{"id":114,"date":"2011-11-23T16:23:10","date_gmt":"2011-11-23T16:23:10","guid":{"rendered":"https:\/\/sweet-mcclintock.194-60-87-163.plesk.page\/inmediasres\/2011\/11\/23\/naslov2\/"},"modified":"2011-11-23T16:23:10","modified_gmt":"2011-11-23T16:23:10","slug":"naslov2","status":"publish","type":"post","link":"https:\/\/centar-fm.org\/inmediasres\/index.php\/naslov2\/","title":{"rendered":"naslovnica br.2"},"content":{"rendered":"\n\n\n
\n

<\/a><\/p>\n

 <\/p>\n

\n
\n\"adobe
\n<\/a>\n<\/p>\n

IN MEDIAS RES <\/strong>
\u010dasopis filozofije medija <\/p>\n

 <\/p>\n

Izdava\u010d \u010dasopisa:
Centar za filozofiju medija i mediolo\u0161ka istra\u017eivanja (Zagreb)<\/p>\n

 <\/p>\n

Adresa: Petrovogorska 18, 10000 Zagreb <\/p>\n

 <\/p>\n

\nE-mail: inmediasres@centar-fm.org<\/p>\n

 <\/p>\n

GODINA 2 (2013) broj 2<\/p>\n

 <\/p>\n

\n

\n\"Creative<\/a>
\u010casopis je otvorenog pristupa, a ovo djelo je dano na kori\u0161tenje pod licencom Creative Commons Imenovanje-Nekomercijalno 4.0 me\u0111unarodna<\/strong><\/a>.<\/p>\n<\/td>\n

\n

 <\/p>\n<\/td>\n

\n

ISSN 1848-6304<\/strong><\/p>\n

UDK 316.774:1<\/strong><\/p>\n

Vol 2, br. 2, 2013.<\/strong><\/p>\n

Sadr\u017eaj<\/em><\/strong><\/p>\n

 <\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
Miroljub Radojkovi\u0107:<\/a><\/span><\/span><\/td>\nUmjetnost u doba digitalne reprodukcije<\/strong><\/a><\/span><\/p>\n
\n
\n<\/div>\n<\/td>\n
\n
\n<\/div>\n<\/td>\n<\/tr>\n
Fulvio \u0160uran:<\/a><\/span><\/td>\nGlazba i mediji s posebnim osvrtom na film<\/strong><\/a><\/span><\/p>\n
\n
\n<\/div>\n<\/td>\n
\n
\n<\/div>\n<\/td>\n<\/tr>\n
Vesna Milenkovi\u0107, Sla\u0111ana Stamenkovi\u0107:<\/a><\/span><\/td>\nPerformans masmedija: Eurosong izme\u0111u spektakla i umjetnosti<\/strong><\/a><\/span><\/p>\n
\n
\n<\/div>\n<\/td>\n
\n
\n<\/div>\n<\/td>\n<\/tr>\n
Vanda Babi\u0107, Denis Veki\u0107:<\/a><\/span><\/td>\nSmisao i zna\u010daj suvremenih medija u prikupljanju i prou\u010davanju hrvatske usmenoknji\u017eevne ba\u0161tine<\/strong><\/a><\/span><\/p>\n
\n
\n<\/div>\n<\/td>\n
\n
\n<\/div>\n<\/td>\n<\/tr>\n
Halima Sofrad\u017eija:<\/a><\/span><\/td>\nPosredovana slika svijeta – mediji, umjetnost i tehnologija u umre\u017eenom dru\u0161tvu<\/strong><\/a><\/span><\/p>\n
\n
\n<\/div>\n<\/td>\n
\n
\n<\/div>\n<\/td>\n<\/tr>\n
Mileva Pavlovi\u0107, Ljiljana Mani\u0107 i Marija Aleksi\u0107:<\/a><\/span><\/td>\nUmjetnost spektakla kao druga realnost<\/strong><\/a><\/span><\/p>\n
\n
\n<\/div>\n<\/td>\n
\n
\n<\/div>\n<\/td>\n<\/tr>\n
Vesna Ivezi\u0107:<\/a><\/span><\/td>\nPoetska rije\u010d \u2013 medij sufijske gnoze<\/strong><\/a><\/span><\/p>\n
\n
\n<\/div>\n<\/td>\n
\n
\n<\/div>\n<\/td>\n<\/tr>\n
Aleksandra Brakus:<\/a><\/span><\/td>\nNovi mediji i nove umjetnosti<\/strong><\/a><\/span><\/p>\n
\n
\n<\/div>\n<\/td>\n
\n
\n<\/div>\n<\/td>\n<\/tr>\n
Marina Milivojevi\u0107-Ma\u0111arev:<\/a><\/span><\/td>\nUtjecaj teorije drame Gustava Freytaga \u201edobro skrojenih komada\u201c na suvremenu filmsku dramaturgiju
\nutjelovljenu u djelu THE WRITER\u2019S JOURNEY Christophera Voglera<\/strong><\/a><\/span><\/p>\n
\n
\n<\/div>\n<\/td>\n
\n
\n<\/div>\n<\/td>\n<\/tr>\n
Sandra Sokolovi\u0107, Sandra Santra\u010d:<\/a><\/span><\/td>\nMasmediji i perspektive kulturnog identiteta u globalnom dru\u0161tvu<\/strong><\/a><\/span><\/p>\n
 <\/div>\n

Mass Media and Perspective of Cultural Identity in Global Society<\/strong><\/a><\/span>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/div>\n

II Prikazi<\/span><\/p>\n\n\n\n\n

\nMario Kolar:<\/a>
\n<\/span>\n<\/td>\n
\nKako su mediji mijenjali svijet<\/strong><\/a>
\n<\/span>\n<\/td>\n<\/tr>\n
\n
\n<\/div>\n<\/td>\n
\n
\n<\/div>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

\n\"video32\"III Linkovi video izlaganja sa SIMPOZIJA FM 2012.<\/span>\"video32\"<\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n

\n\u2013
\n<\/span>\n<\/td>\n
\n
\nDivna Vuksanovi\u0107: Mediji kao umetnost \/ Media as Art
\n<\/strong><\/a>
\n<\/span>\n<\/td>\n<\/tr>\n

\n\u2013
\n<\/span>\n<\/td>\n
\n
\nSead Ali\u0107: Sinergija umjetni\u010dkih pristupa u otvorenosti novih medija
\n<\/strong><\/a>
\n<\/span>\n<\/td>\n<\/tr>\n

\n\u2013
\n<\/span>\n<\/td>\n
\n
\nDragan \u0106alovi\u0107: Avangardne tendencije u umetnosti novih medija
\n<\/strong><\/a>
\n<\/span>\n<\/td>\n<\/tr>\n

\n\u2013
\n<\/span>\n<\/td>\n
\n
\nMimo Dra\u0161kovi\u0107: Uloga novih medija u dru\u0161tvenom i kulturnom sistemu i njihov uticaj na virtualizaciju umjetnosti
\n<\/strong><\/a>
\n<\/span>\n<\/td>\n<\/tr>\n

\n\u2013
\n<\/span>\n<\/td>\n
\n
\nIrfan Ho\u0161i\u0107: Mo\u0107 medija poslije 11. septembra 2001.
\n<\/strong><\/a>
\n<\/span>\n<\/td>\n<\/tr>\n

\n\u2013
\n<\/span>\n<\/td>\n
\n
\n\u017deljko Rutovi\u0107: Tradicionalna umjetnost u doba multimedije i mre\u017enih komunikacija
\n<\/strong><\/a>
\n<\/span>\n<\/td>\n<\/tr>\n

\n\u2013
\n<\/span>\n<\/td>\n
\n
\nHalima Sofrad\u017eija: Posredovana slika svijeta – mediji, umjetnost i tehnologija u umre\u017eenom dru\u0161tvu
\n<\/strong><\/a>
\n<\/span>\n<\/td>\n<\/tr>\n

\n\u2013
\n<\/span>\n<\/td>\n
\n
\nMario Peri\u0161a, Marin Milkovi\u0107: Fotografija od ” slu\u0161kinje umjetnosti i znanosti” do
\nautenti\u010dnog umjetni\u010dkog izri\u010daja<\/p>\n

<\/strong><\/a>
\n<\/span>\n<\/td>\n<\/tr>\n


\n\u2013
\n<\/span>\n<\/td>\n
\n
\nSmiljka Isakovi\u0107: Umetni\u010dka muzika u virtuelnom svetu multimedija
\n<\/strong><\/a>
\n<\/span>\n<\/td>\n<\/tr>\n

\n\u2013
\n<\/span>\n<\/td>\n
\n
\nMilan Milojkovi\u0107: Muzikologija i mediji – Medij Muzikologije
\n<\/strong><\/a>
\n<\/span>\n<\/td>\n<\/tr>\n

\n\u2013
\n<\/span>\n<\/td>\n
\n
\nFulvio \u0160uran: Muzika i mediji s posebnim osvrtom na film
\n<\/strong><\/a>
\n<\/span>\n<\/td>\n<\/tr>\n

\n\u2013
\n<\/span>\n<\/td>\n
\n
\nVesna Milenkovi\u0107, Sla\u0111ana Stamenkovi\u0107: Performans mas medija: Eurosong kao medijski spektakl
\n<\/strong><\/a>
\n<\/span>\n<\/td>\n<\/tr>\n

\n\u2013
\n<\/span>\n<\/td>\n
\n
\nLjiljana Mani\u0107, Marija Aleksi\u0107, Mileva Pavlovi\u0107: Umetnost spektakla kao druga realnost
\n<\/strong><\/a>
\n<\/span>\n<\/td>\n<\/tr>\n

\n\u2013
\n<\/span>\n<\/td>\n
\n
\nTatjana Milivojevi\u0107, Violeta Cvetkovska Ocoklji\u0107, Dragana Jovanovi\u0107: Telesnost i virtuelna stvarnost
\n<\/strong><\/a>
\n<\/span>\n<\/td>\n<\/tr>\n

\n\u2013
\n<\/span>\n<\/td>\n
\n
\nAleksandra Brakus: Novi mediji i nove umetnosti
\n<\/strong><\/a>
\n<\/span>\n<\/td>\n<\/tr>\n

\n\u2013
\n<\/span>\n<\/td>\n
\n
\nMiroljub Radojkovi\u0107: Implozija umetnosti izme\u0111u 0 i 1
\n<\/strong><\/a>
\n<\/span>\n<\/td>\n<\/tr>\n

\n\u2013
\n<\/span>\n<\/td>\n
\n
\nHerta Maurer-Lausegger: Dialektologie im Zeitalter von Multimedia
\n<\/strong><\/a>
\n<\/span>\n<\/td>\n<\/tr>\n

\n\u2013
\n<\/span>\n<\/td>\n
\n
\nVesna Ivezi\u0107: Medij poetske rije\u010di kao na\u010din preno\u0161enja sufijske gnoze
\n<\/strong><\/a>
\n<\/span>\n<\/td>\n<\/tr>\n

\n\u2013
\n<\/span>\n<\/td>\n
\n
\nMarko M. \u0110or\u0111evi\u0107, Dobrivoje Stanojevi\u0107: Srpska poezija u vreme tranzicije: Izme\u0111u politi\u010dkog populizma i <\/p>\n

medijske hiperrealnosti
\n<\/strong><\/a>
\n<\/span>\n<\/td>\n<\/tr>\n


\n\u2013
\n<\/span>\n<\/td>\n
\n
\nJadranka Bo\u017ei\u0107: Pri\u010da, pripovedanje, medijska pri\u010da
\n<\/strong><\/a>
\n<\/span>\n<\/td>\n<\/tr>\n

\n\u2013
\n<\/span>\n<\/td>\n
\n
\nAstrid Pavlovi\u0107: Kako misliti strip? Deveta umjetnost u doba multimedije i mre\u017enih komunikacija
\n<\/strong><\/a>
\n<\/span>\n<\/td>\n<\/tr>\n

\n\u2013
\n<\/span>\n<\/td>\n
\n
\nDu\u0161an \u010c. Jovanovi\u0107: Umetnost na audio-vizuelnim medijima u Srbiji
\n<\/strong><\/a>
\n<\/span>\n<\/td>\n<\/tr>\n

\n\u2013
\n<\/span>\n<\/td>\n
\n
\nDejan Pralica: Kultura u informativnom programu Radio-televizije Vojvodine uo\u010di procesa digitalizacije medija
\n<\/strong><\/a>
\n<\/span>\n<\/td>\n<\/tr>\n

\n\u2013
\n<\/span>\n<\/td>\n
\n
\nDubravka Vali\u0107 Nedeljkovi\u0107: Kultura u emisijama vesti javnog servisa Vojvodine na jezicima manjina
\n<\/strong><\/a>
\n<\/span>\n<\/td>\n<\/tr>\n

\n\u2013
\n<\/span>\n<\/td>\n
\n
\nBojan Blagojevi\u0107: Okreni M radi muzike – They Might Be Giants (studija slu\u010daja)
\n<\/strong><\/a>
\n<\/span>\n<\/td>\n<\/tr>\n

\n\u2013
\n<\/span>\n<\/td>\n
\n
\nLivia Pavleti\u0107: Glazba kao medij
\n<\/strong><\/a>
\n<\/span>\n<\/td>\n<\/tr>\n

\n\u2013
\n<\/span>\n<\/td>\n
\n
\nMarina Milivojevi\u0107-Ma\u0111arev: Uticaj teorije drame \u00bbdobro skrojenih komada\u00ab Gustava Frajtaga na savremenu filmsku <\/p>\n

dramaturgiju oli\u010denu u delu The Writer’s Journey Christophera Voglera
\n<\/strong><\/a>
\n<\/span>\n<\/td>\n<\/tr>\n


\n\u2013
\n<\/span>\n<\/td>\n
\n
\nHrvoje Juri\u0107: Tijelo kao medij umjetnosti
\n<\/strong><\/a>
\n<\/span>\n<\/td>\n<\/tr>\n

\n\u2013
\n<\/span>\n<\/td>\n
\n
\nAngelina Milosavljevi\u0107 Ault: Kako stvoriti idealnu Lepoticu? Kampanja “Dove (Natural) Beauty” kao prilog <\/p>\n

istoriji pojma podra\u017eavanja prirode i njenog prevazila\u017eenja: ilustracija procesa studije, selekcije i <\/p>\n

idealizacije
\n<\/strong><\/a>
\n<\/span>\n<\/td>\n<\/tr>\n


\n\u2013
\n<\/span>\n<\/td>\n
\n
\nSanja Domazet: Ra\u010dunar: alatka za ruku ili za misao (dinami\u010dke slike virtuelne stvarnosti)
\n<\/strong><\/a>
\n<\/span>\n<\/td>\n<\/tr>\n

\n\u2013
\n<\/span>\n<\/td>\n
\n
\nMarko Stamenkovi\u0107: Mrtav toreador
\n<\/strong><\/a>
\n<\/span>\n<\/td>\n<\/tr>\n

\n\u2013
\n<\/span>\n<\/td>\n
\n
\nNenad Vertov\u0161ek: Umjetnost medijske manipulacije – ljepota iluzije jest u oku promatra\u010da
\n<\/strong><\/a>
\n<\/span>\n<\/td>\n<\/tr>\n

\n\u2013
\n<\/span>\n<\/td>\n
\n
\nNada Torlak, Nikola Torlak: Novi mediji – nova pravila i nova recepcija kulture i umetnosti
\n<\/strong><\/a>
\n<\/span>\n<\/td>\n<\/tr>\n

\n\u2013
\n<\/span>\n<\/td>\n
\n
\nMonika Vre\u010dar: Kona\u010dna smrt autora: Kreativnost u doba informacijskog dru\u0161tva
\n<\/strong><\/a>
\n<\/span>\n<\/td>\n<\/tr>\n

\n\u2013
\n<\/span>\n<\/td>\n
\n
\nAleksandra Mandi\u0107, Ljubomir Zuber: Filozofija mas medija kao filozofija na\u0161ega doba
\n<\/strong><\/a>
\n<\/span>\n<\/td>\n<\/tr>\n

\n\u2013
\n<\/span>\n<\/td>\n
\n
\nSandra Sokolovi\u0107, Sandra Santra\u010d: Mas mediji i perspektive kulturnog identiteta u globalnom dru\u0161tvu
\n<\/strong><\/a>
\n<\/span>\n<\/td>\n<\/tr>\n

\n\u2013
\n<\/span>\n<\/td>\n
\n
\nNevena Mileti\u0107, Mirko Mileti\u0107: Umetni\u010dko stvarala\u0161tvo u informacionom dru\u0161tvu
\n<\/strong><\/a>
\n<\/span>\n<\/td>\n<\/tr>\n

\n\u2013
\n<\/span>\n<\/td>\n
\n
\n\u017deljko Ivankovi\u0107: Relevantna informacija, \u0161to je to?
\n<\/strong><\/a>
\n<\/span>\n<\/td>\n<\/tr>\n

\n\u2013
\n<\/span>\n<\/td>\n
\n
\n\u0160pela Pavli: Suradnja i permanentna tranzicija u suvremenoj vizualnoj praksi
\n<\/strong><\/a>
\n<\/span>\n<\/td>\n<\/tr>\n

\n\u2013
\n<\/span>\n<\/td>\n
\n
\nSofija Drecun: Medijski pluralizam i raznovrsnost
\n<\/strong><\/a>
\n<\/span>\n<\/td>\n<\/tr>\n

\n\u2013
\n<\/span>\n<\/td>\n
\n
\nVesna Srni\u0107: Multitasking aktualizacija u multimedijskoj umjetnosti
\n<\/strong><\/a>
\n<\/span>\n<\/td>\n<\/tr>\n

\n\u2013
\n<\/span>\n<\/td>\n
\n
\nNikola Dedi\u0107: Popularna kultura i materijalisti\u010dka teorija autora: prilog konstituisanju \u201edilanologije”
\n<\/strong><\/a>
\n<\/span>\n<\/td>\n<\/tr>\n

\n\u2013
\n<\/span>\n<\/td>\n
\n
\nTatjana Vuli\u0107, Dragana Pavlovi\u0107, Zoran Jevtovi\u0107: Medijski spektakl ili dokumentarnost – ozna\u010davanje zna\u010denja
\n<\/strong><\/a>
\n<\/span>\n<\/td>\n<\/tr>\n

\n\u2013
\n<\/span>\n<\/td>\n
\n
\nLjiljana Gavrilovi\u0107: Fan-fiction i nova kreativnost
\n<\/strong><\/a>
\n<\/span>\n<\/td>\n<\/tr>\n

\n\u2013
\n<\/span>\n<\/td>\n
\n
\nMira Hercigonja-Szekeres, Ida Szekeres, Nenad Sikirica: Marketing kulturnog doga\u0111aja i mediji
\n<\/strong><\/a>
\n<\/span>\n<\/td>\n<\/tr>\n

\n\u2013
\n<\/span>\n<\/td>\n
\n
\nZlatan Deli\u0107: Forenzika socijalnog kapitala na rubovima medijskog diskursa u tranzicijskoj Bosni i Hercegovini
\n<\/strong><\/a>
\n<\/span>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n","protected":false},"excerpt":{"rendered":"

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