigate the methodology of construction and structure of the Fama Collection
project, as the source of memories, information about the past or model for the formation of digital
archives, in general. The aim of this paper is to show how the process of digitalization (documents,
memories, etc.), as a way of forming new media archives, transforms the past into a permanently
available present. After the break up of Yugoslavia Fama Project began collecting and systematizing
the memories of the siege of Sarajevo, 1992 1996 and destinies of its inhabitants. The
distinctiveness of this archive lies in the fact that it contains memories collected directly after the
war and which has not been altered under the influence of other witnesses, cultural and political
factors or media. This paper analyses the text as transmedia project which consists of: video series
(Oral History, 10 VHS), film (The Ultimate Survival Guide, Suada Kapi, 2005), an encyclopaedia (The
Siege of Sarajevo 1992-1996), Educational package (distributed to all the regional libraries and
archives), two maps (The Fall of Yugoslavia 1991-1999 and Survival map), the Internet site Fama
Collection, 3D The Siege of Sarajevo Museum, The Art of Living, etc. Fama Collection digitalizes
memories, so that remembrance of the events from the past would be preserved and passed on to
future generations. This project, together with other digital projects, represents an important
source for the education about the break up of Yugoslavia within the region, as well as it affects a
general historical picture and opinion of the period.
40
Nataa Dela
Nova drama arhiva seanja: mnemotop Beograda u dramama dve spisateljice
Rad polazi od pretpostavke da je dramski tekst neophodno razdvojiti od ostalih literarnih formi, jer
je njegova osnovna funkcija da slui kao predloak pozorinoj predstavi. Posmatrajui dramu na
ovaj nain, mogue je napraviti vrstu vezu izmeu dramskog teksta i medijske prakse. Takoe,
analizirane drame su deo otvorene online arhive koja se nalazi na internet stranici http://novadrama.org.rs/ to prua uvid javnosti ne samo u stvaralaku praksu autora, ve omoguuje
ekspanziju i skladitenje perspektiva i seanja umetnika koji su i sami pripadnici generacije
obuhvaene u njihovim dramama. Predmet istraivanja je hronotop Beograda u periodu 19902000. godine sadran u dramama dve savremene srpske dramske spisateljice: Milene Bogavac
(Dragi tata, Td ili Prva trojka) i Maje Pelevi (Ler, Deca u formalinu). Mapiranjem i analizom
mesta seanja, kao i figura seanja (Jan Asman), nastojau da odredim osnovne odlike Beograda u
vremenu 90-ih i 2000-ih godina i da ukaem koliko je seanje na ovaj period u slubi stvaranja
distopijske i postutopijske slike sveta. Posebnu panju u posvetiti pojmu izgubljena generacija i
generacijskom seanju. Dramski tekst kao materijalni trag o prolosti posluie kao instrument u
povezivanju individualnog i kolektivnog seanja na prostor Beograda, kako na fikcionalnom planu
drame, tako i na planu drutvene stvarnosti. Iako se svet drame ne moe izjednaiti sa drutvenom
stvarnou, nesumnjivo je da dramski tekst ima funkciju u oblikovanju pomenutog mnemotopa
(Pjer Nora) i njegovoj drutvenoj kontekstualizaciji, to ga ini relevantnim prostorom za
istraivanje seanja.
Nataa Dela
New Play Archive of Memories: Belgrade Mnemotop in Two Playwrights' Dramas'
The work starts from the assumption that the dramatic text is necessary to separate from other
literary forms, because its main function is to serve as a template of the theater play. Considering
the play in this way, it is possible to make a strong link between the dramatic text and media
practice. Also, analyzed dramas are part of an open online archive, which is located on the website
http://nova-drama.org.rs/ providing the public insight not only into the creative practice of the
author, but also into an expansion and storage of perspectives and memories of artists who are
themselves members of generation included in their dramas. The research topic is the Belgrade
chronotope in the period of 1990-2000 contained in two dramas of contemporary Serbian
playwright Milena Bogavac ("Dear Dad", "Td or the first three") and Maja Pelevi ("Out of gear",
"Children in formalin"). By mapping and analyzing the places of remembrance, as well as the figure
of memory (Jan Assmann), I will try to determine the main features of Belgrade during the 90s and
2000s, and to point out how much the memory of this period is in the service of creating a
dystopian and post-utopian world view. Particular attention will be paid to the concept of a "lost
generation" and generational memory. The dramatic text as a material trace of the past will serve as
an instrument in connecting individual and collective memories of the area of Belgrade, in terms of
both the fictional plan of drama and social reality. Although the world of drama can not be equated
with social reality, there is no doubt that the dramatic text has a function in the formation of the
said mnemotop (Pierre Nora) and his social contextualization, which makes it relevant space to
explore memories.
41
Milena Jokanovi
Faculty of Philosophy, University of Belgrade
The New Old Media: Artist's Archives in the Digital Age

Assuredly, the era we live in could be characterized as the age of well developed technology, many
possibilities to preserve documents and information in various different media, but also the age
when billions of new images are produced every day. Many artists are consequently driven with the
nostalgic feelings towards the forgotten times and supressed things, and tend to become archivists
of their own lives. They collect different dejected mass produced objects creating installations out
of them, criticizing the contemporary value systems, political and social happenings. The goal of this
paper will be to recognize the old, baroque Cabinets of Wonders in the contemporary art
installations and to understand the need of many artists to express themselves often through this
media finding the inspiration in their personal memories.
42

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Irina Stojkovi Kiki
Muzej pozorine umetnosti Srbije, Beograd
Teatroslov - Digital Memory f Serbian Thater
The success in preserving the cultural theatrical heritage requires defining the national strategy
and its consistent application through standardization adopted at the national level. However, the
lack of tools and instruments for such a development allowed researchers the freedom and latitude
to pursue business models, which in fact led to the needless waste of human and material
resources. In contrast, the enthusiasm and initiative outlined below gave excellent results, despite
the fact that such hermetic projects remain invisible at the macro level. Teatroslov is an online
electronic database for information on professional theater in Serbia since its early beginnings up
to the present times. The digital collections were created on the basis of museums funds, the
theater and private collections. Teatroslov is established in order to better preserve endangered
museum collections and to adapt the institution to the needs of modern users. In order for the
museum not to remain a jailer of historical forces, universal information about records must be
replaced by individual experience created through the personal communication with the artifact.
However, this turnaround in museology is possible in societies that greatly involve excellent offers,
i.e. in institutions that have functional and well-established systems of collection, processing and
storage of materials. And now in trying to identify the factors that make the difference, secure
better presentation and more profit to the museum, the solution must be found in relation to the
visitors and friends of the museum instead of in the storages. Case Study Teatroslov represents it's
data base system to the general public, and it shows to the narrowly specialized community
proposes a platform which provides the basis for the formulation of a national strategy and
standardization in the field of digitization of theatrical material. This is indeed a real and stable step
towards improve the protection of cultural heritage and modernization of museum practice in
Serbia.
43
Nikola orevi, Marko orevi i Sonja Vrkati

Neformalna kustosko-umetnika grupa (NKUG)
Intersticijum: arhiviranje neostvarenog

U ovom radu iznosimo teoretsku interpretaciju naeg umetnikog rada pod nazivom Intersticijum.
Re je vrsti fiktivnog arhiva koji belei nerealizovane, nedovrene i neuspele projekte u gradskom
prostoru. Obraena graa se sastoji od tekstova konkursa, urbanistikih planova, pojedinanih
arhitektonskih projekata, relevantnih akademskih i novinskih lanaka i dodatne dokumentacije u
vezi sa irim lokalitetom Trga Slavija u Beogradu. Iako u formi arhiva, Intersticijum je izgraen kroz
odstupanja od zvaninih arhivskih pristupa ovladavanja prolou i skladitenja seanja. On se
samo uslovno moe shvatiti kao arhiv jer pohranjuje ne minule, ve mogue dogaaje.
Interpretacija je trodelna. U prvom delu se koncentriemo na osnovne teoretizacije arhiva u
radovima Fransoa Liotara, Hala Fostera i Stivena Spikera. Drugi deo je posveen pojavi arhiva u
savremenoj umetnosti sa posebnim osvrtom na Intersticijum i njegovo izlaganje na 55.
Oktobarskom salonu. U treem delu uporeujemo teoretska polazita pomenutih autora sa
sopstvenim iskustvima i izvodimo kritike zakljuke o moguim pravcima daljeg razvoja ovog rada.
44
(NOVA) HUMANISTIKA I ZNANE U DIGITALNOM DOBU

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(NEW) HUMANISTICS AND KNOWLEDGE IN THE DIGITAL AGE
Divna Vuksanovi
ta istrauje arheologija medija: kritika uma u digitalnom dobu
Saoptenje problematizuje odnos medija i uma u dananjem vremenu, posmatrano iz ugla filozofije
medija. Najpre, ispituje se relacija savremenih medija i tradicionalnih prostorno-vremenskih
kategorija. Potom se istrauje odnos medija i (mogueg) saznanja. U tekstu se, takoe, preispituje
svet simbolikih formi koje se medijski posreduju. Naposletku, ispituje se ta je mogui predmet
istraivanja arheologije medija, ta je njen epistemoloki doprinos i emu treba da slue ova
saznanja.
Divna Vuksanovi
What Explores the Archeology of the Media: Criticism of Mind in the Digital Age
The paper examines the relationship between the media and the mind in modern times, from the
viewpoint of the philosophy of media. Firstly, the relation between modern media and traditional
space-time categories is being examined. Then it investigates the relationship between the media
and the (potential) knowledge. The paper also examines the world of symbolic forms that are
mediated through media. Finally, the paper examines what is the possible subject of media
archaeology, what is its epidemiological contribution and what is the purpose of these findings.
46
Ljilana Roga Mijatovi

Stvaranje znanja u dobu velikih podataka: kritika pitanja za novu pismenost
Razvoj novih tehnologija dovodi do sve veih promena drutvene dinamike i kulturnih praksi, sa
tendencijom transformacije naina i ishodita ljudskog saznanja. Informatiki obrt zahvatio je i
polje humanistike, tako da se sd digitlna humnistika bavi i novim rtefktima koji su nastali
kao digitlni. Prdigm velikih podtk odnosi se mnje na msivne koliine podtk, vie na
sam kpcitet z nvigciju, meureferentnost i zbirno predstavljanje podtaka na irem planu. To
se pokazuje u rekonceptualizaciji referentnosti kroz nove metode i instrumente za dokumentaciju,
istraivanje i interpretaciju, kao to su onlajn digitalne medijske platforme, digitalne arhive i
digitalna memorija. U dobu tehnoloke dominacije velikih podtk uzdrmani su epistemoloki i
etiki temelji istraivanja i stvaranja znanja. Stoga je neophodno kritiki preispitati kljune
pretpostavke i implikacije (i praktine i saznajne) u vezi sa procesom istraivanja, kao i pozicijom
samih istraivaa. U svetlu ovih tema, potrebno je ispitati relevantnost i odnos razliitih segmenata
pismenosti (medijska pismenost, digitalna pismenost, akademska pismenost, itd.) u stvaranju nove
pismenosti i odrivih ekologija znanja.
Ljiljana Roga Mijatovi

Crafting Knowledge at the Age of Big Data: Critical Questions for New Literacies
The development of new technologies has rapidly been producing changes of both social dynamics
and cultural practices with a tendency towards transformation of ways and outcomes of human
knowledge. Computational turn has spread over the field of the humanities, so that digital
humanities now also concern themselves with the new artifacts which are born digital. Big Data
paradigm relates less to the massive quantities of information, and more about the capacity to
navigate, cross-reference and aggregate data sets at large scale. This is exemplified in the
reconceptualising referentiality through new methods and tools for documentation, research and
interpretation, such as online digital media platforms, digital archives and digital memory. In the
age of technological domination of Big Data, the epistemological and ethical underpinnings of
research and knowledge production are being shaken. It is therefore necessary to examine critically
the key assumptions and implications (both practical and knowledgemaking) with regard to the
research process, as well as the position of the researchers themselves. In the light of these issues, it
is necessary to review the relevance and the relationship among various segments of literacy
(media literacy, digital literacy, academic literacy, etc.) in creating new literacies and sustainable
knowledge ecologies.
47
Neda Radulovi
Posthumanizam kao nova ili stara kritika misao

O posthumanizmu se neretko govori kao o potpuno novom zaokretu u drutvenim naukama, ali pre
nego to pristupimo ovom pojmu kao novoj tendenciji, neophodno je osvrnuti se na sam pojam
novo. Svaka nova tendencija u promiljanju subjekta u okolnostima neoliberalnog kapitalizma,
posebno ona koja ima pretenziju da problematizuje i polemie sa uslovima i okolnostima u kojima
nastaje, epitetom novo - kapitulira pred sistemom na koji se kritiki osvre. Naime, termin novo
pristaje na dualizam staro/novo i implicitno prihvata logiku konzumentskog trenda u akademiji,
pristajui na kompulsivnu potrebu kapitalizma da staro odbaci, zarad novog, sveeg i nikad
vienog. Atribut novo implicira rok trajanja, kao i kulturoloku - trinu vrednost predloenog
miljenja. U tom smislu je vano distancirati se od novog u posthumanizmu - kao i od
posthumanizma koji predstavlja novi humanizam - sada bolji, unapredjen, biotehnoloki
humanizam - kao verziju super-humanizma koji za svoju poetnu poziciju uzima tehnoloki
unapreenog Kartezijanskog subjekta ili kako ga Vulf definie - subjekta kao graanina, vlasnika
prava, poseda, itd. Dakle za poetak je vano napraviti razliku izmeu posthumanizma kao novog
humanizma i definisati koncept humanizma, kako bismo utvrdili ta je to posthumanizam koji
problematizuje i kritiki se odnosi prema konceptu humanizma u istoriji i nauci.
Da bismo lake pozicionirali posthumanizam, obratiemo panju na posthumanistike tendencije u
istoriji filozofije, kao i teorijske pravce koji su inherentno posthumanistiki. Po Braidoti,
postrukturalizam, feminizam kao i kritika itanja Marksa i Frojda (Altuser, Lakan) - su ve svojom
kritikom humanizma u filozofiji i psihoanalizi, zauzeli posthumanistiku poziciju. Sa druge strane,
Dona Haravej prvu konkretnu kritiku antropocentrizma i ire shvatanje subjekta, pripisuje Deridi.
Keri Vulf takoe uzima Deridu, ali i Lumana kao poetne take za formulisanje teorije
posthumanizma. Kada je u pitanju posthumanizam, vano je uoiti dva najcee ukrtena, ali
razliita polazita - jedno koje se bazira na nieanskoj kritici evropskog morala i drugo koje
proizilazi iz pre svega francuske postrukturalistike kole miljenja. Za prvu je kljuno pitanje
morala i etike - odnosno razlike izmeu ta dva. Braidoti govori o odstupanju od moralistike
filozofije zarad etike, upravo iz nieanske tradicije. Dakle, neophodno je sledee: uspostaviti
razliku izmeu posthumanizma Done Haravej i Karen Barad i transhumanizma (kako ga pozicionira
Keri Vulf u knjizi ta je posthumanizam?) i odgovoriti na pitanje: ta je to posthumanizam? Dalje
emo pokuati da odgovorimo na pitanje - zbog ega posthumanizam (suprotan od
transhumanizma) - nije i ne moe nositi naziv animalne studije (kako ga mnogi klasifikuju)? Na koji
nain i da li o posthumanizmu moemo misliti kao o antihumanizmu (kako ga ponekad nazivaju
Dajen Kol, Rosi Braidoti i drugi)? Na kraju, postavlja se pitanje posthumanizma u okviru balkanskih
studija- u kojoj meri i na koji nain moemo primeniti teorije posthumanizma u kontekstu Balkana i
na koje i kakvo prosvetiteljstvo se taj posthumanizam referie?
48
Nedeljko Kovai
Paul Otlet & Mundaneum

Internet historians outline origins of World Wide Web through range of Anglo-American scientists
leading to Tim Berners-Lee's 1991 invention of Web browser. In 1934, Belgian Paul Otlet
structured plans for global electric network allowing people to search and browse millions of
interlinked books, newspaper articles, photographs, radio recordings and films, exchanging
messages, pictures and documents, as in today's social networks. Otlet's network originated in
Mundaneum his lifelong project since 1895, physically assembling master bibliography of world's
entire published knowledge, using index cards to form paper database with millions of entries
with "Victorian Internet" mechanics of analog technologies like telephone and telegraph, and
queries submitted via mail or telegram, like a Steampunk search engine. In era before computers,
Otlet was first to introduce the notion of hypertext, envisioning networked electric machine that
joins entries using symbolic links, anticipating today's Web's hyperlinked structure. Otlet's vision
of collective brain storing all humanity's information, accessible over global communication
network, is reminiscent of today's cyberspace. It can be seen as mechanical framework for
evolutionary step towards concept of Noosphere, as described by Pierre Teilhard de Chardin.
Otlet did not envision his network as commercial enterprise tool, generating profit for private
companies. He saw Mundaneum as transnational public utility central system administered by
governments, universities, and international associations, working in humanity's common interest,
helping intellectual and social progress. His vision is important regarding contemporary debate
about nature and future of Internet the conflict between Net's open architecture and its
centralization within large digital corporations, commercialization and fragmentation along
political lines.
49
Dragana Kotica
The Impact of Social Media on Language Transition

Social media is connected with the raise of Web 2.0, a platform that allows internet users to interact
and collaborate with each other in a social media dialogue as creators of user-generated content in
a virtual community, in contrast to Web sites where people are limited to the passive viewing of
content. Examples of Web 2.0 include social networking sites, blogs, wikis, video sharing sites,
hosted services, web applications and mashups. Its invention of Sir Tim Berners Lee, whose vision
was to create a new collaborative medium, a place where people around the globe can meet, read
and write. The usage of social media is connected with communication, therefore language and
language communication -signs and symbols are evolving together with development of technology
and internet, creating a new system of social media language that is entering the sphere of
everyday speech. The aim of this paper is to examine thru content analysis technique the transition
of language, and its evolution in accordance with the new requirements and types of
communications. Social media increased the speed of communication. Facebook lets users
communicate quickly, effectively and efficiently because written exchanges are concise and shared
between all the friends you are connected with, meaning you only need to write them once. On
Twitter theres a 140 character limit, in that way users are literally forced to make the statement
brief. Thus, internet and social media culture and the new ways of fast communication create new
nouns, acronyms, abbreviations, meanings and so on.
50
OIVLjAVANE PROLOSTI NASLEE, IDENTITET, ZAJEDNICA

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REVIVING THE PAST HERITAGE, IDENTITY, COMMUNITY
Milena Dragievi ei
University of Arts, Faculty of Dramatic Arts, Belgrade
Mediating the past - monument policies and practices of dissent from Rastko Petrovi to Ana Vilenica
How to explore Balkan experience of commemoration and memorialisation in the public spaces of
its cities? To what extent official public policies has provoked counter movements and attempts of
artists and civil society (often joined) to react and offer their visions of memory and comemorative
politics? Who are Balkan Jochen Gerzs? The text aims to explore the current forms and meanings of
critical (subversive) and participative practices in memory-formation and commemoration from
Sarajevo De/construction of monuments project, ephemeral monument to Julije Knifer through
flash-mob initiative in Belgrade, Skopje provocative sculpture of golden water-closet in central
pedestrian street (signed Pavel Shatev - anonymous artist) together with First archibrigade
actions; Dah theatre commemorative performatives; to serials actions of Monument group and Led
art groups throughout the region. It will discuss those projects as platforms for cultural encounters
and dialogues, spaces for relations between individual and group collective memories, questioning
official memories and its politics of representation. However, many of those countermonument
projects in the Balkans not only questions, but often comprise elements of monumentalization
practice, memorialization, art expression, but also uses ephemeral, performative, participative
methods in its realisation, including innovative communicative practices.
Main sense of countermonument as a practice is to question narrative of the past, to question usual
commemorative practice, but above all, to question contemporary official policies and practices of
identity narrative representations and its symbols and images. Countermonument is often reappropriating traces of the past in a different manner, taking them from the authorities, and
offering those traces and narratives to communities for co-creation of the new interpretations and
new narratives more linked to independent individual and collective group memories. Most of
these actions relate to concrete historical events, but mostly to identity and memory politics
(including social politics of forgetting, Connerton 2007) and officially supported practices:
questioning results of official memory politics, citizens are urged to react, thus organized and
with help of artistic collectives, are producing (co-creating) sometimes permanent, sometimes
ephemeral counter-monuments. However, besides seven Connertons types of forgetting, our
research identified another two types of forgetting which are mostly cause of countermonument
projects: forgetting as shameful silence and forgetting as confused silence where we will situate
interpretation of those projects.
On the other side subversive practices of dissent, as part of urbactivism (Hristova 2015) or
artivism (Milohni). Performances and performative ephemeral monuments have been important
practice in different cities of Southeastern Europe, sometimes as the only way to express opinion
outside of closed political and media channels. Two case studies would be deeply referred (done
through interviews with artists and currators): Work of Monument Group (Belgrade-Tuzla, BIH),
De/construction of Monument (Sarajevo). Thus, I will refer to concept of public memory (a gaze
from below), as a body of beliefs and ideas about the past that help a public or society understand
both its past, present, and by implications, its future; where focus in fact is not on the past, but on
serious matters of the present (Bodnar J. 1992:15) In the same time we would research how
artivist projects influence and form public memory from below, by objecting monument policies
intending to influence this public memory, conquering and covering public space with selected
heroes and narratives in forms of monuments. Currating the past not according the official
ideology but according to expressed civic imagination, often through collaborative processes, civil
society and artistic community can be extremely strong, producing new narratives and inflencing
opinions and habits values in a society.
52
Jacques Bonniel
Universit Lyon2
Prsident du Muse Urbain Tony Garnier
La patrimonialisation dun quartier dhabitat social : la cit Tony Garnier Lyon

Depuis quau 19me sicle, le patrimoine a t invent pour servir de roman national une socit
en voie de lacisation, cette notion na cess de connatre une expansion constante stendant
toujours plus des objets ou des domaines loin de ce qui en constituait originellement le critre
discriminant savoir le caractre insigne, remarquable dun monument ou dun site historique. Au
plan international, on est pass ainsi dun patrimoine historique celui-l mme qui tait en tat
dtablir la lgitimit dun peuple ou dune nation- au patrimoine culturel puis au patrimoine
naturel et enfin au patrimoine immatriel (UNESCO).
Dans le domaine franais, aprs la loi fondatrice de 1913 sur les monuments historiques assurant
leur protection, il fallut attendre larrive dAndr Malraux et sa loi de 1962 sur les secteurs
sauvegards pour aboutir quelques annes plus tard sur le plan normatif une extension au
patrimoine urbain et paysager (les Z.P.P.A.U.P. 1983). Au-del de laspect normatif, ce processus de
patrimonialisation au sens dattribution dune valeur patrimoniale potentielle tout ce qui est
advenu sur la scne sociale- a pu prendre la forme dattribution dun label caractre informatif et
non prescriptif. Ainsi en 1999 le Ministre de la Culture et de la Communication a-t-il cr un label
Patrimoine du 20me sicle des constructions ou ensembles urbains protgs ou non au titre
des Monuments Historiques ou des espaces protgs ( site web du Ministre de la Culture et de la
Communication).
La Cit Tony Garnier sest vu attribuer ce label appos sur les murs du Muse Urbain Tony Garnier
dans le quartier des Etats-Unis Lyon. Cet architecte lyonnais visionnaire, voire utopiste, a
construit de nombreux btiments : stade, hpital, Halle aux bestiaux devenue la plus grande salle de
concerts et de salons et un quartier de 1500 logements relevant de ce quon appelait lpoque
les annes 1930- des H.B.M. (Habitations Bon March). Dans les annes 1980-1990, un
programme de rnovation urbaine avait envisag de dtruire ou a minima de profondment
transformer ces immeubles. Une association dhabitants pour la dfense de ce quartier entama,
nolens volens, un processus de patrimonialisation en figeant en quelque sorte ces habitations dans
leur forme (quasi) originelle.
Que signifie alors cette attribution dune valeur patrimoniale aux yeux des habitants actuels, pour
lessentiel des familles (trs) pauvres, dorigine immigre la recherche de logements trs bon
march, ignorant pour la plupart cette valeur ? Comment concilier mise en valeur touristiquepatrimoniale (25 000 visiteurs par an) et appropriation par les habitants ? Que signifie alors de
vivre dans un muse ciel ouvert ?
53
Vinja Kisi, PhD

Centre for Museology and Heritology
Faculty of Philosophy, Belgrade
Exhibiting the Balkans Imagined:

An excess or good practice in mediating (trans)national memories
During the period from 2010-2013 UNESCO SEE Office in Venice has initiated, coordinated and
mediated the process of production of an international travelling exhibition Imagining the Balkans:
Identities and Memory in the Long 19th Century, in which historical and national museums of
twelve countries from Southeast Europe (from Slovenia to Turkey) took part.
It has been the biggest joint exhibition project in the region, challenging not only in terms of
management and coordination, but more importantly because of the aspirations to create a
common transnational interpretation out of mutually dissonant national narratives and memories.
The final interpretation within the exhibition has been influenced not only by the initial aspirations
and political positions of each country and museum, but by the education and background of
curators participating in it.
In discussing the importance of the effort to mediate transnational memories in Southeast Europe,
the paper analyses not only the final tangible outcomes of the project, but the reflections on the
process by the UNESCO coordinators and museum curators from participating countries. It analyses
why a project characterized by most of the participants as an example of a good practice is at the
same time positioned as an excess, an exception that makes visible and strengthens the stability of
traditional national narratives in museums.
54
METAMEMORIJA I STRATEGIJE SEANA

//
METAMEMORY & MEMORY STRATEGIES
Ksenija Radulovi
Digitalna baza Muzeja pozorine umetnosti Srbije
U radu predstavljamo projekat informacione istorije pozorita u Srbiji, smetene u savremeni
digitalni domen, i to kroz prezentaciju svih njegovih relevantnih aspekata, kao i dosadanjih faza i
rezultata. Projekat digitalne baze - Pozorite u Srbiji - realizuje se u kontinuitetu od prvih godina
21. veka u Muzeju pozorine umetnosti Srbije, istovremeno predstavljajui svojevrsnu spregu
realnog i virtuelnog muzeja. Jedinstvena platforma povezuje teatrografsku i muzeoloku grau, s
mogunou pretrage i slobodnog pristupa podacima.
Specifinost Muzeja pozorine umetnosti Srbije (MPUS), odnosno, njegova dvostruka delatnost - s
jedne strane, osnovna muzeoloka delatnost, a s druge, potreba za kreiranjem teatrografske baze
podataka (pozorita i linosti, sa svim potrebnim metapodacima), uslovila je ovu spregu
muzeoloke i teatrografske prakse. Iako osnovna delatnost ustanove jeste muzeoloka, i
teatrografski podaci imaju visoki znaaj, jer se referiu direktno na predmete muzejskih fondova.
Digitalni pozorini muzej obuhvata elektronski repertoar svih pozorita na teritoriji Srbije od
poetaka profesionalnog pozorinog ivota (19. veka) do danas, repozitorijum digitalnih kolekcija
formiran na osnovu fondova zbirki MPUS, kao I portal za prikazivanje fondova arhiva i biblioteka
pozorita u Srbiji ili onih koji se uvaju u privatnom posedu. Do sada je razvijena aplikacija koja
pokriva sve vrste trenutno registrovane grae, kulturnih dobara koja svedoe o pozorinom ivotu
nae zemlje, pa i srpskih pozorita u dijaspori, a primenjiva je i u zemljama regiona.
Ksenija Radulovi
Digital database of Museum of Theatrical Arts of Serbia
In this paper we present the project of an informational history of the theatre in Serbia, located in
the contemporary digital domain, with a presentation of all its relevant aspects and its hitherto
stages and results. The project to create a digital information base Theatre in Serbia- started at
the very beginning of the XXI century and is being realised by the Museum of Theatre Art of Serbia,
in a sustained effort to merge the activities of an actual and a virtual museum. A unique (unified)
platform connects the theatrological and museum data, with search and free access capabilities.
The specific activities of the Museum of Theatre Art of Serbia (MPUS), or its dual needs on the one
hand to perform its basic museum function, and on the other to create a theatrological database (of
theatres and theatrical personages, with all necessary metadata) created the necessity of this
merger of theatrology and museum practice. Although the main function of the institution is to be a
museum, the theatrological data are of high importance, since they directly refer to objects in the
museums collections.
The digital theatre collection includes the digital repertoire of all theatres in Serbia from the
beginnings of professional theatre in the country (the XIX century) to the present moment, a
repository of digital collections formed on the basis of the Museum of Theatre Art of Serbia
collections, and a portal to showcase the archives and libraries of theatres in Serbia or those in
private ownership. An application covering all types of currently registered information and
content has been developed, showcasing the pieces documenting the theatre life in Serbia and
Serbian theatres abroad, and it can be easily made applicable in the countries of the Balkan region.
56
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57
gnes Bakk
Hungarian National Digital Archive
Is There an Online Theatre with its Online Community?

-Online Theatre Strategies for Creating New CommunitiesAs museums already started to build up their online communities, theatres and especially public or
socially engaged theatres should also try to focus more on finding their online ways that would lead
them to their community. The main question of my research is: Is it possible for the theatres as live
art to use their characteristic tools on online digital media platforms, and is it possible for them to
reach out and to engage a new layer of community. My presentation focuses on two cases where
theatres found a way to approach their audience through methods or tools that are based on web
2.0 and how could they sustain this community.
The cases that I study, are very different. However is important to check their effect on their
community and how successful could they import the theatrical tools on 21st century digital media
tools. I will try to briefly mention a parallel issue: How could the online, pervasive city games gain
their community? What could theatres learn from these games in terms of reaching out for live
audience.
58
Franjo Maleti
University of North Koprivnica
Blago Markota
Faculty of Economics, University of Zagreb
Sustainable Models of Digitization of Archive Content of Public Service Media

in The Balkan Region with Emphasis on the State of Metadata
Technological evolution will, by opening the path to transformation of the entire analog material to
digital records, bring into focus national strategies for digitization of media heritage. For some time
digitization strategies were subject of discussion by the national authorities for the protection of
cultural artefacts in the countries of Balkan region, but also by the European institutions and
organizations.
This paper analyzes the current moment determining the amount of audiovisual content in Croatia
and the region, regarding all the media records of all generations, since the beginning of the last
century, through assumptions necessary to strengthen the process of preserving of this priceless
heritage and to speed up the quality analyses of metadata.The authors focus their work also on
drafting of a sustainable digitization model intended for archival contents of public services in the
Balkan region, indicating that the effects of future exploitation by far outweigh the initial costs
while are increasing credibility of public service media throughout the archival postproduction. The
actual effects of digitization are measurable only by establishing of a new dynamic metadata that is
intended to be analyzed by authors on an example of Croatian Radiotelevision. All this, along with a
highly productive, restaurated and dynamic metadata, can certainly raise the public interest and
encourage further research.
59
NACIONALNI IDENTITET I KULTURNI OBRASCI

//
NATIONAL IDENTITY AND CULTURAL PATTERNS

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63
Danijela Vientijevi
Oivlavanje arheolokih lokaliteta Srbije u funkciji kulturnog turizma

Kulturni turizam belei stalni rast u odnosu na ostale oblike turizma. Ova vrsta turizma se smatra
generatorom razvoja jer inicira razvoj sektora kulture i turizma, smanjuje nezaposlenost, pospeuje
kreiranje novih zanimanja i radnih mesta u kulturi i turizmu i jaa interkulturalni dijalog.
Arheoloki lokaliteti u Srbiji belee sve vei rast broja posetilaca i turista, prvenstveno zahvaljujui
prezentaciji i oivljavanju naslea uz pomo kulturnih dogaaja od kojih su pozorine predstave
uz primenu novih tehnologija (igra svetlosti i senke), najatraktivnije i najprivlanije. Uoeno je da
ukoliko se kulturni dogaaji na odreenim lokalitetima ne izvode u kontinuitetu, interesovanje
posetilaca i turista za posetu ovim lokalitetima opada. Cilj ovog rada je da ukae na znaaj
oivljavanja nepokretnog kulturnog naslea putem kulturnih dogaaja u funkciji razvoja
kulturnog turizma. Od svih rimskih arheolokih nalazita u Srbiji, najbolje rezultate u poboljanju
vidljivosti, kreiranju atraktivnih sadraja i ostvarivanju saradnje izmeu kulture i turizma uz
pomo kulturnih dogaaja, imaju Viminacijum i Gamzigrad Romulijana. U radu su korieni
kvalitativni i kvantitativni (primarni i sekundarni izvori podataka), kao i studija sluaja
manifestacije Antika fest koji se odrava na arheolokom nalazitu Gamzigrad Romulijana od
2012. godine.
Danijela Vientijevi
Revival of Archaeological Sites in Serbia in the Function of Cultural Tourism
Cultural tourism has been constantly growing comparing to other forms of tourism. This kind of
tourism is considered to be a generator of development due to its impact on the culture and
tourism, reducing unemployment, stimulates the creation of new careers and jobs in culture and
tourism and strengthens intercultural dialogue. Archaeological sites in Serbia recorded an
increasing growth in the number of visitors and tourists, primarily due to the presentation of the
"revival" of heritage based on cultural events and festivals, of which the theater and the application
of new technologies (sound and light show), are the most attractive. It has been noted that if
cultural events in specific localities do not perform continuously, the interest of visitors and
tourists to visit these sites decreases. The aim of this paper is to highlight the importance of
"revival" of tangible cultural heritage and cultural events in the development of cultural tourism. Of
all the Roman archaeological sites in Serbia, the best results in improving "visibility", creating
attractive content and achieving cooperation between culture and tourism based on the cultural
events performing, have Viminacium and Gamzigrad-Romuliana. In this study qualitative and
quantitative (primary and secondary data sources), were used, as well as a case study of the event
"Antique Fest" which has been held at the archaeological site Gamzigrad Romuliana since 2012.
64

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Jovana Karauli
Planned oblivion vs. Digital articulation of the past
Case study: Sokol's rally in Belgrade, 1930
If we take into consideration Anderson's imaginary community, we will understand that a
message of a national identity was being sent on a large scale, via Sokol's rally. If we also add
Smith's musings of a community as a part of a territory, on top of this interpretation, we will realize
that this form of influence, that makes us more aware of the alliance of several nations and
nationalities, also has its performative shape in the basis of the rally. The ideological government
apparatus assumes almost the same stage framework in socialism, only seemingly creating new
symbols which indicated the difference and the need for innovation. The aim was to highlight the
torn government apparatus, together with the past. With the change of political conditions,
memories are also changing. Therefore, the already planned oblivion regulates the relationship
between the memory and history. The line of processing the past from the rally tradition of the
Sokols movement to the identical form of manifestation in socialism, as the subject of labor, leads
to the question whether putting the past behind is possible in the period of the digital preservation
of the collective memory. At the present moment, the question of (im)possibility of planned
oblivion and formulation of the zero hour, in the collective memory, refers to digital preservation
of a heritage, using technology as means of being in charge of your own destiny. In the process
of an interdisciplinary research of the memory, the digital archival science contributes to the
development of the knowledge in the society and to the contextualized presentation of a heritage.
65
(RE)PRODUKCIJA SEANJA I IDENTITETA

//
(RE)PRODUCTION OF MEMORY AND IDENTITY
Ana Martinoli
Kreiranje alternativnog medijskog prostora u trenutku raspada Jugoslavije programska i

produkciona analiza medijskog projekta Radio Brod
Tekst analizira aktivnosti Radio Broda (Droit de Parole), od njegovog pokretanja 1992. godine do
prestanka rada, marta 1994. Kao medijska inicijativa koja je za cilj imala da prevazie medijsku
blokadu nastalu usled ratnih deavanja i raspada nekadanje SFRJ, u praksi je demonstrirala
kreiranje i odravanje jugoslovenskog medijskog prostora u kome su informacije iz republika
zahvaenih ratom distribuirane na celu teritoriju nekadanje zajednike drave. Nastao u trenutku
dramatinih drutveno-politikih tenzija i istorijskih dogaaja, u analognom, linearnom, skuenom
medijskom okruenju, Radio Brod je nagovestio neke budue medijske mogunosti u umreavanju,
otvaranju novih prostora i oblika informisanja i produkcije sadraja.
Okupljajui novinare i urednike iz Srbije, Hrvatske, Bosne I Hercegovine, oslanjajui se na oficijelne
i nezvanine izvore sa frontova irom nekadanje SFRJ, Radio Brod slui kao vredna lekcija ne samo
iz perspektive alternativnog medijskog delovanja, ve i odravanja jugoslovenskog duha u trenutku
kada jedna drava prestaje da postoji. Radio Brod tako otvara prostor da bude analiziran i kao
transnacionalni medijski projekat, ija vrednost poiva na proizvedenom programskom sadraju,
ali jo vie i na njegovom simbolikom znaenju. Tekst koristi ne samo retke dostupne izvore o
projektu Radio Brod, ve i aktuelna seanja novinara, urednika i saradnika koji su bili aktivno
ukljueni u ovu inicijativu.
68
Zorana Popovi
Seanje i transkulturno prevoenje: adaptacija serije Betipul - Na terapiji u Srbiji

Iako su igrane serije proizvedene po licenci formata bile prisutne od samih poetaka televizije (u
anglo-amerikom kulturnom podruju), transkulturne adaptacije doivljavaju procvat tek od
sredine 2000. (Chalaby, 2015) Jedan od prvih formata koji je pokrenuo talas transkulturnih igranih
TV adaptacija je izraelska dramska serija BeTipul (TV HOT, 2005). Adaptacija postojeeg teksta u
sluaju TV formata podrazumeva reinterpretaciju i relokaciju originalnog teksta u novom
kulturnom kontekstu. Prilikom ovog transponovanja odvija se proces transkulturnog prevoenja
iji se detalji konstruiu tokom itavog produkcionog procesa. Koristei proireni model kulturnog
prevoenja i uzimajui u obzir viestruke nivoe uticaja na neku medijsku produkciju, rad analizira
lokalizacije igranih serija na primeru adaptacije serije BeTipul u Srbiji (Na Terapiji, TV FOX, 2009).
69
Jagoda Stamenkovi
Dekapitacija Evrope - reprezentacija nasilja i smrtne kazne u evropskom filmu
U ovom radu, posebna panja posveena je uznemiravajuim slikama koje predstavljaju krajnje
agresivno i nasilno ponaanje u filmovima nagraenim godinjom Evropskom filmskom nagradom.
U okviru liste dobitnika EFA (1988-2014), vei je broj reprezentacija nasilnih smrti ali i
kanjavanja, u razliitim oblicima. Bilo da se radi o ubistvu, samokanjavanju ili legitimno izreenoj
kazni, reprezentacija nasilja kao i ina kanjavanja, sa smrtnim ishodom, je u fokusu mnogih
evropskih filmskih stvaralaca - od Kilovskog, Amelia, preko fon Trira, Polanskog, Hanekea do
Pavlikovskog i dr. Uzroke treba traiti u turbulentnim vremenima i dogaajima koji su obeleili
Evropu poslednjih decenija, kao to je npr. pad Gvozdene zavese, trijumf liberalnog kapitalizma,
kreiranje novog evropskog geo-politikog ambijenta, potvrivanje evropskih vrednosti i dr.
Koristei primere evropskih nagraenih filmova, u radu se obrauje fenomen nasilja kao
individualnog ina ali i kao ina kojim drava kanjava poinioce zloina, izriui najteu kaznu.
Poseban osvrt dat je na tri filma koja se bave fenomenom smrtne kazne izreene od strane zakona:
"Kratki film o smrti" K. Kilovskog (1988), "Otvorena vrata" . Amelija (1991) i "Ples u tami" L. fon
Trira" (2000). Ukazuje se na etiko-filozofsko pitanje propisivanja smrtne kazne, ali i da nasilje na
filmu predstavlja metod drutvenog uticaja; kao anticipatorskog ali i kao korektivnog faktora,
budui da je u meuvremenu veina evropskih zemalja ukinula ovaj vid kanjavanja zloinaca.
Jagoda Stamenkovi
Decapitation of Europe - Representation of Violence and Capital punishment
in European cinema
In this paper, special attention was paid to the disturbing images representing extremely aggressive
and violent behavior in the movies awarded with the annual European Film Award. Within the list
of winners of the EFA awards (1988-2014) is a greater number of representations of violent death
or punishment, in various forms. Whether it is about the murder, self-punishment or legitimately
imposed penalty, the representation of violence as an act of punishment, and lethal, is in the focus
of many European filmmakers - from Kieslowski, Amelio, von Trier, Polanski, Haneke to
Pawlikovski and others. The causes should be sought in turbulent times and events that have
marked Europe in recent decades, such as fall of the Iron Curtain, the triumph of liberal capitalism,
the creation of a new European geo-political landscape, affirming European values etc. Using the
examples of European award-winning films, the paper deals with the phenomenon of violence as an
individual act but also as an act in which the State punishes the perpetrators, imposing the
maximum sentence. Special emphasis was given to the three films that deal with the phenomenon
of death sentences handed down by the law: "A short film about Killing" K.Kieslowski (1988), "Open
Doors" G.Amelio (1991) and "Dancer in the Dark" L. fon Trier, "(2000). It points to the ethicalphilosophical question of prescribing the Capital punishment, and that violence in the film is as well
a method of social impact, as anticipatory but also as a corrective factor, since in the meantime,
most European countries have abolished this form of punishment of criminals.
70
Vladimir Ceri
Silovanje i pansko drutvo u filmovima Pedra Almodovara
Od poetaka svoje kinematografske karijere, Pedro Almodovar bavi se efektima traume.
Reprezentaciju traume u svojim filmovima predstavlja kroz ivote obinih ljudi, ipak, sve vreme, on
ukazuje na posledice i opte efekte tranzicije panskog drutva (nakon Frankove smrti). U ovom
radu, dat je osvrt na filmove u kojima Almodovar kroz reprezentaciju silovanja, otvara etika i
politika pitanja, ali se ujedno usredsreuje na rod. Za Almodovara vai da je feministiki reiser,
meutim, najvee negativne kritike u svom radu imao je u filmovima gde je reprezentaciju silovanja
zamislio (prema njegovim reima), kao proces osloboenja i osnaivanja ena. Silovanje, kao tema
postoji u devet od devetnaest dugometranih filmova: Pepi, Lusi Bom (1980), Matador (1986), Vei
me! (1989), Kika (1993), Priaj s njom (2002), Loe obrazovanje (2004), Vrati se (2006), Slomljeni
zagrljaj (2009), Koa u kojoj ivim (2011). Kroz ove reprezentacije, rtva silovanja obino prolazi
kroz proces transformacije koji, slino kao u amerikim rape-revenge filmovima, prua odreeno
zadovoljenje pravde i nov poetak za rtvu. Ipak, rtve silovanja najee ne dobijaju zadovoljenje
pravde kroz pravosudni sistem i institucije drutva, koje Almodovar neretko ismeva, ve ova
transformacija ukljuuje vei broj likova u filmu, ak i kad neposredno nisu ukljueni u sm
dogaaj. Zloinci, naizgled nasumino izgraeni likovi u cilju zapleta, predstavljaju arhetipove
silovatelja prema klasifikaciji evolucijskih psihologa. rtve i zloince Almodovar predstavlja kroz
kompleksne drutvene odnose, pri emu se koristi satirom i ironijom, razbijajui kliee njihove
reprezentacije u panskom i evropskom filmu.
Vladimir Ceri
Rape and Spanish Society in Pedro Almodvars Films
From the very beginning of his cinematography career, Pedro Almodvar deals with the effects of a
trauma. His representation of trauma is portrayed through the lives of common people, thus, he
points out the consequences and general effects of the transition of Spanish society following death
of Franco. This paper questions ethical, political and gender issues of representations of rape in his
films. Almodvar is well-known as feminist director; however, most of the negative critiques came
from his representations of rape, according to his own words, although he pictured rape
representation as to liberate and empower women. The rape, as a theme is present in nine of his
nineteen featured films, he directed so far: Pepi, Luci, Bom (1980), Matador (1986), Tie Me Up! Tie
Me Down! (1989), Kika (1993), Talk to Her (2002), Bad Education (2004), To Return (2006), Broken
Embraces (2009), The Skin I Live In (2011). In these films, the victim usually passes through a
process of transformation, alike in American rape-revenge films. This process provides some form
of justice for the victim and a fresh start; However, it is usually beyond judicial system and state
administration. Moreover, Almodvar uses these circumstances to further mock the government
and indicate the corruption and abuse of power. Rape usually includes more than a perpetrator
and a victim, it is shown as a plot for many other characters in his films. Perpetrators seem as
random built-up characters for serving plots, nevertheless they are archetypes of rapists, classified
by evolutionary psychologists. Victims and perpetrators are portrayed through very complex social
relationships; while using satire and irony, Almodvar is changing clichs of their usual
representation of Spanish and European film.
71
Jelena Gledi
Faculty of Philology, University of Belgrade
Excavating Block 70: Mediated Identity of the Chinese Population in Serbia
from 1995 to 2014
Although Serbia has always been an ethnically diverse country, the different people who have
inhabited the region have many similarities, in terms of language, customs, and physical
appearance. The arrival of a large number of Chinese citizens, who have formed a comparatively
sizable diaspora in Serbia since the mid-1990s, presented the introduction of a community of
culturally distant people to the local environment. Also, having happened in the digital age, it posed
a good example of how the media can help and hinder the construction of new identities (the
Serbian Chinese), as well as the perception of the Other and consequently the Self.
In this paper we look at the mediated identity of the Chinese population in Serbia in online media
from 1995 to 2014. We look at how news articles and human interest stories in online media
present the Serbian Chinese general information, relations to Serbia and its people, modes of
adaptation etc. We show how the Chinese, a great number of whom reside in New Belgrade's Block
70, the so-called Chinese Block, are stereotyped, orientalized and exoticized, but at the same time
used to exemplify current political and economic issues in Serbia. Finally, we compare the media
representations of the local Chinese community and those of the Chinese investments in Serbia in
recent years, showing a vast difference between the two perhaps two different visions of China in
line with two different visions of Serbia.
72
INTERNET, NOVI MEDIJI, UMETNIKE PRAKSE I OTPOR

//
INTERNET, NEW MEDIA, ARTS PRACTICES & DISSENT
Nina Mihaljinac
Umetnost devedesetih, internet i medijski aktivizam

Poznato je da se nezavisna umetnika scena u Jugoslaviji razvila tokom devedesetih godina kao
reakcija na represiju koju je sprovodio Miloeviev reim. Shodno tome, dominantne teme
umetnikih radova nastalih u tom periodu odnosile su se na borbu za graanske slobode i kritiku
totalitarizma. No, veza aktivistike umetnosti i politikog konteksta devedesetih ne otkriva se samo
u dominantnim temama umetnikih radova, nego i u medijima umetnikog izraavanja. Naime, kraj
Miloevieve vladavine obeleen je sve veom kontrolom javnih medija i koincidirao je sa pojavom
novog medija interneta. Shodno tome, na sceni su se pojavili radovi medijskog aktivizma, koji su
kritikovali diskurs dravnih medija koristei jezik i kanale komunikacije novog medija
necenzurisanog prostora interneta.
U radu Umetnost devedesetih, internet i medijski aktivizam prikazana je drutveno-politika
uslovljenost geneze medija audiovizuelnih umetnosti u Jugoslaviji, predstavljeni su prvi internet
projekti i analizirana je njihova veza sa starim i novim medijima. Meu njima su grupni i
kustoski projekti Reality check, Art rat, Period after, projekti Kuda.org-a, Asocijacije Apsolutno, kao i
mnogi samostalni radovi poput stripova Aleksandra Rakeia Zografa, veb platforme Utrica Violete
Vojvodi i Eduarda Balaa ili video radova Mirjane orevi. Poto su ovi umetniki radovi nastali u
specifinom istorijskom trenutku i Jugoslavije i sveta, kao vaan aspekt teme istraivanja pojavila
se i problematika reprezentacije ratova devedesetih i de/konstrukcije nacionalnog identiteta u
vremenu globalnog povezivanja.
74
Vlatko Ili
Umetniki mediji i naslee avangardnih pokreta
Na poetku 20. veka, u okvirima avangardnih pokreta, artikulisan je zahtev za prelaskom
umetnikih u ivotne prakse, odnosno, za revolucionarisanjem drutvenog ivota posredstvom
umetnosti. Pritom, na udaru nije bila klasina umetnost, ve pre pretpostavka njene autonomije,
zasluna za prediskustveno i predrefleksivno smetanje umetnosti s one strane drutvenog poretka.
Na tragu tog ubeenja stvaraoci (delimino ili u potpunosti) naputaju domen 'iste' umetnosti, a
kako bi se uhvatili u kotac sa raznovrsnim drutvenim pitanjima; shodno emu, temeljno menjaju
odreujue kategorije umetnikog dela. Tokom druge polovine prolog veka, i perioda kojeg
nazivamo neoavangardom, primetan je povratak proizvoenju prvenstveno umetnikih radova,
praen preusmeravanjem panje stvaraoca sa pitanja ideologije na probleme politika sveta
umetnosti. Imajui na umu da se danas od umetnosti u sve veoj meri oekuje da bude i
angaovana, ovom prilikom emo ispitati naslee avangarde i naine na koje je ona izmenila
razumevanje umetnosti, kao i njenu savremenu praksu.
Vlatko Ili
Artistic Media and the Legacy of the Avant-Garde

At the beginning of the 20th century the avant-garde movements claimed that artistic practices
should be incorporated into the social life, hoping they could revolutionize it. The classical art was
not under their critique as much as the assumption of artistic autonomy, which was crucial for the
pre-experienced and pre-reflexive placement of arts beyond the social order. Following those
aspirations, many artists (partially or completely) abandoned the domain of pure arts in order to
address various social issues; due to which, the categories of art piece have been fundamentally
altered. Throughout the second half of the last century, during the period to which we refer to as to
neo-avant-garde, a return to the production of artworks is noticeable, along with the reorientation
from the questions of ideology to the problems of politics within the Artworld. In regards to the
present moment and its expectation that arts should be socially engaged, we will look at the legacy
of the avant-garde and the ways in which it shaped our understanding of arts, as well as their
contemporary practices.
75
Lidija Marinkov Pavlovi

Akademija likovne umetnosti Novi Sad
Internetske meme kao polje diskurzivnog konstruisanja identiteta i prostora otpora
Predmet rada je istraivanje internetskih mema kao oblika viralnog sadraja koji se putem mree
iri u varijacijama nekog osnovnog koncepta i pri tome konstruie i dekonstruie razliite
identitetske pozicije. Ogroman broj takozvanih siromanih slika slabe rezolucije, u komprimovanim
digitalnim formatima svakodnevno preplavljuju internet u svojim beskonanim varijacijama.
Tehniki kvalitet je zamenjen dostupnou; ova vrsta audio-vizuelnog sadraja se lako postavlja i
skida sa interneta, lako se obrauje i menja i esto predstavlja suprotnost vrednostima etablirane
kulture, nasleu i zakonskoj regulaciji u podruju autorskih prava. Ako meme razumemo kao
diskurzivno polje u potpuno novoj oblasti drutvenih medija u kome se jasnije i neposrednije nego
ikad reprezentuju razliite drutvene grupe, odnosno njihovi stavovi, ideologije i interesi, putem
aproprijacije popularnih sadraja i slika i upisivanja novih znaenja, onda ovaj vid viralnog sadraja
moemo sagledati i kao prostor otpora i kritike u kome su identitetske pozicije decentrirane i
sposobne za promenu.
Na internet sajtu knowyourmeme.com, mogu se pronai svi dostupni podaci o poreklu, nastanku,
potencijalnim znaenjima, irenju, formatima i derivatima mema ija je popularnost postala
globalna. Ovaj sajt je reagovao svega nekoliko sati nakon pojavljivanja internetske meme Je suis
Charlie na Tviteru 7. januara 2015, nakon upada dvojice naoruanih mukaraca u redakciju
satirinog lista arli Ebdo (Charlie Hebdo) u Parizu, kada je ubijeno 12 ljudi. U ovom sluaju,
internetska mema, kao reprezentacija nedvosmislenog diskurzivnog iskaza o identitetu (Ja sam
arli), postala je neposredan oznaitelj identitetske pozicije koja u sebi saima iroki skup
drutvenih i politikih vrednosti.
Lidija Marinkov Pavlovi
Academy of Fine Arts Novi Sad
Internet Memes As a Field of Discursive Construction of Identity and Space of Resistance
This paper deals with internet memes as a form of viral content which spreads via the network
varying a basic concept while constructing and deconstructing different identities. A large number
of so-called poor images of low resolution in compressed digital formats flood the internet in
infinite variations on a daily basis. Technical quality has been replaced with availability as this form
of audio-visual content is easily uploaded onto and downloaded from the internet and is easy to
process and modify. They are often opposed to the values of mainstream culture, heritage and
copyright legislation. If memes are understood as a discursive field in the completely new world of
social media, in which different groups, their attitudes, ideologies and interests are represented
more clearly and more directly than ever before through the appropriation of popular contents and
images, then this form of viral content can be also viewed as a space of resistance and criticism in
which identities are decentralized and ready for change.
The knowyourmeme.com website offers information about the origin, creation, potential meanings,
spread, formats and derivatives of memes which have become globally popular. This website
responded in only a few hours after the Je suis Charlie meme appeared on Twitter on January 7,
2015, when two armed men burst into the offices of the satirical magazine Charlie Hebdo in Paris
and killed 12 people. In this case, the internet meme, as a representation of an unambiguous
discursive statement of identity (I am Charlie), has become a direct signifier of identity which
comprises a broad spectrum of social and political values.
76
Ana Letuni
Politike produkcije novomedijske umjetnosti:

Studentski kulturni centar u Beogradu 1970.
Rad se bavi politikama produkcije novomedijske umjetnosti u Studentskom kulturnom centru u
Beogradu 1970-tih za kojeg se smatra da je, u umjetnikom i institucionalnom smislu, generirao
jedan od najvanijih i najzanimljivijih eksperimenata u kulturnoj povijesti SFRJ (Grlja, 2001).
Umjetnike prakse u SKC-u 70'tih su razvijene kroz kritiku umjetnikog trita, institucionalne
birokracije i hijerarhije no ono to taj sluaj ini specifinim je primjena tih istih naela u samom
produkcijskom procesu, tj. osvjetavanje da se politinost umjetnosti ne nalazi nuno u
pamfletizmu prevedenom u umjetniki jezik, ve i u samom odabiru pojedinih produkcijskih
metoda. Naime, djelujui po samoupravljakim i kolektivnim naelima rada, mlada grupa umjetnika
je, u institucionalnom kontekstu jednog, za sedamdesete godine paradigmatskog, kulturnog centra
za mlade, a u okviru ireg drutveno-politikog konteksta jugoslovenskog samoupravnog
socijalizma, uspjela u otkrivanju paradoksa dominantnog naina kulturne proizvodnje. Analiza
umjetnikih praksi u SKC-u sedamdesetih kroz pitanje kako su njeni politiki principi angairani u
operativnom aspektu produkcije upuuje na mogunosti (re)aktuelizacije problem i pitanj,
polazit i pozicija, koncepata i praksi vezanih za dananju situaciju u sferi proizvodnje i
distribucije suvremene umjetnosti, a naroito u polju tzv. nezavisne kulture.
77
CIP -
,
316.774:004.9(048.3)
316.774:316.75(048.3)
(2015 ;
)
Knjiga saetaka = Book of Abstracts / Meunarodni nauni
skup Medijska arheologija, [Beograd, 29-30. oktobar 2015.] =
International Conference Media Archaeology, [Belgrade,
October 29-30, 2015] ; [glavna i odgovorna urednica, editor in
chief Ljiljana Roga Mijatovi]. - Beograd : Fakultet dramskih
umetnosti, Institut za pozorite, film, radio i televiziju =
Belgrade : Faculty of Dramatic Arts, Institute for Theatre, Film,
Radio and Television, 2015 (Beograd : Java otisak). - 77 str. ;
30 cm
"Konferencija je organizovana ... kao deo projekta br. 178012
'Identitet i seanja: transkulturalni tekstovi dramskih umetnosti
i medija' i deo meunarodnog projekta COST IS1307 Novi
materijalizam".--> kolofon. - Deo teksta uporedo na srp. i engl.
jeziku. - Tira 100.
ISBN 978-86-82101-56-7
a) - - b)
-
COBISS.SR-ID 218659084
Fakultet dramskih umetnosti, Beograd


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MEDIJSKA ARHEOLOGIJA

Fakultet dramskih umetnosti, Beograd, 29-30. oktobar 2015.

Meunarodni nauni skup

Fakultet dramskih umetnosti, Beograd

Meunarodni nauni skup MEDIJSKA ARHEOLOGIJA

UMETNOST, NAUKA I TEHNOLOGIJE / ARTS, SCIENCE AND

PLENARNO PREDAVANJE / KEYNOTE _13

FILM I MEDIJACIJA KULTURNOG SEANJA / FILM AND MEDIATION OF

ZAPISI MATERIJALNE PROLOSTI U SADANOSTI / SCRIPTS OF THE

MEDIJSKI NARATIVI SEANA / MEDIA MEMORY NARRATIVES _27

PLAY: VIDEO IGRE / PLAY: VIDEO GAMES _33

DIGITALNE ARHIVE I DISEMINACIJA SEANA / DIGITAL ARCHIVES AND

(NOVA) HUMANISTIKA I ZNANE U DIGITALNOM DOBU / (NEW)

OIVLjAVANE PROLOSTI - NASLEE, IDENTITET, ZAJEDNICA /

METAMEMORIJA I STRATEGIJE SEANA/ METAMEMORY & MEMORY

NACIONALNI IDENTITET I KULTURNI OBRASCI/ NATIONAL IDENTITY AND

(RE)PRODUKCIJA SEANJA I IDENTITETA / (RE)PRODUCTION OF

INTERNET, NOVI MEDIJI, UMETNIKE PRAKSE I OTPOR/ INTERNET, NEW

UMETNOST, NAUKA I TEHNOLOGIJE

Dobrivoje Lale Eri

MEDIJSKA ARHEOLOGIJA Knjiga saetaka // MEDIA ARCHAEOLOGY Book of Abstracts |

Audio-visual performance The sixth wave of mass extinction

MEDIJSKA ARHEOLOGIJA Knjiga saetaka // MEDIA ARCHAEOLOGY Book of Abstracts |

MEDIJSKA ARHEOLOGIJA Knjiga saetaka // MEDIA ARCHAEOLOGY Book of Abstracts |

FILM I MEDIJACIJA KULTURNOG SEANJA

Istorijski revizionizam: etnici i srpski filmski narativi

MEDIJSKA ARHEOLOGIJA Knjiga saetaka // MEDIA ARCHAEOLOGY Book of Abstracts |

MEDIJSKA ARHEOLOGIJA Knjiga saetaka // MEDIA ARCHAEOLOGY Book of Abstracts |

War Posters of the Great War

MEDIJSKA ARHEOLOGIJA Knjiga saetaka // MEDIA ARCHAEOLOGY Book of Abstracts |

Velimir urgus Kazimir

Moving Pictures and Fading Narrators

MEDIJSKA ARHEOLOGIJA Knjiga saetaka // MEDIA ARCHAEOLOGY Book of Abstracts |

ZAPISI MATERIJALNE PROLOSTI U SADANOSTI

AIUI: Cyrill and Methodius @ Digital Age

MEDIJSKA ARHEOLOGIJA Knjiga saetaka // MEDIA ARCHAEOLOGY Book of Abstracts |

MEDIJSKA ARHEOLOGIJA Knjiga saetaka // MEDIA ARCHAEOLOGY Book of Abstracts |

MEDIJSKA ARHEOLOGIJA Knjiga saetaka // MEDIA ARCHAEOLOGY Book of Abstracts |

Ancient Writing Systems in the Prism of Modern Media and Culture

MEDIJSKA ARHEOLOGIJA Knjiga saetaka // MEDIA ARCHAEOLOGY Book of Abstracts |

MEDIJSKI NARATIVI SEANA

MEDIJSKA ARHEOLOGIJA Knjiga saetaka // MEDIA ARCHAEOLOGY Book of Abstracts |

Dragana oli Biljanovski

Medijsko pamenje - ekranizacije dela Branislava . Nuia u kinematografiji i televiziji

MEDIJSKA ARHEOLOGIJA Knjiga saetaka // MEDIA ARCHAEOLOGY Book of Abstracts |

MEDIJSKA ARHEOLOGIJA Knjiga saetaka // MEDIA ARCHAEOLOGY Book of Abstracts |

Reprezentacija pozorinog festivala u elektronskim medijima: BITEF 2005 - 2015.

MEDIJSKA ARHEOLOGIJA Knjiga saetaka // MEDIA ARCHAEOLOGY Book of Abstracts |

PLAY: VIDEO IGRE

MEDIJSKA ARHEOLOGIJA Knjiga saetaka // MEDIA ARCHAEOLOGY Book of Abstracts |

Prilagoavanje pravila: raunarske igre i umetnost

MEDIJSKA ARHEOLOGIJA Knjiga saetaka // MEDIA ARCHAEOLOGY Book of Abstracts |

Ozbiljnost igranja: Video igrice kao umetnost u Srbiji

MEDIJSKA ARHEOLOGIJA Knjiga saetaka // MEDIA ARCHAEOLOGY Book of Abstracts |

MEDIJSKA ARHEOLOGIJA Knjiga saetaka // MEDIA ARCHAEOLOGY Book of Abstracts |

DIGITALNE ARHIVE I DISEMINACIJA SEANA

MEDIJSKA ARHEOLOGIJA Knjiga saetaka // MEDIA ARCHAEOLOGY Book of Abstracts |

MEDIJSKA ARHEOLOGIJA Knjiga saetaka // MEDIA ARCHAEOLOGY Book of Abstracts |

The New Old Media: Artist's Archives in the Digital Age

MEDIJSKA ARHEOLOGIJA Knjiga saetaka // MEDIA ARCHAEOLOGY Book of Abstracts |

Nikola orevi, Marko orevi i Sonja Vrkati

Intersticijum: arhiviranje neostvarenog

MEDIJSKA ARHEOLOGIJA Knjiga saetaka // MEDIA ARCHAEOLOGY Book of Abstracts |

(NOVA) HUMANISTIKA I ZNANE U DIGITALNOM DOBU