FOREWORD

In November 2014 the Faculty of Media and Communications at Singidunum University released a call for proposals for its international conference, Beyond the Crisis in the Humanities: Transdisciplinary Transformations of Contemporary Discourses on Art and Culture, to be held in Belgrade in April 2015. With this conference we want to address the issue of the so-called “long crisis in the humanities” that has been present for a few decades. We want to examine the position of the humanities in contemporary society and challenge the ways the issues which form the focus of our disciplines have been addressed in recent theoretical discourses.

The proposals refer to multifarious relevant issues regarding the main topic. Firstly, there are papers dealing with the crucial question here addressed: are the humanities really in crisis and, if yes, what are the features, causes, and possible outcomes of this state of affairs? We want to discuss the characteristics and relevance of certain alternative contemporary transdisciplinary studies that cut across traditional disciplines, such as, for example, neo- and post-Marxism, and their possible contributions to divergent theoretical paradigms of the 21st century. Secondly, there are a variety of papers referring to the social conflicts and their place in the contemporary discourses on culture. It has been argued that we are living at a time when the humanities have been reduced to a passive historical part of the academia, treated as playthings for closed academic circles. We proposed this topic area in order to suggest possible ways of opening the closed ‘high art’ circles of the academia and reflecting critically on the perspectives of engaged art and scholarship. We wanted to examine the relevance of art practices in contemporary society, to define engaged art and establish its consequences. Thus, the papers will present the issues related to social conflicts, the production of the body in art and culture, the regulation of everyday life in media discourse, the affective potentials of art and cultural phenomena, inscribed authorial positions, and the like. Finally, the program includes a topic area that includes papers referring to the issues of producing individualities, collectivities, identities, and positions in the age of consumerism and the position(s) of art in transdisciplinary transformations. Seeking to encourage contemporary theoretical approaches, we wanted to discuss the potentials of the contemporary research of the audience body, the artist’s body, and the public sphere body in the context of new materialist studies, text/discourse studies, and other theoretical approaches in the humanities.

With this conference we also wish to promote  three  new  postgraduate study programmes at the Faculty of Media and Communications, which will be launched in autumn 2015: a master’s programme in Contemporary Transdisciplinary Humanities and Art Theory and two doctoral programmes, Contemporary Transdisciplinary Humanities and Art Theory and Contemporary Transdisciplinary Art, Media, and Performance. One of the goals of the meeting is also to assemble scholars, especially researchers who are still in the early stages of their careers, to reflect on the status of their disciplines and probe the links between history, culture, media, and art. Thus, the conference should bring to firmer communication and cooperation between the scholars working in the related fields of knowledge. We wish to express gratitude to all participants for their innovative approaches, as well as to all of supporters of the conference, and we hope it will bring good academic results.

Belgrade, March 2015 Organizing committee

 

ABSTRACTS

Nathanael Andreini
(Museum of Transitory Art, Ljubljana)

Beyond Disaster Relief:
Socially Engaged Art and the Great East Japan Earthquake

The Great East Japan Earthquake and tsunami (3/11) that swallowed dozens of coastal communities and crippled the Fukushima Daiichi nuclear power plant revealed a coming of age of informal creative networks of artists and activists in the disaster response community in Japan. Due to the recent popularization of contemporary art practices concerned with collective action and civic engagement (e.g. “socially engaged art”) deployed by Japanese artist collectives and protesters, these loose knit disaster response communities have grown. The creative networks initiate and negotiate relationships through social interaction by emphasizing participation, dialogue, and action, adding an informal aspect of humanitarian relief that is generally not practiced by traditional approaches to disaster preparedness, response, recovery, mitigation, and policy as facilitated by governmental agencies and relief organizations. This paper examines a new trend of an expanded creative and curatorial practice, encompassing both the organization and dissemination of community-based artworks that seek to engage survivors and victims while stimulating critical dialogue on the pressing issues facing contemporary Japanese society. Ruminating on my personal experiences in Japan as an artist, activist, curator, organizer, and educator, this paper uses narrative as a device to think with and about how engagement, dialogue, and performance is enacted in the wake of the 3/11 “triple disaster”.

 

Srđan Atanasovski
(Institute of Musicology SASA, Belgrade)

Sonic Subjectivity; or, The Ethics of the Sound

The all-pervasive nature of the soundscape, the urban sonic experience which seemingly cuts across social and physical barriers, makes it one of the most potent vehicles of imposing and replicating patterns of cultural hegemonies. In this paper I wish to pose the question whether we can revitalize the concept of Subject (in its strong sense) while conceptualizing the urban soundscape on the plain of radical immanence (as advocated by the Deleuzian philosophical lineage). Not only a “rare” rupture in the fabric of language-body (as Badiou’s), this subject would also be “unstable”, intuitive (in Bergsonian sense) and carnal. As Diogenes hoisted his lamp looking for human in the daylight, I suggest we hoist our mics and our own intuitive bodies looking for these ruptures in the urban fabric. In this conception, in order for the subject, or the rupture of subjectivity, to appear in the world of radical immanence, it cannot be a “thinking event” but a material slippage which moves (affects) the body into thinking-action, it has to express its essence in the existence (rather than representing it through), opening the window of change in the only possible way. Therefore, I look for the “resilient bodies” of the urban, the carnal bodies which are irreducible to semiotic models, the residue which is not (or not yet) subjugated to mechanisms of discursive social control, the sonic slippages where the “soundscape as an ideological text” is transformed, rejected, challenged or ignored. Specifically, I will investigate number of events in the urban soundscape of Belgrade, analyzing how these resilient bodies can open avenues of dissent, windows through which the citizens can act as political subjects.

Rachel Aumiller
(Villanova University)

Censoring Emotional Discourse

Throughout the history of western intellectual thought, emotions have been marked as a hindrance to reason. I suggest that this bias lingers in the contemporary university. Objectivity and impartiality—qualities thought to be free of emotion—remain the standard tone or style of what is considered serious, i.e. rigorous, scholarship today. I identify seriousness as an affect that falsely appears to be without an affective character. Serious scholarship claims to take on the “modest” yet demanding task of presenting its subject matter through a balanced perspective in the most objective manner possible. My critique of seriousness, given as the normative and proper mood of all critical thinking and writing in the Humanities, is that it censors a variety of other emotions that can be of critical value to a community (e.g. anger, frustration, audacity, grief, humor). Emotions not only have the power to unify a diverse social and political body; they also can be a form of understanding through which we gain greater self-knowledge of ourselves as individuals and as a communal body. By turning to Karl Marx’s analysis of the dichotomy of laughter and seriousness, I identify laughter as one subversive emotion that has the capacity to challenge normative tones of speech that prevent us from experiencing and expressing a variety of emotions important for a flourishing intellectual community. I explore communal laughter as one example of a powerful emotional display that has the capacity to challenge normative tones of speech that are presented as free from emotion. Laughter erupts out of seriousness, when seriousness can no longer generate the gravity or “neutrality” it demands. This break comedic rupturing of academic seriousness allows us to experiment with a greater variety and intensity of emotions, giving scholars in the humanities have a greater power not only to understand but to transform the worlds we explore.

Noit Banai
(University of Vienna)

“Global Humanism” and the Biennial exhibition:
Performing and Pacifying Social Conflicts

In the last two decades, the biennial has emerged as one of the most dominant exhibition form in the global context; the most successful trans-national commodity for the diffusion of global culture; and the most often replicated cultural conduit through which particular locales aim to assert their global relevance. In tandem, the biennial has marked the ascendancy of the curator as the main arbiter of power within the institution of art and his/her governing role as producer and distributor of contemporary art discourses (relegating art historians, critics, and artists to a secondary function). With such ample presence, which does not appear to be on the wane, it is crucial to ask the following questions: Can biennales constitute and support critical spaces and subjectivities within zones of geopolitical and social conflicts? Or do they merely sanction normative representations of a universal category of “global humanism” that maintains prevailing structures of neoliberal global capitalism and pacifies minoritarian articulations of “the people”? Using Manifesta: The European Biennial of Contemporary Art as a case study, this paper examines what happens when contesting models of “the people” are brought into friction via a large-scale exhibition format in a politically contested geography. Specifically, drawing upon Manifestas roaming format and its identification of borders as one of the most powerful mechanisms for the constitution of Europe, I will analyze Manifesta 6, which was supposed to take place in the divided city of Nicosia (Cyprus) in 2006 and which is the only Manifesta to have ever been cancelled. Despite Manifestas implicit claim that “border identity” can be aesthetically transformed into the basis of a supra-national European structure and thus become a model for a global humanism, the failure at Nicosia made apparent the limits of biennales as exhibition forms. Since they have absorbed the logic of the nation state into their format, biennales cannot support the inherent incompleteness necessary to perform minoritarian articulation of “border identity” as a complex spatial and subjective experience and will inevitably pacify it. This state of affairs begs us to debate how a repertoire of standardized exhibition forms can be recomposed in such a way that does not simply expand their standardized forces, but also recomposes their contents and their critical potential.

Gabriela-Alexandra Banica
(University of Bucharest)

Still Life and “Falling Life” Instances of Art in Don DeLillo’s Novel Falling Man

Taking into consideration the fact that Don DeLillo’s novel deals with the topic of the terrorist attack on the World Trade Center towers on the 11th of September 2001 there is no surprise that it is ostensibly about trauma and terrorism, but not the same can be said about the prevalence of art that is to be found in the novel. In the universe of the novel the event invades, via art, the private life of the characters and the public sphere. The towers follow the characters every where, sitting in one’s living room surrounded by familiar objects is no longer possible: “I keep seeing the towers in this still life. (…) She saw what he saw. She saw the towers” (DeLillo, 61). The public sphere is haunted by a “single falling figure that trails a collective dread, body come down among us all”, the audience of such acts of falling identifies in the performance an act of remembrance: “He brought it back, of course, those stark moments in the burning towers when people fell or were forced to jump” (DeLillo, 40). The paper is set to analyze the role still life and performance art has in Don DeLillo’s novel Falling Man (2007) and it argues that there is no opposition between inanimate subject matter-the still life paintings of Giorgio Morandi, and animate subject matter- the performance art of David Janiak, “a performance artist known as the Falling Man”. Together they form a continuum that allows art to empower the text.

Sofija Christensen
(Faculty of Philology, University of Belgrade)

Discussion of the Representation of Norwegian Centers of Excellence in Both Fiction and Reality

This paper will discuss the contemporary position of the humanities in the Norwegian institutions of higher education and in the country’s relatively newly founded Centers of excellence. On the one hand, the paper will present the status of the field of humanities in these establishments as it is formulated in official documents. On the other hand, the paper will examine how contemporary works of fiction perceive and interpret the recent development of the humanities and its role within scientific research in general. As a case study this paper will consider the actual complex of modern research facilities adjacent to the University of Oslo, and compare it to its fictional representation in Helene Uri’s novel The Best among Us (De beste blant oss) from 2006.

Jovan Čekić
(Faculty of Media and Communications, Singidunum University, Belgrade)

Permanent Crisis and Humanities

What is the connection between these tree notions: the Beyond, the Crisis, and the Humanities? If we start with humanities we can see that with the appearance of mass media something was changed. The destiny of civilization is shaped by two forces: the barbarian one and the domesticating one, as Nietzsche used to say. Each one has its own media: the gladiatorial arena and the book. The model for humanities was a literary club, because good literature domesticates, as a force against all kinds of barbarian impulses. The crisis of humanities begun when the mass culture was established and the co-existence of humans put on a new basis, which is post-literal and post-human. This leads us to the question of how we can understand the notion of the crisis. It can be seen in a classical way as a point of decision regarding the status of some system. In that case it is just one of the many crises of capitalism. But on the other hand we can see it as a permanent crisis, as some kind of transition from one world-image to another world-network. Thus the thinking about Beyond is opened; namely, the becoming of something which is different from what we have today is at stake here, which means that new digital humanities will become a constitutive moment of the new world, just as the classical humanities were for our world.

 

Tomislav Čop
(Faculty of Humanities and Social Sciences in Rijeka, University of Rijeka)

Men’s Corporeality as a Visual Sign.
The Transformation of Identity and Meaning through Visuality

This paper deals with the male body as a visual sign and its codified meanings in the visual arts and popular, contemporary culture. By studying the transmission and transformation of codes of masculinity through time; loading and identifying of the new meanings that it acquires, the paper focuses on the relation and semantic shift from the traditional, high art to popular culture; transformation and agglomeration of the new meanings within it; their retroactive effect and their entry into the contemporary art production. The paper attempts to analyze the actual meanings codified in representations of the male body in the field of visual culture. The formation of public visual perception with regard to masculinity, representation of masculinity in everyday life and significance of society’s expectations on perceptions of men about men’s bodies – these are some of the specific problems related to the mentioned semantic processes which are problematized with regard to the issues of creating individual and collective identities, conception of body as the corresponding to the domain of private as well as public and finally, the dividing line between art and (virtual) reality. With special emphasis on the topics in gender and queer theory and sexual and gender minorities, the paper proposes the articulation of transformation and production of specific meanings in the modern conception of the male body with respect to gender relativism and the reception of the male body as a visual sign in gay male culture. Since the art, visuality, beauty and sexual desire intersect in a common origin – sight, questioning the level of the defined boundaries of self, identity, appearance, and the male idealization of the male body and masculinity in visual-art production generates among other things, the issue of homoerotic art. By questioning the factors that potentially determine it; intentions, self-conception, the sexuality of the artist, content of the work or the role of the recipient, consideration of properties of homoeroticism as one of the emerging meanings present a case study to problematize paper topics. This research starts from, but also goes beyond traditional methodological frameworks for the analysis of an artwork and necessarily ends through semiotic, feminist and other tendencies of the new, critical art history in the domain of multidisciplinary and transdisciplinary research such as the cultural theory and visual studies.

 

Nikola Dedić
(Faculty of Music, University of Arts, Belgrade)

Towards Critique of Philosophy of the Event

Contemporary philosophy often makes a difference between everyday, ordinary, actual and the Event: the Event is a kind of cut, break, interruption compared to what currently exist. In that way, the Event defines radically new, different ways of existence in the world – the Event is overcoming, transcendence of ordinary and everyday. In contrast to this, American philosopher Stanley Cavell’s thesis would be stressed out: in contemporarity, philosophy suggests that our place in society, within our community became essentially unknown to us, i.e. human individuality occurs in isolation from other members of polis. Because of that, further negation of ordinary and everyday leads only to the kind of “private language” – the basis of any social transformation is not to negate but rather, through the process of self-knowledge, to rediscover ordinary and everyday. This is precondition for escape from the state of “privacy” and therefore for any kind of social change.

Dubravka Đurić
(Faculty of Media and Communications, Singidunum University, Belgrade)

Globalization and World Literature: Franco Moretti’s Conjection on World Literature and Pascale Casanova’s World Republic of Letters

In this paper I will discuss the impact of globalization studies on literature studies and revival of the Goethe’s idea of World Literature in the work of Franco Moretti and Pascale Casanova. Both of these authors redefined the notion of world literature and construct systematic approaches to it. Introducing the approach of what he calls a “distance reading”, Moretti combines evolution theory and world system theory. Casanova redefines the notion of “Republic of Letters”, considering world literary system as a history and geography. I will point to the idea that literary devices, themes and motives globally travel and localize themselves in different geographical spaces. In this process it is important to point to, as Modetti and Casanova do, that although world literary system is unique, it is at the same time uneven. At the end I will discuss the reactions and critique of their concepts stated by various theoreticians in the field.

 

Aleš Erjavec
(Institute of Philosophy of the Scientific Research Center of the Slovenian Academy of Sciences and Arts in Ljubljana)

Aesthetics Now

Since the second half of the previous century until today, and observing it from a global perspective, the notion of aesthetics – similarly to ideology, the subject, globalism, art, and culture – has undergone enormous transformations. Some of the features of past aesthetics have been their separation between different philosophical empires and between national, cultural and linguistic traditions. These features then determined our choices, positions and arguments in aesthetics. Recently borders among such traditions have become blurred, identities are increasingly context-determined–and we are still not doing science. An ambiguous success today may be that while birds may have still not recognized the benefits of ornithology, this is no longer the case when it comes to artists and aesthetics.

 

Andrija Filipović
(Faculty of Media and Communications, Singidunum University, Belgrade)

Disagency and Queer Time in Experimental Film: For a Community of Passive Subjects

This paper will deal with the possibility of (re)imagining the subject(s) and political communities they make at the intersections of artistic practices such as video art and experimental film and the concepts of sexuality, body, etc. The artwork that I will examine is The Attendant (1992) by Isaac Julien, which offers particularly rich example of aforementioned intersections. By reading closely this work, I will show that what needs to be done in rethinking the relations between the body, subject and politics is radical reimagining of each category by way of concepts of disagency and community of passive subjects. Julien’s The Attendant offers thinking-feeling strategies of approach to the basic questions of time which, on the one hand, makes it queer in the sense that time stops being linear and, on the other, viscerally connects the time to the body and all of its attendant non/discursive categories. Connecting the time that is out of joint with the body, The Attendant shows that instead of conceptualizing the passivity in terms of asociality and inactivity (as reactive, in a word), one needs to re- value it as entailing a sort of disruption of the binary opposition between activity and passivity and a different form of (non)human agency (disagency). By such strategic disruption, The Attendant calls upon a community of passive subjects constituted in/ with a non-linear time and in/with a space that is hypersocial in a sense that it enables connections that go beyond the image of the human.

 

Marina Gržinić
(Academy of Fine Arts, Vienna, and Institute of Philosophy ZRC SAZU)

Necropolitics and Global Capitalism

Departing from her last book coauthored with dr. Šefik Tatlić with the title Necropolitics, Racialization, and Global Capitalism: Historicization of Biopolitics and Forensics of Politics, Art and Life (Lanham, Maryland: Lexington books, 2014), Marina Gržinić will rework main notions of what and how to think capitalism, politics, exploitation, esthetics and racialization.

 

Blaž Gselman
(Institute for Labour Studies, Ljubljana)

Crisis in the Humanities: Epistemological and Political Crisis

Starting point for the presentation on the crisis in the humanities will be May 1968 as a political and epistemological turning point. While workers were demanding further political democratization and ending exploitation in their lives, student population was raising questions dealing with identity politics. It can be said that the May 1968 events took place on the eve of the neoliberal turn and its systematic attack on organized labour. These political as well as economical changes were not without consequences in the humanities. Steps backward in radical thinking have been apparent ever since. Radical theoretical projects and its epistemologies have been to a large extent abandoned and replaced by all sorts of “studies”, which have been incapable of producing its own scientific objects and thus new theory. Instead, “studies” pursue theoretical ideologies based on ideological notions derived from identity politics. The presentation seeks to explain the necessity of epistemological turn in the humanities, this time towards rigorous scientific approaches. The need for such turn is theoretical and political at the same time, since theory can not be politically neutral at any time. Choosing theory over ideologies is a radical political gesture which stands against hegemonic ideology and its political power holders, helping us to address the right questions in political struggle.

Jelena Janković-Beguš
(Belgrade festivals’ Centre)

PLAY, IVANA, PLAY! Construction of a Hybrid Identity “Betwixt and Between” Musicology and Music Performance

In this paper I will examine the special case of a “performing musicologist” Ivana Medic, Ph.D., who is also a pianist specializing in contemporary music as well as a self-taught bass guitarist and performer on various other instruments (e.g. Pan’s flute, synthesizers, percussion…). This parallel career of a classical-cross- over multi-instrumentalist complements her busy research schedule. I wish to explore how the knowledge on her educational background affects the perception of her performances, in particular on the “classical” piano, with regard to the specific “world of art” in Serbia. How does the identity of a musicologist who is also a performing musician compare to the identity of a “regular” musicologist/ theoretician? What message does Medic send by playing selected pieces and talking about them at the same time (in the form of a “narrated concert”)? Is it a case of pure enjoyment of the performing body which happily presents itself on the stage assuming this double role, or is there a deeper (subversive) message being sent to the audience? I will argue that Medic’s identity is being constructed as a “hybrid” in a broad sense, as a new entity that challenges and subverts hegemonic identities of a “scientist” and “performing artist” which are products of Serbian rigid academic curricula. I will also problematize my own position of a researcher who is at the same time the identical twin sister of the studied musicologist/ musician. In order to do that I will write using two parallel discourses: one which is characteristic for Serbian musicology as an academic scientific discipline and which is based on the “objectivity” of the research, and the other which is close to the “écriture féminine” and which foregrounds the personal relationship between the observer and the observed.

 

Oleg Jeknić
(Faculty of Media and Communications, Singidunum University, Belgrade)

Aesthetics and Machine Learning: Representation of User Preferences in a Movie Recommender Systems as the Question of Aesthetics

Movie recommender systems are computer services designed to recommend new movies to users based on their previous choices. Machine learning is the science of getting computers to act without being explicitly programmed. With the rapid development of information technology, the data on previous user decisions i.e. their (aesthetical) choices, becomes widely available for computing. The “virtualization” of a user, through his decision-modeling in a computer system, is only the first step towards promised, near future, human-level Artificial Intelligence systems, which will be able to make wide range of decisions on behalf of the user they represent. One of the main accomplished goals in the field of machine learning today, concerning film distribution, is the ability to construct the “aesthetics algorithms“ in order to emulate user’s aesthetical criteria and anticipate his future choices. I will present to you the analysis of recommender systems with a special focus on the “Aesthetic system” – being an important part of the recommender systems structure which defines the basis for interpreting and evaluating art objects (movies). I will use, as an example in the analysis, the Netflix recommender system, to explain modeling methods of a user and the internal structure of an “Aesthetic system”. I will also explain principles of its organization and questions of Aesthetics which recommender systems raise in general. Furthermore, I will present recent history of ideas in Aesthetics which are related to the problem of quantification of human aesthesis, which I recognize as the main philosophical question concerning recommender systems (as well as the future AI systems). I will explain theoretical conceptions of “information aesthetics”, “numeric aesthetics” and “algorithmic aesthetics”, which were all formulated during the 20th century by authors such as George D. Birkhoff, Max Bense, George Stiny, James Gips, and others. Finally, I will also outline some new theoretical trends in this area.

 

Marija Katalinić
(Humboldt University, Berlin)

Transformations of the Film essay;
New Medium of Narration in the Post-Yugoslav Context

I would like to present a paper that enters understanding of writing in a form of a film essay. I suggest that we open and introduce the discourse of academic writing and film (as an art form as well as discipline)  to each other and create a new hybrid of academic development when discussing cultural studies, interdisciplinary, creativity and students. It is in the film essay as a medium that art/ activism and academia can join into a creative process of visual/writing symbiosis and also opens a possibility of collaborations that allow new skill learning’s and also introduce a different understandings of literacy today. In the contemporary new media digital times, a film essay can allow different expressions of image/text formations and open gates of personal inputs and readings that coexists between thoughts, images and words (written or audio) of and within an author. By presenting various examples of film essays I would like to introduce the same as a medium that may combine the qualities of philosophy, memory, personal stories and art in one thus offering it as one of the solutions of creation and production of new approaches to narratives; offering it as a way to explore the status of the same medium in the spaces of post-Yugoslavia, hence reflecting on the work made until now in order to see how and whether a film essay may allow for the memory narratives of the Balkan region to be approached more directly and creatively.

 

Sami Khatib
(Freie Universität Berlin)

Thinking Poorly
Post-humanist Humanities in the Age of “Semiocapitalism”

My paper suggests a symptomatic reading of the “crisis of the humanities”. The transformation of advanced capitalism from Fordism to “semiocapitalism” (Berardi), in which intellectual or “immaterial” labor has become a dominant force of production, has also affected the role of the humanities. However, in contrast to a commonplace view, the humanities as a subset of today’s academic disciplines are not suffering from neglect or devaluation but rather from their success. Instead of maintaining its however precarious critical role, the humanities have successfully become a creative laboratory for future forms of intellectual labor shaping the course of advanced capitalism. In Marxist terms, this success can be grasped as the transition from “formal” to “real subsumption” under advanced capitalist production. In my paper, I will argue that the humanities as a production site of human capital cannot be reformed by merely producing more “critical” input or more “transdisciplinary” synergy effects. The neo-liberal doxology of the market and the plethora of opinions, theories, and models have not only swamped the humanities but, moreover, the humanities have become the major production site of contemporary doxology. Instead of supplying this production site with more “critical voices” or “radical content”, I will argue that in the omnipresence of doxa only a strategy of withdrawal and reduction could depotentialize and interrupt the functioning of today’s doxologies and restore a critical role of the humanities – a restoration of a critique that has never existed in the first place, neither in Alexander von Humboldt nor in Friedrich Immanuel Niethammer. Drawing on modernist Marxists such as Bertolt Brecht and Walter Benjamin, I am interested in posthumanist strategies of “estrangement” and “impoverishment” which could derail the creative cycles of the capitalist valorization of the humanities.

 

Lev Kreft
(Faculty of Philosophy, University of Ljubljana)

Towards Marx’s Aesthetics

The starting point of Marxist aesthetics was its non-existence in Marx together with his supposed wish to create one, but only after completing the critique of political economy. To fulfil his wish, Marxists developed different proposals. The first one was to collect what Marx (and Engels) had to say about literature and art. Another was to deduct Marxist aesthetics from Marx’s early humanistic philosophy. Marxist aesthetics shared its contradictions with philosophical aesthetics, including the entrapment into modernist philosophy of art. Some eminent proposals to deal with these contradictions were developed by Yugoslav Marxists. To change the perspective, I propose that we start from the critique of political economy treated as the only existing Marx’s aesthetics. Evidently, we cannot find his philosophy of art there, but we can find the aesthetic side of capital, and the logic of the primitive accumulation of art. The aesthesis of capital has two distinguished features: fetishism and mystification; the primitive accumulation of art turned all arts but art into labour productive for capital but a few activities which were, with a help of some fetishism and some mystification, given a lofty status of autonomy beyond capitalist reality. The “pure aesthetic” (Bourdieu) is something which belongs to the sensual without being sensual as such. This purity is a product parallel to the production of “dirty work” on the other side.

 

Biljana Leković
(
Faculty of Music, University of Arts, Belgrade)

Sound Art as a Transdisciplinary Practice: Musicological Perspective

In this paper, I am going to examine the question/problem of ontology of sound art from the musicological point of view. The starting point of my problematization will be the concept of transart which was elaborated by a French philosopher and aesthetician Mikel Dufrenne. Speaking about pluralism in the context of contemporary artistic practices, as the main trigger of expansion and breaking of boundaries of art/between the arts, Dufrenne formulates the concept of transart with the aim to reveal the fact that there is a common essence between the arts, a unique element which connects them. Therefore, the concept of transart is an alternative, flexible model by which the new ‘non-aligned’ artistic practices would be systematized and networked. Bearing in mind that sound art is usually explained as a practice that exists “between categories” (as Alan Licht first transparently said), i.e. between the extended field of music and visual arts, representing a deviation from the established norms of these disciplines, it would make sense to explore/explain/define the ontological position of sound art in this context. Therefore, the aim of this paper is to offer arguments that will confirm the (possible) categorization of sound art as a transverse line of intersection of these two streams. In other words, I am going to problematize sound art as a transmusical and, in the same time, transvisual practice, and therefore as a transart concept that connects the lines of music / transmusic and visual arts / transvisual arts. The fact that I am going to discuss this problem from the musicological perspective initiates or causes the second topic of this paper: the competence of musicology as a science/discipline about music to discuss this transart practice, as well as the status of musicology as a discipline (or maybe, in this context, a transdiscipline?) in the network of contemporary discourses about sound/music/art.

 

Miroslava Lukić Krstanović
(Institute of Ethnography SASA, Belgrade)

Theory of Spectacle Today: Grand Narrative or Disource of Action

Is spectacle equal to theory or the theory capable of catching up spectacles? The theoretical production of interpretation and scientific verification prepare the phenomenon for critical processing and re-intepretation. The theoretical mapping of spectacle involves establishing the coordinates under which the phenomenon is recognized as society, bureaucracy, the media, popular culture, the politics. Has Debord’s theory of society of the spectacle been more than forty years –  a paradigm, a grand narrative or an intellectual action? Most research studies, lectures, debates have always referred to Debord and approved Society of the spectacle (Debord to Debord). On the other hand, criticism and new interpretations of the spectacle gave new input outside the society of the spectacle. New technologies, corporations, globalism, terrorism – and in general hyperproduction of events, create discursive interventions (Baudrillard, Kellner, Boje, Močnik). If the spectacle is not interpreted as a collection of events, or as a paradigm, a theoretical discourse can become a research action in initiating many questions and problems here and now – everywhere. I will especially concentrate on anthropological research and anthropological theoretical and methodological frameworks of the phenomenon of spectacle.

Geli Mademli
(Amsterdam School of Cultural Analysis, University of Amsterdam)

The Archivization of Everything; or, How I Learned to Stop Worrying about the Humanities and Love the Archive

Undoubtedly much has been written on the termed “archival turn” across diverse disciplines in the humanities and social sciences that can be regarded as a paradigm shift – in the vein of Thomas Kuhn’s work. Seemingly, there is a distance between the perception of an archive as such through a “performative” lens, and the outline of its ontological formations, as the Academia’s soft spot for metaphors has turned the definition into an all-encompassing, over-arching, generic metaphor for all possible conceivable types of organization of memory, storage and preservation, classification and canonization, but also a signifier of authority and institutionalization. After all, are we closer to what Geoffrey C. Bowker proclaims as “the set of all events that which can be recalled across time and space” or to Jacques Derrida’s well-known renouncement that “nothing is less clear today than the word ‘archive’” and his famous argument that the process of archiving is closer to oblivion than remembrance? In the paper proposed we will argue that the popularization of the archival discourse is not only synchronic, but primarily and inextricably associated with the alleged crisis in the humanities, as it challenges the canonization and modelization of knowledge production, and reveals in a powerful constellation the dynamics between the collective and the individual, the historical and the cultural, the media and the arts. In this venture, we will focus on examples of contemporary archives in the field humanities that at the same time underline the power of diverse archival structures, but also upend it, proving that the “archive fever” is not only a symptom, but also a remedy.

 

Marija Maglov
(Faculty of Media and Communications, Singidunum University, Belgrade)

Beyond the Crisis of Avant-Garde in Music: Potentials of the Welsch’s Concept of Transculturality in Musicological Studies

Avant-garde in music had its crisis during 1970s, when it burned out its radical potential and became equalized with more traditional compositional techniques as part of a whole “archive” of the history of music. Although this reconciliation of avant-garde with tradition seems as a paradox, it isn’t so strange if we have in mind all the specific characteristics that avant-garde in music has in relation to avant-garde in other arts (such as strong evolution principle, dislocation in the sense of time of its appearance in music, the way of its manifesting and so on). This is especially evident in the phenomenon of „avant-garde of the local type“ in Serbian music, which doesn’t act as an avant-garde novelty in the general sense, as was explained in the theory of the musicologist Mirjana Veselinović-Hofman. In the consideration of the complex problem of avant-garde in music, it seems that Wolfgang Welsch’s concept of transculturality has potential for articulating this problem in a different light within musicological discourse. As this concept is oriented towards postmodern culture and its conceptualization, it presents appropriate model for consideration of postmodern music as part of that culture. However, Welsch also states that, historically speaking, transculturality is not something new, and it can be traced in different periods. If transculturality means crossing through different cultures and accepting alternative elements of identity, characteristics of avant-garde music can be seen in that context, especially phenomenon of avant-garde of the local type. This character of transculturality enabled passing beyond crisis of the avant-garde music by its involvement in the postmodern musical practices. In that sense, potential of concepts of transculturality for musicological studies of avant-garde are evident at different levels. Further, it initiates questions about contemporary music and possible articulation of its problems within the same concept.

 

Bojana Matejić
(Interdisciplinary Studies, University of Arts, Belgrade)

The Aesthetic Dimension:
Between Humanist and Anti-Humanist Aesthetics

The paper examines the relationship and contradictions between humanist and anti-humanist aesthetic conception of an aesthetic dimension. The author intends to indicate and underline the differences between these terms by comparing two divergent theoretical paradigms: one connected to Herbert Marcuse’s humanistic aesthetic approach and other related to the aesthetic anti-humanism of Jacques Rancière. The focus of the paper is to describe and analyze the issue concerning the abolition of the boundaries between art and life, as one of the avant-garde’s crucial maxims, as well as the conditions of the possibility of “reaching” the Real of a generic life (a priori of communis) in the present state of affairs. It is argued that aesthetic dimension of emancipatory art needs to be thought and “grounded” on the certain ethical remainder.

 

Ivana Medić
(Institute of Musicology SASA, Belgrade)

“I Want to be Bad!” Horkestar Against Transition

In this paper I analyse the activities of the Belgrade-based alternative amateur chorus Horkestar that turn urban soundscapes into sites of political struggle. Belgrade itself has recently undergone multiple social transitions: from state-socialism to neoliberal capitalism, from Yugoslav metropolis to Serbian capital, from war to post-war city, from industrial to post-industrial etc., with its urban soundscape mediating these transitions and revealing their profoundly political nature. I will discuss two recent ‘stunts’ aimed at new political and financial ‘elites’. The first one was a reaction to censorship: namely, in October 2014 Horkestar was scheduled to perform at the 50th anniversary celebration of Belgrade Youth Centre. However, the director of the Centre objected to their repertoire due to ‘inappropriate’ lyrics, requesting a programme ‘bereft of politics’. The chorus cancelled their performance and sang three ‘banned’ songs in front of the Centre, joined by their friends and passers-by. The second ‘stunt’ is Horkestar’s ongoing involvement with the ‘occupation/liberation’ of the Cinema Zvezda, as one of the symbols of Serbia’s many unsuccessful privatisations of public property. I argue that musicians flout tacit social, political and cultural borders in response to the challenges brought about by economic transition and repressive rule. This paper is part of a research project City Sonic Ecology – Urban Soundscapes of Bern, Ljubljana and Belgrade funded by the Swiss National Science Foundation (SNSF) within its SCOPES 2013-2016 programme.

 

Armin Medosch
(Faculty of Media and Communications, Singidunum University, Belgrade)

Art and Technopolitics

My work investigates media art through the two-way lens of technopolitical paradigms. Building on the notion of techno-economic paradigms as developed by the Innovation School in economics, Technopolitics is a theoretical framework which expands and enriches the techno-economic – through various other theoretic schools such as world systems theory, science studies, in particular the Social Shaping of Technological Systems, French Regulation Theory and autonomous Marxism – to become technopolitical paradigms. This theoretical and methodological lecture explains why a technopolitical understanding of social change is necessary for contemporary theories of media art. The central point is that the technopolitical understanding of history – in relation to a particular era and type of art practices – is far from being merely a context or background of the art of an era but shares with it its inner structure and meaning. The theoretic aim is to identify decisive properties of an era which are shared by the avant-gardes of art, business, media, economic and politics, without denying that there are significant differences between those areas. Technopolitical paradigms are thus two-way lenses which use history to better understand art and art to better understand history.

Vera Mevorah
(Interdisciplinary Studies, University of Arts, Belgrade)

Internet Art and the Dispersed Public Body: Question of “User” as Audience

Internet art practice brings up interesting questions relating to how ideas of single artistic voice, exhibition space and audience reception are changing and in some cases disappearing completely to be replaced by discourse of collaboration, participation and virtual spaces. This paper will deal with close examination of some practices that signify these transitions and open the question: Can we truly find significant change in perception, creation and reception of art on the Internet, or is it technophilia that colors our view of these practices? By analyzing the intersection, the relationship between art and new media language we go into important issues of both inter/transdisciplinarity and many constellations of meaning in contemporary art today.


Vesna Mikić
(
Faculty of Music, University of Arts, Belgrade)

Everyday/Ubiquitous Presence: Contemporaneous transitions of Entertainment and Popular Cultures/Music

The paper addresses the possible abolishment of terminological “divide” of the concept of culture/music that still inhabits the various discourses in humanities. It is via investigation into historical positioning and “vanishings” of the terms such as: popular and entertainment, and their respective concepts, the term and concept of the contemporary shall be examined as the possible “replacement”. Namely, the hugely proclaimed, but never actually terminologically confirmed boundaries’ erasure between high and low, artistic and popular, serious and entertaining, extraordinary and ordinary, resulted in yet another “grand narrative” of the academia, that while opening the “gates” to the ever stronger “other”, nonetheless did not succeed to (at least in terms of terminology) actually “embrace” it. The notion here is that maybe via the concept of everyday – also differently interpreted, yet much less contested in Cultural studies, or works of their “forefathers”–  the contemporary cultural practices could be theoretically “equalized”, possibly in Lunenfield’s digital humanities direction. Maybe, much in the same way, and as in different discourses, and in different times the term “people” transited to term “public”, or “popular” to “entertainment” – the terms popular culture/music can be transformed/translated/transmediated to terms/concepts/designs of contemporary culture/music?

Aleksa Milanović
(Faculty of Media and Communications, Singidunum University, Belgrade)

Discursive Construction of the Body and the Bodily Potential for Creating New Narratives

The discursive creation of certain bodily models as privileged is manifesting itself through the inscription of the meaning into the body using different models of representation which consequently create/impose certain definitions of the body as such. The accentuation of the difference as the key element in constructing the stereotypes and meanings which mark certain forms of body and subjectivity is being the basis of the stigmatization and discrimination. In the paper Discursive Construction of the Body and the Bodily Potential for Creating New Narratives I will try to point out the mechanisms of creating the social phobias regarding to the different bodily forms, and also to point out the possibilities and abilities of the body to resist to the social oppression and to overcome the limits that the dominant discourse is imposing on it. I will analyze the case of pop artist Viktoria Modesta who is an example of a succesful performative political and social act directed towards resignification the stigmatized models of a body, and who also proves that the potential of the human body is not to be limited by any discursive system.

 

Nela Milić
(Middlesex and Goldsmiths Universities, London)

The Embodied Narrative

Hall (1993) claims that the identity, especially diasporic one is always in production, just like memory. One imagines the past country and images the return into the country that does not exist anymore as a constant quest for the essence of home. Us, who are involved in “passionate research” as Fanon (1961) defines the many auto-ethnographies conducted by people feeling “robbed” of their own past through the process of colonialisation, are involved in the production of identity or more, re-construction through re-telling that would result in a more permanent inscription in history.

I am covered in blotches of eczema. My skin exposed the mixture of Cyrillic and Latinic alphabet making my Serbian and British identity visible. The letters are coming out like inverted/inner tattoo. My body seems to be a medium for stories to be told without my will. I am more possessed by than blessed with this situation. I am conscious that this interpretation makes me “victimous”, not that I want or loath to be one, I am just stressing that this isn’t a reason for my joy and should not be a source of envy from others. Not being able to sleep or having to accommodate non-stop imagination is a lack of peace I do not wish to anyone, especially when my soul’s turmoil shows on my skin, carving a map like guiding the viewer through my world, which spells out the destinations of places that I have been in. My narrative is embodied, even if as a dream captured in my body.

 

Angelina Milosavljevic-Ault
(Faculty of Media and Communications, Singidunum University, Belgrade)

The Humanities. The Concept of Transdicplinarity and Digital Humanities as Strategies of Organization of Knowledge in the New Encyclopedic Era

When speaking about the crisis in humanities, one cannot avoid the issues pertaining to narrow specializations in/within the sciences, the humanities and the social studies, which opened a gap between them; each of them, moreover, claiming the right to the highest position in the hierarchy of knowledge and its usefulness. One question needs to be constantly readdressed, if for no other reason than because Einstein warned us that splitting the atom has changed everything except our way of thinking; the question is, What are the humanities and why are they important today? The sciences and humanities cannot ignore each other – historically, they had never had – and whatever differences may exist between their research capacities to tackle the life’s enduring questions they are unalterably entangled. This is the framework I propose to address in this paper and tackle the post WW2 perspective in which the humanities are commonly viewed today – through fine and visual arts and their social impact. I would argue that the context of transdisciplinarity, as closing the gap between the sciences and the humanities, has been a matter of fact in the processes of both critical thinking and organization of the corpus of knowledge ever since the “emergence” of the humanities. In addition, this is where digital humanities come into play, as means of organization and dissemination of knowledge in new encyclopedic era in the still sought, ideal, democratic society.

Radoš Mitrović
(
Faculty of Music, University of Arts, Belgrade)

Soundscape and Possibility of Engaged Art / Marc Behrens and Off Modernism

The concept of soundscape as defined by Luc Ferrari was based on a strong left-wing idea of the necessity of bringing closer art and masses, through a new form of popular art. The liberalization of the art from firm institutional constraints and elitism was the basic idea of Ferrari, which he manifested in his work Presque rien. Politics and art were deeply connected in Ferrari’s poetics. In the 21st century, with the end of postmodernism and current economic and political situation, these ideas are again actual. Contemporary soundscape artists have the opportunity to draw attention to current social problems using this art form. Paradigmatic examples for this are works of Marc Behrens, that occupy a strong political and socially responsible position. In this paper I will discuss the ideas of certain soundscape compositions and problematize Behrens poetics. In fact I will focus on works Bushdesertrainforest and Sustained Revolution in which the author implicitly tries to actualize some critical ecological questions. Soundscape can thus be viewed through the prism of off modernism, the term coined by theorist and media artist Svetlana Boym, which problematize relationship between art and nostalgia. So, in this context, sound recording of actual space isn’t just a post- modern empty sign, but the material for the political rethinking of the present, through the confrontation of the subject with its own identity within a consumer society.

 

Snežana Mocović
(Faculty of Philology and Arts, University of Kragujevac)

The Punk Discourse: From Subculture to Lifestyle

As a visible entity punk was galvanized into being under its own name in New York and London in the middle seventies during the Cold War. On the one hand it is seen as a manifestation of postmodernism, on the other hand it is about an underground youth culture that expressed its revolutionary attitude mainly through music (the punk rock genre) and an outrageous, collage-like clothing style rebelling against conformity, authority, the establishment, class hierarchy and celebrating the collapse of traditional forms of meaning. However, Birmingham scholars argued that culture industries destroyed the authenticity of the subculture without adequately considering either the ideological underpinnings of the subcultures in question (i.e. punk), nor the concept of authentic identity. Hence, this paper attempts to unmask these ideological underpinnings and their authenticity in relation to punk, its signifying practices and intractably subversive features that can also be linked to its predecessor counterculture movements. This will shed new light on punk as a complex historical and cultural phenomenon and on the evolution and refashioning of the “anarchic” discourse. Besides tracing the punk ideology and aesthetics back to the movers and shakers of the art and literary world (Gustave Courbet, Nietzsche, French Symbolists, Dada and Surrealism, Beat movement, Andy Warhol, Situationists, Hippies and last but not least, bands pioneering punk rock), I will also consider how the original punk movement, short-lived and nihilistic, marked the beginning of a phase of ideological struggle within popular music itself. Its broad cultural influence started with the postpunk (1979–1984) trying to built an authentic alternative culture with its own independent infrastructure of labels, distribution and records stores and releasing small magazines and fanzines taking on the role of an alternative media. This do-it-yourself concept i.e. punk ethos proliferated like a virus with the global expansion of techno nevertheless managing to avoid interactions with the dominant culture. In conclusion, the paper discusses that the punk´s appeal doesn’t lie in Hebdige’s semiotic flux but rather the punk’s formal stability with its clear ideological and formal elements. Even as fragments, these ideological and formal elements of punk resonate unchanged in contemporary lifestyles of individuals, thus, forming the punk discourse according to its unconstrained self-expression and oppositional point of view.

 

Rastko Močnik
(Faculty of Philosophy, University of Ljubljana)

Really Existing Discourses in Humanist Institutions

The contribution will present the results of the analysis of the discourses produced at the Faculty of the Arts, University of Ljubljana. The analysis was conducted as part of an investigation into the Faculty’s and the University’s intellectual incapacity to enter into dialogue with the movement Mi smo univerza who occupied the Faculty from the end of November 2011 till the end of January 2012. There are three major types of discourses presently practiced at the Faculty of the Arts: the traditional discourse of the humanities, the discourse of “techno-sciences”, and the discourse of identity studies. They are all ideological and none of them allows for the production of theoretical discourse. As the institutional infrastructure of the humanities blocks theoretical production and develops ideological discourses and practices with anti-theoretical effects, the question arises how to secure the conditions for future theoretical practices in the field of the humanities.

 

Sanela Nikolić
(
Faculty of Music, University of Arts, Belgrade)

Overcoming the Traditional Humanities – the Case of Tel Quel Semanalysis

Forming of the new left-oriented movement at the beginning of the 1960s with the opposition’s attitude toward both the established Eastern block’s bureaucratic left orientations organized in political parties, as well as toward the capitalist society in the Western countries, pointed out the question how the intellectuals were to refer to the social reality and in what manner the intellectual work represented the compliance or non-compliance with a certain social context. The non-compliance with the contemporary social context was expressed by the Tel Quel group through founding of a theoretical practice that connected the Althusser’s structuralist interpretation of Marxism with linguistic and psychoanalytical theories. The Group’s idea was to form a modernist theory, different from the previous modernist theories in the fact that it focused on the non-representational language as the starting point in the new type of thinking about the politics and about the subject. As the referential theoretical bases, the Althusser’s explanation of the theory’s role in the epistemological breaks and that of the knowledge in perceiving the social reality led the Group inevitably to the questions regarding the scientific knowledge and social rebirth. The rebirth itself basically included the way to modify the reading and representing the reality. Overcoming the traditional humanities, as the models of reading and representing the reality in the capitalist social order, required from the Tel Quel group to overcome both the rationalism, logocentrism and existentialism in the philosophical and literary sense, as well as the critique of the structuralism in the scientific and theoretical sense, and, finally, to develop the semanalysis as a general philosophical and scientific theory, as a universal epistemological model capable of including all those areas of the human experience that were repressed in the traditional humanities.

 

Rade Pantić
(Faculty of Media and Communications, Singidunum University, Belgrade)

Social Science and Contemporary Society in the Immanuel Wallerstein’s World System Theory

According to Immanuel Wallerstein, an American sociologist and one of the founders of the school of “world system analysis”, the formation of the system of social sciences in Europe was being formed during the 19th century. This system has been based on establishing of separate, autonomous social science disciplines that possess its own distinctive objects of research. According to Wallerstein, the need for sciences which would explain social reality comes from the French Revolution of 1789 and these sciences were positioned in the institutional field between scientific, empirical disciplines and humanistic, hermeneutic disciplines, as well between their specific methodologies. In contrast to the science of history which task was to explain the events of the past, social sciences are supposed to explain the current societies. The formation of social sciences is crucially influenced by 19th centuries liberal ideology which divided social field in three separate spheres (market, state and civil society) and designated three special sciences which would study these fields (economics, political science and sociology). National state is designated as the unit of analysis of these sciences. With the expansion of the colonialism two additional social sciences were created: anthropology and orientalistics. According to Wallerstein, this system of social sciences fits the stage of development of the world capitalist system in which the hegemonic role was occupied by Western European capitalist countries. After World War II, and especially after the revolution in 1968, the need for such an institutional system of social sciences was lost. Contrary to the old model of social sciences, Wallerstein proposes the idea of monodisciplinarity that will be able to destroy the barrier between the disciplines of different social sciences, accomplish synthesis of their specific analysis and propose a thorough knowledge of the ways of functioning of the current world system.

Ana Petrov
(Faculty of Media and Communications, Singidunum University, Belgrade)

Between Utopia and Social Activism: Private Affects and Public Body in the Pop Music Concerts in Post-Yugoslav Space

In this paper I will deal with the consequences and implications of the giving concerts in the post-Yugoslav space. After the breakup of Yugoslavia in 1991 some of the pop musicians from the former country started giving concerts in this new context. Two atmospheres in the public sphere were being produced around the concerts. According to the first one (that was made before the concert of Dino Merlin), Belgrade “needs to be burned to ashes” if that would stop “Serb-haters” from coming to “conquer” the city and make the Serbs to forget the past, while the second one promulgates a creation of a new, supposedly neutral, post-Yugoslav (often nostalgic) collectives. Consequently, the concert-goers have sometimes been in a position to have to choose which values they promote if they decide to attend one of the problematic concerts. Since the organization of certain concerts provoked even boycott and protests of the right-wing extremist groups, I want to discuss the following issue: how the concerts have become platforms for producing opposite social groups in contemporary Serbia? I will show how the concerts’ spaces have been channels for “emotions work” both to reconnect and disconnect collectives. The concerts have aroused feelings purportedly on the level on the individual, but the audience was formed as a material body in the public sphere, and their emotions were formed on the level of this body. I will argue that the concerts have been a means for collectives to cope with the problematic (historical, musical, emotional) past, and I will show how they served to different people as a means to heal a (war) trauma, to remember the (utopian image) of the supposedly better past, or to create a place for making a change in the post-Yugoslav world.

 

Nora Repo
(independent scholar)

“The most important is humanity. We must absolutely Learn again where is the Red Line between That what is Human and That what is not.” – Cheikh Khaled Bentounès

In the world we are living there is a general growing need of softer and more human values, in order to make a balance to limitless and rampant market forces, which are used to justify all actions taken and which in the end have just managed to create an unjust reality for us all. We cannot ignore anymore our interdependency as humankind and the fact that for instance what each of us do or buy on daily basis affects the lives of people on the other side of the planet that we share. Preference given to only financially profitable actions whittles away the ideals of democracy and ethics that should be present even in the fields that deal with hard values such as politics and finances. Without ethics and human values we are lost and they are needed in the times we are living more than ever. Here the human sciences can contribute, because this is what they are all about.

 

Tatjana Rosić
(Faculty of Media and Communications, Singidunum University, Belgrade)

Contemporary Art and the Culture of Fear in the Post-Yugoslav context

Is global culture of fear characterized by a paradoxical fear of fear; by numerous social and art practices whose role is to cover up fear at all costs? Culture production of post-Yugoslav space, still marked by strong post-traumatic war syndrome, testifies frequency of these and such artistic practices. In a global culture of fear, which is one of the main symptoms of the crisis of the humanities, natural fear and its expediency is forgotten. The culture of fear is manifested by distinctive need to cover up fear, to neutralize its productive effect based in the struggle for its own dignity if not for its own existence. Agamben’s image of “bare life” is opposed to the megalomaniac social projects that are intended both to deny the image of bare life as a picture of the future of the region and to renew faith in post-traumatic future of the region which should be deprived of fear, future of impossible freedom. In this context, we will examine three works of contemporary art concerning the understanding of fear and the politics of mourning in the post-Yugoslav context: Marina Abramović’s performance “Balkan Baroque”, film “Grbavica” by Bosnian director Jasmila Zbanic, and novel “Fear and His Servant” by Serbian writer Marija Novakovic. These works of art are characterized by powerful female authorship signature and alternative reading of the dominant power-gender regime within the social context of former Yugoslavia. In the selected works various practices of demonstrating fear as well as practices of its denial are essential for cultural and geopolitical understanding of the post-Yugoslav space/ project which, on the one hand, is permeated with fear for its own survival, and on the other, inspired by utopian faith in future of gathered life without fear. This utopian faith could be the reverse of dystopian paradigm and repressed totalitarianism of the global/local culture of fear but only counting on it we can discuss overcoming of the crisis of humanities in these works.

 

Adriana Sabo
(
Faculty of Music, University of Arts, Belgrade)

How the Female Body Haunts Us:
Female “Turbo-folk” Singers as “Protagonists” of Serbia’s Decadence

This paper will focus on certain discourses surrounding the phenomena of “turbo-folk” in Serbia that is usually regarded as a negative product of militant, nationalistic society, a symbol of the kitsch and trash culture and viewed as a “treat” to the “high” or “true” Serbian culture. Namely, in most of these discourses – being produced by theoreticians, sociologists as well as “ordinary” people, reporters, bloggers etc – the body of the female singer is usually put in center of attention and is fabricated into the main symptom of this “morally corrupt” and “dangerous” phenomena. In other words, in almost 25 years, during which the public, intellectuals, artists, theoreticians and others focused on “turbo-folk” in Serbia, this negatively understood phenomena became tightly associated with the provocatively dressed, “half-naked”, “slutty” female singer. Even though such images of female singers seem to be and inevitable “part” of popular culture and music industry, I aim to address the question of how these women became the main “culprits” for the moral, ethical and cultural downfall of Serbia (despite a very important role that male singers, producers and musicians had in building the reputation of “turbo-folk”). Thus, I will try to show the ways in which “turbo-folk’s female body” is produced by the discourses that surround it, and how a connection was established between a (naked) female body and Serbia’s cultural decadence. I would thus argue that chauvinism and misogyny fuel an important part of the public opinion about “turbo-folk”.

 

Terry Smith
(University of Pittsburgh)

Critical Connectivity

Placemaking, world picturing, and connecting are among the most prominent of the processes we use to make sense of our daily lives, and to understand what it is to be contemporary. Of course, they are also among the core processes that have shaped being-in-the-world since sentience became possible. But experience today shares certain striking features––its accelerated complexity, its ubiquitous connectedness, its deepening differences, its intense proximities, its layered multiplicity, its pervasive transitionality, and its vast violence––which suggests that these processes are unfolding and interacting in unprecedented, difficult, and, often, dangerous ways. How are contemporary artists imagining the world at large – distant power, global forces, long-term tendencies, and the outer limits – today? How do they, at the same time, understand the particularities of what it is to be in place? Even more urgently, how much are they contributing to the urgent human need to conceive actual, possible, and, above all, desirable connections between the near and the far?

 

Maja Stanković
(Faculty of Media and Communications, Singidunum University, Belgrade)

Art in the Context of Crisis

Our basic assumption is so-called “crisis in the humanities”. From that point of view, it can be concluded that art is also in crisis. What are the indicators of that crisis? The main characteristic of contemporary art is the very emancipation of context as one of the key elements in the process of conception, realization and presentation of an artwork. What makes contemporary art contextual? Nowadays, there are no specific artistic procedures or methods, nor are there practices or media. In contemporary art there is a possibility for every object to be artistic in a particular context, art context. Moreover, the procedures and methods for realization of artwork could be taken from all other registers of human activity. Medium is no longer relevant category, nor are dualistic conceptions as high/low, fine/applied arts, elite/mass art, mainstream/alternative… If context is the only indicator of difference between art and non-art, as art has already assimilated all existing registers (by appropriation of objects, practices, materials, techniques, media, activities and life itself), it can be concluded that emancipation of context is not just something that marks the contemporary art, but also something that indicates the crisis in art. Or, has the dominance of context stipulated the crisis in art? Specific art media, procedures, praxis… are main characteristics of modern art or analog culture. Nowadays, we live in a digital culture and thus the majority of concepts which used to be related to analog culture are no longer corresponding to it, which is considered the cause of the crisis. Dominance of context in contemporary art is the symptom of changes from analog to digital culture or, from analog to digital humanities. After its existence as a cult in the traditional context and after its existence as aesthetics in the separated register of art, it might be considered that the contemporary art is currently pursuing certain new, different, not yet completely visible, field of action and digital humanities might be the way of exploring that new field.

 

Lada Stevanović
(Institute of Ethnography SASA, Belgrade)

Knowledge and its Stability in and out of Academia

Are there some tabooed topics in and out of Academia at the same time? Presentation goes about my PhD research (defended in 2008) on laughter in the ancient Greek funerals and challenges that I had with choosing a topic that actually had not been one of the big anthropological themes, at least not in researches of this part of the world. The thesis was done under the supervision of Svetlana Slapšak who gave me magnificent gift, suggesting a topic that – in spite of the numerous sources pointing to it – had not been researched yet. It is inscribed in the methodological framework of French Anthropological School of antiquity. This representatives of the school (Jean Pierre Vernant, Pierre Vidal Naquet etc), active since 1960s, gathered around the small research centre in Paris called Luis Gernet (the pioneer of this approach). They dismissed conservative philological approach to antiquity, claiming that ancient cultures are comparable to other cultures, ancient or contemporary. Important characteristic of their methodology is that different theories and approaches do not exclude each other. Writing the thesis with the support of my supervisor Svetlana Slapšak was joyful work fulfilled – on one hand with the demand for attentive reading of ancient texts using other ancient texts and thus doing accurate anthropological research. On the other hand, I have got the support to develop ideas and my own theoretical thinking. My fears appeared when I started nostrification process at the Belgrade University. Luckily, the fears were ungrounded. However, they were all related to the topics and approaches that are not mainstream anthropology or classical philology. In this presentation I would like to discuss them in order to make easier some further interdisciplinary researches of young scholars.

 

Dragana Stojanović
(Faculty of Media and Communications, Singidunum University, Belgrade)

The Playful Face of the Performing Object: The Perplexed Relations of the Artist and the Audience in the Presence of an Artificial Body

As in other forms of artistic expression, the relations between the artist and the audience in the performance art present a complex and dynamic field of interaction. Even more so, performing arts develop quite a specific, quite immediate and direct communication path alongside the artist-audience-artist line which intersects through the site of the displayed performing body. As the performing body is usually in the same time the artist’s body (or at least the human body), this connection is formed through and within the mutual gazes and surrounding texts, in the particular confrontation of concretely situated biological bodies at the greater or lesser proximity. But what happens in cases where the performer’s body is an inanimate object animated – a performing object? Through the historical and especially contemporary forms of puppet theater and automata performance, the status of the artist’s body, performing body and the audience is questioned. Having the alien object – the performing object at the stage – with or without the presence of the human/biological element, not only the status of the bodies included in the performance is challenged (artist’s body, audience body, performing body), but also the status of their subjectivity. By the uncanny effect that provokes both the fascination and fear, both strange affection and repudiation, the subjectivities involved in such a situation get disrupted, disturbed, shattered, and, at best case, troubled. The gaze of the performing artificial body doesn’t respond (does it?) being neither the artifice, nor the interface while in the same time acting as both, and on the other hand, the artist’s body is found in a state of a certain dislocation. The whole situation directly leads us to the question of the subjectivity as a permanent uncertainty, permanent crisis, which paradoxically is exactly what causes its sense of integrity to persevere.

 

Aneta Stojnić
(Faculty of Media and Communications, Singidunum University, Belgrade)

Live or a Living Dead: Hologram Performers, Capitalism and Crises of Body

My paper will address the third cluster of the conference theme “The Bodies of the Artist and the Audience in Contemporary Art and Media” by examining the fast developing phenomenon of holograms (as) performers. Following Bruno Latorur’s claim that anthropomorphism can mean “either that which has human shape or that which gives shape to humans” in this paper I will focus on anthropomorphism in relation to corporeality in digital environment, which is both created by humans and at the same time shaping the humanity. The central discussion will concern the politics of body in a new media environment. Referring to Agamben’s elaboration of the concept of apparatus I shall analyze how new subjectivities are created in the relation between the apparatus and the substance. In this regard I shall study the extreme example of hologram as a new kind of a performer and its possible relation with the audience. Phenomenon of performing holograms redefines the notion of “life” in live performance. I shall investigate it’s relation with the capitalist matrix of power, in the example of entertainment industry e.g. holograms of deceased stars such as Michael Jackson, 2Pac Shakur and Elvis Presley, as well as growing trend of living stars being “turned” into holograms (eg. Black Eyed Peas concert where half of the band showed up as holograms because they had other “live” shows elsewhere). However, I shall also look at the declaratively subversive appearances such as Julian Assange’s hologram that appeared live on stage in Massachusetts when he symbolically digitally escaped his captivity in Ecuadorian Embassy in London. In this paper I intend to question “crisis of the body” in terms of corporeality and performer’s subjectivity in the digital era. How are changes that digital technology brought into the architecture of reality influencing our politics?

 

Danica Stolica
(Faculty of Diplomacy and Security, University of Belgrade)

Digital Procedures as a Means of Trans(position) of Art and Culture

This essay will analyse how the transition from analog to digital information changes the reception of performing arts and thus creates a perpetual trans(positon) of art and culture. Technical changes are always preceded by cultural changes, and with the advent of new media and digital technologies − digital performing has gradually begun to replace the “modernist procedures of representation and expression (…)”, but also the realization of the actual world. By synchronising images, sound, movement and haptic experiences, new media and digital technology are changing the way one perceives and/or creates traditional arts. According to Miško Šuvaković digital technologies create not only a new type of communicational environment, but consequently a behavioral environment, that is different from the phenomenological experience of the physical environment, and thus performing in the world of digital technologies brings “a break with the social and individual organic equilibrium.” The transition from analog to digital information should not be interpreted as an act of semantic translation (from one symbolic language to another), but as the creation of relations between different systems – the “symbolic and sensual.” This transition creates liminal space or place of trans(positon) – which demarcates one system from another, but does not belong to either. Digital procedures can be defined as a techniques for “becoming an information”, which bring about “a process in which the existential body (operators, performers, artists) derived from the ontology of being (who is) to the ontology of becoming (that which starts to become, but has not yet become: beingness without existence)”.

 

Miško Šuvaković
(
Faculty of Music, University of Arts, Belgrade)

New School in Gray Zones of Crisis:
Revisionism and Theory of Art through Transdisciplinary Humanities

In my paper I will point to the problem of construction and performance of new transdisciplinary school of humanities and theory of art in the condition of global and local crisis, i.e., in condition of biopolitical disciplining of forms of life within the “gray zones of everyday life”. I will discuss the concept of construing and performing the critical and projective dispositive as body of new school within the uncertain and gray world of contemporaneity. The critical projective dispositive as the basis of new school should make it possible to investigate and production of knowledge as new forms of life. it is not just the question of interrogating the knowledge, but also of living it and surviving it. This is the anthropological dimension of every new school. The task of new school is not only to explain the world and to prepare students for appropriate inclusion in everyday life, but to produce ruptures or turns of unexpected affective situations within the different nuances of grayness. Therefore I will explain the concepts of several important characteristics of “the new schools” in modern and contemporareity which here and now analytically lead us towards the concept of the new school – it should point to the way how within the singularity of a now and here the multitude multiplicity is produced of wished  cognitive universality as general  human potentiality. The new school is made possible by confrontation and production of complexities and complicities within the different geographical and historical forms of life which are fragile, uncertain. nontransparent and which should be reshaped, and then tested in relation to our own individual body, and then in relation to the different collective bodies by which we build visible public spheres.

 

Marko Teodorski
(Eberhard Karls Universität, Tübingen)

Monster Studies as a Reflection/ Response to Consumerism and Globalization

Since the second half of the twentieth century we have been witnessing an over- whelming proliferation of monster narratives in contemporary art and visual/ textual culture. With prime time TV shows like Dexter, True Blood or Hannibal, this trend peaked at the beginning of the new millennium when wider audiences completely succumbed to a fascination with monsters, horror, grotesque, serial killing and bodies turned inside out. Although monstrosity entered popular culture as early as at the end of the eighteenth century, a consolidated critical discourse on the topic appeared only with the emergence of cultural studies of the 1970s and 1980s. Today monster studies present themselves as that which transcends academic, national and disciplinary boundaries, merging biology, evolutionism, disability studies, Marxism, psychoanalysis, material culture studies and media studies, while treating “high art” of Oscar Wilde as structurally no different from a performance of Lady Gaga. The main premise of the monster studies in the last century was that the marginal is the “constitutive outside” of an identity, that the monster populates “zones of uninhabitability”. But what happens with these studies when the monster stops dwelling on the margins, and enters the very core of identity, like in aesthetics of Lady Gaga? What happens with the monster studies when the monster stops being an abject and becomes a subject, like in so many contemporary narratives? The paper has two distinct intentions: 1) to present the academic underground called the “monster studies”, that, like mycelium, spreads its object of study across contemporary cinema, literature, and material art; 2) to suggest that this conglomerate of ideas, academic disciplines and objects of study reflects (or responds to) contemporary practices (needs and desires) of globalization and consumerism.

 

Polona Tratnik
(University of Maribor)

Bio Art from the Other Europe

In the beginning of the Millennium Bio Art has become one of the central genres of contemporary art. It is signified by thematizing the advent of the age of bio- technology with all its prospects in manipulating the living of the world: the body, animals and plants for various objectives, such as the food industry, medicine, pharmacy, aesthetics, etc. For the art that won the title Bio Art it is significant to include biotechnology in its procedures and displays that inclusion in its performances, production of the living “sculptures”, performative installations, and workshops. With this imperative the Bio Art projects become very demanding in their realization and sometimes rather hermetic in their discourse. There are artists that have established professional transdisciplinary collaborations with biotechnological institutions and researchers, which lead to complex projects crossing the disciplines: art, biotechnology, and humanities. Some major global art shows have focused their attention to the phenomenon of Bio Art, respected rewards have been given to some protagonists and several studies have been written to embrace the phenomenon from various perspectives: art historic, ethical, and media theory. Yet none of these approaches has discussed the differences in the Bio Art scenes arising from the differences in the political contexts, while at the same time the stars in the field, as it is written in the art history and shown within the world of art, are by necessity coming from the First World Culture, be it from the U.S.A., Western Europe, Australia, or Canada. Bio Art could be recognized as a Western or capitalist phenomenon in the sense of its ensign or promotion, but there exist also very critical and innovative, even avant-garde encounters with biotechnology in the truly transdisciplinary art-biotechnology-humanities projects, by default produced in the ex-communist countries.

 

Bogdan Trifunović
(Faculty of Artes Liberales, University of Warsaw)

Transdisciplinary,  Multidisciplinary,  Interdisciplinary: New Cultural Paradigms or the End of Discipline?

This paper aims to investigate the current situation in the broad field of Humanities, with the focus on contemporary scholarly practices and job market. The foundation of this analysis are both my education and professional background, which include History, Cultural Studies, and Library and Information Science, as well as recent doctoral studies I have attended that insisted on the interdisciplinary character of the theses in theoretical concept and methodology. One could say that such combination of different disciplines and their respective research objects, methods and main theories provide excellent foundation for a researcher versed in transdisciplinary or multidisciplinary research environments and, subsequently, dynamic job market that is changing under the pressure of budget cuts. I will try to reveal if aforementioned claim is truthful, with an analysis of graduate and doctoral programs in Humanities in Poland and Serbia. I believe that this comparative approach has solid justification in the fact that both countries are post-socialist states, with more or less successful paths during their transitional period after the collapse of communism. The other field of investigation is current job market for researchers in the Humanities. An analysis of available job offers, particularly those parts of advertisements that describe research profiles, desirable skills and interests, will provide better understanding of how interdisciplinarity is perceived at the institutional level, but also if there are differences in trans/multi/interdisciplinarities. The findings will provide an insight to the question if Humanities of today are facing real switch from core disciplines to the state of “in-between” disciplines. Finally, I will tackle the question of cultural paradigm that is influencing changes in academia, with an observation that theory of post-modernism left significant mark that is visible in both scholarly practice and current job market in the Humanities.

 

Mirjana  Veselinović-Hofman
(Faculty of Music, University of Arts, Belgrade)

Musicology and the “Measure” of Transdisciplinarity

In postmodernism, musicology has almost ideal conditions to materialize the interdisciplinary essence of its nature, thereby confirming its disciplinary uniqueness. Yet, it can easily jeopardize that uniqueness through its inevitable confrontation with transdisciplinarity, indicating in these elements of its identity crisis. As one of the sciences of art which belongs to the group of humanities, musicology, since its establishment, has already produced and developed specific relations with them. Concurrently, it has shared with the humanities many common issues primarily regarding views of the world, systems of ideas, ways of thinking and values, but it has also relied on many other sciences – above all, the natural and the formal. Hence, it has become increasingly involved in various ways, hypothetically, with all the sciences. Thus, musicology has exceeded the tendencies of the science of music solely focused on the analytical and/or positivistic descriptions of the musical phenomena they deal with. Under postmodern conditions, musicology has managed to fully articulate its genuine nature, revealing it through the contextual considerations of its factual findings. Such considerations imply distinctive forms of interdisciplinary relations, though always produced to remain within the methodological and disciplinary musicological competence. Parallel to this, however, faced with the strengthening and expansion of the “transverse mind”, postmodern musicology has – due to different motivation and interests – also entered transdisciplinary relationships. Within these, musicology has somewhat necessarily “neutralized” its own competences, leaving its own disciplinary frames, going beyond them, that is, pursuing paths that lead beyond its frames, “transversely” across other disciplines. So, my intention in this paper is to point to some of those paths, and the reasons and motives for their existence, in an attempt to detect the “measure” of transdisciplinarity which might be critical in terms of preserving the interdisciplinary profile of the musicological discipline.

 

Monika Vrečar
(University of Primorska)

The Crisis in Humanities: What is Human about the Information Age?

Situations of crisis require critical decisions toward resolving the contrast between established systems and possible future outcomes. If we consider the humanities as a discipline, one which operates according to a set of artificial protocols and codes, these codes, because they are man-made, can be questioned by any institution that obeys a different set of codes, especially if the latter has more operational and symbolic power in the social structure. Codes are necessary in order to conquer chaos; the outcome of chaos is unpredictable and we shouldn’t rely on it to design the future. Progress can therefore be understood as an advancement toward more complex systems of controlling chaos and hence our future. The ideology of the information age rests upon the belief that computers are able to process much more information than humans, and therefore can help us predict, and make decisions that will improve, our future. Such an ideology operates according to what might be called a technocratic (even theocratic) point of view of decision making, because possibilities are not considered from a humanist point of view, but from faith in technological progress. The strongest centers of power today are high-tech information processing corporations, while people are increasingly considered as mere data-providers to the superhuman information machine, regardless of the fact that only humans are able to provide meaning for the gathered information. As information processing advances toward ever higher amounts of data, the crucial question becomes: are we losing the ability to intelligently contextualize the automatic gathering, and hence sliding into chaos? This paper will address these questions, and consider some forms of humanism outside of the academia that are most likely to prevent us from delaying the inevitable decisions concerning our future.

PROGRAM

Conference venue:
House of Culture, Terazije 34, Belgrade

All events will take place at the conference venue except for the pre-conference lecture (Kosančićev venac 29), and the dinner (Skadarska 38).

Wednesday, 22 April 2015

18.00
Pre-conference lecture:
MARINA GRŽINIĆ:
Necropolitics and Global CapitalismThe lecture is organized by the Faculty of Fine Arts in Belgrade and the Austrian Cultural Forum in Belgrade.

Venue: The Conference Hall of the University of Arts, Kosančićev venac 29, Belgrade

Friday, 24 April 2015

9:00  Registration

9:30 Opening of the Exhibition:
The Archive Strategies – Examples of Avantgarde, Neo-Avantgarde and Contemporary Art
Opening note: DARKO ŠIMIČIĆ

9:45 Opening address: 
ANA PETROV

10.00
Keynote:
LEV KREFT: Towards Marx’s aesthetics

11:00
Session 1a
Chair: Lada Stevanović

BOJANA MATEJIĆ:
The Aesthetic Dimension: Between Humanist and Anti-Humanist Aes- thetics

RADE PANTIĆ:
Social science and contemporary so- ciety in the Immanuel Wallerstein’s world system theory

NIKOLA DEDIĆ:
Towards critique of philosophy of the event

Session 1b
Chair: Vladimir Stevanović

GELI MADEMLI:
The archivization of everything or how I learned to stop worrying about the humanities and love the archive

RACHEL AUMILLER:
Censoring emotional discourse

ANGELINA AULT:
The humanities: The concept of transdisciplinarity and digital humanities as strategies of organization of knowledge in the new encyclopaedic era

12:00 Coffee break

12:30
Session 2a
Chair: Andrija Filipović

MIRJANA VESELINOVIĆ HOFMAN:
Musicology   and   the   “measure”   of transdisciplinarity

RASTKO MOČNIK:
Really existing discourses in humanist institutions

JOVAN ČEKIĆ:
Permanent crisis and humanities

Session 2b
Chair: Sanela Nikolić

NATHANAEL  ANDREINI:
Beyond disaster relief: Socially engaged art and the great east Japan earthquake

VESNA MIKIĆ:
Every day/ubiquitous presence: Contemporaneous transitions of entertainment and popular cultures/music

MARIJA MAGLOV:
Beyond the crisis of avant-garde in music: Potentials of the Welsch’s concept of transculturality in musicological studies

BILJANA LEKOVIĆ:
Sound art as a transdisciplinary practice: musicological perspective

15:30
Session 3a
Chair: Ana Petrov

ALEŠ ERJAVEC:
Aesthetics Now

MIŠKO ŠUVAKOVIĆ:
New school in gray zones of crisis: revisionism and theory of art through transdisciplinary humanities

ARMIN MEDOSH:
Art and Technopolitics

BLAŽ GSELMAN:
Crisis in the humanities: Epistemological and political crisis

Session 3b
Chair: Lada Stevanović

MAJA STANKOVIĆ:
Art in the Context of Crisis

MONIKA VREČAR:
The crisis in humanities: What is human about the information age?

SANELA NIKOLIĆ:
Overcoming  the  traditional  humanities: The case of Tel Quel semanalysis

17:00     Coffee break / snack

17:30
Session 4a
Chair: Aneta Stojnić

NOIT BANAI:
“Global humanism” and the Biennial exhibition: Performing and pacifying social conflicts

OLEG JEKNIĆ:
Aesthetics and machine learning: Representation of user preferences in a movie recommender systems as the question of aesthetics

POLONA TRATNIK:
Bio Art from the Other Europe

Session 4b
Chair: Dragana Stojanović

TOMISLAV ČOP:
Men’s corporality as a visual sign. The transformation of Identity and meaning through visuality

ANDRIJA FILIPOVIĆ:
Disagency and queer time in experimental film: For a community of passive subjects

ALEKSA MILANOVIĆ:
The discursive construction of corporeality and the potential of the body to create new narratives

18:30 Coffee break

19:00
TERRY SMITH, book presentation:
Savremena umetnost i savremenost, Orion Art, Beograd, 2014.(speakers: Terry Smith, Andrija Filipović, Aleš Erjavec, Miško Šuvaković)

20:30    Dinner (restaurant Ima dana, Skadarska 38)

 

Saturday, 25 April 2015

10:00
Keynote:
TERRY SMITH:
Critical Connectivity

11:00  Coffee break

11:30 Session 5a
Chair: Rade Pantić

NORA REPO:
“The most important is humanity. We must absolutely learn again where is the red line between that what is human and that what is not” – Cheikh Khaled Bentounes

BOGDAN  TRIFUNOVIĆ:
Transdisciplinary, multidisciplinary, interdisciplinary: New cultural paradigms or the end of discipline?

LADA STEVANOVIĆ:
Knowledge and its stability in and out of academia

MIROSLAVA LUKIĆ KRSTANOVIĆ:
Theory of spectacle today: Grand narrative or discourse of action

Session 5b
Chair: Aleksa Milanović

SAMI KHATIB:
Thinking poorly: Post-humanist humanities in the age of “semiocapitalism”

DUBRAVKA ĐURIĆ:
Globalization and world literature: Franco Moretti’s conjection on world literature and Pascale Casanova’s world republic of letters

RADOŠ MITROVIĆ:
Soundscape and possibility of engaged art / Marc Behrens and off modernism

SOFIJA CHRISTENSEN:
Discussion of the Representation of Norwegian Centers of Excellence in Both Fiction and Reality

13:00   Lunch break

14:30
Session 6a
Chair: Žarko Cvejić

TATJANA ROSIĆ ILIĆ:
Contemporary Art and the Culture of Fear in the Post-Yugoslav context

JELENA JANKOVIĆ BEGUŠ:
PLAY, IVANA, PLAY! Construction of a hybrid identity “betwixt and between” musicology and music performance

ADRIANA SABO:
How the female body haunts us: Female “turbo-folk” singers as “protagonists” of Serbian decadence

SNEŽANA  MOCOVIĆ:
The punk discourse: From subculture to lifestyle

Session 6b
Chair: Andrija Filipović

IVANA MEDIĆ:
“I want to be bad”: Horkestar against transition

ANA PETROV:
Between utopia and social activism: Private effects and public body in the pop music concepts in post-Yugoslav space

SRĐAN ATANASOVSKI:
Sonic subjectivity; or, The ethics of the sound

16:00     Coffee break

16:30
Session 7a
Chair: Marija Maglov

NELA MILIĆ:
The embodied narrative

MARIJA KATALINIĆ:
Transformation of the film essay; new medium of narration in the post-Yugoslav context

DANICA STOLICA:
Digital  procedures  as  a  means  of trans(position) of art and culture

VERA MEVORAH:
Internet art and the dispersed public body: Question of “user” as audience

Session 7b
Chair: Nikola Dedić

GABRIELA-ALEXANDRA  BANICA:
Stil life and “falling life” instances of art in Don DeLillo’s novel Falling Man

MARKO TEODORSKI:
Monster studies as a reflection/response to consumerism and globalization

ANETA STOJNIĆ:
Live or a living dead: Hologram performers, capitalism and crises of body

DRAGANA  STOJANOVIĆ:
The playful face of the performing object: The perplexed relations of the artist and the audience in the presence of an artificial body

18:00    Wine reception