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  • Issue No. 35, October 2024 – Main Topic: Literary Images
    No. 35 (2024)

    While contemporary literary scholarship acknowledges the power of imagery to bridge language and perception, the in-depth study of literary images surprisingly remains a niche pursuit. Despite the potential to unlock deeper understandings of narratives, the intricate ways in which imagery shapes reader engagement and interpretation often receive less attention than other areas of literary analysis. This oversight is particularly striking given the potential of imagery to transcend the limitations of language and evoke profound emotional responses.

    Focusing on imagery opens exciting avenues for interdisciplinary exploration, connecting literature with visual art, film, and psychology. By examining the interplay between literary and visual representations, we can uncover how literature constructs scenes, emotions, and entire worlds through the power of words alone. This approach not only highlights the influence of literary images on other art forms but also reveals how they reflect cultural values and perceptions.

    Furthermore, analyzing literary images unveils the ethical and political dimensions of representation. By conjuring images that challenge or reinforce social norms, literature exposes hidden realities and amplifies marginalized voices. As contemporary scholarship grapples with issues of power and identity, a deeper understanding of literary images becomes crucial to understanding how narratives shape cultural discourse and influence readers' worldviews.

    In this special issue of the AM Journal of Art and Media Studies, we explore the complex realm of imagery in literature, where words transform into visual representations within the reader’s mind. This inquiry delves into the nature of literary images, their relationship to language, the cognitive and emotional mechanisms that shape their impact, and their ethical and political dimensions. Additionally, we examine how literary images interact with other art forms, including visual art, film, and music, and how they intersect with imagination, perception, and cultural context.

    This issue embarks on a journey to address these questions and introduces a selection of scholarly papers that examine literary images from various perspectives. Ksenija Popadić explores the link between literary images and visual perception in meditative practices, while Vuksan Vuksanović builds on Foucault’s analysis of Velázquez’s Las Meninas to examine its self-referential nature through different epistemological and ontological lenses. Aleksandra Panić analyzes how Lidia Yuknavitch’s autofictional novel The Small Backs of Children invites readers to co-create meaning through imagery. Milan Radovanović investigates representation's role in shaping political power, and Ana Došen examines Yoko Ogawa’s The Memory Police to uncover the interplay between literary images, visual interpretations, and representations of totalitarian regimes.

    Together, these papers offer a rich, multifaceted exploration of literary images, revealing their capacity to shape our understanding of reality and engage us both cognitively and emotionally. We hope the insights within this collection will inspire further scholarly inquiry into the power of imagery in literature and its lasting impact on readers.

    Guest Issue Editor: Murat Çelik, Department of Philosophy, Ankara University, Turkey

    Reviewers: Serpil Aygün Cengiz (Department of Folklore, Ankara University, Turkey), Marija Brujić (The Institute of Ethnology and Anthropology, Faculty of Philosophy, University of Belgrade, Serbia), Nikola Dedić (Faculty of Music, University of Arts, Belgrade, Serbia), Rima Devi (Faculty Humanities Universitas Andalas, West Sumatra, Indonesia), Erica D. Galioto (Dauphin Humanities Center 105, Shippensburg University, PA, USA), Bruno Henrique Fernandes Gontijo (Pontifical Catholic University of Minas Gerais, Belo Horizonte, Brazil), George Konstantinidis (Independent Researcher and Freelance Professor of Art History), Rafael Marino (University of São Paulo, Brazil), Lisa Moravec (Academy of Fine Arts Vienna, University of Vienna, Austria), Rade Pantić (Faculty of Media and Communications, Singidunum University, Belgrade, Serbia), Filip Petkovski (Independent Scholar, Skopje, North Macedonia), Eugenia Prasol (Nagasaki University, Japan), Pilar Rojas-Gaviria (University of Birmingham, Birmingham, UK), Stephanie Schwartz (Department of History of Art, University College London, UK), Barbora Trnková (Faculty of Fine Arts, Brno University of Technology, Czech Republic), Andreas Valentin (Rio de Janeiro State University, Brazil), Ozan Yavuz (Middle East Technical University, Ankara, Turkey)

    On the cover: Sanja Latinović, Movements: White (2022). Photo Credit: Bojana Janjić.

  • Issue No. 34, September 2024 – Main Topic: Art and Archives in the Digital Age
    No. 34 (2024)

    Editor's Note

    Art and Archives in the Digital Age

    What challenges and threats does the digital age pose for archives and how is the medium of the archive represented in contemporary art and theory? The radical challenges posed by social media have changed the relationship between users and archives and the role of documents and the status of archives. Wikileaks, Flickr, Instagram, and many others are paradigmatic examples of this trend. They mark a temporary culmination by providing a repository for the limitless production of digital images created by smartphone cameras and shared by anonymous users.

    Various conceptualizations of an archive have been formulated, for example, archive and historical a priori (Michel Foucault), archive fever (Jacques Derrida), archival territory (Allan Sekula), archival entropy (Wolfgang Ernst), archival violence (Ariella Azoulay), archival activism (Joaquín Barriendos) and others. This issue contains contributions dealing with the aesthetics of contemporary artistic practices, artistic research in/with archives and studies on the theory of cultural memory media. What constitutes an archive, apart from being an accumulation of documents meticulously organized according to an all-encompassing classification and imposed power structures? How can the archive become a living and activated place from which we can rethink art and its institutions? Could we perceive archives not only as time capsules but also as repositories for unfinished or incomplete utopias or alternative futures?

    In contemporary scholarship, including visual anthropology, the sociology of visual culture and social art history, there is a growing interest in the re-evaluation of archived iconospheres from socialist and post-socialist times. Theorizing the notion of the archive itself raises the question of how to undermine and unlearn the imperial legacy of an archive or even activate its hidden potential.

    The issue discusses how digital technologies have profoundly altered perceptions of materiality, space, and information. Boško Drobnjak in his essay “Digital Architectural Archives – Aesthetic Reading” tackles the problem of digital archives that have emerged as temporary repositories of architectural activity. Pablo Gobira, Emanuelle Silva, and Luiz Oliveira co-athored the essay “Digital Games and The City: About Reality, Commuting and Gamification”, which provides an insight into gamification of reality. Jovana Tošić in her essay “Digital Mini-Archives: Social Media Users as Curators of an Architectural Utopia” explores utopian potential that is based on digital mini-archives and curating role of social media users as interpreters of architectural history, as well as of the future of architecture. So called non-fungible tokens (NFT) and their implementation in visual arts during the COVID-19 pandemic is analyzed by Maja Stanković in her essay “NFT: An Episode in Digital Arts”.  Vladimir Popov in his essay “The Transformative Role of Digital Tools in Comic Book Preservation” revise the media theories that democratize access to cultural heritage, transforming archives into active sites of cultural engagement and potentiality. And, finally, Daniel Grúň in his essay “Cultural Therapy and Concern for the Archive. The Case of Documentary Video Archives by Tomáš Rafa” explores contemporary artistic ways of archiving and their roles in constructing regional art histories.

    Guest Issue Editor

    Daniel Grúň

     

    Reviwers: Oana Andreica (Gheorghe Dima National Academy of Music, Cluj-Napoca, Romania), Anna Dalos (Institute of Musicology, Hungarian Academy of Sciences, Budapest, Hungary), Laura Désirée Haas (Universität Siegen, Siegen, Germany), Weikun Fan (School of Television, Communication University of China, Beijing, China), Michael Fowler (RMIT University, City of Melbourne, Australia), Dragana Gašević (Novi Sad School of Business, University of Novi Sad, Serbia), Grace Gipson (College of Humanities and Sciences, Virginia Commonwealth University, Richmond, USA), Raino Isto (University of Maryland, College Park, USA), Renata Jambrešić Kirin (Institute of Ethnology and Folklore Research, Zagreb), Marko Nikolić (Faculty of Architecture, University of Belgrade, Serbia), Alenka Poplin (College of Design, Iowa State University, USA), Federica Rubino (Politecnico di Milano, Italy)

    On the cover: Andreja Kulunčić, Collective antimonument “850 Women for 850 Women”, 2022-2024, (photography: Sanja Bistričić Srića).

  • Issue No. 33, April 2024 – Main Topic: Aesthetic Learning and Sustainability
    No. 33 (2024)

    Editors' Note

    Aesthetic Learning and Sustainability

    Human beings develop aesthetic preferences throughout their lives. They learn to appreciate certain features of their surroundings as aesthetically valuable and they make specific aesthetic choices. It is important to point out that aesthetic preferences govern decisions not only in art-related domains, but also in our everyday lives, especially through the preservation of cultural heritage, the design of urban environments, and, finally, in the conservation of natural ecosystems.

    Of particular interest is the fact that the acquisition and development of aesthetic preferences are tightly intertwined with individual and collective behaviors affecting the environment.

    Aesthetic inclinations for certain materials, styles, or forms of consumption can drive demand for resources, affect land use patterns, and even contribute to pollution or habitat destruction. The perception of wind farms as visually disruptive is a classic example. Despite their clear environmental benefits, opposition to wind farms often arises due to concerns about their aesthetic impact on the landscape. One strategy to increase their acceptance may involve reshaping current societal aesthetic perceptions by educating on their potential aesthetic values. Similarly, the traditional view of green lawns as the epitome of garden beauty carries considerable environmental repercussions. Maintaining lush green lawns implies excessive water consumption, chemical fertilizers and pesticides contributing to water pollution, habitat degradation, and resource depletion. Shifting towards alternative gardening practices may require a reevaluation of our collective aesthetic preferences (Saito 2017).

    With the above in mind, in recent years, the notion of sustainability has been increasingly juxtaposed with that of aesthetic appreciation (Berleant 2014; Brady 2014; Saito 2017; Lehtinen 2019; 202; Mikkonen 2021). At the same time, artistic practices related to the topic of climate change and environmental sustainability more generally have multiplied (Welsh 2020; Simoniti 2023), reflecting a growing awareness and concern for these topics.

    This issue of the AM Journal of Art and Media Studies aims to engage philosophical aesthetics, art criticism, and art practices in dialogue in order to bring out crucial issues raised by the relationship between art and sustainability. The authors who contributed their essays for this issue consistently emphasize the significance of aesthetic education in enhancing our environmental sensibilities in the time of climate change.

    In her opening contribution, María José Alcaráz León addresses the possible impact that being aware of global climate change may have on the aesthetic experience of current environments. Relying on the theoretical tools provided by environmental aesthetics, her article casts light on the emotional and imaginative outcomes of environmental awareness. She elaborates, in particular, on whether the temporal sense we have of irreversible processes affecting nature and the existential link of dependency we feel towards it leaves room for aesthetically rewarding experiences.

    Our aesthetic relationship with places and, most of all, with natural landscapes is tackled by Paolo Furia’s paper, focusing on the role played by images in understanding and defining our environment. Drawing on environmental aesthetics, human geography and media studies, Furia points out that the inherent dialectical interplay between places and their images urges us to learn to interpret the latter as valuable tools to access our geographical realities.

    The need to represent the environment and human responsibility for its deterioration is at the core of the art critic Ana Frangovska’s essay. On the background of classical dilemmas in aesthetics and moral theory, the paper analyzes two artistic projects by contemporary artist Elpida Hadzi-Vasileva. The installations Silentio Pathologia and Haruspex provide challenging, tangible examples of how the aesthetic conflict between formal beauty and disgust caused by certain materials, can confront us with moral questions about resource exploitation, capitalism, and animal abuse.

    The task of a theoretical clarification is taken on by Noora-Helena Korpelainen, who devotes her contribution to disentangling close yet distinct notions at play in the domain of aesthetics and climate change. ‘Aesthetic sustainability’, ‘the aesthetics of sustainability’, and ‘sustainable aesthetics’ are addressed and defined to support scholarly endeavors regarding the role of aesthetic competence in sustainability deliberations. Aesthetic sustainability helps us assess our aesthetic engagement with reality in relation to environmental sustainability. The aesthetics of sustainability examines how ecology-related practices are liable to aesthetic evaluation. Finally, sustainable aesthetics is a self-reflective notion that examines how aesthetic theories and activities can comply with urgent sustainability requirements.

    Thought-provoking case studies of all three concepts are offered by the artists’ portfolio of the following section.

    Artist Carolina Alfradique introduces [meta]estratos, a Brazil-based research institute where artists, curators and researchers carry out collective projects intertwining theoretical readings, critical analyses, and artistic experiments. [meta]estratos’s portfolio can be fruitfully coupled with Furia’s “Place and image. The role of representation in the aesthetic experience of places”, for it seems to offer a tangible example of the productive and non-trivial entanglement between the geographical reality and the geographical imaginary.

    The collective IC-98, formed by artists Visa Suonpää and Patrik Söderlund, presents two projects, the House of Khronos and the Raa’anhaava Park of Wounded Earth that deal respectively with the passage of time in un-exploited environments and the possibility to creatively and collectively renegotiate the nature of an exploited land. Both projects mobilize concepts introduced by Alcaráz León’s “Anticipating Aesthetic Transformations in the Face of Climate Change”, namely those of the temporal sense of irreversibility that characterize our aesthetic appreciation of environments threatened by climate changes and of the existential dependency that we feel when confronting damaged environments.

    Artist and photographer Virginia Hanusik’s project Louisiana 2014–2022 delves into the challenges of living in a changing climate, revealing the spiritual essence of existence amidst ecological degradation and collapse. Her aesthetically valuable images of the Gulf of Mexico’s seacoast in the US state of Louisiana illustrate the passage of time through subtle modifications in the landscape, thereby functioning as representations not only of a landscape but also of the specific feelings stemming from her own awareness of ongoing climatic changes.

    The issue concludes with Camilla Palazzolo’s review of Vid Simoniti’s Artists Remake the World, a Contemporary Art Manifesto (2023), which explores the role of art in addressing a myriad of challenges that today’s societies are confronted with, such as climate change and global inequality. Simoniti’s book provides a comprehensive examination of how contemporary art can influence modern democratic-capitalist societies, highlighting its potential to foster audience emancipation and cultural advancement.

    Guest Issue Editors

    Lisa Giombini (Roma Tre University, Italy)

    Marta Benenti (University of Murcia, Spain)

    Reviwers: Elisa Caldarola (Università degli Studi di Torino, Italy), Javier Leñador Gonzalez-Paez (Universidad de Sevilla, Spain), Valeria Maggiore (Università degli Studi di Palermo, Italy), Jelena Matić (Belgrade, Serbia), Natxo Navarro Renalias (Universidad de Murcia, Spain), Alberto Leopoldo Siani (University of Piza, Italiy), Zoltán Somhegyi (Károli Gáspár University, Budapest, Hungary)

    On the cover: Provisonal Salta Ensemble, Druga priroda [Second Nature], 2017.

  • Issue No. 32, October 2023 – Main Topic: Art, Science, and Health
    No. 32 (2023)

    Editors’ Note

    Art, Science, and Health

    In the current state of emergency concerning welfare, AM Journal of Art and Media Studies seeks to gather a body of contemporary critical theory and progressive new media art practices contextualizing health in its broadest sense. Authors were invited to submit proposals that approach contemporary art, science, and health as intertwining factors and that address some of the prevailing challenges humanity is facing. Suggested, but not exclusive topics, were those associated with personal and social healthcare, environmental balance, physical malady, mental disorder, well-being discourses, healing and care-practices, human and non-human relations from the perspective of health humanities, genetically engineered reproduction, as well as ethical issues in aging and end of life.

    In a time saturated with lethal pathogens, non-holistic biomedical experimentation allows a limited approach to the understanding of health. What is the meaning of being healthy and not being healthy? What are the norms and standards of health through different times and cultures? What are the ethical issues regarding scientific research in the name of human health? What are the repercussions of a so-called vigorous and sick body? Within the health narrative it becomes imperative the extension towards broader concepts such as: biopolitics of dying and surviving, human rights, medical science and alternative medicine, health technologies relating to enhancement mechanisms and design prosthetics, genetics and bioethics, big science and citizen science, activism and environmental practices, pharmacology and symbolic rituals of care, containment and contamination, patient profiling, disease management, identity and surveillance. The selected articles for this issue are researching art, science, and health from the aspects of history and contemporaneity, social justice, care and biomedia art.

    The initial two articles delve into the historical connection between art and science, particularly in the realm of biopolitics and anatomy. This approach uncovers the historical ties between art and science and illustrates the intricate interplay between historical and contemporary art, science, and health. In “Functional and Dysfunctional Relations of Art, Science, and Health” Miško Šuvaković explores the interplay between historical and contemporary art, science, and health within the realms of politics, ethics, and aesthetics, emphasizing the critical analysis of biopolitical and necropolitical dynamics through modern artistic research. It aims to highlight art's potential to challenge ethical norms, raise questions about universal ethics, and examine the boundaries of medical morality and ethics. Angelina Milosavljević’s article “Early Modern Art and Science: Simulation of Dissections in the 16th Century Fugitive Sheets” explores how during the 15th century, anatomy became a part of art education, leading artists to contribute to anatomical research through intricate graphic representations, notably the volumetric anatomical fugitive sheets. These artists collaborated closely with scientists, introducing interactive methods to translate complex information into accessible models, as seen in works such as Andrea Vesalius's “De humani corporis fabrica” (1543) and Johann Remmelin's “Catoptri Microcosmici” (1609).

    The following three articles share a common theme of addressing social justice issues within the domain of healthcare, demonstrating their interconnectedness through a focus on equitable and fair access to health services and resources. Dubravka Đurić’s article “Gender Critique of The Scientific and Medical Construction of the Female Body in Women’s Artworks” presents a gender critique of scientific and medical depictions of the human body and its health, emphasizing the ideological construction and biopolitical control of gender differences. It examines the historical dialogue between medicine, feminism, and art, delineating three phases in Western medical discourses and their interplay with representations of female bodies, as illustrated through the works of artists such as Hannah Wilke, Katarzyna Kozyra, and Orlan. Hege Tapio and Ingvil Hellstrand’s article “Caring Futures?” is elaborating on the art exhibition “Caring Futures” at Sølvberget gallery in Stavanger, Norway, exploring the evolving concepts of care, humanity, and vulnerability in the context of advancing technology and contemporary healthcare, particularly in Nordic welfare states. Through artworks addressing ethical issues in aging and themes of enhancement, genetics, and bioethics, the exhibition aimed to prompt reflections on how technology influences our perceptions of the human body and societal norms. Jane Prophet, Rahbel Rahman and Afton L. Hassett, in their article “An Online Photovoice Study Designed by Researchers from Art and Social Work to Better Understand the Experience of Chronic Pain by Women of Color”, address a sensitive topic of social justice through the practice of British feminist artist-photographer Jo Spence. She challenged medicalized representations of female cancer patients through her phototherapy, leading hospitals to acknowledge the need for changes in medical practices and attitudes towards patients. Similarly, Photovoice, a participatory design method, has been effectively used in health settings to empower patients, particularly in addressing gender and race-related health disparities in chronic pain treatment, emphasizing health equity as a crucial aspect of social justice.

    Aspects of care, whether through nursing practices or personal empowerment, in the context of healthcare and well-being, is the topic of the next two articles. The study of Shohib Bashir and Binod Mishra “Care to Cure: Voices of Sick Bodies in the film The Good Nurse (2022)” reflects on the deteriorating positions of patients despite receiving appropriate medical treatment, emphasizing the critical role of nursing. Referencing Lydia Hall's ‘Care, Cure, and Core’ theory, it examines how nursing practices can influence patient well-being and underscores the importance of trust within the healthcare system, drawing on the narrative of the film The Good Nurse to highlight the complexities and virtues of nursing professionalism in improving patient recovery. Lyndsey Walsh in “Self-Care: Seeking Queer Liberation from the Medical Gaze and Genetic Fatalism”, addresses the transformative impact of genetic diagnostics on perceptions of health, particularly in relation to the concept of genetic risk and its implications for individuals with identifiable genetic differences. Walsh discusses the artwork "Self-Care," which embodies the artist’s resistance to the medical gaze and explores themes of health, gender, and identity through a narrative that challenges traditional boundaries between sickness and health, male and female, and parent and child, aiming to stimulate critical self-reflection on the nature of self-care and caregiving.

    The final contribution from artist Adam Zaretsky is showcasing his experimental biomedia art practice. The “Transgenic Embryo Implantation. Excerpts from The Life Cycle of The Programmed Mouse, an Art and Biology Residency in an Experimental Animal Production and Research Facility” focuses on chronicles of bioart residency at the i3S transgenic mouse production facility in Porto, Portugal, highlighting the purposes of breeding genetically modified mice for medical research. It outlines the various hands-on experiences and software studies conducted during the residency, emphasizing the artistic exploration of the facility's operations and its connection to broader fields like medical anthropology and science technology studies.

    Guest Issue Editors

    Dalila Honorato, Olga Majcen Linn, Sunčica Ostoić

    Reviwers: Shohib Bashir (Humanities and Social Sciences, Indian Institute of Technology Roorkee, Roorkee, Uttarakhand, India), Dubravka Đurić (Faculty of Media and Communications, Singidunum University, Belgrade, Serbia), (Marija Geiger Zeman (Institute of Social Sciences Ivo Pilar, Zagreb, Croatia), Hege Tapio (Oslo Metropolitan University, Oslo, Norway), Predrag Terzić (Faculty of Media and Communications, Singidunum University, Belgrade, Serbia)

    On the cover: Adam Zaretsky and AI collaboration: Transgenic Embryo Implantation. Excerpts from The Life Cycle of The Programmed Mouse, an Art and Biology Residency in an Experimental Animal Production and Research Facility.

  • Milorad Krstić, DAS ANATOMISCHE THEATER / The Simultaneous Games of the 20th Century, 1917.

    Issue No. 31, September 2023 – Main Topic: The Concept of ‘Influence’ in Art and Aesthetics
    No. 31 (2023)

    Editor’s Note

    The question of influence in art and aesthetics can have both positive and negative aspects. It can facilitate certain particulars in the discourse on artistic production, but can also challenge aesthetic judgement. On the one hand, we can establish connections between artists and/or artworks through the investigation of one influencing the other. On the other hand, however, this could also imply that the later artist’s oeuvre or artwork’s quality is not entirely singular but depends on, or even ‘owes’ something to, the earlier. There are also other segments in the notion of ‘influence’. We can, for example, scrutinize numerous details and factors that have an ‘impact’ and even ‘interference’ in the actual perception and appreciation of artworks. How do these obstruct and hinder, or – to the contrary – help the aesthetic effect and efficiency of the exhibited pieces? It can thus again be a positive or negative influence.

    Further aspects in the examination could also include the analyses of the possible modifications and even of distortion coming from, for example, the art market, from the shifting accents in the classical infrastructure of art and from the novel technologies that can all influence the making, exhibiting, ‘consuming’ and evaluating art. How can large-scale art events, biennials, powerful galleries, and collectors influence the canon of art? How do digitalization, AR, and VR modify the modes of connecting to and through art? What influence are they and will they be playing in the art world? What challenges do these pose to our classical concepts of the work of art?

    The thematic section of AM Journal of Art and Media Studies is investigating these and similar questions through different types of texts.

    Guest Issue Editor

    Zoltán Somhegyi, Károli Gáspár University of the Reformed Church in Hungary

    Reviwers: Izmer Bin Ahmad (College of Fine Arts and Design, University of Sharjah, United Arab Emirates), Davor Ereš (Institute for Philosophy and Social Theory, University of Belgrade, Serbia), Judit Faludy (Faculty of Humanities and Social Sciences, Károli Gáspár University of the Reformed Church in Hungary), Sara Herczyńska (Institute of Polish Culture, Faculty of Polish Studies, University of Warsaw, Poland), Jay Hetrick (College of Fine Arts and Design, University of Sharjah, United Arab Emirates), David Lombard (F.R.S.-FNRS/Universities of Liège and Leuven, Belgium, France), Tyrus Miller (University of California, Irvine, USA), Adriana de Miranda (Ca’ Foscari University of Venice, Italy), Gabriella Uhl (Faculty of Humanities and Social Sciences, Károli Gáspár University of the Reformed Church in Hungary), Iris Vidmar Jovanovic (Department of Philosophy, University of Rijeka, Croatia), Zhuofei Wang (University of Hildesheim, Germany), Mechtild Widrich (School of the Art Institute of Chicago, USA)

    On the cover: Milorad Krstić, DAS ANATOMISCHE THEATER / The Simultaneous Games of the 20th Century, 1917.

  • Christian England, Oankali parent with Oankali-human hybrid child (courtesy of the artist).

    Issue No. 30, April 2023 – Main Topic: Cosmographies of Worlding and Unworlding
    No. 30 (2023)

    Editor’s Note

    Across the arts and sciences – as well as that stretch Derrida calls lifedeath – the ontological turn has challenged Descartes’ founding of the modern world on human subjectivity, shaking the very foundations of aesthetic experience and experience itself. Facing global eco-anxieties of the Anthropocene, COVID, militant nationalisms, and critiques of extractive knowledge production, some seek the world’s worlding, others its unworlding; some practice universal design, others pluriversal design; some call for cosmopolitics, some cosmotechnics.

    Online and off, both Dasein and design foreground technologically embodied experience in the most intimate and alienating of events, radically extending the forms, functions, and contexts of artistic and aesthetic practices of un/worlding to activists, communities, and researchers, while experiential wisdoms from the Global South and Eastern philosophy open radically new engagements with Western ontology, epistemology, technology, and aesthetics. Artists may play leading roles, supporting roles, and sometimes no role at all in emerging forms of contributory and action-based research.

    The toxic effects of social media and other pharmakological platforms – and thus too their curative potential – within political, cultural, and other processes of un/worlding, demand heightened reflection and critico-creative experimentation.

    Globally, the sharing of aesthetic practices at individual and collective scale increasingly unfolds via transversal network, transient ideation, and algorithmic processing by any media necessary. Given the multiple cascading crises of world-making/breaking: Who or what makes and unmakes worlds today, what composition of players constitute contemporary cosmography? Which aesthetic practices, materials, and structures enable and/or disable contemporary subject formation, sociotechnic collaboration, and shared world making? To what ends – if any – might such world-making or -unmaking proceed, and for whom or what? What signposts or onto-historical markers might guide these ways of proceeding toward or beyond the all too human?

    Guest Issue Editor

    Professor Jon McKenzie

    Reviwers: Muteber Erbay (KTU Faculty of Architecture, Trabzon, Turkey), Lissette Lorenz (Cornell University, Ithaca, New York, USA), Tijana Mačkić (Faculty of Architecture, University in Belgrade, Serbia), Mateja Kurir (Independent Researcher, Ljubljana, Slovenia), Katarina Rukavina (Academy of Applied Arts, University of Rijeka, Slovenia), Ian Schuler (University of the State of Rio de Janeiro, Brazil)

  • On cover: Provisional Salta Ensemble, Virtual Parameters, photocolague, 2019–2022.

    Issue No. 29, October 2022 – Main Topic: Contemporary Aesthetics of Art and Technology
    No. 29 (2022)

    Contemporary developments in both art and technology are currently challenging many of the traditional ways of seeing, thinking, feeling, and being. Technological and technology-enabled developments such as digitalization, artificial intelligence (AI), machine learning, robotics, virtual (VR) and augmented (AR) reality, Internet of Things (IoT), blockchain, GPS, 5G, 3D printing, and biotechnology are examples of complex developments that are notoriously difficult to grasp without specific context and selected examples of their application. Art as another broad field of human activity plays an increasingly central role in raising awareness of new and emerging technologies but also, and perhaps more importantly, in asking the important questions that need to be asked when designing and using technologies. Art has thus, besides its quintessential link to aesthetic value, also significant cognitive and ethical value when dealing with technology, whether as its material, medium, or topic.

    By examining some of the latest developments that bind together artistic and technological developments, the issue highlights the role of contemporary philosophical and applied aesthetics in making sense of the many intersections of art and technology. How new and emerging technologies mediate creativity, meaning-making, and artistic intentionality is one set of possible questions. Another way to approach the theme would be through how technology is changing experience, reception, and interpretation of art. Art has the ability to concretize values but also to show alternative trajectories for technological development. The aim of the issue is thus to move beyond mere presentation of current forms of technology-enabled artistic phenomena towards a richer understanding of the changing human and nonhuman art-interpreted agencies in the technologized world.

    We are excited to call together contributions taking a closer look at the links between contemporary aesthetics, art, and technology to the 29th issue of the AM Journal of Art and Media Studies.

    Guest Issue Editor

    Dr Sanna Lehtinen

    Reviwers: Sanja Gogić (Faculty of Architecture, University of Belgrade; Institute of Architecture and Urban & Spatial Planning of Serbia (IAUS), Belgrade, Serbia), Sonja Jankov (Independent researcher, Belgrade, Serbia), Marija Karan (Faculty of Music, University of Art in Belgrade, Serbia), Jaana Okulov (Aalto University, Finland), Vladimir Popov (Faculty of Media and Communication, Singidunum University, Belgrade, Serbia), Duška Prodanović (Faculty of Architecture, University of Belgrade, Serbia), Marko Ristić (Institute for Philosophy and Social Theory, University of Belgrade, Belgrade, Serbia), Predrag Terzić (Faculty of Media and Communications, Singidunum University, Belgrade, Serbia), Snežana Vesnić (Faculty of Architecture, University of Belgrade, Belgrade, Serbia)

    On the cover: Provisional Salta Ensemble, Virtual Parameters, photocolague, 2019–2022.

     

  • On the cover: Provisional Salta Ensemble; Collages: photo books, 2022

    Issue No. 28, September 2022 – Main Topic: Rare, Bound, Cheap, Inserted – The Evolution of Photobooks
    No. 28 (2022)

    The history of photobooks is closely linked to the history of photography. By shedding light on their evolution, this edition aims to encourage the examination and interpretation of the disparately treated cognitive and visual sequences published in editions over the course of different periods.

    Do we accept linearity as an almost indispensable approach to a sequence of images, expecting a potential narrative? How do we interpret the empty gaps and the layout of photographs on the pages? Do we yearn for a verbal text that would clarify the circumstances in which the photos were taken and elucidate their meaning; are we capable of adopting words that function as an additional form of the image, which are impossible to visualize in a way other than through language? Are photobooks “expanded photo-essays” (Parr, Bedger), and to what extent, in order to understand the medium, do we have to consider typography, the choice of paper and other elements of design? Is the institutionalization of photobooks favorable; does digitization increase their visibility, or does it take away relevant aspects that are impossible to access while looking at a screen? What are the differences between books with photographic illustrations and recently created ones that defy existing classifications? Have women conceived a different form of photobooks, and, if so, what are their peculiarities?

    Hand-made books created outside of the standard Western artistic canon, which are often found within the practice of “artist’s books” in Central, Eastern and Southeast Europe, exemplify conceptual strategies often incompatible with standard narratives. Moreover, their content is often directed at the complex political circumstances, reacting to the ideological discourse in different ways, depending on the political and social situations, which, in this vast geopolitical area differ significantly from the rest of the world. Sometimes they contain parts written in by hand, while other editions reveal archaeological traces of sorts – objects that address the nature of the medium and its history.

    In recently published photobooks, photographs are often laid out in a way that they partly extend to the next page, making the viewing more difficult and setting new challenges before the viewers. Traditional hierarchies are abandoned, the content is no longer necessarily bound within the book but simply inserted, surrendered to rearranging by the observer. Photobooks increasingly become hybrids between the printed medium and sculptural objects, arranged spatially in a completely arbitrary way that might be reminiscent, for instance, of Petar Dabac’s Cube. Books become a game, an intellectual enticement for the re-examination of established structures and finding ways of working outside set formats and editorial decisions.

    Photobooks have become more akin to artist’s books. Therefore, we propose an investigation – of the chronological development, geographical, historical, cultural, and other aspects, as well as the contemporary divergences from previous stylistic and formal standards – as the focus of the 28th issue of the AM Journal of Art and Media Studies.

    Guest Issue Editor

    Dr Sandra Križić Roban

    Reviwers: Elisaveta Dvorakk (Department of Art and Visual History, Humboldt University of Berlin, Berlin, Germany), Dubravka Đurić (Faculty of Media and Communications, Singidunum University, Belgrade, Serbia), Anastasija Kocić (Faculty of Sport and Physical Education, University of Belgrade, Serbia), Julie Martin (LLA-CREATIS, Université Toulouse Jean Jaurès, France), Jelena Matić (Faculty for Media and Communications, Singidunum University, Belgrade; Faculty of Applied Arts, Belgrade, Serbia), Adam Mazur (Magdalena Abakanowicz University of Arts in Poznań, Poland), Jelena Mišeljić (The University of Montenegro, Faculty of Dramatic Arts, Cetinje, Montenegro), Lucia Pennati (Istituto di Storia e Teoria dell'Arte e dell'Architettura, Accademia di Architettura, Università della Svizzera Italiana, Switzerland), Mareike Stoll (Weißensee School of Art and Design, Berlin, Germany)

    On the cover: Provisional Salta Ensemble, Collages: Photo Books, 2022

  • On cover: Provisonal Salta Ensemble, Dubravka Đurić i Miško Šuvaković: Eco-cut, foto-colague, 1989–2022.

    Issue No. 27, April 2022 – Main Topic: TRANS-TACTICAL IMPACTS: The transdisciplinary, transcultural, transnational, translinguistic, transmedia, and transindividual in contemporary humanities, politics, artistic and media practices
    No. 27 (2022)

    This issue of the AM Journal of Art and Media Studies is thematically dedicated to liminal, nomadic, transformative, porous, and dynamic experimental research practices in the fields of contemporary humanities, politics, art, and media practices. We are interested in how traditional, modern, and contemporary concepts and discourses move between different disciplines, contexts, and possible worlds of philosophy, theory, writing, and artistic/media productions. At a time of crisis in global and local health, environment, economy, politics, and education, when the neoconservative and conservative demand is aimed at closing disciplines (into their 'parent' disciplines), cultures (favoring cultural homogeneity), nations (for the sake of ethnic/national homogeneity), languages (in favor of stable, standardized languages), knowledge (ontology, reontologization), communication (controlled and corrupt media), and individuality (pragmatic and self-sustaining utilitarian subjectivity), we want to start discussions about alternatives based on experimentation and searching for open, in other words, free forms of life, action, and exchange. We are looking for reasons, arguments, and challenges for experimentation in contemporary humanities, politics, arts, and, certainly, media practices. The goal is to find a foothold for an open kind of humanities and theoretical disciplines, as well as the potential for critical action, at a time when bare survival, the ideology of economic sustainability, the politics of education in skills, and technocratic fetishism have begun to suppress fundamental and risky experimental research in the humanities, politics, the arts, and media. This means that we face important issues related to the functional and dysfunctional, human and non/post-human, thinking and AI management, psychoanalysis, and cognitivism, the ontological and epistemological, free and controlled, active and inactive, closed and open, alienated and de-alienated, emotional and affective, imperial and nomadic, ecological and urban, etc. Contemporary humanities, politics, arts, and media practices are faced, as always, with the important demand of pursuing self-reflection and self-criticism that may lead to catastrophic self-destruction or an experimental way out of the crisis. Of course, this always concerns the allegorical image of the relationship between catastrophe and progress, which was posited for us by Walter Benjamin in his discussion of Paul Klee's allegorical painting Angelus Novus and which remains relevant even today. In a completely different context, the choreographer Jerome Bell produced his dance piece Show Must Go On! The important question we need to test and re-examine is how to proceed, how to go further, and how to get out of one context and enter other/different contexts?

    Dr Miško Šuvaković

    Editor-in-Chief

    Reviwers: Sara Tvrdišić (Faculty of Dramatic Arts in Belgrade, Serbia), Marija Tavčar Ph.D. (Faculty of Contemporary Arts, Belgrade, Serbia), Stefan Alidini MA (Faculty of Philology, Belgrade University, Belgrade, Serbia), Milan Ličina MA (Faculty of Digital Arts, Metropolitan University Belgrade, Belgrade, Serbia), Biljana Mitrović Ph.D. (Institute for Theater, Film, Radio and Television; Faculty of Dramatic Arts, Belgrade, Serbia), Dragana Stojanović Ph.D. (Faculty of Media and Communications, Singidunum University, Belgrade, Serbia), Nikola Dedić Ph.D. (Faculty of Music, University of Arts, Belgrade, Serbia), Diana Marincu Ph.D. (Artistic Director, Art Encounters Foundation, Timișoara, Romania), Marina Mironica (Independent Sociologist and Researcher, Romania), Ileana Nicoleta Sălcudean, Ph.D. (Faculty of Theater and Film, Babes-Bolyai University, Cluj-Napoca, Romania), Atsuhide Ito (Solent University, Southampton, England, and London College of Communication, University of the Arts London, England, United Kingdom), Ruth Y. Y. Hang (Hong Kong Baptist University, Hong Kong, China)

    On cover: Provisonal Salta Ensemble, Dubravka Đurić i Miško Šuvaković: Eco-cut, foto-colague, 1989–2022.

  • Helio Oiticica’s installation “Tropicália” (1967) & Provisional Salta Ensemble “Tropicalismo Col”, 2021.

    Issue No. 26, October 2021 – Main Topic: Brazilian Aesthetics and Art
    No. 26 (2021)

    This issue of the AM Journal of Art and Media Studies, dedicated to Brazilian contemporary aesthetics, gathers papers on some of the main figures that contributed decisively in the 20th century and beginning of the 21st to the development of research on aesthetics in Brazil, as well as articles focused on relevant topics of Brazilian culture, in the considered period, which had an impact on the philosophical reflections about art and culture in general and particularly in Brazil. Covering important themes related to Brazilian popular music (The Tropicália movement and the style known as MPB), literature (Clarice Lispector and Oswald de Andrade’s Anthropophagy) visual arts (Maria Martins and Hélio Oiticica) art criticism (Mário Pedrosa) and the approach of the new media (Vilém Flusser), the set of articles of this dossier draws an outstanding panorama of the realm of Brazilian aesthetics in the considered term. The individual figures focused upon in these articles include Brazilian-born thinkers such as Benedito Nunes, Gerd Bornheim, Gilda Mello e Souza and Mário de Andrade, as well as the naturalized Brazilian, Czech-born Vilém Flusser. The authors of these papers are elder and younger researchers in the field of aesthetics and philosophy of art, based in some of the best Brazilian universities and active in outstanding research groups devoted to this matter.

     

    Guest Issue Editors

    Rodrigo Duarte and Rizzia Rocha

     

    On the cover: Helio Oiticica’s installation Tropicália (1967) & Provisional Salta Ensemble Tropicalismo Col, 2021.

  • On the cover: Igor Grubić, Do Animals...? (2017 ongoing)

    Issue No. 25, September 2021 – Main Topic: Acoustic and Visual Ecology of Damaged Planet
    No. 25 (2021)

    Editor’s Note

    Acoustic and Visual Ecology of Damaged Planet

    This special issue of AM Journal of Art and Media Studies invites scholars in the environmental and energy humanities, media studies, film studies, musicology, sound studies, and cultural studies to probe climate change and environmental degradation from the visual and sound perspectives and their intersection. We are particularly interested in how various visual and sound media, including film, TV, art, and music, address the problem of the invisibility of the current environmental crisis and censure our insufficient action to save the planet, even as these media are ultimately seeking to make these issues visible and audible to audiences worldwide. The special issue also examines the ways in which images and sounds of the degrading planet formulate the cultural understanding of the environmental crisis. How, through various kinds of visual and acoustic performances, do authors, artists, and activists challenge the existing socio-cultural and political attitudes to climate change, ecological decline, environmental degradation, and the destruction of the planet, so that their works emphasize the urgent necessity to act in order to preserve the life of humans and nonhumans on Earth? The articles in this special issue not only foreground the power of visual and acoustic texts to re-envision climate change, the planet, and the role of the human in the current environmental crisis but also illustrate how visual and sound media can be effectively used to directly tackle climate change and environmental destruction.

    Guest issue editor

    Dr Tatiana Prorokova-Konrad

    University of Vienna, Austria

     

    On the cover: Igor Grubić, Do Animals...? (2017 ongoing)

  • Ivana Bašić, I will lull and rock my ailing light in my marble arms #2, 2017

    Issue No. 24, April 2021 – Main Topic: How to Do Things with Speculative Pragmatism: Pedagogy, Politics, Philosophy
    No. 24 (2021)

    Texts gathered in this issue are the second part of the How to Do Things with Speculative Pragmatism double themed issue of AM: Journal of Art and Media Studies. While the previous issue, number 23, dealt with art, aesthetics, and Anthropocene, this issue concerns itself with pedagogy, politics, and philosophy. We wanted to provide a forum for academics, theoreticians, artists, and those who complicate boundaries between disciplinary regimes to enter into a dialogue with speculative pragmatism, its ontology, politics, and aesthetics, along with the multiplicity of lines of inquiry, and see what kind of new material–semiotic configurations might emerge. In his book Parables for the Virtual: Movement, Affect, Sensation (2002), Brian Massumi refutes the notion that a thing is when it isn’t doing. For the thing is always doing, so much so that the thing, any-thing, is constituted through the doing. Every-thing is fundamentally relational. Since the starting point has changed, the key terms of the onto-politico-aesthetic debate change and they are affect, immanence, movement, intensity, emergence, becoming, event, virtual, thinking–feeling, nature–culture, space–time. Speculative pragmatism, a term Massumi introduces in Semblance and Event: Activist Philosophy and the Occurrent Arts (2011), points to the fact that the processual nature of event is always already immanent, so instead of fundamental binary oppositions there are disjunctive syntheses: speculative–pragmatic, aesthetic–political, thinking–feeling.

    Those familiar with Massumi’s and Manning’s conceptual apparatus and theoretical platform will object that we performed violence by deciding not only to separate issues according to academic fields but to consider separate academic and non-academic fields at all. According to Massumi and Manning, aesthetics and politics are inseparable; they are two aspects of a single event. We argue that the same can be said of other “fields”. In response to that imaginary accusation (and self-accusation) that to separate the fields is exactly what we are not supposed to do, we can say – that is true. However, the difference itself forces us to do so and without posing disciplinary identity exactly. The authors gathered in this double issue do not yield to such disciplinary identitarianism either, as texts in previous and this issue testify in a redemptive manner for us editors.

    This issue, then, deals with pedagogy, politics, and philosophy. Many of the authors contributing to this issue come from various academic fields. Meanwhile, several authors are artists themselves, and we are glad to have had the opportunity to read their texts wherein they attempt to produce concepts from their own practice and put their practice in dialogue with speculative pragmatism and other theories and philosophies.

    Ties van Gemert, in his text “Sequencing and Scrutinizing a Line of Thought: Epistemological Questions for a Speculative Pragmatist”, engages in a critical dialogue with the epistemology and metaphysics of speculative pragmatism focusing on Massumi’s synthesis of the subject–object distinction, his theory of judgment, and his deflationary notion of truth. By analyzing Massumi’s conceptualizations in the book Semblance and Event (2011), Gemert argues that speculative pragmatism can be reformulated as a philosophy of panperceptionism.

    Marija Bulatović, in “Those Who Want to Play: Pursuing Animal Politics in Upbringing and Education”, problematizes the defined modes of existence of a child, an adult and an elderly individual, and the ways in which play is established in education. Bulatović attempts to find in the human lifespan the moments when, after childhood, an adult gives him or herself over to play, and to propose the manners of overcoming the intergenerational differences in formal education as a space for surpassing the given in the entanglement of education and life.

    Nevena Mitranić, in “The Tales of Death and Kindergarten: Becoming in Dark Encounters [COVID-19 Edition]”, autotheorizes her experience with children during her research of kindergarten practices. Mitranić engages herself in the pursuit of thinking and living educational practices in an ethico-aesthetical manner encountering the deeply-hidden secret of death in preschool practices intersected with the ongoing COVID-19 pandemic.  

    A group of seven authors, Lima, Germano, Campesato, Esteves, Mapurunga, Bonafé, and Reis, in their text “Between Control and More-than-Human Events: The Listening Experience in the Light of Speculative Pragmatism”, provide an analysis of the relationship between listening and power in a context of information warfare through the concepts of lived abstraction and subjectless individuation. They aim to propose a possible understanding of listening as an act of thought that is potentially articulated outside the noological register of narcissism through the appreciation of a mode of artistic operation that works in a manner of designing listening experiences.

    Vinícius Portella Castro, in “From Polyphasic Latency to Polyrhythmic Concretion: Rhythm and Relation in Simondon and Whitehead”, follows the work of Brian Massumi, Luciana Parisi, and Steve Goodman to point out that both Simondon and Whitehead offer implicit rhythmic ontologies, albeit radically distinct. Castro intersects Whitehead’s generalization of subjectivity throughout all scales and Simondon’s generalization of the notion of individuation for all scales by analyzing polyrhythms of African music.   

    Matthew Newcomb, in his text “How to Make Your Child Sleep: Designing Rhetorical Experiences”, makes an effort to help parents prepare their children for a night’s sleep by bringing design further into the discussion of rhetoric, adding a design-based angle to new materialism, theorizing rhetoric as an experience, and considering John Dewey’s notion of experience and Brian Massumi’s work on affect in light of design and material rhetoric.

    Diego Gil, in his text “Processual Creativity and Partial Incorporations”, follows Deleuze’s perspective of knots and Massumi’s notion of body–environment to propose three series of questions about how to think–feel the entanglements of processual philosophy and somatic practices that do not have just one answer but do have a potential incessant displacement – knot of curation, knot of somatics, and knot of research–creation. 

    Anthony Reynolds, in “Becoming Animal of Philosophy: Pragmatism, Pragrammatology, Speculative Pragmatism”, writes about similarities and differences in Derrida’s and Massumi’s appreciation of Charles Pierce’s theory of abduction. Reynolds argues that American pragmatism initiates an effort to recuperate a sense of the animality of thought, that it constitutes a philosophical example of the process that Deleuze and Guattari call “becoming animal,” and that its progress along these lines can best be seen within Massumi’s speculative pragmatism.

    The writings collected within the double issue How to Do Things with Speculative Pragmatism enter into processes of becoming with the world and creating new relations, however impermanent they might be. The authors gathered here also provide readers who may be coming freshly to Massumi’s and Manning’s philosophical line of disjunctive syntheses with a sense of both resonance and divergence between speculative pragmatism and the thinkers more familiar to their own fields. Hopefully, edited volumes and other journal issues dealing with this theoretical platform will come to life soon.

    Issue Editors

    Marija Bulatović and Andrija Filipović

     

    On the cover: Ivana Bašić, I will lull and rock my ailing light in my marble arms #2, 2017.

  • Provisional Salta Ensemble, Life/NonLife (Amsterdam/Riga), colague, 2012.

    Issue No. 23, October 2020 – Main Topic: How to do Things with Speculative Pragmatism: Anthropocene, Aesthetics, Art
    No. 23 (2020)

    exts gathered in this issue are the first part of the How to do things with speculative pragmatism double themed issue of AM: Journal of Art and Media Studies. What things do we want to do with this double issue? Firstly, we wanted to try to gather academics, theoreticians, artists, and those who complicate boundaries between disciplinary regimes, from both within Serbia and the rest of the world, and who engage in any way with the work of Brian Massumi and Erin Manning just for the sake of seeing what can happen. What will happen remains to be seen, but we hope the authors, their texts, and ideas will enter into the unexpected processes of becoming and create new relations however impermanent. Secondly, and more academically, we wanted to address the dearth of academic engagement with Massumi’s and Manning’s work. As of the writing this introduction to issue number 23, in July 2020, there are no edited volumes or issues of other journals dealing with their books and texts. Speculative pragmatism remains to be critically, theoretico-practically, addressed and this double issue aspires to be the first small step in that direction.

    Those familiar with Massumi’s and Manning’s conceptual apparatus and theoretical platform will object that we performed violence upon deciding not only to separate issues according to academic fields but to consider separate academic and non-academic fields at all. Thus, this issue deals with art, aesthetics, and the Anthropocene, while issue number 24 concerns itself with pedagogy, philosophy, and politics. Whoever has even chanced upon any of Massumi’s and Manning’s texts will know that aesthetics and politics are inseparable, that they are two aspects of a single event. The same can be said of other “fields”. So, in response to the (so far imaginary) accusation that to separate the fields is exactly what we are not supposed to do, we can say: that is true. However, the difference itself forces us to do so and without posing disciplinary identity exactly. The texts themselves do not yield to such disciplinary identitarianism easily either, as texts in this and the next issue testify. However, the force of academic custom obliges us to follow certain rules, hence the decision to roughly define certain disciplinary fields. Hopefully the text themselves will redeem us in that regard.

    This issue, then, deals with art, aesthetics, and the Anthropocene. Many of the authors are artists themselves, and we are happy to have had the opportunity to read their texts wherein they attempt to produce concepts from their own practices and put their practices in dialogue with speculative pragmatism and other theories and philosophies. Louisa Bufardeci in her text “Tacktical Aesthetics: A propositional aesthetic language starting from philosophies of relationality” presents what she calls “partial declarations” about art based on Indigenous and feminist philosophies of relationality as well as on idea of resingularisation. Bufardeci ends the text open-endedly, asking how one can develop artistic practice from tacktical aesthetics. Valéria Bonafé and Rogério Costa in “Sounds, Memories and Affects: Double Capture in a Relational Artistic Experience” present and discuss the nos{entre}nós project, which stems from an artistic collaboration between them. They pay particular attention to concepts like zone of indiscernibility, disjunctive synthesis and double capture. The article also deals specifically with the creative processes involved in producing the first artistic work of this collaborative project, Schwarzwälder Kirschtorte. Jasna Jovićević in her “Composing the Actual: Brainwave Sonification as Materialized Intensity of Virtual Relations” theorizes her experimental music performance “I Sit and Worry About Her” that explores the function of large-scale cortical networks and application of EEG, monitoring the brainwaves in the making and perceiving of music. The project aims at understanding the activity of the brain and its electric impulses as an affect or intensity of virtual relations. Jovićević wonders whether it is possible to actualize the virtual open-social identity, even while involved in a social collaborative interaction. Eldritch Priest in “Melodies, Moods, and The Zone as a Hole” draws on his zonal meanderings and a speculative-pragmatic form of acoustic ecology to develop a “fabulation that takes a stroll through a forgotten cemetery, an improvised melody played beneath a secret radar array, and a daydream had in a dilapidated post office as expressive of a thought experiment whose meaningful result is more a fictional achievement than a factual reckoning”. Ana Ramos in “Enter the Event: How is Immanent Participation?” takes the body as a “body-worlding” and then articulates the concepts affective immersion and incorporeal materiality in order to think affect embodiment, and embodiment itself. The paper argues for a materiality real but abstract that has been called “incorporeal”. Corine van Emmerik in “Speculative Pragmatism and Minor Practices in Palestine: The Art of Living and the Cultivation of Futures” considers the aesthetic-political dimension in Palestine and in particular looks at possible Palestinian futures that emerge from it. By taking the example of a women’s embroidery co-operative in the West Bank, van Emmerik demonstrates that speculative pragmatism enables us to attend to the moreness in minor practices, aesthetics, and life itself. 

    The Anthropocene series of texts deals with the questions of environment, ecology, and the relations between humans and nonhumans in art and outside it. Andrija Filipović in “How to do things in the Plasticene: Ontopolitics of plastics in Arendt, Barthes, and Massumi” develops three models for understanding plastic in the Plasticene epoch through readings of Arendt, Barthes, and Massumi. In the Massumian model, plastic is affective; it is a relational body in the process of becoming, simultaneously intensive and multiple in its eventfulness, posing a problem of de-linking other bodies from it. Andrew Goodman in “Wilding Consciousness: Towards a Speculatively Tentacular Thinking-With” writes about a tentacular life that is relational and sticky, a moving-creating-living-with and that is at heart sympoietic and entangled. Wilding, as a speculative pragmatic and tentacular practice, involves thinking with the world in ecological terms and involves a tactic of embracing an entangled and multi-storied approach to thinking. David Lombard in “Toward a Speculative-Pragmatic Sublime: A Narratological Analysis of the Toxic Sublime and the Unnarrated in Contemporary U.S. Literature” provides a close narratological and comparative analysis of Rachel Carson’s short story “A Fable for Tomorrow” (1962) and Susanne Antonetta’s memoir Body Toxic: An Environmental Memoir (2001), which both highlight the pragmatic and ecocritical potential of literature as a source of cultural responses to the Anthropocene challenge. 

    Issue Editors

    Andrija Filipović and Marija Bulatović

     

    On the cover: Provisional Salta Ensemble, Life/NonLife (Amsterdam/Riga), colleague, 2012.

  • On the cover: Provisional Salta Ensemble, VERTIGO 4SV, photocolague, 2019. (Appropriation and transformation: Marina Apollonio, Dinamica Circolare 4S, 1968/2019)

    Issue No. 22, September 2020 – Main Topic: Vertigo Aesthetics: Between Art – Resistance – Technology – Politics
    No. 22 (2020)

    If we carefully re-read some of the fundamental aesthetical texts written a long ago, we may find many references that can help us to highlight and understand the different states of the present. Thus, traditional aesthetical platforms can lose their stable historical and philosophical position through ‘dizzyingly’ changing its orientation towards the fields of contemporary art, technology, politics, and resistance theorization. The ten articles of the section “Main Topic: Vertigo Aesthetics: Between Art – Resistance – Technology – Politics” bring together the issues of the contemporary worlds and the long-ago established aesthetical platforms, thus reflecting the possible historical and geographical vertigo of aesthetics.

    On behalf of the Journal Editorial Team

    Sanela Nikolić

     

    On the cover: Provisional Salta Ensemble, VERTIGO 4SV, photocolague, 2019. (Appropriation and transformation: Marina Apollonio, Dinamica Circolare 4S, 1968/2019)

  • On the cover: Nataša Teofilović, s.h.e. - artikulacija, 2020.

    Issue No. 21, April 2020 - Main Topic: The Worlds beyond European Aesthetics
    No. 21 (2020)

    Western philosophy and aesthetics have always been aware that there are many cases of sensible distributions that belong to the worlds beyond modern European philosophy. That awareness was sometimes raised from the position of European logocentrism and the idea of meta narrativity. In other cases, that awareness was raised from the intention to criticize the universality of Western thinking and to find alternatives to the philosophy of the Western world in the times of its crises. As it was already the case with AM Journal Issue No. 13, 2017 (section “China and the West: Zhuyi and –isms”), our awareness here is shaped by the view of equality in difference, value, and the legitimacy of many possible worlds of contemporary aesthetics. We would like to express the warmest gratitude to our colleagues from Africa and South America for being so willing to participate in theoretical connections, exchange, and discussions.

    On behalf of the Journal Editorial Team

    Sanela Nikolić

    On the cover: Nataša Teofilović, s.h.e. - artikulacija, 2020.
  • On the cover: Jale Erzen, Amazon 1 (135 x 181 cm) oil on canvas, 2019.

    Issue No. 20, October 2019 - Main Topic: Contemporary Aesthetics of Media and Post-Media Art Practices
    No. 20 (2019)

    In the light of the previous journal issue, the current number of AM Journal of Art and Media Studies – with the main topic contemporary aesthetics of media and post-media art practices – tends to challenge the request of identifying and discussing the possible worlds of contemporary aesthetics, that is posted to the theoreticians from different continents during the 21st International Congress of Aesthetics that was held in Belgrade, on July 2019.

    While in the September issue the possible worlds of contemporary aesthetics of the visual arts have been discussed, this issue joins theoretical reflections on contemporary media and post media practices. The common thing for all the articles in this journal issue is that their authors are dealing with artistic and theoretical manifestations that belong to the era of dominance of computer technologies, multimedia platforms, global networking and media-transmitted (artificial) reality.

    Specific philosophical and aesthetics questions are in the focus of the first three papers: the different examples of philosophical views about the sensible configuration in both artistic and non-artistic realm are discussed; the actual phenomenon of art and life science collaborative projects are highlighted as the opposition to the historically prevalent approach to art and science as the autonomous fields of practices; the question of what is subversive in aesthetics is analyzed through the case study of ecofeminist aesthetics in literary art.

    The next group of papers could be described as the one dealing with the different phenomenological, poietics, and esthetical aspects of contemporary film, cinema and television practices: modes of multisensory immersion from the beginning of 20th century are confronted with those of the 20th/21st centuries; the examples of post-media art practices as the hybrid audiovisual genres conducted in the digital environment are critically observed in relation to historical media of representational film; the intersection of humor and politics are discussed through the lens of television aesthetics; the phenomenon of the transformation of visual art through digital technology and social media transposition of images is analyzed.

    The last group of papers belongs to the field of post-digital aesthetics and deals with the issues of artificial reality and artificial intelligence: the New aesthetics is defined as the one examining new forms of art and aesthetic experience as the products of artificial intelligence; the exemplary case study of artificial intelligence creative activity is presented; the thesis that both artificial reality and art have a common means of working on the senses is emphasized and the question connected to this is posed: where is a borderline between artificial reality and art and can artificial reality technologies have an impact on the definition of art?

    This journal issue in whole shows that the worlds of contemporary aesthetics critically problematize both the cases of media and post-media sensual configurations from the historical and current times. But, it also suggests that – connected with the aesthetical aspects of artificial intelligence – the new world of aesthetics phenomena just has been opened that are waiting yet to be fully theoretically identified and discussed.

    Sanela Nikolić

     

    On the cover: Jale Erzen, Amazon 1 (135 x 181 cm) oil on canvas, 2019.

  • On the cover: Susan Bee, Votes for Women, 2018, 30” x 40”, oil, enamel, sand on linen.

    Issue No. 19, September 2019 - Main Topic: Contemporary Aesthetics of Visual Arts
    No. 19 (2019)

    In choosing the aesthetics of visual arts as the main topic of AM Journal of Art and Media Studies No. 19, we were inspired by the 21st International Congress of Aesthetics that was held in Belgrade, in organization of the University of Belgrade, Faculty of Architecture, the Society for Aesthetics of Architecture and Visual Arts Serbia and the International Association for Aesthetics. The general congress topic – “Possible Worlds of Contemporary Aesthetics: Aesthetics Between History, Geography and Media” – implies a question of how contemporary aesthetics deals with the visual aspects of actuality? In finding the answers to this question we presuppose the thesis that there are not only many possible worlds of contemporary aesthetics, but also the many possible worlds of contemporary visual arts. Because of that, every possible case of visual arts aesthetics appears as an individual theoretical text that needs to solve problems of the relationship and conflicts between the distribution of sensible, visual arts, visual culture and many other aspects of the contemporary worlds.

    Within the contexts of the late neoliberal capitalism and the manifestations of nationalism, postcolonialism and globalism, the aesthetics of visual arts today deals with contemporary visual art practices that tend to cope with different social problems (feminist, activist, political, ecological, participatory, appropriative practices). At the same time, aesthetics today mainly theoretically intersects with the art practices that are persistent in crossing the traditional artistic media boundaries. Thus, the contemporary theoretical reflection about visual arts is defined by the self-request to permanently re-define itself in regard to its research objects, theoretical approaches, methodologies and research issues taking into account morphological and ontological plurality as well as the plurality of specific social goals of artistic practices. In the light of all above mentioned, this AM Journal issue should be regarded as a small sample within many possible solutions to theoretically deal with the visual aspects of contemporary worlds and to problematize the actuality through visual arts.

    Sanela Nikolić

     

    On the cover: Susan Bee, Votes for Women, 2018, 30” x 40”, oil, enamel, sand on linen.

  • On the cover: Provisional Salta Ensemble, Corporeal Necropolitics, Beirut-Belgrade, 2019.

    Issue No. 18, April 2019 - Main Topic: Corporeal Archives
    No. 18 (2019)

    Editors’ Note 

    “Corpus: a body is a collection of pieces, bits, members, zones, states, functions. [...] It’s a collection of collections, a corpus corporum, whose unity remains a question for itself” Jean-Luc Nancy 

    Technological advances have enabled a vast array of achievements, satisfying our insatiable need to collect, store and preserve. They have also allowed us to go beyond the institutional repositories of information. Jacques Derrida’s claim that “nothing is less clear today than the word ‘archive’” proves accurate and convincing in present-day society. Within a discourse of individual/micro/macro archives, the body has been established as a crucial “artefact” – it is a bio-cultural record which engages both data production and accumulation.  

    Contributors to this issue are rethinking the body, or bodies, from the archival perspective, from various and multiple starting points of the imaginary body, bearing in mind the normative and normalized ending points of the bodily archives. Regarding the relation between aesthetics and ethics, the following texts deal with the archival bodies further challenging the status of canonical knowledge of the flesh. To imagine the body from the archival perspective is to re-write and to re-member – to safeguard the openness of the questions of/on the body.

    This issue of AM Journal of Art and Media Studies intends to disrupt the ever-present corpuses of knowledge on the body (cultural, ethnographic, political, historical and alike), and more so to attempt to imagine alternative productions of new epistemologies of corpus, i.e. different bodily registries. Corporeal archives aims to probe the subversive tendencies within corporeal archives, and to engage in the re-evaluation of the notions of (de)construction, (re)organization and bio-thanato-political control of bodily matter. Therefore, this collection of essays addresses various and alerting cultural politics and practices that are reshaping our understanding of the body, and examines the new forms of the archival impulses. In this sense, this edition’s focus is critical evaluation of the ambiguity of access to the corporeal caches.

    Ana Došen and Mirjana Stošić, guest editors

  • On the cover: Provisonal SALTA Ensemble, Simulation of the frame (Breaking Bad or The Wire or Wormwood), 2018

    Issue No. 17, October 2018 - Main Topic: Television Series
    No. 17 (2018)

    In the last two decades, television series have grown extremely popular. This popularity rises from the phenomenon called complex television, which was made possible thanks to what media theoreticians, among the first of which was Jason Mittell, call narrative complexity. Narrative complexity developed thanks to the technological transformation of production, broadcasting and especially of the ways of watching television programs. The term revolution in watching is used to denote this transformation, made possible especially by DVDs and downloading. The narrative complexity of television series can be seen within the broader context of the contemporary digital revolution, globalization, neoliberalism, consumerism, media imperialism and narrative imperialism.

    The main characteristic of these TV series is hybridity: they are usually realized as a mixture of ‘a series’ and ‘a serial’, as well as by mixing various genres. Some theoreticians, as well as the makers of the series, directly connect the narrative complexity of the TV series with the complexity of novels by writers such as Dickens, Trollope and Zola (Brett Martin, David Simon). Another points to the fact that the TV series have drawn from the already developed literary genres within which they operate (Jean-Pierre Esquenazi).  Others, like Mittell, insist that these TV series and serials are an inherently television genre and that they should be considered as such.

    Narrative complexity can also be considered within the context of the commercialization and appropriation of avant-garde strategies by the creative industries. As a consequence of this appropriation, television audiences are used to watching complex audio-visual media representations and narrativizations. Therefore, it is no surprise that audiences of the TV series now enjoy, not only the story told, but also, and even more, trying to understand the way the story is constructed. This creative mechanics has been labeled  metareflexive by Jeffrey Sconce, while Mittell writes of narrative special effects, and Neil Harris writes of operational aesthetics.

    The TV series enter into dialogue with contemporary political, economic, social, and cultural tendencies (the economic crisis, the war on terrorism, the decline of the welfare state, the function of mass media in the process of the normalization of contemporary political tendencies, global politics, the decay of medical insurance and all levels of education, along with the culture in general, of drugs and crime, racism and misogyny, violence, and so on). There is some debate, however, about who is genuinely criticizing elements of neoliberalism in these series. Many theoreticians like Fredrick Jameson and Slavoj Žižek have written about the engagement and criticism towards the many aspects of neoliberalism in television serials like The Wire, while others like Liam Kennedy and Stephen Shapiro question whether there is a complicity in their advocacy, which should itself  be criticized.

    These television series provoke us to think about the narrative mechanics by which they are constructed, as well as about the way they represent globalization, neoliberalism, post-feminism, etc.

    guest issue editor: Dubravka Đurić

  • On the cover: Provisional SALTA Ensemble, Reset Mondrian, 2018.

    Issue No. 16, September 2018 - Main Topic: Re-Thinking Modernity
    No. 16 (2018)

    “All that is solid melts into air...”

    Those words, quoted from Karl Marx’s The Communist Manifesto, were used by the American philosopher Marshall Berman in the title of his book on modernity and modernist culture, which was first published in 1982. Berman’s book originated in a kind of opposition to postmodernist theories that were prevalent at the time, whose advocates saw in the idea of modernity only a traditional ‘meta-narrative’ that should be ‘deconstructed’. For Berman, however, modernity was a kind of dialectics that carried a utopian promise. In this regard, modernity was at first a crisis: this crisis came about when traditional knowledge that rested on eternal and universal truths and all a priori criteria finally became unsustainable. It was the point when people realized that there were no longer any objective values and that nature was not an unchangeable order with its own goals. For modern people, values are not a given – they are something that has to be found; there is no a priori structure of things or the world – rather, the world is something to be created; art is not a representation of a universal ideal – it is a value that the artwork creates through itself. Modernity is therefore a dialectics in Marx’s sense – a crisis, a feeling of groundlessness, a state wherein everything seems conceited and constantly “melts into air”. However, precisely because of that, it is also an unbroken series of attempts to overcome the crisis, to resolve those internal contradictions of capitalist society.

    In our own time, we are witnessing an era of new permanent crises, irreconcilable internal tensions that capitalist society continues to generate. However (and maybe this is part of the legacy of postmodernism), it also appears to be a period of epochal resignation regarding our ability to imagine different, utopian alternatives, of the kind that modernity formerly implied. Our age sounds like parts of Marx’s manifesto but without the hope of a new universal class emancipation: “All fixed, fast-frozen relations, with their train of ancient and venerable prejudices and opinions, are swept away, all new-formed ones become antiquated before they can ossify. All that is solid melts into air...” Is there anything that modernity, precisely due to our epochal apathy, could tell us? What do Marx, Nietzsche, Freud, or Wittgenstein mean to us today? Or abstract painting and atonal music? What kind of significance do the concepts of modernity and modernism bring today to contemporary aesthetics, theory of arts, and philosophy? Are those concepts still relevant to current politics, political economy, or social theory?

    Nikola Dedić

    Sanela Nikolić

  • On the cover: Provisional Salta Ensemble, Traces of the Experimental Film, 2018.

    Issue No. 15, April 2018 - Main Topic: Experimental Film
    No. 15 (2018)

    From the flicker and heartbeat of silver-based film, to a bit-map grid of pixel-size slots in a digital medium, experimental film tried to subvert conventions of the medium itself and explore its properties and materials. Since the major theorists have been film-makers themselves, with incompatible views about the purposes and formal possibilities of film, and due to the fact that the majority of film theoreticians did not focus on experimental film, it comes as a minor surprise that comparing to the mainstream film, its experimental relative remained and remains theoretically overlooked and critically underexposed.

    Questions about the proper location of the experimental film – is it cinema or art gallery? – or those concerning the advantages and disadvantages of its marginalized position, the existence of a proper genre, the ideological and political implication, and so on, helped to shed some light on it, nevertheless, did not result in an all-embracing interpretation, let alone an all-encompassing theory. Definitions of experimental film have always been controversial, and even more so, when they attempted to include its avant-garde or underground traits. Several interpretations follow the oppositional distinctions: non-commercial vs. commercial; non-narrative vs. narrative; formalist vs. political; abstract vs. representational; exclusion of language vs. use of language; film-as-art vs. entertainment industry, sometimes even anti-Hollywood vs. Hollywood; and so on. Such distinctions have been challenged by film-makers, who used went beyond seemingly simple dualistic interpretations in order to explore cinematic innovations and created their own idiosyncratic histories. Among them were, for instance, Vertov, Kuleshov, Dovzhenko, Epstein, Delluc, Léger, Clair, Deren, Brakhage, Markopoulos, Kubelka, Frampton, Gidal, Mulvey, but also Eisenstein, Dreyer, Bresson and Godard, but also others. Their common denominator, if there is one, is that they actually question the very possibility of a definition or a general theory.

    The focus issue of the AM Journal sets to examine the evasive arena of experimental film, its history and theory, its authors and their works. With the advent of video, experimental video and video installation on the one hand, and the digital revolution that notably changed its production and reception, on the other, experimental film found itself in a situation, which differs significantly from one at beginning of 20th century and demands a closer examination. Contributions covering experimental film from different disciplinary fields are welcome and interdisciplinary approaches are encouraged.

    Guest issue editor: Ernest Ženko

    On the cover: Provisional Salta Ensemble, Traces of the Experimental Film, 2018.

  • Issue No. 14, October 2017 - Main Topic: Sovereignty, Migrants, and Culture
    No. 14 (2017)

    This issue of AM Journal of Art and Media Studies consists of fourteen contributions by predominantly younger theoretical positions, philosophers, and researchers that are all active in the territory of the former Yugoslavia; though they were or are studying, working and living in many different places. The majority of the contributions were prepared and presented in a shorter format at the 2nd International Colloquium on contemporary theory, philosophy, esthetics, politics, society, new media technology, and economics with the title Sovereignty, Migrants, and Culture, organized at ZRC SAZU (Scientific and Research Center of the Slovenian Academy of Science and Arts), Ljubljana, Slovenia, in November 2016. Additionally we invited for this publication a guest, artist and filmmaker Yosef-Joseph Dadoune that lives in Ofakim in Israel to contribute an innovative artistic-critical text on his work. He prepared it in collaboration with artist and writer Mikel Touval.

    Sovereignty, Migrants, and Culture aims to present analysis of dispossession, exploitation, coloniality, racialization, and subjugation in order to tackle what is central today to Europe or more precisely to the European Union and the refugee crisis. This is not a crisis provoked by the refugees, but instead the outcome of a management of death conducted for the sake of the biopolitical sovereignty of the EU nation-states, performed through necropower procedures of abandonment, banning, exclusion, and racialization. The interest is to bring reflections of these topics through theory and politics, but also culture and technology, philosophy and esthetics, while not forgetting political positions formed through feminism, queer, black studies, and anti-racist and anti-capitalist political movements, historically and presently.

    Gest Issue Editors: Marina Gržinić & Aneta Stojnić

    On the cover: Provisional Salta Ensemble, Liminal Sovereignty, 2017
  • On the cover: Provisional Salta Ensemble: Appropriation − JAT, 2017.

    Issue No. 13, September 2017 - Main Topic: Yugoslav Studies
    No. 13 (2017)

    On the cover: Provisional Salta Ensemble: Appropriation − JAT, 2017.

  • On the cover: Irena Gajić, Paper Architecture

    Issue No. 12, April 2017 - Topic of Issue: Architecture with(in) Art and Theory
    No. 12 (2017)

    Looking back at high modernist art theories, we might recall Clement Greenberg’s well-known view that experience precedes theory. Apart from advocating certain formalist solutions as more acceptable than others, this claim also postulated a sort of model for making and observing art. Among Greenberg’s many, undoubtedly complex premises, there were two significant implications that – in terms of autonomy – defined poetic relations between different artistic disciplines and theoretical relations between art and society. When neo-avant-garde practices challenged this kind of modernist aesthetic hermeticism, it opened experimental and in-between space for work, while art retrieved – once again, after the historical avant-gardes – its ability to make critical commentary on the disciplinary conditions and society in general. As a result, medium-specific art was widely replaced by mixed-media art, which was welcomed and assimilated by postmodern pluralist theories.

    The topic of this issue is to examine the role of architecture in this art-theory complex. The reference to Greenberg should be (just) a metaphor for a similar, but by no means identical process in architectural discourse. In architectural terms, this story goes something like this: in its (hermetic and, conditionally speaking, autonomous) domain of engineering, technology, and ergonomics, high-modernist architecture was largely disconnected from the other arts and theory. Still, some theories, such as rationalism, positivism, pragmatism, functionalism, and behaviorism appeared in architecture from time to time, and the formalist language of avant-garde abstraction remained. After decades spent in its modernist enclosure, the postmodern era saw the opening of architectural discourse to the contamination of art and theory. During the late 1960s and 1970s, the first wave of postmodernism introduced leftist strains from structuralism and phenomenology as a means of building a theory around a privileged architectural object. In the mid 1980s, the second wave of postmodernism showed a desire for artisticness in architectural practice, as well for sophisticated readings in theory. Literary genres (dirty realism and cyberpunk), sculpture in an expanded field (minimal art and land art), ambient art, performance and so on, became topics in architectural project, while the critical cutting edge of postmodern hermeneutics (weak thought) and poststructuralism (deconstruction) became embodied in the domain of interpreting architecture.

    We were looking for papers that might theorize different historical and contemporary models of making and thinking architecture outside the framework of its own discipline, emphasizing interaction with the domains of other arts and theory, positing those interactions in a broader social context.

    Guest Issue Editor: Vladimir Stevanović

    On the cover: Irena Gajić, Paper Architecture

  • Issue No. 11, November 2016
    No. 11 (2016)

    The aim of this issue is promotion of PhD students of Transdisciplinary Stadies of Contemporary Arts and Media from Faculty of Media and Communications, Singidunum University, Belgrade, Serbia.

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