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In this article we will examine the possibilities of strengthening local communities through art. Art is seen as a powerful force able to bring visions to local community members and to initiate their involvement in social reconstruction. We will analyse the perspectives of development of local urban places into local cultural spaces. For such development, cooperation between artists and urban residents is recognised as highly important. Different art projects can inspire local community members to build stronger connections and help them to define visions of better society. Cooperation in artistic work can gather community members and inspire them to involve in political decision-making process. It also can improve their ability to state program of society development in a more democratic, more inclusive manner. Role of art and alternative education, we consider as crucial in initiating social actions that are able to truly reconstruct local communities, to redefine a status and to change perception of marginalised social places and to inspire those who live in the same neighbourhood to cooperate and fight for common interest. For this reason, we will analyse perspectives of development approaches in which art and alternative education can come together to create changes. Creation of new cultural space needs development of alternative education, that can encourage community members to overcome old prejudices, and it also needs inclusive arts practices, that can help people to connect each others and to find their vision of betterness. Through art and alternative education they may doscover their power to recreate reality and to change the situation that oppresses them. Instead to "integrate" or "incorporate" into the society that multiply injustice, alienation, and separation, they may perceive that they are members of a community, so they are able to engage themselves to participate in its recreation. If we make efforts to reimagine our cultural space, we may discover our potentials to visualise authentic development and our strength to challenge old ideological prejudices. ; U tekstu se ispituju mogućnosti jačanja lokalnih zajednica putem umetnosti. Autor zastupa stav da je putem umetnosti moguće preneti vizije članovima lokalnih zajednica i inspirisati ih na učešće u procesima društvenog rekonstruisanja. U tekstu će biti analizirane perspektive transformisanja urbanih celina u specifične prostore kulture. U tom smislu, posebno se naglašava značaj saradnje između umetnikâ i pripadnikâ lokalnih zajednica. Različiti umetnički projekti mogu inspirisati članove lokalnih zajednica na uspostavljanje snažnijih veza, te im mogu pomoći da definišu vizije boljeg društva. Saradnja na umetničkom projektu može okupiti članove zajednice i inspirisati ih na uključivanje u proces političkog odlučivanja. Ona, pored toga, može osnažiti njihovu sposobnost da postave program društvenog razvoja u jednom više demokratskom, više inkluzivnom maniru. Uloga umetnosti i alternativnog obrazovanja u tekstu se posmatraju kao presudne u iniciranju društvenih akcija putem kojih je moguće suštinski rekonstruisati lokalne zajednice, redefinisati status i izmeniti percepciju marginalizovanih prostora, te inspirisati susedsku saradnju i njihova zalaganja za zajednički interes. Izgradnja novog kulturnog prostora zahteva razvoj alternativnog obrazovanja, putem kojeg je moguće osnažiti članove zajednice da prevaziđu stare predrasude, ali i razvoj inkluzivnih umetničkih praksi, koje mogu pomoći članovima zajednice u međusobnom povezivanju, te u pronalaženju vlastite vizije boljitka. Kroz umetnost i alternativno obrazovanje, oni mogu otkriti svoju moć da se suprotstave opresivnim društvenim odnosima. Suprotno pozivima na integraciju u društvo koje umnožava nepravdu, otuđenje i razdvojenost, upravo putem umetnosti oni mogu uočiti činjenicu da su zapravo članovi zajednice, sposobni da učestvuju u njenoj izgradnji.

New political orientation in late fifth and early sixth decade of the twentieth century, encouraged the change of attitudes towards the cultural heritage of the early socialist period in Yugoslavia. Perceived primarily as an expression of political dictates and rejected ideological conceptions, the art of this period was seen as evidence of wrong political decisions which are necessary to relieve. The marginalization of art and cultural heritage from this period continued in the next years, confirming the new political ideas. Demolition of socialist ideals in the eighties and nineties opened new perspectives for cultural policy, defining the relation of authorities to cultural heritage from recent history. Acceptance of new values was followed by introducing the cultural policies that not recognized interest in the protection of national cultural heritage from this period. Although significantly politically directed development of Yugoslav art from the early postwar period appear as an important part of national cultural heritage. It testifies not only of past political views in Yugoslavia, but also of the ideals of an era, accepted values and artistic aspirations that marked the fifth decade in this region. This paper explores the conditions for establishing a different reading of early post-war art in Yugoslavia, in purpose of more comprehensive critical observation and redefinition of attitudes towards the cultural heritage of this period. .

Starting from Austin's theory of speech acts and the difference that is established at the meta-linguistic level between two types of utterance: performative and constative, the authors, from the point of view of media philosophy, claim that in the digital universe, where linguistic and every other expression is transposed by the media, every interaction, being a media creation and therefore without foundations in reality, is performative. Recognizing digitization, i.e. the actions and procedures that confirm it through interaction, as economically based and therefore the entire digital space as bound to the ruling capitalist socio-economic paradigm, the authors questioning whether is enough to claim that the performativity of digital devices and algorithmic structure represent, without distinction, a necessary and sufficient condition for overall digital performativity? That is, if all interactions in the digital world were reduced exclusively to logical operations, there would be no "symbolic surplus" that makes language to be a language and art to be an art, regardless of their material basis. The authors conclude that digital culture establishes a new dystopian line of cultural development, which (in the considered case) finds its manifestation in digital performances. Mentioned form has its origin in a particular software culture as an anti-cultural deviation of digital culture. Digital performances, viewed from that point, are understood as non-performances, or entities that exist only in their connection to performances, which, again, can never become.

Taking the philosophy of media as a starting point, this text examines the possibilities, forms and status of critique in our times which are dominated, at least in the West, by what is known as media culture. On the one hand, the text avoids reducing systemic and strategic critique of capitalism to merely a critical point of view, while on the other it problematizes and examines the critique of modern media practices. The authors implicitly conclude that merely asking these questions paves the road to comprehensive critical action, within the existing systems of this media universe, as well as beyond it, i.e. in the particular socio-economic system of thought and action. This text also examines the possibility of achieving critical practices through art, and in the context of emerging new technologies. Possibilities for critique within the framework of new media art are explored in particular, as this might revolutionize not only media practices, but also the social, historical and economical practices of capitalism as such.