TikTok has become one of the fastest growing online empires in the last decade, and one of the most influential social media tools today. By centering the short-video format tailored for smartphone screens, this platform sets forth the sonic component of the audio-visual material in ways which have been unexplored in the social media realm on a global scale before. In this article I will explore the ways in which TikTok has made an "aural turn", and thus changed and influenced the processes of music-making, music listening and music promotion. Special attention is given to the tools creators have at use (such as Duets, Stitches, livestreams, short form of the video), as well as the circumstances that ensue when these tools are combined with the algorithm and the entire ecosystem of this app (such as the highest yet possibility of virality, pressure to optimize content to be 'catchy' and likable, fast release on other streaming apps). The article also investigates the TikTok-influenced image of the contemporary music industry, as well as the multifaceted use of sound as memes.
With insight into the lyrics and lifestyle choices of some of the members of the Californian deathgrind band Cattle Decapitation, this article explores the connection between their extreme sound and the "extreme" messages in their work. Namely, the band's current and former members have been vocal about their stance on animal cruelty and human impact on the environment, also reflected in the band's lyrics and imagery. Their positions are supported by, to use the terms coined by Keith KahnHarris, the utilization of discursive, bodily, as well as sonic transgressions. With that in mind, the goal of this paper is to examine the ways in which these transgressions, or rather, forms of "extremism," collaborate, reinforce, and strengthen each other. This will be achieved by questioning the points of contact among the movements concerning political/environmental/ animal rights and the sounds deemed extreme in contemporary society.
With insight into the lyrics and lifestyle choices of some of the members of the Californian deathgrind band Cattle Decapitation, this article explores the connection between their extreme sound and the "extreme" messages in their work. Namely, the band's current and former members have been vocal about their stance on animal cruelty and human impact on the environment, also reflected in the band's lyrics and imagery. Their positions are supported by, to use the terms coined by Keith KahnHarris, the utilization of discursive, bodily, as well as sonic transgressions. With that in mind, the goal of this paper is to examine the ways in which these transgressions, or rather, forms of "extremism," collaborate, reinforce, and strengthen each other. This will be achieved by questioning the points of contact among the movements concerning political/environmental/ animal rights and the sounds deemed extreme in contemporary society. ; Uvidom u tekstove pjesama i životni stil koji vode neki od članova kalifornijskoga deathgrind benda Cattle Decapitation, ovaj članak istražuje vezu između ekstremnoga zvuka, koji bend njeguje i "ekstremne" poruke koja proizlazi iz njihova rada. Naime, sadašnji i bivši članovi benda ističu svoj stav o problemu okrutnosti prema životinjama i negativnoga utjecaja ljudi na životno okruženje, što se može primijetiti i u tekstualnim i u vizualnim aspektima njihova stvaralaštva. Govoreći u terminima koje je ustanovio sociolog Keith Kahn-Harris, njihovi stavovi imaju osnovu u diskurzivnim, tjelesnim i soničnim transgresijama rada ovoga benda. Cilj je ovoga rada propitivanje na koji način ove transgresije, odnosno, vidovi "ekstremizma", surađuju i time pojačavaju cjelokupni dojam. To će biti učinjeno ispitivanjem točaka ekstrema u suvremenome društvu na kojima se pozicije o politici, životnoj sredini i pravima životinja susreću sa zvukom muzike benda Cattle Decapitation.
Uvidom u tekstove pjesama i životni stil koji vode neki od članova kalifornijskoga deathgrind benda Cattle Decapitation, ovaj članak istražuje vezu između ekstremnoga zvuka, koji bend njeguje i "ekstremne" poruke koja proizlazi iz njihova rada. Naime, sadašnji i bivši članovi benda ističu svoj stav o problemu okrutnosti prema životinjama i negativnoga utjecaja ljudi na životno okruženje, što se može primijetiti i u tekstualnim i u vizualnim aspektima njihova stvaralaštva. Govoreći u terminima koje je ustanovio sociolog Keith Kahn-Harris, njihovi stavovi imaju osnovu u diskurzivnim, tjelesnim i soničnim transgresijama rada ovoga benda. Cilj je ovoga rada propitivanje na koji način ove transgresije, odnosno, vidovi "ekstremizma", surađuju i time pojačavaju cjelokupni dojam. To će biti učinjeno ispitivanjem točaka ekstrema u suvremenome društvu na kojima se pozicije o politici, životnoj sredini i pravima životinja susreću sa zvukom muzike benda Cattle Decapitation. ; With insight into the lyrics and lifestyle choices of some of the members of the Californian deathgrind band Cattle Decapitation, this article explores the connection between their extreme sound and the "extreme" messages in their work. Namely, the band's current and former members have been vocal about their stance on animal cruelty and human impact on the environment, also reflected in the band's lyrics and imagery. Their positions are supported by, to use the terms coined by Keith Kahn- Harris, the utilization of discursive, bodily, as well as sonic transgressions. With that in mind, the goal of this paper is to examine the ways in which these transgressions, or rather, forms of "extremism," collaborate, reinforce, and strengthen each other. This will be achieved by questioning the points of contact among the movements concerning political/environmental/ animal rights and the sounds deemed extreme in contemporary society.
It can be said that the academic scrutinization of metal music began with two substantial studies – Heavy Metal. The Music and its Culture (1991) by sociologist Deena Weinstein and Running with the Devil. Power, Gender, and Madness in Heavy Metal Music (1993) by musicologist Robert Walser. During the following couple of decades, academic and metal communities witnessed some sporadic – but essential – contributions to the field (Purcell's Death Metal Music: The Passion and Politics of a Subculture (2003) and Kahn-Harris's Extreme Metal: Music and Culture on the Edge (2007), to name a few). A series of several events that occurred near the end of the first decade of the 21st century, and especially during the 2010s, are crucial in the institutionalization of metal music studies. The foundation of the International Society for Metal Music Studies (ISMMS) in 2013 is probably the most important one, mainly because it announced the emergence of the new scientific paradigm. Following the first global conference on metal held in Salzburg in 2008, starting from 2013 the ISMMS began organizing regular international and inter/multi-disciplinary conferences biannually. Finally, the foundation of ISMMS' specialized scientific journal, Metal Music Studies (Intellect Press, 2015), signified the beginning of the so-called autonomy that metal scholars strived for. As Will Straw noticed in his keynote speech at the ISMMS conference in Nantes (2019), this autonomy was particularly important concerning popular music studies. Metal scholars, coming from various disciplines (sociology, musicology, aesthetics, cultural studies, history, psychology, etc.), created their "intellectual hub" and started building a unique resource for the field. With musicology playing a vital role in the field, this paper aims to examine the musicological input to metal music studies, with special attention given to studies published after the foundation of the ISMMS and its journal. This overview will encompass reoccurring topics, contemporary methodologies, and the interdisciplinary liaisons established in the research process. ; Имајући у виду да је интересовање за проучавање метал музике званично отпочело у англоамеричком контексту деведесетих година прошлог века појавом две студије утемељивачког карактера – Heavy Metal. The Music and its Culture (1991) социолошкиње Дине Вајнстин и Running with the Devil. Power, Gender, and Madness in Heavy Metal Music (1993) музиколога Роберта Волсера – циљ овог текста био је да се испита улога музикологије у области студија метал музике. Показано је да је, током три деценије све разгранатијег научног дискурса о овом музичком феномену, упис музикологије био важан не само као први корак, већ и као константан и неизоставан део говора и написа о металу. Почевши од Волсерове студије, која је par excellance продукт 'свог доба' и нове музикологије, музиколошки доприноси овом пољу били су резултат интердисциплинарне базе дисциплине, те су тако резултати тих истраживања обухватала историографску, формалистичку, музичко-теоријску, естетичку, филозофску, етномузиколошку, етнографску раван. На институционализацију студија метал музике утицало је неколико догађаја који су се одвили крајем прве деценије 21. века, а нарочито током 2010-их. Због успостављања нове научне парадигме и платформе, пре свега треба поменути оснивање Међународног друштва за проучавање метал музике (ISMMS) 2013. године, а потом и установљивање редовних међународних и интер/транс/мултидисциплинарних научних скупова широм света. Својеврсна аутономија ове области, нарочито у односу на студије популарне музике, заокружена је успостављањем научног часописа Metal Music Studies (Intellect Press, 2015). Тако је, у односу на претходни период, где је научно истраживање метал музике остајало у запећку шире слике и спорадично се пробијало у први план, успостављена платформа на којој ће се убрзо развити дисциплинарни односи. Иако су неки од гласноговорника студија метал музике инсистирали на оснаживању музиколошког 'гласа' пре свега ради компетентног говора о звуку, музичким структурама и хармонско-мелодијским аспектима метал музике, овај текст је увидом у кратку али садржајну историју музиколошких написа показао да се, услед основних интердисциплинарних поставки музикологије, допринос музиколога не може свести 'само' на музичко-теоријски рад. Штавише, он предвиђа још богатију продукцију која долази из сфере музикологије, а која ће бити инспирисана и испровцирана новим технологијама, инструментима и извођаштвом, савременим друштвом и публиком, начинима стварања, постпродукције и рецепције музике.
It can be said that the academic scrutinization of metal music began with two substantial studies: Heavy Metal. The Music and its Culture (1991) by sociologist Deena Weinstein and Running with the Devil. Power, Gender, and Madness in Heavy Metal Music (1993) by musicologist Robert Walser. During the following couple of decades, academic and metal communities witnessed some sporadic – but essential – contributions to the field (Purcell's Death Metal Music: The Passion and Politics of a Subculture (2003), Kahn-Harris's Extreme Metal: Music and Culture on the Edge (2007), to name a few). A series of several events that occurred near the end of the first decade of the 21st century, and especially during the 2010s, are crucial in the institutionalization of metal music studies. The foundation of the International Society for Metal Music Studies (ISMMS) in 2013 is probably the most important, mainly because it announced the emergence of the new scientific paradigm. Having in mind that the first global conference on metal was held in Salzburg in 2008, starting from 2013, the ISMMS began organizing regular international and inter/multi-disciplinary conferences biannually. Finally, the foundation of ISMMS' specialized scientific journal, Metal Music Studies (Intellect Press, 2015), signified the beginning of so-called autonomy that metal scholars strived for. This autonomy was particularly important concerning popular music studies, as Will Straw noticed in his keynote speech at ISMMS conference in Nantes (2019). Metal scholars, coming from various disciplines (sociology, musicology, aesthetics, cultural studies, history, psychology, etc.), created their "intellectual hub" and started building a unique resource for the field. With musicology playing a vital role in the field, this presentation aims to examine the musicological input to metal music studies, with special attention given to studies published after the foundation of the ISMMS and its journal. Reoccurring topics, contemporary methodologies, and the results ...
Historically speaking, metal music has always been about provoking a strong reaction. Depending on the characteristics of different sub-genres, one can focus on the sound, technique, visual appearance, and furthermore, the ideologies and ideas that are the foundation for each of the sub-genres. Although the majority of the metal community rejects accusations of being racially intolerant, some ideologies of extreme sub-genres (such as black metal) are in fact formed around the ideas of self-conscious elitism expressed through interest in pagan mythology, racism, Nazism and fascism. There has been much interest in the Nazi era within the extreme metal scene thus influencing other sub-genres and artists. The aim of this paper is to examine various appearances of extreme narratives such as Nazism and racism in different sub-genres of metal, bearing in mind variations dependent on geographical, political, and other factors.
The aim of this paper is two-fold. On the one hand, it aims at presenting discussion on advantages and disadvantages of different approaches to well-being, its indicators and measures. On the other, it aims at presenting empirical evidence on the level of well-being of the peoples in the Western Balkan region. Although resources are necessary for the good-quality life, personal well-being cannot be fully assessed by looking only at the resources people have command of. The alternatives are to focus on people's subjective well-being, then to create certain objective measure of well-being, as the one within human development approach, or the combination of the two, as within gross national happiness concept or happy planet approach. According to the available data on well-being in the countries of the Western Balkan region for 2012, Croatia is the only country in the region that belongs to a group of upper middle income countries, and which also records high human development. The others are middle income countries with medium level of human development. It is interesting noticing that Albania, which is with Bosnia and Herzegovina at the bottom of the list based on the gross national income (GNI) per capita and human development index (HDI), is region's leader in the happy planet index (HPI), and among top 20 countries in the world based on this indicator, particularly due to low level of ecological footprint. According the data on the subjective well-being, we can notice that the greatest satisfaction with one's life is experienced by the people in Croatia. It is also noticeable that reportedly more people in the Western Balkans experience positive feelings than they feel the negative.
This paper argues that industrial policy, defined as a conscious effort on the part of government to encourage and promote a specific industry or sector, is an indispensable tool for economic development. Serbia is experiencing a process of de-industrialisation since 1990s. During the period 2001-2012 its industry has been growing at an average annual rate of 0.2%, but it however still did not reach the output of the late 1989. The share of industry in GDP has been decreased, as well as the share in the labour productivity. Moreover, employment in industry has sharply decreased. Serbian exports are dominated mostly by primary and labour- and resource-intensive products making unfavourable export structure. This paper argues that devastated industry of Serbia cannot recover without conscious efforts on the part of government.
The aim of this paper is to discuss the main tenets of industrial policy. Industrial policy, as a conscious effort on the part of government to encourage and promote activities specific, industry or sector with an array of policies, through the process of cooperation and coordination with the private sector, is an indispensable tool for steering economic development. It is needed both for developing and developed countries. Due to the information and coordination externalities, the productive forces cannot be developed through the market mechanism itself and the intervention on the part of government is needed. The programmes of an industrial policy need to be tailor made and country specific. However, some of the programmes have been historically shown as effective. Those programmes are: Subsidizing costs of "self-discovery", Developing mechanisms for higher risk finance, Internalizing coordination externalities, Public R&D, Subsidizing general technical training, Taking advantage of nationals abroad (Rodrik 2004). Serbia as a country that has experienced the process of deindustrialisation needs an industrial policy that will take into account the main tenets of the concept of industrial policy.
This paper argues that industrial policy, defined as a conscious effort on the part of government to encourage and promote a specific industry or sector, is an indispensable tool for economic development. Serbia is experiencing a process of de-industrialisation since 1990s. During the period 2001-2012 its industry has been growing at an average annual rate of 0.2%, but it however still did not reach the output of the late 1989. The share of industry in GDP has been decreased, as well as the share in the labour productivity. Moreover, employment in industry has sharply decreased. Serbian exports are dominated mostly by primary and labour- and resource-intensive products making unfavourable export structure. This paper argues that devastated industry of Serbia cannot recover without conscious efforts on the part of government.
The recently adopted Strategy for the economic and social development of the EU - Europe Strategy 2020, recognizes the concept of the Corporate Social Responsibility (CSR) as one of the tools for the achievement of a smart, sustainable and inclusive growth. Although the integration of CSR concept into business strategies is made on voluntary bases, governments, civil sector, media and academia have an important role in its promotion. The aim of this paper is to analyse the role that CSR plays in the socio-economic development focusing on Serbia. While the Government perceives the importance of CSR for Serbian socioeconomic development, it is noticeable that pressure on companies to undertake socially responsible activities made by media, NGOs, consumers and business partners is not remarkable. In addition, the business community still does not have enough CSR initiatives that would be both beneficial to the community and profitable for companies. The paper argues that education on CSR of the managers and the broader public is essential in raising the awareness of the benefits that CSR offer. Consequently, it would lead towards the wider implementation of CSR in Serbia.
The recently adopted Strategy for the economic and social development of the EU - Europe Strategy 2020, recognizes the concept of the Corporate Social Responsibility (CSR) as one of the tools for the achievement of a smart, sustainable and inclusive growth. Although the integration of CSR concept into business strategies is made on voluntary bases, governments, civil sector, media and academia have an important role in its promotion. The aim of this paper is to analyse the role that CSR plays in the socio-economic development focusing on Serbia. While the Government perceives the importance of CSR for Serbian socioeconomic development, it is noticeable that pressure on companies to undertake socially responsible activities made by media, NGOs, consumers and business partners is not remarkable. In addition, the business community still does not have enough CSR initiatives that would be both beneficial to the community and profitable for companies. The paper argues that education on CSR of the managers and the broader public is essential in raising the awareness of the benefits that CSR offer. Consequently, it would lead towards the wider implementation of CSR in Serbia.
