New Theories = Nove teorije
type: channel
description: Časopis New Theories = Nove teorije želi se na drugačiji način posvetiti vizualnoj umjetnosti i kulturi nego što je to učinila disciplina povijesti umjetnosti tijekom svoje slavne prošlosti. Nove teorije tretirat će umjetnost i njezine raznolike fenomene prvenstveno kao objekte promišljanja i intelektualne radoznalosti.
publisher: Akademija za umjetnost i kulturu u Osijeku
language: hr
publication name: New Theories = Nove teorije
issn: 2718-3297
items: Dobro došli u nove Nove teorije!
items: Kako je jednonogi kositreni junačić uskočio u suvremeno lutkarstvo
items: Glazbeni festivali kao kulturni fenomen
items: Kino Slavija u osječkom Donjem gradu
items: Vizualna pismenost u obrazovanju
items: Razvoj publike u europskim prijestolnicama kulture
items: Openings in art therapy or „I don’t know how to draw”
items: Zborska natjecanja kao poticaj umjetničkom razvoju ansambla
items: Do we still believe in the power of images?
items: We cannot lose faith in what we never believed in
items: Ikonički anarhizam i estetika ružnog
items: Algorithms and Imagination
items: Die Macht der Filmischen Imagination bei Albrecht Dürer
items: From Neurons to Emotions
items: Image studies as taste studies?
items: Nostalgia – between fiction and (hyper)reality
items: Seven proposals for visual reading of contemporary Osijek art
items: Charles Darwin and Visual Culture
items: The Notion of ‘Image’ and Eurocentrism
items: Can art provide knowledge?
items: Horizont nostalgične suvremenosti
items: Mapiranje virtualne stvarnosti
items: Sanjaju li slike budućnost?
items: Homo Kybernetes
items: Antropologija u sustavnoj znanosti o slici
items: Hodanje kao umjetnost
items: Groteska između ekspresionizma i Neue Sachlichkeita

Dobro došli u nove Nove teorije!
type: item
subject: Uvodnik
  topic: section
creator: Igor Gajin
rights: Autorska prava (c) 2025 New Theories = Nove teorije https://creativecommons.org/licenses/by-nc-nd/4.0
date: 2025-12-15
publication date: 2025-12-15
starting page: 7
ending page: 7
doi: 10.59014/

Kako je jednonogi kositreni junačić uskočio u suvremeno lutkarstvo
type: item
description: Kao izraz koji je oduvijek bio na dnu društvenih i umjetničkih hijerarhija te podalje interesa teatrologa i povjesničara, lutkarstvo je od svojih početaka do tek nedavno bilo vrlo slabo do nimalo teorijski praćeno i(li) vođeno. U hrvatskom lutkarstvu možemo pronaći tek nekoliko lutkara koji su svoja razmišljanja i poglede zapisivali, a još su rjeđi teoretičari koji su se u želji za potvrdama vlastitih razmišljanja okrenuli praksi. Iznimku u toj oskudnosti čini vremenski kratak i kvantitativno nevelik, no izuzetno važan lutkarski opus Luke Paljetka koji je antologijskim predstavama Ružno pače i Postojani kositreni vojnik revolucionirao hrvatsko lutkarstvo, oživivši sve elemente scenske igre. Paljetak nije stao samo na praksi, već je svoju lutkarsku ideju, koja je taj izraz oslobodila utega zadanosti, iznio u teorijskim zapisima, zaokruživši je krilaticom „lutka je sve, sve je lutka!“. U fokusu rada je Paljetkova predstava Postojani kositreni vojnik koja je, uz odabrane teorijske zapise, obogatila hrvatsko lutkarstvo suvremenim izrazom i razmišljanjem.
subject: Pregledni rad
  topic: section
subject: Luko Paljetak, lutkarstvo, animacija, lutka, suvremeno lutkarstvo, Postojani kositreni vojnik
  topic: keywords
creator: Igor Tretinjak
rights: Autorska prava (c) 2025 New Theories = Nove teorije https://creativecommons.org/licenses/by-nc-nd/4.0
date: 2025-12-15
publication date: 2025-12-15
starting page: 147
ending page: 156
doi: 10.59014/YWCE1606

Glazbeni festivali kao kulturni fenomen
type: item
description: Ovaj rad donosi sveobuhvatno istraživanje glazbenog festivala kao slojevitog kulturnog fenomena, prateći njegov razvoj od antike do suvremenog doba. Na temelju opsežne analize nekoliko stotina festivala, studija razmatra jedinstvene značajke i zapanjujuću raznolikost društvenih glazbenih događaja slavljeničkog karaktera. Takvi se festivali definiraju koncertnim izvedbama usmjerenima na određene glazbene žanrove ili programe, objedinjene prepoznatljivim nazivima i smještene u svečani ambijent. Rad istražuje različite dimenzije glazbenih festivala, uključujući njihovu periodicitet, povezanost s kalendarskim ciklusima te njihov sveti ili svjetovni karakter. Obrađuju se i festivali posvećeni pojedinim skladateljima ili izvođačima, memorijalna obilježavanja i natjecateljski događaji, kao i festivali s strogo kuriranim repertoarima nasuprot onima s eklektičnijim programima. Kroz ovako detaljnu analizu, studija ističe da glazbeni festivali služe ne samo kao platforme za umjetničku prezentaciju nego i kao značajne društvene institucije. Socijalne funkcije festivala također su kritički analizirane, s naglaskom na njihovoj dvostrukoj ulozi kao obrazovnih foruma i ideoloških čimbenika unutar društva. Glazbeni festivali djeluju kao čuvari kulturne baštine, očuvajući i prenoseći tradicionalne glazbene vrijednosti, a istodobno su i mjesta inovacija koja izazivaju ili nastoje preoblikovati uspostavljene kulturne narative. Napetost između tradicije i transformacije ključna je za razumijevanje evoluirajuće uloge glazbenih festivala u suvremenom kulturnom životu. Ovo istraživanje doprinosi širem diskursu o razvoju festivala nove glazbe te se uključuje u tekuće rasprave o aktualnoj krizi suvremene glazbe, promišljajući o implikacijama za kulturnu produkciju i recepciju u 21. stoljeću.
subject: Pregledni rad
  topic: section
subject: razvoj glazbenih festivala, kulturna baština, tipologije festivala, društvena funkcija festivala, kriza suvremene glazbe, festivali nove glazbe
  topic: keywords
creator: Sanja Drakulić
rights: Autorska prava (c) 2025 New Theories = Nove teorije https://creativecommons.org/licenses/by-nc-nd/4.0
date: 2025-12-15
publication date: 2025-12-15
starting page: 132
ending page: 146
doi: 10.59014/PNQK5732

Kino Slavija u osječkom Donjem gradu
type: item
description: Kino Slavija izgrađeno je 1920. godine u duhu eklekticizma, karakterističnog za tadašnje djelovanje arhitekta kina, Dionisa Sunka. Izgrađeno na području Donjeg grada u Osijeku, to je bilo drugo podignuto kino u Osijeku (prvo je bilo kino Uranija, arhitekta Viktora Axmanna), što je značajno obogatilo kulturnu scenu grada. Dionis Sunko je, koristeći svoje međunarodno obrazovanje i iskustvo, kreirao jedinstven prostor u poslijeratnom Osijeku koji je odgovarao potrebama zajednice: osim odgojno-obrazovne uloge koju je imalo kroz filmske projekcije, bilo je središte društvenog i zabavnog života čime se reflektira kulturni značaj zgrade. Originalni arhitektonski elementi ovog kina još uvijek su vidljivi, što omogućava prepoznavanje izvornog oblikovanja te osjet kulture i estetike tog razdoblja. Također, sačuvana je i izvorna urbanistička zamisao i rješenje, po kojemu je ispred kina, unutar guste i u cijelosti izgrađene devetnaestoljetne donjogradske urbane matrice, oblikovan plato u funkciji privatnog i od dominantno stambenog dijelagrada odijeljenog vestibula.
subject: Izvorni znanstveni članak
  topic: section
subject: Kino Slavija, eklekticizam, Dionis Sunko, povijest kinematografije, urbanizam
  topic: keywords
creator: Iva Papić
creator: Kristina Slobođanac
rights: Autorska prava (c) 2025 New Theories = Nove teorije https://creativecommons.org/licenses/by-nc-nd/4.0
date: 2025-12-15
publication date: 2025-12-15
starting page: 109
ending page: 131
doi: 10.59014/PPAG9223

Vizualna pismenost u obrazovanju
type: item
description: Ovaj rad istražuje koncept vizualne pismenosti u kontekstu suvremenog umjetničkog obrazovanja, s posebnim naglaskom na njezinu kritičku dimenziju. Kroz teorijsko, kvalitativno istraživanje provedeno metodom sadržajne analize relevantne literature, utvrđeno je da se vizualna pismenost u vizualnom umjetničkom obrazovanju razvija kroz četiri ključna aspekta: kognitivni, afektivni, kritički i produkcijski. Kognitivna dimenzija obuhvaća razumijevanje vizualnog jezika, semiotičku analizu i kontekstualizaciju slika, dok afektivna dimenzija naglašava izražavanje emocija i razvoj empatije kroz vizualni narativ. Kritički aspekt oslanja se na teorije Bergera, Mirzoeffa, Freirea i Girouxa te se odnosi na propitivanje moći, ideologije i stereotipa u vizualnoj kulturi. Produkcijski aspekt potiče stvaranje vlastitih vizualnih poruka, čime učenici postaju aktivni sudionici i kreatori značenja. Rezultati potvrđuju da vizualna pismenost nadilazi mehaničko čitanje slika te predstavlja važnu kompetenciju 21. stoljeća. Umjetničko obrazovanje ima ključnu ulogu jer spaja teoriju, praksu i refleksiju, osnažujući učenike za kritičku interpretaciju i odgovorno sudjelovanje u vizualno saturiranom društvu. Zaključuje se da je potrebno sustavno jačanje nastavničkih kompetencija i uključivanje kritičke vizualne pismenosti u obrazovne politike kako bi se potaknuo razvoj učenika kao kritičkih i osviještenih čitatelja vizualne kulture.
subject: Izvorni znanstveni članak
  topic: section
subject: kritički aspekt, likovna umjetnost, umjetničko obrazovanje, vizualni jezik, vizualna pismenost
  topic: keywords
creator: Lana Skender
rights: Autorska prava (c) 2025 New Theories = Nove teorije https://creativecommons.org/licenses/by-nc-nd/4.0
date: 2025-12-15
publication date: 2025-12-15
starting page: 84
ending page: 108
doi: 10.59014/ZMER1753

Razvoj publike u europskim prijestolnicama kulture
type: item
description: Razvoj publike unutar programa Europskih prijestolnica kulture (EPK) doživio je značajnu evoluciju – od elitističkog pristupa i naglaska na turističkoj atraktivnosti do modela participacije, su-kreacije i kulturne demokracije. Kroz rad se analizira transformacija ovog pojma kroz različite faze programa EPK, pri čemu se posebno naglašava prelazak s pasivnih konzumenata na aktivne su-kreatore kulturnih sadržaja. U radu se oslanja na teorijske okvire kulturne participacije, digitalne inovacije te praksu EPK gradova od 1985. do 2029. godine. Kroz meta-analizu prijavnih knjiga recentnih EPK kandidatura (2020.–2029.), istaknuti su trendovi kao što su decentralizacija, inkluzivnost, participativno upravljanje i zelene politike. Poseban naglasak stavljen je na važnost mladih, tehnologije i lokalnog identiteta u razvoju publike. Zaključno, razvoj publike nije više samo instrument kulturnog marketinga, već sredstvo građanske transformacije i oblikovanja zajedničke budućnosti u kulturnom polju.
subject: Izvorni znanstveni članak
  topic: section
subject: kulturna demokracija, kulturna participacija, kulturni menadžment, digitalna transformacija u kulturi, su-kreacija
  topic: keywords
creator: Igor Mavrin
rights: Autorska prava (c) 2025 New Theories = Nove teorije https://creativecommons.org/licenses/by-nc-nd/4.0
date: 2025-12-15
publication date: 2025-12-15
starting page: 52
ending page: 83
doi: 10.59014/JEAJ9885

Openings in art therapy or „I don’t know how to draw”
type: item
description: The paper explores the experience of the beginning of the therapy process as experienced in the moment emotionally, physiologically, mentally, and relationaly. In research about openings in psychotherapy noticable amount of space is dedicated to emotion regulation due to shame, anxiety, and attachment complications. Resistance is not solely attributed to the beginings of the therapy sessions, but in its intensity it dominates the beginning of the process. These issues emerged in art therapy process with Wendy (pseudonym), whose case will be presented in study of this theme. 83-year-old Holocaust survivor with complex trauma, sturdy and sensitive, expressive and gentle woman bravely immersed herself into abundance of insights, consciously making decision to change, which supported the therapeutic process of transformation from resistance and shutt-down to curiosity and action. Attending to the physiology of the person with polyvagal informed art psychotherapy practice, Somatic Experiencing and Sensori Motor Psychotherapy, art therapy process was excelled in understanding, regulating, and controlling the autonomic nervous system response. Using immense human ability to generate image through the embodied experience of the perceived reality and meaning making of these images, layed a path to working through the emerging emotion, thought, and behaviour patterns towards an awareness and subsequently - a change.
subject: Izvorni znanstveni članak
  topic: section
subject: art therapy, polyvagal theory, somatic experiencing, openings, resistance
  topic: keywords
creator: Mia Janković Shentser
rights: Autorska prava (c) 2025 New Theories = Nove teorije https://creativecommons.org/licenses/by-nc-nd/4.0
date: 2025-12-15
publication date: 2025-12-15
starting page: 30
ending page: 51
doi: 10.59014/DBSR4148

Zborska natjecanja kao poticaj umjetničkom razvoju ansambla
type: item
description: Zborska natjecanja predstavljaju važnu stepenicu u razvitku i afirmaciji zbora kao umjetničkog ansambla. Današnja su zborska natjecanja brojna i vrlo popularna među dirigentima i pjevačima, a razlikuju se s obzirom na opće ciljeve, ciljane skupine zborova i umjetničku razinu sudionika. Tradicionalna stajališta prema kojima se smatra da su zborska natjecanja neizostavni, izrazito pozitivni dio djelovanja svakog pjevačkog zbora, danas se kritički preispituju u odnosu na procjenu uloženog truda i postignutih rezultata te u odnosu na činjenicu da poticanje kompetitivnog ponašanja među pjevačima nije u skladu s temeljnim pedagoškim načelima i općim ciljevima suvremenog glazbenog obrazovanja. Cilj rada je ukazati na pozitivne i negativne opće aspekte zborskih natjecanja s posebnim osvrtom na ulogu dirigenta, a koji, prema autorima, predstavlja jedan od temeljnih faktora uspjeha. U istraživačkom dijelu rada predstavljen je samostalni studentski dirigentski projekt „Natjecanje pjevačkih ansambala u sklopu festivala Glaz-B-Os“. Rad istražuje stavove i iskustva mladih voditelja ansambala koji se prvi put, u kontroliranim uvjetima, susreću s izazovima vođenja i nastupa na studentskom natjecanju zborova u okviru projektnog zadatka kolegija Zbor i Dirigiranje na Akademiji za umjetnost i kulturu u Osijeku. Cilj istraživanja bio je ispitati percepciju izazova pripreme i vođenja ansambla u natjecateljskom kontekstu, uz dodatni naglasak na procjenu pedagoškog, umjetničkog i profesionalnog značaja sudjelovanja u natjecanju Glaz-B-Os. Korišten je kvalitativni pristup, a podaci su prikupljeni polustrukturiranim intervjuom koji je obuhvatio 11 studenata – voditelja natjecateljskih ansambala. Analizom odgovora identificirane su tematske cjeline koje obuhvaćaju organizacijske, pedagoške, emocionalne i umjetničke aspekte voditeljske uloge. Rezultati pokazuju da su najveći izazovi povezani s organizacijom rada ansambla, usklađivanjem rasporeda, održavanjem motivacije te izgradnjom autoritet…
subject: Izvorni znanstveni članak
  topic: section
subject: dirigent, samostalni studentski projekt, zbor, zborska natjecanja, zborska pedagogija
  topic: keywords
creator: Antoaneta Radočaj-Jerković
creator: Nina Pocrnić
creator: Lucija Uglik
rights: Autorska prava (c) 2025 New Theories = Nove teorije https://creativecommons.org/licenses/by-nc-nd/4.0
date: 2025-12-15
publication date: 2025-12-15
starting page: 9
ending page: 29
doi: 10.59014/XYFG5224

Do we still believe in the power of images?
type: item
subject: Uvodnik
  topic: section
creator: Krešimir Purgar
rights: Autorska prava (c) 2025 New Theories = Nove teorije https://creativecommons.org/licenses/by-nc-nd/4.0
date: 2025-01-17
publication date: 2025-01-17
starting page: 4
ending page: 11

We cannot lose faith in what we never believed in
type: item
subject: Uvodnik
  topic: section
creator: Žarko Paić
rights: Autorska prava (c) 2025 New Theories = Nove teorije https://creativecommons.org/licenses/by-nc-nd/4.0
date: 2025-01-17
publication date: 2025-01-17
starting page: 12
ending page: 19

Ikonički anarhizam i estetika ružnog
type: item
subject: Recenzija, prikaz
  topic: section
creator: Vladimir Rismondo
rights: Autorska prava (c) 2025 New Theories = Nove teorije https://creativecommons.org/licenses/by-nc-nd/4.0
date: 2025-01-17
publication date: 2025-01-17
starting page: 132
ending page: 139

Algorithms and Imagination
type: item
description: In the territory of post-isms also visuality has been debated in terms of its post condition, where it was essentially associated with the digital era in which images have proliferated to the stage at which everything must be made into an image and is consumed as an image. Such image and information overload and constant alertness have produced a certain “visual extinction” and invisibility, not only as a form of resistance to prevailing visual politics but also as a perceptual and cognitive response to excessive exploitation of (mediated) visuality. In contemporary visual culture the superficiality of the visible superseds the concerns of pictorial and reduces imaginary and metaphoric power underlying visual form. Digital media culture has made a fundamental shift in our relation to the external world, sensory perception and, most importantly, in our visual awareness and understanding of images. The new phenomenology of the image decisively altered looking practices, the relationship between the observer and the observed and also cognitive and affective dimensions of images. The image has transformed from representation into a fleeting and instant visual event which is in the ongoing convergence of media no longer ocular-centric. Automated processes of production marked by various image customization tools, accelerated speed and immediacy by which images are produced and distributed changed the concept of creativity and introduced »cut and paste« as a paramount model of image-making. Tech-aesthetics and cyber visuality not only change cultural and anthropological role of images but also rearticulate the ontology of the image itself, its materiality and the way we experience images. Flusser claimed that whoever is programmed by technical images lives and knows reality as a programmed context. I examine how the algorithmic logic of the programmable (screen) image affects other types of images, particularly focusing on aesthetic, phenomenal and representational proper…
subject: Pregledni rad
  topic: section
subject: alghorithms, imagination, media, remediation, allegory, AI ima - ge generators, code, data
  topic: keywords
creator: Nadja Gnamuš
rights: Autorska prava (c) 2025 https://creativecommons.org/licenses/by-nc-nd/4.0
date: 2025-01-17
publication date: 2025-01-17
starting page: 110
ending page: 130
doi: 10.59014/CRYQ6857

Die Macht der Filmischen Imagination bei Albrecht Dürer
type: item
description: The article explores the fundamental qualities of imagination in the works of Albrecht Dürer, with a focus on a specific sheet from his cycle of illustrations in the biblical Apocalypse series – the woodcut titled The Strong Angel. Our analysis builds on the insights of media historian Jörg Jochen Berns, who identified the presence of a “film before the film” in the Middle Ages and the Renaissance. This concept refers to an “inner film” that responds to external stimuli – from the “outer film” – allowing the observers to immerse themselves in holy images, particularly during prayer, through the stimulation of their imagination. In the context of the biblical Apocalypse, the Strong Angel is a metaphor for vision; at the same time, it requires considerable imaginative power from the artist (Dürer) to depict such a scene. An angel appears to St John, giving him a book of visions that St John must “devour” to keep them hidden. For our research, which involves interpreting this work through the medium of film,it was essential to highlight a key discovery in this illustration: the montage process that interconnects the elements of The Strong Angel. This connection is crucial for interpreting the Angel as a messenger from heaven, linking the divine to the earthly, the sacred to the profane, and the corporeal (human head) to the material (pillars). We examined the imaginative potential in Dürer’s work through the perspective of image theorist Ludwig Schwarte and interpreted Dürer’s art as imagination- stimulated and produced by intuition, in which the observer actively participates in the scene. Assuming that the inner film existed in the Middle Ages and the Renaissance as a prayerful and visionary imagination manifest in the given examples, we juxtaposed it with the measurement of sensory stimuli, and thus with the physiognomic discovery of the early 19th century as interpreted by Jonathan Crary.
subject: Izvorni znanstveni članak
  topic: section
subject: Albrecht Dürer, imagination, inner film, outer film, Apocalypse, perception, movement
  topic: keywords
creator: Mirela Ramljak Purgar
rights: Autorska prava (c) 2025 https://creativecommons.org/licenses/by-nc-nd/4.0
date: 2025-01-17
publication date: 2025-01-17
starting page: 84
ending page: 109
doi: 10.59014/ZHOG2627

From Neurons to Emotions
type: item
description: In recent years, neuroaesthetics has made its way into art history. Most notably, art historian David Freedberg and neuroscientist Vittorio Gallese have promoted a theory based on the discovery of so-called mirror neurons. In brief, it has been shown that a mirror neuron fires an electrical signal both when a movement is performed by one’s own body and when the same movement is observed in another body, in another individual. Gallese calls this circuit embodied simulation, and Freedberg, either alone or in collaboration with Gallese, has taken these results and simply identified this effect with empathy. Building on the theory of embodied simulation, Freedberg has generally contextualized artworks through a range of neuroscientific findings, including Antonio Damasio’s as-if body loop and Paul Ekman’s theory of linking basic emotions with specific facial expressions. Altogether, this paradigm can be called simulation theory. Freedberg’s resulting neuroaesthetic theory has some radical implications for the analysis and interpretation of artworks, even for the practice of art history itself. This article explores and challenges Freedberg’s assumptions and arguments, which are sought to be refuted, partly by consulting phenomenology and the history of emotions. In particular, his peculiar concept of empathy is rejected, as it is limited to unconscious, pre-cognitive bodily automatism. The article examines his selection of artworks and finds that the scope of his theory makes it challenging to apply to modern and contemporary art. It also takes issue with Freedberg’s atomistic style of analysis, where specific body segments, forms of gestures, and facial expressions, as well as motifs of movement, are isolated from their compositional context and identified as the meaning and message of the image itself. Similarly, the article faults Freedberg’s dependence on Paul Ekman’s tautological attempts to locate a set of basic emotions in the face, not observed but predefined. T…
subject: Izvorni znanstveni članak
  topic: section
subject: neuroaesthetics; David Freedberg; Vittorio Gallese; empathy; emotions; picture theory; image theory; simulation theory; embodied simulation; aesthetics
  topic: keywords
creator: Kasper Laegring
rights: Autorska prava (c) 2025 New Theories = Nove teorije https://creativecommons.org/licenses/by-nc-nd/4.0
date: 2025-01-17
publication date: 2025-01-17
starting page: 44
ending page: 83
doi: 10.59014/HSPW1144

Image studies as taste studies?
type: item
description: The paper discusses some rather well-known, but rarely discussed origins of the current “immanentism” and “invitationalism” of the images by rooting them in the discussion that is itself rooted in the very matter of aesthetics – the matters of taste. The introductory remarks justify briefly the chosen historiographical approach, supported by few first-hand insights into the “momentum” of visual studies one decade ago. In the second chapter, a short paper appeared only in German in 2008, “W.J.T. Mitchell und der iconic turn” von Norbert Schneider (1945-2019) is recapitulated, in which the impression of the implied harmony between “like-minded” scholars – W.J.T. Mitchell and G. Boehm – has been deconstructed in a comparative analysis. Further on, Schneider´s arguments are followed up in the third chapter, where Boehm´s Ph.D.-supervisor Max Imdahl and doctorate-supervisor Gadamer (as well as their predecessors Fiedler, Croce and Vico) are discussed in some depth, with reference to what we have baptized as image-immanentism and the hermeneutic of pictures. In the fourth chapter, we criticize a more recent follower of Gadamer´s position, whose aim was to support Gadamer´s theory of aesthetic value as artistic value with the projected value of the “artistic image”. Paul Crowther´s important point was to substantiate the claim of the artwork being a “symbolically significant artifact” and hence the extraordinary character of our experience of art and its value. Although Gadamer’s understanding of representation as an ontological event brings with it a metaphysical, Neoplatonist implication, Crowther turned this implication of point to an ontological-existential one. The presented case in point is supposed to provide an argument for deep historiographic connections between the current immanentism of images and their roots in the continental thinking traditions.
subject: Izvorni znanstveni članak
  topic: section
subject: taste, value theory, axiology, aesthetic value, value judgment, immanentism, invitationalism, foundationalism
  topic: keywords
creator: Slavko Kaćunko
rights: Autorska prava (c) 2025 https://creativecommons.org/licenses/by-nc-nd/4.0
date: 2025-01-17
publication date: 2025-01-17
starting page: 20
ending page: 43
doi: 10.59014/BBSU7001

Nostalgia – between fiction and (hyper)reality
type: item
subject: Uvodnik
  topic: section
creator: Dario Vuger
rights: Autorska prava (c) 2024 https://creativecommons.org/licenses/by-nc-nd/4.0
date: 2024-03-05
publication date: 2024-03-05
starting page: 4
ending page: 29

Seven proposals for visual reading of contemporary Osijek art
type: item
subject: Recenzija, prikaz
  topic: section
creator: Blaženka Perica
rights: Autorska prava (c) 2024 New Theories = Nove teorije https://creativecommons.org/licenses/by-nc-nd/4.0
date: 2024-03-05
publication date: 2024-03-05

Charles Darwin and Visual Culture
type: item
description: The importance of Charles Darwin’s book, On the Origin of Species (1859), cannot be overstated, both in terms of (the history of) evolutionary biology and culture-wise. The book and the theory of evolution by natural selection presented therein eliminates the need for an explanation of a superior power in all that is related to the diversity of biological species, and thus provides a scientific and materialistic theory for “creation”. The book and its author have become pivotal in secular culture, and the focus of attacks by various religious groups. With about 500 illustrated covers of a book whose importance goes beyond the scientific field to which it belongs, it is interesting to study how the ideas appearing in Origin of Species are illustrated in its many editions, whether there are recurring motifs in the illustrations, and if so, what their meanings are. The abundance of illustrated covers of Origin provides virtually controlled conditions for a study of the unique way in which concepts transfer to the public. Such an investigation must begin by examining the link between text and cover image. Accordingly, my aim is to map and classify the Origin motifs that appear on the covers of the various editions, and how they are brought to bear, toward determining which are being transferred In my paper, I draw on two related concepts first introduced by W.J.T. Mitchell in his book Picture Theory: the “imagetext”, defined as a composite of picture and text that operates as a single unit. When the text and picture do not function in harmony– when something else intervenes between them – the result is an image/text. These interactions between words and images (imagetext vs. image/text) not only help to analyze representations, but trace their relationships to issues of power, value, and human interests. Herein I present and discuss recurring motifs among the illustrated covers of the various editions of Origin of Species, for example: motifs related to the Beagle’s voy…
subject: Prethodno priopćenje
  topic: section
subject: evolution, icon, imagetext, myth, natural selection, progress
  topic: keywords
creator: Sara Schwartz
rights: Autorska prava (c) 2024 New Theories = Nove teorije https://creativecommons.org/licenses/by-nc-nd/4.0
date: 2024-03-05
publication date: 2024-03-05

The Notion of ‘Image’ and Eurocentrism
type: item
description: The enormous variety of forms and uses of phenomena called ‘image’ has so far prevented the formation of a universally accepted concept of the image. It is even questionable whether a unified concept of the image encompassing all relevant phenomena is possible or whether the ‘image’ is not rather a historically changeable collective name of phenomena grouped by family resemblances. the image seems to occur in almost all cultures; for this reason alone, any study of the image should be differentiated not only historically, but also interculturally. But this is not always the case; therefore in this essay a certain Eurocentric bias in Western concepts of the ‘image’ is critically discussed. Firstly, it will be presented how ‘image’ is defined in certain mainstream discussions of image studies. Secondly it will be shown that there are Eurocentric blind spots in these discourses. The range of objects considered as images are restricted and thereby especially non-European types of images are excluded. Three of them will be mentioned: the tattoo, the mask and calligraphy and what their difference to hegemonic western notions of the image as separated from the body, to-be-looked- at and non-performative entails. Tattooing, calligraphy, the mask and much more could become the subject of research projects and courses. The problem with such research and teaching that reaches beyond the European horizon is twofold: First, simply not everything can be done; researchers and teachers must reduce the variety of possible objects. This cannot and should not lead to the exclusion of non-European phenomena, but not everything can be included – complete inclusion is impossible. Therefore, only a local coordination process on what can be taught in modules such as ‘Interculturality’ or ‘Global Media Culture’ can be done. The paper ends with some short notes on the institutional and image-pedagogical consequences of this critique.
subject: Prethodno priopćenje
  topic: section
subject: Body, calligraphy, eurocentrism, masks, pedagogy, tattoos
  topic: keywords
creator: Jens Schröter
rights: Autorska prava (c) 2024 New Theories = Nove teorije https://creativecommons.org/licenses/by-nc-nd/4.0
date: 2024-03-05
publication date: 2024-03-05

Can art provide knowledge?
type: item
description: The question of the relationship between art and knowledge and whether and in what sense art can be regarded as a form of knowledge has been addressed from different perspectives but it still does not have secure grounds in contemporary aesthetics. The argument involves rather skeptical attitudes – from Plato to Kant and throughout the dominance of positivist tradition in Western philosophy in the first half of the 20th century – as well as cognitivist approaches, such as James O. Young’s view of art as a source of knowledge, which has the capacity to provide both propositional and practical knowledge. The “linguistic turn” in contemporary thought and the ensued iconization of language in western culture led to the identification of cognitive potential with discourse, resulting in inequitable disregard of sensory awareness and turning the human experiences and cognition into the product of language. The submission of iconicity to semantics and reducing the pictorial to interpretable text without sensory significance led to the questioning of the cognitive aspect of visuality. The hermeneutical perspective, drawing upon Michael Polanyi’s view of all knowledge as established in relation to tacit thought, considers art as embodying tacit knowledge and emphasizes the importance of the inherent inexhaustibility of meaning in art that can contribute to the inquiry. Recognizing that knowledge is not always reducible to language, such perspective liberates knowledge from the dominance of the propositional and provides further insights for the phenomenology of art as a creative practice. No doubt that the ways of representation in arts are fundamentally different from those in the sciences and both realms contribute to knowledge in radically different ways. However, while the ways to explicate how art can enhance the faculty of judgment and practical knowledge might be relatively obvious in literary works, the question of how visual works can provide the same kinds of knowle…
subject: Izvorni znanstveni članak
  topic: section
subject: Visual art; pictorial representation; art and knowledge; aesthetic cognitivism
  topic: keywords
creator: Natia Ebanoidze
rights: Autorska prava (c) 2024 New Theories = Nove teorije https://creativecommons.org/licenses/by-nc-nd/4.0
date: 2024-03-05
publication date: 2024-03-05

Horizont nostalgične suvremenosti
type: item
subject: Recenzija, prikaz
  topic: section
creator: Dario Vuger
rights: Autorska prava (c) 2023 https://creativecommons.org/licenses/by-nc-nd/4.0
date: 2023-07-17
publication date: 2023-07-17
starting page: 152
ending page: 154
doi: 10.59014/26849

Mapiranje virtualne stvarnosti
type: item
subject: Recenzija, prikaz
  topic: section
creator: Dario Vuger
rights: Autorska prava (c) 2023 https://creativecommons.org/licenses/by-nc-nd/4.0
date: 2023-07-17
publication date: 2023-07-17
starting page: 149
ending page: 151
doi: 10.59014/26848

Sanjaju li slike budućnost?
type: item
subject: Članak
  topic: section
creator: Sonja Briski Uzelac
rights: Autorska prava (c) 2023 https://creativecommons.org/licenses/by-nc-nd/4.0
date: 2023-07-17
publication date: 2023-07-17
starting page: 126
ending page: 147
doi: 10.59014/26847

Homo Kybernetes
type: item
subject: Članak
  topic: section
creator: Žarko Paić
rights: Autorska prava (c) 2023 https://creativecommons.org/licenses/by-nc-nd/4.0
date: 2023-07-17
publication date: 2023-07-17
starting page: 104
ending page: 125
doi: 10.59014/26846

Antropologija u sustavnoj znanosti o slici
type: item
description: Postoji običaj da se ljude karakterizira kao jezično nadarene životinje. Pritom se naročito misli na uporabu predikativnih rečeničnih struktura. No, izvanredna sposobnost da se misli u slikama, jest, prema svemu što empirijski znamo, svojstvena samo ljudima. Postoje li pojmovni razlozi za ovu empirijsku podudarnost? Je li, drugim riječima, homo sapiens u biti homo pictor? Takvo pitanje jednako dobro zalazi u filozofsku antropologiju, kao i u sustavnu znanost o slici.
subject: Esej
  topic: section
creator: Jörg R. J. Schirra
creator: Klaus Sachs-Hombach
rights: Autorska prava (c) 2023 https://creativecommons.org/licenses/by-nc-nd/4.0
date: 2023-07-17
publication date: 2023-07-17
starting page: 4
ending page: 40
doi: 10.59014/26843

Hodanje kao umjetnost
type: item
description: Pristupi hodanju, koji uključuju brojna znanstvena područja, mogu se podijeliti u dvije velike skupine. Prvi privilegira fenomenološko gledište, koncentrirajući svoj interes na doživljaj prostora koji se osjeća hodanjem. Drugi rađa kritičku refleksiju usmjerenu na dekonstrukciju uobičajenih reprezentacija i uvjerenja uključenih u bilo koje prostorno iskustvo. Takozvani umjetnici hodanja, odnosno oni umjetnici koji svoju umjetnost u potpunosti temelje na hodanju, smješteni su između ove dvije skupine, budući da svoju umjetničku formu poimaju ili kao sredstvo razumijevanja osjetljive i afektivne dimenzije povezane s iskustvom hodanja ili kao povlašten način uključivanja u kritičku raspravu o prostoru i iskustvu. U prvom odlomku pokušat ću ponuditi opis ove umjetničke forme, uglavnom, ali ne isključivo, usredotočujući se na njezine glavne predstavnike, Richarda Longa i Hamisha Fultona. Rasprava će se primarno odnositi na njihovo pozivanje na umjetnički aspekt, a što je dobro izraženo Longovom tvrdnjom „hodanje je umjetnička forma sama po sebi”. Zatim ću se pozabaviti odnosom koji iskustvo hodanja uspostavlja između tijela i prostora. U razmatranju tijela – prema sugestiji Francesca Carerija – i kao „instrumenta percepcije” i kao „alata za crtanje” terena ili okolnog prostora kojim se prolazi, ljudsko tijelo uvijek je dano, fenomenološki, kao uvjet mogućnosti postojanja ili, još bolje, hodanjem generiranog prostora. Potom ću u drugom odlomku pokušati rasvijetliti neke aspekte društveno-političkog angažmana umjetnika hodanja, u njihovim eksplicitnim i implicitnim aspektima. Istina je da posebno Fulton jasno daje do znanja da je njegova umjetnost „samo umjetnost”, a ne „politička umjetnost”. Međutim, njegovo stajalište u korist nekih građanskih i ekoloških kampanja – od njegova interesa za „duboku ekologiju” Arnea Næssa do njegovog zagovaranja Tibeta i američkih domorodaca – dovelo je do akcija u kojima je takav angažman eksplicitan, poput rada „Slowalk” kojim ovaj autor …
subject: Prethodno priopćenje
  topic: section
subject: Hamish Fulton, Richard Long, umjetnost na otvorenom, iskustvo prostora, hodanje kao umjetnost
  topic: keywords
creator: Luca Vargiu
rights: Autorska prava (c) 2023 https://creativecommons.org/licenses/by-nc-nd/4.0
date: 2023-07-17
publication date: 2023-07-17
starting page: 42
ending page: 69
doi: 10.59014/26831

Groteska između ekspresionizma i Neue Sachlichkeita
type: item
description: U članku polazimo od pretpostavke da je za njemački ekspresionizam paradigmatsko stanje ono između akcije i reakcije. Prema teoriji koju je ponudio američki teoretičar Donald E. Gordon, načini izražavanja u njemačkom ekspresionizmu su „rektivni” jer posjeduju obilježja zadržavanja prošloga i zastupanja dolazećeg. Tom ćemo se načelu prikloniti i u raspravi o Neue Sachlichkeitu, pravcu koji se nastavlja na ekspresionizam. Prema nekim njemačkim teoretičarima, jedna od inačica ekspresionizma – „Velegradski ekspresionizam” – nastaje djelovanjem ekspresionističkih umjetnika u novim ambijentima velikih gradova dvadesetih godina prošlog stoljeća što otvara mogućnosti i novog tumačenje Neue Sachlichkeita. Teza koju ovdje zastupamo je sljedeća: temeljem uvida u navedenu ekspresionističku ambivalenciju, i Neue Sachlichkeit zadržava ambivalentnost spram svog izvora, tj. „akcije” – umjetnosti ekspresionizma. U takvom tumačenju poslužili smo se teorijom groteske, koja svojim ambivalencijama između ironičnog, sablasnog, satiričnog, ružnog, nadrealističkog i apsurdnog pomiče granice u sagledavanju dvaju naizgled odvojenih „stilova” umjetnosti. Pored toga što se očito radi o kategoriji koja svojim strukturalno-estetskim implikacijama dotiče „egzistenciju” ekspresionizma, čini nam se da, susljedno načinu na koji Gordon definira ekspresionizam (naime, konstituiranjem forme kao posljedice sadržaja, pa je ikonografija ujedno registar potencijalnih formalnih „reakcija”), groteska kao „reaktivni” instrument i izražajna konstanta objedinjuje ekspresionizam i Neue Sachlichkeit. Kao što i sam Gordon pokazuje, prostori između „granica” ostavljaju mjesta za različita preciziranja: stoga i groteska, pojam koji treba primjenjivati polazeći od ideje, a ne od neke njezine „esencije” (analogno Gordonovom pristupu ekspresionizmu), ne postoji kao gotov proizvod, već se kontekstualiziranjem precizira. Na taj način, pojam groteske moguće je shvatiti kao estetsku i strukturalnu kategoriju koja posreduje…
subject: Izvorni znanstveni članak
  topic: section
subject: Donald. E. Gordon, ekspresionizam, groteska, Neue Sachlichkeit, Oto Dix, Georg Grosz
  topic: keywords
creator: Marija Ramljak Purgar
rights: Autorska prava (c) 2023 https://creativecommons.org/licenses/by-nc-nd/4.0
date: 2023-07-17
publication date: 2023-07-17
starting page: 70
ending page: 103
doi: 10.59014/26830