TY  - CONF
AU  - Toković, Milena
AU  - Resanović, Milica
AU  - Nišlić, Ivan
PY  - 2023
UR  - http://rifdt.instifdt.bg.ac.rs/123456789/3664
AB  - Digitalni prostori su sve značajniji u procesu promovisanja kulturnog identiteta
gradova. Ljudi, kako navodi Čejko (2019), koristeći digitalne tehnologije konstruišu i
okruženje koje predstavlja sociomentalni prostor, zbog uspostavljanja veza koje se održavaju
više mentalno nego fi zički. Tako se „danas krećemo u dva ravnopravna životna prostora koja
postoje paralelno, u svom ofl ajn i onlajn okruženju“ (Kacer, 2019). Pandemija kovid 19
(re)aktivirala je debate o utopijskoj i distopijskoj perspektivi korišćenja digitalnih prostora
kulturne potrošnje. Ova krizna situacija ukazala je na značaj savremene tehnologije u
promociji kulturnog identiteta grada. Cilj ovog rada je da prikaže na koji način su institucije
kulture iskoristile prednosti savremene tehnologije u promociji kulturnog identiteta grada,
ali i da ukaže na sva ograničenja digitalnog prostora u recepciji kulturnih sadržaja. U radu će
biti korišćeni podaci istraživanja Kraj sezone pre kraja sezone? Strategije u kulturi u kriznim
situacijama Filozofskog fakulteta u Beogradu.
AB  - Digital spaces are becoming increasingly signifi cant in the process of promoting
the cultural identity of cities. According to Chayko, people, by using digital technologies,
construct an environment that represents a socio-mental space, as the connections
maintained within it are more mental than physical. Therefore, “today we are navigating
between two equal living spaces that exist in parallel, in our offl ine and online environments”
(Katzer, 2019). The COVID-19 pandemic has (re)activated debates on the utopian and
dystopian perspectives of using digital spaces for cultural consumption. This crisis has
highlighted the importance of modern technology in promoting the cultural identity of a city.
The aim of this paper is to illustrate how cultural institutions have utilized the advantages
of modern technology in promoting the cultural identity of a city, while also pointing out the limitations of the digital space in the reception of cultural content. The paper will rely on
data from the research The End of the Season Before the End of the Season? Strategies in
Culture in Crisis Situations conducted by the Institute of Sociological Research, Faculty of
Philosophy in Belgrade.
PB  - Asocijacija prostornih planera Srbije Beograd
PB  - Univerzitet u Beogradu - Geografski fakultet
C3  - Planska i normativna zaštita prostora i životne sredine
T1  - Uloga digitalnog prostora i savremene tehnologije u promociji kulturnog identiteta grada u kriznim situacijama
SP  - 277
EP  - 284
UR  - https://hdl.handle.net/21.15107/rcub_rifdt_3664
ER  - 

@conference{
author = "Toković, Milena and Resanović, Milica and Nišlić, Ivan",
year = "2023",
abstract = "Digitalni prostori su sve značajniji u procesu promovisanja kulturnog identiteta
gradova. Ljudi, kako navodi Čejko (2019), koristeći digitalne tehnologije konstruišu i
okruženje koje predstavlja sociomentalni prostor, zbog uspostavljanja veza koje se održavaju
više mentalno nego fi zički. Tako se „danas krećemo u dva ravnopravna životna prostora koja
postoje paralelno, u svom ofl ajn i onlajn okruženju“ (Kacer, 2019). Pandemija kovid 19
(re)aktivirala je debate o utopijskoj i distopijskoj perspektivi korišćenja digitalnih prostora
kulturne potrošnje. Ova krizna situacija ukazala je na značaj savremene tehnologije u
promociji kulturnog identiteta grada. Cilj ovog rada je da prikaže na koji način su institucije
kulture iskoristile prednosti savremene tehnologije u promociji kulturnog identiteta grada,
ali i da ukaže na sva ograničenja digitalnog prostora u recepciji kulturnih sadržaja. U radu će
biti korišćeni podaci istraživanja Kraj sezone pre kraja sezone? Strategije u kulturi u kriznim
situacijama Filozofskog fakulteta u Beogradu., Digital spaces are becoming increasingly signifi cant in the process of promoting
the cultural identity of cities. According to Chayko, people, by using digital technologies,
construct an environment that represents a socio-mental space, as the connections
maintained within it are more mental than physical. Therefore, “today we are navigating
between two equal living spaces that exist in parallel, in our offl ine and online environments”
(Katzer, 2019). The COVID-19 pandemic has (re)activated debates on the utopian and
dystopian perspectives of using digital spaces for cultural consumption. This crisis has
highlighted the importance of modern technology in promoting the cultural identity of a city.
The aim of this paper is to illustrate how cultural institutions have utilized the advantages
of modern technology in promoting the cultural identity of a city, while also pointing out the limitations of the digital space in the reception of cultural content. The paper will rely on
data from the research The End of the Season Before the End of the Season? Strategies in
Culture in Crisis Situations conducted by the Institute of Sociological Research, Faculty of
Philosophy in Belgrade.",
publisher = "Asocijacija prostornih planera Srbije Beograd, Univerzitet u Beogradu - Geografski fakultet",
journal = "Planska i normativna zaštita prostora i životne sredine",
title = "Uloga digitalnog prostora i savremene tehnologije u promociji kulturnog identiteta grada u kriznim situacijama",
pages = "277-284",
url = "https://hdl.handle.net/21.15107/rcub_rifdt_3664"
}

Toković, M., Resanović, M.,& Nišlić, I.. (2023). Uloga digitalnog prostora i savremene tehnologije u promociji kulturnog identiteta grada u kriznim situacijama. in Planska i normativna zaštita prostora i životne sredine
Asocijacija prostornih planera Srbije Beograd., 277-284.
https://hdl.handle.net/21.15107/rcub_rifdt_3664

Toković M, Resanović M, Nišlić I. Uloga digitalnog prostora i savremene tehnologije u promociji kulturnog identiteta grada u kriznim situacijama. in Planska i normativna zaštita prostora i životne sredine. 2023;:277-284.
https://hdl.handle.net/21.15107/rcub_rifdt_3664 .

Toković, Milena, Resanović, Milica, Nišlić, Ivan, "Uloga digitalnog prostora i savremene tehnologije u promociji kulturnog identiteta grada u kriznim situacijama" in Planska i normativna zaštita prostora i životne sredine (2023):277-284,
https://hdl.handle.net/21.15107/rcub_rifdt_3664 .

TY  - CONF
AU  - Resanović, Milica
AU  - Toković, Milena
PY  - 2023
UR  - http://rifdt.instifdt.bg.ac.rs/123456789/3137
AB  - Immediately after the COVID-19 virus pandemic broke out in Serbia, there were significant changes in the cultural sector. The pandemic affected the cultural sector in terms of prohibition of organizing events during the states of emergency, reduced number of visitors after the states of emergency, cancellation of projects that depended on international cooperation, and consequently the financial incomes decreased radically. Although the Government of the Republic of Serbia adopted a measure of non-refundable financial aid, numerous objections appeared in the public sphere that by this measure the Government did not manage to address problems of cultural workers and some cultural organizations in the pandemics. Despite all the difficulties, including insufficient state support, cultural institutions and organizations tried to adapt to the new conditions and to offer content online, in order to continue their work and active communication with their audience. This paper analyses qualitative data collected in the project "The end of the season before the end of the season? Strategies in the cultural sector in the crisis" conducted by the Institute for Sociological Research of the Faculty of Philosophy, University of Belgrade. Drawing on qualitative interviews with 20 cultural workers from cultural areas that had been particularly threatened during the pandemic such as theatre, festivals, cinemas, and museums, firstly we examine whether cultural workers conceptualized "culture as care". Specifically, it is analysed how cultural workers connect their professional activities (or the lack of them) during the pandemic with the topic of community welfare in crisis conditions. In the second part of the analysis, the focus is shifted to questions of how this population perceives "care for culture" in crisis conditions. Therefore, it is examined whether they identify the state or the other actors (civil society, citizens) as a provider of this care, and how they evaluate the contribution of the state and the other actors to the maintenance of the cultural sector as a public good in practice.
PB  - Zadar: Odjel za etnologiju i antropologiju, Sveučilište u Zadru; Beograd: Institut za filozofiju i društvenu teoriju
C3  - In the Frictions: Fragments of Care, Health and Wellbeing in the Balkans
T1  - Culture as Care and Care for Culture During the Pandemic
SP  - 52
EP  - 53
UR  - https://hdl.handle.net/21.15107/rcub_rifdt_3137
ER  - 

@conference{
author = "Resanović, Milica and Toković, Milena",
year = "2023",
abstract = "Immediately after the COVID-19 virus pandemic broke out in Serbia, there were significant changes in the cultural sector. The pandemic affected the cultural sector in terms of prohibition of organizing events during the states of emergency, reduced number of visitors after the states of emergency, cancellation of projects that depended on international cooperation, and consequently the financial incomes decreased radically. Although the Government of the Republic of Serbia adopted a measure of non-refundable financial aid, numerous objections appeared in the public sphere that by this measure the Government did not manage to address problems of cultural workers and some cultural organizations in the pandemics. Despite all the difficulties, including insufficient state support, cultural institutions and organizations tried to adapt to the new conditions and to offer content online, in order to continue their work and active communication with their audience. This paper analyses qualitative data collected in the project "The end of the season before the end of the season? Strategies in the cultural sector in the crisis" conducted by the Institute for Sociological Research of the Faculty of Philosophy, University of Belgrade. Drawing on qualitative interviews with 20 cultural workers from cultural areas that had been particularly threatened during the pandemic such as theatre, festivals, cinemas, and museums, firstly we examine whether cultural workers conceptualized "culture as care". Specifically, it is analysed how cultural workers connect their professional activities (or the lack of them) during the pandemic with the topic of community welfare in crisis conditions. In the second part of the analysis, the focus is shifted to questions of how this population perceives "care for culture" in crisis conditions. Therefore, it is examined whether they identify the state or the other actors (civil society, citizens) as a provider of this care, and how they evaluate the contribution of the state and the other actors to the maintenance of the cultural sector as a public good in practice.",
publisher = "Zadar: Odjel za etnologiju i antropologiju, Sveučilište u Zadru; Beograd: Institut za filozofiju i društvenu teoriju",
journal = "In the Frictions: Fragments of Care, Health and Wellbeing in the Balkans",
title = "Culture as Care and Care for Culture During the Pandemic",
pages = "52-53",
url = "https://hdl.handle.net/21.15107/rcub_rifdt_3137"
}

Resanović, M.,& Toković, M.. (2023). Culture as Care and Care for Culture During the Pandemic. in In the Frictions: Fragments of Care, Health and Wellbeing in the Balkans
Zadar: Odjel za etnologiju i antropologiju, Sveučilište u Zadru; Beograd: Institut za filozofiju i društvenu teoriju., 52-53.
https://hdl.handle.net/21.15107/rcub_rifdt_3137

Resanović M, Toković M. Culture as Care and Care for Culture During the Pandemic. in In the Frictions: Fragments of Care, Health and Wellbeing in the Balkans. 2023;:52-53.
https://hdl.handle.net/21.15107/rcub_rifdt_3137 .

Resanović, Milica, Toković, Milena, "Culture as Care and Care for Culture During the Pandemic" in In the Frictions: Fragments of Care, Health and Wellbeing in the Balkans (2023):52-53,
https://hdl.handle.net/21.15107/rcub_rifdt_3137 .

TY  - CONF
AU  - Resanović, Milica
AU  - Toković, Milena
PY  - 2023
UR  - http://rifdt.instifdt.bg.ac.rs/123456789/2930
AB  - The post-socialist transformation introduced changes not only in the political and economic realms, but in the cultural sphere as well. The transitional model of cultural policy became dominant, which meant mixed funding sources from both public and private sectors participating in creating conditions for the sustainability of cultural manifestations, with the central role of the state. The penetration of a market orientation and poor state funding in the cultural sector negatively affected cultural workers’ economic position and therefore hindered the possibilities of creativity and artistic freedom. All these difficulties and challenges present among cultural workers increased due to the COVID-19 pandemic. The pandemic led to bans on cultural events during lockdowns, reduced number of visitors afterwards, cancellation of projects that depended on international cooperation, and financial problems for cultural workers. Despite the challenges, cultural institutions and organizations attempted to adapt to the new conditions by providing online content in order to sustain their programmes and maintain active communication with their audience. This paper focuses on the analysis of qualitative data collected in the project “The end of the season before the end of the season? Strategies in the cultural sector during the crisis” conducted by the Institute for Sociological Research of the Faculty of Philosophy in Belgrade. Drawing on qualitative interviews with 20 cultural workers from cultural areas that were particularly threatened during the pandemic, we analyse the biggest challenges that organizations/cultural institutions were facing during the pandemic (event program/cultural program, human resources, issue of public/employee health safety, finances). Additionally, since setting up online events was in some cases the only way to continue the program, emphasis will be placed on the analysis of the advantages and disadvantages of organizing a cultural event online, and difference between online and offline experience both in organizing cultural events during the pandemic and in the reception of cultural content.
PB  - Belgrade : Sociological Scientific Society of Serbia
C3  - Sociological Perspectives on Contemporary Post-Yugoslav Societies
T1  - The transitional model of cultural policy and its implications in crisis situations
SP  - 28
EP  - 28
UR  - https://hdl.handle.net/21.15107/rcub_rifdt_2930
ER  - 

@conference{
author = "Resanović, Milica and Toković, Milena",
year = "2023",
abstract = "The post-socialist transformation introduced changes not only in the political and economic realms, but in the cultural sphere as well. The transitional model of cultural policy became dominant, which meant mixed funding sources from both public and private sectors participating in creating conditions for the sustainability of cultural manifestations, with the central role of the state. The penetration of a market orientation and poor state funding in the cultural sector negatively affected cultural workers’ economic position and therefore hindered the possibilities of creativity and artistic freedom. All these difficulties and challenges present among cultural workers increased due to the COVID-19 pandemic. The pandemic led to bans on cultural events during lockdowns, reduced number of visitors afterwards, cancellation of projects that depended on international cooperation, and financial problems for cultural workers. Despite the challenges, cultural institutions and organizations attempted to adapt to the new conditions by providing online content in order to sustain their programmes and maintain active communication with their audience. This paper focuses on the analysis of qualitative data collected in the project “The end of the season before the end of the season? Strategies in the cultural sector during the crisis” conducted by the Institute for Sociological Research of the Faculty of Philosophy in Belgrade. Drawing on qualitative interviews with 20 cultural workers from cultural areas that were particularly threatened during the pandemic, we analyse the biggest challenges that organizations/cultural institutions were facing during the pandemic (event program/cultural program, human resources, issue of public/employee health safety, finances). Additionally, since setting up online events was in some cases the only way to continue the program, emphasis will be placed on the analysis of the advantages and disadvantages of organizing a cultural event online, and difference between online and offline experience both in organizing cultural events during the pandemic and in the reception of cultural content.",
publisher = "Belgrade : Sociological Scientific Society of Serbia",
journal = "Sociological Perspectives on Contemporary Post-Yugoslav Societies",
title = "The transitional model of cultural policy and its implications in crisis situations",
pages = "28-28",
url = "https://hdl.handle.net/21.15107/rcub_rifdt_2930"
}

Resanović, M.,& Toković, M.. (2023). The transitional model of cultural policy and its implications in crisis situations. in Sociological Perspectives on Contemporary Post-Yugoslav Societies
Belgrade : Sociological Scientific Society of Serbia., 28-28.
https://hdl.handle.net/21.15107/rcub_rifdt_2930

Resanović M, Toković M. The transitional model of cultural policy and its implications in crisis situations. in Sociological Perspectives on Contemporary Post-Yugoslav Societies. 2023;:28-28.
https://hdl.handle.net/21.15107/rcub_rifdt_2930 .

Resanović, Milica, Toković, Milena, "The transitional model of cultural policy and its implications in crisis situations" in Sociological Perspectives on Contemporary Post-Yugoslav Societies (2023):28-28,
https://hdl.handle.net/21.15107/rcub_rifdt_2930 .