TY  - CHAP
AU  - Milanković, Aleksandar
PY  - 2021
UR  - http://rifdt.instifdt.bg.ac.rs/123456789/2511
AB  - The basic properties of education are the relations between a teacher and pupils and the way in which pupils are grouped. The relations in the group are grounded in interaction and communication. Interaction consists of a series of mutually caused and induced, recurrently connected and multiple stimulated actions, with distinctive reciprocity. Teacher-pupils communication constitutes education as a complex relational phenomenon, a relational network constituted on many levels simultaneously. If an average class size is 25-30 pupils, the levels and the quality of communication become very complex. Still, the number of communication levels cannot be reduced to a simple sum: the interaction processes lead to a convergence of relations, which creates new levels or new plans, i.e.  certain new value(s). 
Interactive teaching constitutes teaching and learning on the grounds of social interaction between pupils and a teacher, instead of ex cathedra transmission of information and knowledge or passive adoption of curricular elements. Social interaction and personal relations emerge in the foreground, as the form, the frame, and the content of the teaching process. Interactive teaching mainly proposes interactive learning methods, i.e. methods grounded in group and cooperative work, constantly and continuously. In interactive teaching, the learning process is not directed solely to the cognitive level or the transmission of knowledge, but rather to the comprehensive personal development.  
The theoretical framework of interactive teaching consists of constructivist conceptions (cognitive, social, socio-cultural constructivism). In the learning process, cognitive contents do not enter externally, in a unidirectional process of transmission and receiving. Rather, they are the consequences of interactions between social relations, social environment, and inner cognitive and experiential construction. The mind is conceptualized as a field of social interactions, which overcomes the traditional conception of the mind as an individual ability. The concept of thought as an “occult process in confined space of a head” is abandoned (Wittgenstein).  
In this article, we will present basic elements of interactive teaching and after that, we will argue in favour of its proposed emancipatory aspects.
PB  - Beograd : Institut za filozofiju i društvenu teoriju
T2  - Liberating Education: What From, What For?
T1  - Interactive Teaching as a Component of Social Emancipation
UR  - https://hdl.handle.net/21.15107/rcub_rifdt_2511
ER  - 

@inbook{
author = "Milanković, Aleksandar",
year = "2021",
abstract = "The basic properties of education are the relations between a teacher and pupils and the way in which pupils are grouped. The relations in the group are grounded in interaction and communication. Interaction consists of a series of mutually caused and induced, recurrently connected and multiple stimulated actions, with distinctive reciprocity. Teacher-pupils communication constitutes education as a complex relational phenomenon, a relational network constituted on many levels simultaneously. If an average class size is 25-30 pupils, the levels and the quality of communication become very complex. Still, the number of communication levels cannot be reduced to a simple sum: the interaction processes lead to a convergence of relations, which creates new levels or new plans, i.e.  certain new value(s). 
Interactive teaching constitutes teaching and learning on the grounds of social interaction between pupils and a teacher, instead of ex cathedra transmission of information and knowledge or passive adoption of curricular elements. Social interaction and personal relations emerge in the foreground, as the form, the frame, and the content of the teaching process. Interactive teaching mainly proposes interactive learning methods, i.e. methods grounded in group and cooperative work, constantly and continuously. In interactive teaching, the learning process is not directed solely to the cognitive level or the transmission of knowledge, but rather to the comprehensive personal development.  
The theoretical framework of interactive teaching consists of constructivist conceptions (cognitive, social, socio-cultural constructivism). In the learning process, cognitive contents do not enter externally, in a unidirectional process of transmission and receiving. Rather, they are the consequences of interactions between social relations, social environment, and inner cognitive and experiential construction. The mind is conceptualized as a field of social interactions, which overcomes the traditional conception of the mind as an individual ability. The concept of thought as an “occult process in confined space of a head” is abandoned (Wittgenstein).  
In this article, we will present basic elements of interactive teaching and after that, we will argue in favour of its proposed emancipatory aspects.",
publisher = "Beograd : Institut za filozofiju i društvenu teoriju",
journal = "Liberating Education: What From, What For?",
booktitle = "Interactive Teaching as a Component of Social Emancipation",
url = "https://hdl.handle.net/21.15107/rcub_rifdt_2511"
}

Milanković, A.. (2021). Interactive Teaching as a Component of Social Emancipation. in Liberating Education: What From, What For?
Beograd : Institut za filozofiju i društvenu teoriju..
https://hdl.handle.net/21.15107/rcub_rifdt_2511

Milanković A. Interactive Teaching as a Component of Social Emancipation. in Liberating Education: What From, What For?. 2021;.
https://hdl.handle.net/21.15107/rcub_rifdt_2511 .

Milanković, Aleksandar, "Interactive Teaching as a Component of Social Emancipation" in Liberating Education: What From, What For? (2021),
https://hdl.handle.net/21.15107/rcub_rifdt_2511 .

TY  - JOUR
AU  - Milanković, Aleksandar
PY  - 2021
UR  - http://rifdt.instifdt.bg.ac.rs/123456789/2239
AB  - U  analizama  teorije  i  prakse  angažovane  umetnosti  razlikuju  se  dva  smisla angažovanosti:  prvi,  širi  smisao,  podrazumeva  da  je  svaki  vid  javnog  umetničkog  rada  –  vid  angažovanja.  Podrazumeva  se  i  da  je  specifičan   tematsko-motivski   okvir   (problematizovanje   socijalnih   motiva) ili usmerenost umetničkog dela ka društvenim problemima – vid angažovanja umetnika-umetnica. Međutim, u drugom, užem smi-slu, pod angažovanim delovanjem se podrazumevaju specifični, arti-kulisani  društveni  zahtevi  i  apeli,  praćeni  formalnim  ili  neformalnim  grupnim  namerama,  društveno  usmerenim  aktima  i  istaknutom  za-jedničkom perspektivom. U radu ćemo analizirati poeziju Nenada Gli-šića  i  plesne  performanse  Nede  Kovinić  kao  primere  angažovanih  umetničkih dela u užem smislu. U poeziji Nenada Glišića zajednička perspektiva se odslikava u karakterističnoj i doslednoj upotrebi prvog lica  množine  u  svojstvu  lirskog  subjekta  i  njegovog  obraćanja  (zami-šljenoj ili stvarnoj) javnosti, kako bi se konstituisalo zajedničko isku-stvo. Pesnik insistira na grupnoj perspektivi, na “mi” dimenziji poezije, kako bi samim stihovima naglasio i društvenost poetskog čina i njegovu usmerenost  na  društveni  život.  U  performansima  Nede  Kovinić  se  dominantno  stavlja  naglasak  na  zajedničku  perspektivu,  na  grupnu  dimenziju, na “mi” izvođenja: performansi postaju složena polja kine-stetičko-perceptivnih  interakcija  individualnih  personalnosti  i  inten-cionalnosti  sa  namerama  grupe  i  grupnim  delovanjem  kao  bazičnim  oblikom emitovanja društvenog apela – od planiranih i koreografisa-nih izvođenja, do spontanih i neplaniranih grupnih reakcija na vanred-ne  društvene  okolnosti.  Pokazuje  se  da  poezija  i  plesni  performansi  odslikavaju savremene koncepcije društvene angažovanosti, da afir-mišu zajedničku perspektivu kao ključno svojstvo angažmana u užem smislu i da pružaju značajnu iskustvenu i konceptualnu građu za razu-mevanje i analizu socijalno-ontoloških pojmova i intuicija.
AB  - There are two meanings of engagement in the analysis of the theory and practice of engaged art. The first, broader meaning implies that every form of public artwork is a form of engagement. It also implies that specific themes and motifs (primarily social and political motifs) or direction of artwork towards social problems – are a form of engagement. But, in the second and narrow meaning, engaged art implies specific, articulated social demands and appeals, followed by formal or informal group inten-tions, socially directed acts and distinguished joint perspective. In this paper we shall analyze the poetry of Nenad Glišić and the dance performances of Neda Kovinić as examples of engaged artworks in the narrow sense. In the poetry of Nenad Glišić, joint perspective reflects itself in the consequent and prominent use of the first-person plural as the lyrical subject in poems. Its distinguished “we” addresses the audience initiating joint experience. The author insists on the “we” dimension of poetry and its joint perspective, to emphasize the sociality of poetic act and its orientation towards social life, its destruction and constitution. In the performative acts of Neda Kovinić, the emphasis is dominantly placed on the joint perspective and on collective dimen-sion – on the “we” of a performance. Performative acts become complex fields of kinaesthetic and perceptive interactions between individual and group intentions and acts. Group acts are the basic mode of transmitting social appeals – either planned and choreographed acts or spontaneous and unplanned group reactions to extraor-dinary social circumstances. It is evident that both poetry and dance performative acts reflect contemporary conceptions of social engagement and affirm and promote joint perspective as the key property of engagement in the narrow meaning. Besides, it is evident that both poetry and dance performative acts provide relevant empirical and conceptual basis for the understanding and analysis of the concepts and intuitions in social ontology.
PB  - Beograd : Institut za filozofiju i društvenu teoriju
T2  - Kritika: časopis za filozofiju i teoriju društva
T1  - Zajednička perspektiva – poezija, percepcija i kinestezija poziva: poezija Nenada Glišića i plesni performansi Nede Kovinić
T1  - Joint Perspective – the Poetry, Perception and Kinaesthetics of the Call: The Poetry of Nenad Glišić and the Dance Performances of Neda Kovinić
IS  - 1
VL  - 2
SP  - 89
EP  - 116
DO  - 10.5281/zenodo.4784258
ER  - 

@article{
author = "Milanković, Aleksandar",
year = "2021",
abstract = "U  analizama  teorije  i  prakse  angažovane  umetnosti  razlikuju  se  dva  smisla angažovanosti:  prvi,  širi  smisao,  podrazumeva  da  je  svaki  vid  javnog  umetničkog  rada  –  vid  angažovanja.  Podrazumeva  se  i  da  je  specifičan   tematsko-motivski   okvir   (problematizovanje   socijalnih   motiva) ili usmerenost umetničkog dela ka društvenim problemima – vid angažovanja umetnika-umetnica. Međutim, u drugom, užem smi-slu, pod angažovanim delovanjem se podrazumevaju specifični, arti-kulisani  društveni  zahtevi  i  apeli,  praćeni  formalnim  ili  neformalnim  grupnim  namerama,  društveno  usmerenim  aktima  i  istaknutom  za-jedničkom perspektivom. U radu ćemo analizirati poeziju Nenada Gli-šića  i  plesne  performanse  Nede  Kovinić  kao  primere  angažovanih  umetničkih dela u užem smislu. U poeziji Nenada Glišića zajednička perspektiva se odslikava u karakterističnoj i doslednoj upotrebi prvog lica  množine  u  svojstvu  lirskog  subjekta  i  njegovog  obraćanja  (zami-šljenoj ili stvarnoj) javnosti, kako bi se konstituisalo zajedničko isku-stvo. Pesnik insistira na grupnoj perspektivi, na “mi” dimenziji poezije, kako bi samim stihovima naglasio i društvenost poetskog čina i njegovu usmerenost  na  društveni  život.  U  performansima  Nede  Kovinić  se  dominantno  stavlja  naglasak  na  zajedničku  perspektivu,  na  grupnu  dimenziju, na “mi” izvođenja: performansi postaju složena polja kine-stetičko-perceptivnih  interakcija  individualnih  personalnosti  i  inten-cionalnosti  sa  namerama  grupe  i  grupnim  delovanjem  kao  bazičnim  oblikom emitovanja društvenog apela – od planiranih i koreografisa-nih izvođenja, do spontanih i neplaniranih grupnih reakcija na vanred-ne  društvene  okolnosti.  Pokazuje  se  da  poezija  i  plesni  performansi  odslikavaju savremene koncepcije društvene angažovanosti, da afir-mišu zajedničku perspektivu kao ključno svojstvo angažmana u užem smislu i da pružaju značajnu iskustvenu i konceptualnu građu za razu-mevanje i analizu socijalno-ontoloških pojmova i intuicija., There are two meanings of engagement in the analysis of the theory and practice of engaged art. The first, broader meaning implies that every form of public artwork is a form of engagement. It also implies that specific themes and motifs (primarily social and political motifs) or direction of artwork towards social problems – are a form of engagement. But, in the second and narrow meaning, engaged art implies specific, articulated social demands and appeals, followed by formal or informal group inten-tions, socially directed acts and distinguished joint perspective. In this paper we shall analyze the poetry of Nenad Glišić and the dance performances of Neda Kovinić as examples of engaged artworks in the narrow sense. In the poetry of Nenad Glišić, joint perspective reflects itself in the consequent and prominent use of the first-person plural as the lyrical subject in poems. Its distinguished “we” addresses the audience initiating joint experience. The author insists on the “we” dimension of poetry and its joint perspective, to emphasize the sociality of poetic act and its orientation towards social life, its destruction and constitution. In the performative acts of Neda Kovinić, the emphasis is dominantly placed on the joint perspective and on collective dimen-sion – on the “we” of a performance. Performative acts become complex fields of kinaesthetic and perceptive interactions between individual and group intentions and acts. Group acts are the basic mode of transmitting social appeals – either planned and choreographed acts or spontaneous and unplanned group reactions to extraor-dinary social circumstances. It is evident that both poetry and dance performative acts reflect contemporary conceptions of social engagement and affirm and promote joint perspective as the key property of engagement in the narrow meaning. Besides, it is evident that both poetry and dance performative acts provide relevant empirical and conceptual basis for the understanding and analysis of the concepts and intuitions in social ontology.",
publisher = "Beograd : Institut za filozofiju i društvenu teoriju",
journal = "Kritika: časopis za filozofiju i teoriju društva",
title = "Zajednička perspektiva – poezija, percepcija i kinestezija poziva: poezija Nenada Glišića i plesni performansi Nede Kovinić, Joint Perspective – the Poetry, Perception and Kinaesthetics of the Call: The Poetry of Nenad Glišić and the Dance Performances of Neda Kovinić",
number = "1",
volume = "2",
pages = "89-116",
doi = "10.5281/zenodo.4784258"
}

Milanković, A.. (2021). Zajednička perspektiva – poezija, percepcija i kinestezija poziva: poezija Nenada Glišića i plesni performansi Nede Kovinić. in Kritika: časopis za filozofiju i teoriju društva
Beograd : Institut za filozofiju i društvenu teoriju., 2(1), 89-116.
https://doi.org/10.5281/zenodo.4784258

Milanković A. Zajednička perspektiva – poezija, percepcija i kinestezija poziva: poezija Nenada Glišića i plesni performansi Nede Kovinić. in Kritika: časopis za filozofiju i teoriju društva. 2021;2(1):89-116.
doi:10.5281/zenodo.4784258 .

Milanković, Aleksandar, "Zajednička perspektiva – poezija, percepcija i kinestezija poziva: poezija Nenada Glišića i plesni performansi Nede Kovinić" in Kritika: časopis za filozofiju i teoriju društva, 2, no. 1 (2021):89-116,
https://doi.org/10.5281/zenodo.4784258 . .