A HOUSE AS A SCREEN: TRANSFORMATIONS OF MEDIA FUNCTION IN CONTEMPORARY ARCHITECUTRE

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Уколико урбани простор посматрамо као текст, јасно је да град нуди много могућности за различита читања. Захваљујући глобалној економији и развоју технологије, изглед и употреба града на крају 20. века се значајно мењају. Нови друштвени односи засновани на економском и технолошком развоју, условили су појаву друштва спектакла, које постаје кључно одређење градског живота. У савременом граду слика постаје основно средство комуникације. Измењени идентитет савременог града успостављају правила глобалног правца урбане изградње, али и трансформисана медијска функција у савременој архитектури. Увођење нових медија у процес архитектонског обликовања објеката истискује традиционалну медијску функцију архитектуре. У овом процесу установили смо неколико појава: релативизацију или поништавање фасаде; фрагментацију или употребу дела фасаде као простора излагања; и доминацију или третман фасаде као доминантног обележја куће. На основу посматрања ових појава установили смо нову типолошку класификацију медијске функције фасаде у савременој архитектури: фасада као носач маркетиншког садржаја; урбани екрани; архитектура као скулптура; и архитектура као медијска инфрастуктура.

CONTEMPORARY CITY AS A SPACE OF SPECTACLE: STAGE OR SCENE

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The appearance and utilisation of cities significantly changed at the end of the 20th century. The city has become an arena which, thanks to the global changes, the IT society and the need for prestige among many cities around the world, as well as different shaping of the norms, culture of behaviour and the typification of lifestyles, has been transformed into the urban stage. By increasingly accepting scenographic characteristics, contemporary city has become the space where market ideology directs and determines means of communication, but also the way we perceive things. In the process of the characterisation of the contemporary city special place has been dedicated to the relationaship between the physical structure of the built environment, theatricality of buildings and the urban spaces, as well as the spectacle and urban and spacial shaping of performing events. However, in order to experience the urban space, we also need the ability to percieve the city scenographically. This is how the spectacle becomes one of the most important elements of the city life and an important factor that characterises contemporary city.

CULTURE AND HAPPINESS

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The spirit of culture is contained in the Socratic call to self-knowledge, in order to improve our morale, wisdom and wellbeing, which not only brings happiness, but is the true happiness. Culture goes beyond information and knowledge into cognition that contributes to the flourishing of both the individual and social life. The real meaning of culture lies in our stronger, more conscious and alert presence in the world. We have to be aware of the fundamental difference between “having” education or culture as an accumulation of information and knowledge and “being” an educated, cultivated person as a result of reflective, alert and creative living. Culture is a biophilic, generative orientation, as it allows free flow and affirmation of life energies in their multiple expressions and forms. Not until we restitute to culture its original meaning, spirit, and Eros which permeated it from immemorial times, through the educational system and other social channels and institutions, the concept of culture will not be carried across to younger generations in that inspiring meaning and sense, and they will experience it as alien and hostile to their needs, interests, and pursuit of happiness.

EFFECTS OF NEW COMMUNICATION TECHNOLOGIES ON TIME PERCEPTION

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The topic of the ever more accelerated pace of life and laments over the destructive effects of this phenomenon, is not new. It has already appeared in the nineteenth century with the invention of railways and telegraphs. Since the age of industrialization modern man has begun to experience a radical change in his relationship to time. With the globalization, which came on the wave of new information technologies, the imperative of speed, urgency, instantism, simultaneity, short termism, established as new units for measuring time. At the source of time acceleration are modern technologies, but Internet brought this process to a climax. Accordingly, it can be argued that speed is not just a secondary feature, but one of the determinants of modern civilization. There is a constant pressure of the acceleration and fragmentation of time which, overflowing from economic and technological spheres tends to colonize the entire psychological and social space. In this paper we do not deal with value judgements on technological speed per se, nor express nostalgic sadness for the good old slower times. We are interested in the way speed, as value-neutral, or even positively connoted term, refracts through psychological prism, specifically the perception of time, so establishing haste (urgency) as dominant mode of individual and social existence. In order to better understand and analyze the relationship between speed and haste, and its effects on psychosocial health, we distinguish between three kinds of temporality: physio-psychological, socio-psychological and techno-psychological. According to the results of a research carried out with regular Internet users, we try to show how they come to suffer a stressful conflict between these temporal modes and develop the so-called “pathology of present”.

BASIC LEGAL SOLUTIONS IN CULTURE – SERBIA, GERMANY, LITHUANIA AND GREECE

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This paper deals with separate and common characteristics of the currently valid statutory laws in the field of culture in four European countries. Those are: Germany (one of the most developed countries in Europe and one of the leading member states of the European Union), Greece (also member of the EU, but in different economic position; specially important for the European cultural heritage), Lithuania (former Soviet Union member, since 90s fast approaching the EU standards, also those in cultural policy) and Serbia, a country in transition, with its economical, political and cultural characteristics and factors. The aim of the research was to compare cultural policies of the countries above, based on adopted laws and other legal instruments of cultural policy. The research included the Constitutions of the countries above, top and bottom regulations in culture, (non)regulated areas in culture and arts, economical and political characteristics etc., and a detailed comparative analysis thereof. It is noted that modernization and changes in laws in the area of culture were aiming (in case of Serbia – are aiming) to adjust legislation to the European standards. The scope, structure and periods when existing legislation has been adopted, reflect the political priorities, aims and direction, social atmosphere and economic situation of a particular country. Despite economical situation and political instability, improvement of the cultural legislation in Serbia exists, although compared to other three countries a certain delay is obvious. The central element of cultural legislation in Serbia is Law on Culture, that came into force in March 2010. The last part of the paper deals with international declarations and conventions with statutory characteristics, as much as with process and dates of their ratification in each country. Central source of material for this paper was international web archive of evaluation on cultural policies Compendium, realised by ERICArts Institute.

THE CONSUMER CULTURE

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THE SOCIAL IN ART

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BILLBORD AS AN INSTRUMENT OF THE URBAN SPECTACLE

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Сложен однос града и спектакла, садејство иновативних технологија и савремених идеја (медијатектура), различити облици интерактивних урбаних екрана успостављају савремени град као експлицитну позорницу друштва спектакла. Билборд као простор који говори и једноставан облик хетерогене врсте спољашњих реклама, један је од најексплоатисанијих видова оглашавања у Србији. Поред детаљног приказа законске регулативе и историјског контекста, овај чланак има за циљ приказивање тренутне урбане сценографије у нас и подстицај за креирање складнијег окружења. Представљен је аргументован естетски вапај визуелног идентитета савремених градова, који поставља озбиљну дилему: да ли треба следити идеал града као центра знања, напретка и склада или хипермодерну идеју о вавилонској кули свеприсутних интерактивних екрана?

THE EXPANDED MISE EN SCENE 2: ON AUTHORS/ARTISTS

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