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The complex relationality between inheritance of the socialist past, the socioeconomic transitional present characterised by extractivist capitalism, and a future marked by species extinction, produces post-socialist necroecologies. On one hand, relationally devastating resource extraction produces necroecological non-becoming through its meontopolitics; on the other hand, there are mass movements calling for the cessation of that extraction and for an ontopolitics of becoming other than those causing environmental destruction.
This article concerns the non-philosophical reduction of the metaphysical presuppositions of these environmental material-semiotic practices in contemporary Serbia, showing that they are grounded in ontological pairs of non-becoming and becoming. To think about the post-socialist necroecological material-semiotic condition in a non-philosophical key means thinking about it neither relationally nor non-relationally, neither through non-becoming or becoming, but unilaterally, through heno-humaneity and beyond Western metaphysics.

This paper deals with the analysis of noise music by the Japanese artist Merz-bow, especially emphasizing the posthumanistic ethical and aesthetical paradigm as his artistic and political project. This project, or assemblage, has several aspects, three being particularly important: "musical" system (acoustic material, creator, listener), visual and textual material (album covers, articles and interviews), and the attitude towards the non-human (machines, animals, nature in general). These three aspects are a particular assemblage that enables the critique of the "everyday body" and the contemporary society, by creating special aesthetics of existence and lines of flight, an aesthetics which, ultimately, removes the human subject and replaces it with an (in)organic multiplicity.

European Theories in Former Yugoslavia shows that there is no such thing as a direct transfer or influence of theories from the centre to the margins, but only complex practices of borrowing, translating, and reinterpreting, conditioned by specific contexts; in this case those of former Yugoslavia and its contemporary cultural sphere. Here, reception is no longer simply about receiving fresh knowledge from the centre, but also about communicating feedback into broader contexts, shaped by multicultural and global connections and exchange. The book poses broader questions about contemporary theo