MUSEALISATION OF THE COLLECTION OF BLACK AND WHITE NEGATIVES FROM THE LEGACY OF ALEKSANDAR SIMIĆ

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The paper follows the musealisation of the collection of black and white negatives from the Legacy
of Aleksandar Simić, photographer of the Yugoslav Army in the homeland, i.e. its integration into
the fund of the Museum of Yugoslavia, which has not yet collected materials of Ravna Gora provenance. Also, considerations were raised regarding the legal status of donated material in cultural
institutions so that, in correlation with those considerations, questions related to the museological
treatment of objects that arrived to the Museum would be answered. By that, we primarily mean
the process of museal selection, i.e. valorisation of donated photographic material, its digital and
documentary processing, and finally, consideration of the communication potential of the received
collection in relation to the Museum’s fund, which can raise numerous challenges for the researchers
due to its heterogeneity and nature

LEGACIES TO THE COLLECTION OF COINS AND MEDALS OF THE BELGRADE CITY MUSEUM

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Two of the twenty-eight legacies to the Belgrade City Museum are found in the “Collection of Money and Medals”: the bequests of Đorđe Novaković and Svetozar St. Dušanić. These collections were
donated to the Museum in the 1970s. After a brief review of the concept and the legal status of
legacies in view of the Serbian cultural milieu and policies, the paper demonstrates a study of two
bequests – the paper banknotes and the Roman coins from the “Collection for Money and Medals”.
In addition to the short history of each legacy, the manner in which they were formed, including
their contents, an attempt was made to search available documentation in the museum archives to
demonstrate how the collections were donated to the Museum and “established” as legacies. The
work also considers to what extent and with what success the Museum activities have been carried
out in practice, namely: preservation, conservation, restoration and documentation filing, as well as
communication activities which include exhibitions and education.

CONSTRUCTING OF THE NARCISSISTIC ARTISTIC CHARACTER IN THE AUTOBIOGRAPHY OF SALVADOR DALI

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By applying the methodology of transdisciplinary studies, this work examines the phenomenon
of Narcissism and narcissistic artistic character in the autobiography of Salvador Dali “I am the
genius” (The Secret World of Salvador Dali), in the paining “The Metamorphosis of Narcissus”, and
in Dali’s original poetry through the prisms of mythology, psychoanalysis and psychosexuality by
constructing of the narcissistic character (artistic “Persona”) as a model for identity strategies in
contemporary art practices. The text is analysing some of Dali’s unique personality characteristics
and creative and personal expression, with a special insight into his childhood and the term of
narcissistic personality structure according to Sigmund Freud, also analysing the key-role of Gala
Dali. The text includes some postulates of the art movement of Surrealism that Dali applied in his
work, from the “Surrealism Manifesto” and the Surrealism practices. In a case study, the text analyses the painting “Metamorphosis of Narcissus”, its content, symbolism, style and visual elements. A
possible influence of Sigmund Freud is described, and Dali’s original method of “Critical Paranoia”
is elaborated. The closing sections are describing the fascinating dimensions of the personality cult
that Dali and his narcissistic character reached in the last years of his life. A special focus is made
on the musealisation of Dali – his numerous museums and bequests, memorials and collections,
the founding of which has contributed to the building of a permanent monument to the artist and
finally to the establishment of his status of a mythical personality – the “Dali” brand.

SOME EXAMPLES OF INTERACTION BETWEEN DOMINANT AND NON-DOMINANT MODELS IN HISTORY OF THOUGHT

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What are the types of interaction between dominant and non-dominant models in history of ideas? Is it the case that dominant paradigms of thought and “absolute pre-suppositions” of one age
are permeated with non-dominant, different or even opposite sets of ideas, pre-suppositions and
beliefs? If so, to what extent? Is it possible to control trajectories of ideas, their circulation and historical interactions in processes of suppressing the non-dominant models (by eradicating material
traces and destroying their proponents)? How do suppressed ideas influence dominant models of
thought?

CULTURE FROM SIMULATION TO SIMULACRUM AND BACK

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Reality show or Reality TV programme is a symptom of the new pairing of the metaphysic of the
“two worlds” and the contemporary technology. To analyse it as a symptom – i.e. a set of related
signs – we need to use semiology of the media, separating the key codes as sets of rules and protocols
for signifying practices that produce such TV programmes. In the analysis, these codes, taken
here in their minimal but most important numbers, are shown as also the codes which produce
everyday circulation of our representations and discourses, and open up a series of new questions.
For example, to what extent is the reality show an image of everyday life, is it a simulation (imitation,
mimesis) of it, or is it a simulacrum, as a structure of signs, which is beyond the old opposition of a
model and a copy? Or perhaps, what we witness is a turn in communication where everyday picture
of the world becomes a simulation of this simulacrum, that is an imitation of a reality programme as
a pairing of metaphysics and technology?

INDUSTRIAL HERITAGE AND CREATIVE INITIATIVES AS CATALYSTS OF EVENT TOURISM

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The concept of sustainable urban development requires re-purposing of buildings and areas in service of local communities. Industrial complexes which are no longer used for their original purpose
are often left to degrade, simply because their demolition requires large investments. In such circumstances, creative sector initiatives were proved to be of multiple importance. They do not require too
much of financial investment and do provide authentic solutions for the given problem. Innovation
in that domain significantly contributes to the tourism industry, in particular to some forms of selective tourism and to outbound markets whose demands are increasingly difficult to be satisfied by
mass tourism products. Among examples from practice, the case of “Ciglana” in Karaburma (Brick
factory) in Belgrade stands distinguished, as a place where the festival “Dev9t” dedicated to creativity has been organized. This area contains the memory of various layers and stages of Belgrade’s
industrialization and it is not under institutional protection. In this paper, the process of its adaptive
reuse was discussed, as well as new meanings assigned to it by the festival activities.

RESEARCH OF PUBLIC LIBRARIES AUDIENCE

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This paper is a proposal for a methodologically based monitoring of the changes in habits and needs
of library audiences, i.e. changes in access to library services, in the circumstances of the changed
communication models caused by the wide use of information and communication technology. It
presents audience research in the context of strategic planning in libraries, and points out terminological categories that could serve as a starting point for further research. Using the case study
method of Novi Sad City Library, the paper categorizes the audience in two groups which proved
to be right for quantitative and qualitative monitoring: according to the preference of the audience
for certain content – permanent, occasional, potential and inaccessible audience types are defined,
and according to the methods of addressing – users of funds and services, audiences in the narrow
sense and online users are defined. Young people turned out to be a strategically relevant target
group. The research has shown that the youth are the widest digital media consumers and that their
primary goal is infotainment – a combination of a low percentage of information in highly entertaining packages. Members of young population do not recognize the library as a place of interest,
so it is necessary to develop adequate channels of communication with them, in a way typical for
this group. The paper shows how the model of the Novi Sad Library can be applied as a strategically
based audience research in other public libraries, and gives an example of a user experience testing
model (UX) and its final result – designed library services. Previous researches by Leo Appleton and
Gina De Alwis were used in the paper. At the core of the designed service is participation, as a model
of creating instead of consuming the prepared content

AESTHETICS AND ITS IMPORTANCE FOR EDUCATION IN ART

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The author of this paper seeks to draw public attention to the position and importance of aesthetics
for education in art. Therefore, this paper will present some critical deliberations about the significance of modern education in art, aiming at finding potential answers to the following question:
What are the new conceptions of education in art? Within the framework of philosophy of art and
bearing in mind some of the leading (pre)aesthetic conceptions of art, the abovementioned question
will be broken down into its key aspects in order to emphasize its complexity, and also the inability
to provide a final and universally applicable answer. In that regard, special attention will be paid to
deliberations about contemporary tendencies regarding education in art, in order to highlight possible challenges and potentials regarding the artist, the recipient of a work of art, and, finally, the art
theorist. These tendencies will be analysed with regard to insights into current cultural and artistic
practice, as well as the social phenomena (in)directly affecting them.

“THE SECOND SEX” OF PAIN AND LAUGHTER – PAINFUL GIGGLING TRANSRESSIONS OF GENDER DIVIDE

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By the mid-20th century, Simone de Beauvoir has published an important and ground-breaking
research into the facts, myths and living experience of “the second sex” (Le Deuxième Sexe, 1949).
Drawing on contemporary theories based on phenomenology and existentialism, de Beauvoir argues that the “man” is a historical idea, and the woman as a “becoming”. At the end of the 20th
century pain studies have gained vast attention in political theory, especially in political effect theory
and “new materialism”. Numerous studies have neglected de Beauvoir’s frequent arguments dealing
with “women’s pain” and women’s agency in human mitsein, particularly regarding the woman’s
embeddedness in social myths that “feminise” the body of a woman, as a form of crisis and resistance to be subjected to species and reproduction. This paper deals with the crisis and critique
of physiological, economic, psychological and social disposability of female bodies. In addition,
this research re-questions the limits of physical, semiological, cultural and political dissemination
of (female) laughter, seen through the lens of interruptions and destabilizations of the hegemonic
gender discourse incarcerated within the gender divide. Consequently, we are to open up a space for
interrogating the “irony of giggle” as a form of resistance to the contemporary body politics – as a
non-place, devoid of any political agency.

THE POST-POSTMODERN SUBJECT

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The so-called “postmodern turn” has produced a sense of turmoil in contemporary philosophy
and the humanities, subverting the Western mind and provoking doubts in its existence, sense of
meaning and purpose. It disputes almost all basic premises of modernity. For example, notions such
as: the self, the subject, imagination, became a target of vicious attacks by postmodern thinkers.
Counter to the modern notion of the subject, the postmodern subject lacks an essential core of
identity: it is fragmented, decentred, in the process of perpetual change or disintegration. A “thinking and reflecting” subject who looks inward to inspect the self is denied, as neither such an interiorized being that examines, conceptualize and interacts with others, nor interiority as such, exist.
The subject is nowadays advised to search outward for the ways to interact with the social world, because this a privileged way of construing one’s self. In similar fashion, imagination is obliterated and
devoid of its creative powers. The “imaginary”, as a reference to an impersonal entity, is substituted
for the notion of imagination. While the latter stands for an “author” or “creator” who produces
or creates images, the former is nothing creative in itself. The outcome is that, in the postmodern
theory, the imagination is seen as an obsolete mental ability which is deposed of its power to create
meaning. My intention in this paper is not to reanimate the modern notions of the self, the subject
and imagination, but rather to consent with the postmodern verdict and proceed onward. It is my
intention to build a post-postmodern notion of the self. The purpose of my paper is to introduce a
post-Jungian account of the importance that the narrative and imagination have in human life for
the constitution of subjectivity and the self.