Nonevski, Vangel

Preferred name

Nonevski, Vangel

Official Name

Nonevski, Vangel

Translated Name

Вангел Ноневски

Alternative Name

Nonevski, V.

Ноневски, В.

Ноневски, Вангел

Main Affiliation

vangelnonevski@fzf.ukim.edu.mk

Now showing 1 - 10 of 10

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Филозофските основи на дигиталната естетика
(Филозофски факултет, Скопје, 2012)
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Стапиците на автентичноста и идентитетот низ призмата на балканските стереотипи во Медена земја и Пред дождот
(Македонска Академија на Науките и Уметностите: Одделение за лингвистика и литературна наука, 2022)
This text provides an insight into Maria Todorova’s theory of Balkanism, as a basis for reading the stereotypes and the self-stigmatization in the Macedonian films Honeyland and Before the Rain. The Balkans, like Said’s Orient, are presented as a Western construct, usually not a reference of the region, but of a phantasm constantly filled with prejudice and negative identifications. The conclusion is that the cinematic representation of the fetishized rural Macedonian past, understood as a singular authentic identity, must be reckoned with.
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Празниот знак во модерната архитектура
(Институт за македонска литература, 2021)
This paper is based on the poststructuralist and deconstructivist practices of interpretation in modern art, which is understood as an empty signifier that opens up potentially infinite possibilities for free interpretation. After all, the credo of modern art is to be open to a variety of interpretations. The main challenge of the paper is the application of these practices in the field of modern architecture, whose primary goal is to be functional. However, according to Umberto Eco and Roland Barthes, as soon as there is any cultural and social function, it immediately becomes a signifier. Thus, the equivalent of free interpretation in the domain of modern architecture becomes free experience. Public space should be arranged in such a way as to force its resident/user to “participate in the design”, as Manfredo Tafuri puts it. The ultimate goal of this understanding of modern architecture is to try to turn urban life into an event.
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Скица за една неомарксистичка херменевтика
(Macedonian Academy of Sciences and Arts, 2018)
The purpose of the research is to give an insight into neomarxist reflections on the phenomenon of interpretation of modern art. Theodor Adorno and Walter Benjamin are taken as representatives of the Frankfurt School, who offer authentic approaches to the interpretation of modern art. In its new formal and structural features and in its new social, cultural and media reality, they anticipate that the ontology and semantics of new art requires a shift in the hermeneutic approach, from interpretation/understanding to proactive recontextualization. Fredric Jameson is taken as a factor of synthesis who, through a critical treatment of the discourses of Adorno and Benjamin, offers an authentic contextualization of neomarxist hermeneutics in a narrative context.
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Културната интегративност на ремиксот низ примерот на филмот „Преродба на една нација“ на DJ Spooky
(Macedonian Academy of Sciences and Arts, 2018)
The paper presents an application of the basic theoretical assumptions of remix and interactive arts in the context of the re-contextualized story of the remix-film Rebirth of a Nation by DJ Spooky. In this respect, the film consistently follows the ideology of remix, understood as a free merging and reworking of all cultural heritages that have been involved in the creation of American culture. Also, it is an excellent indicator of the culturally inclusive potentials of the remix, which, through the processes of mixing different voices, emancipates the unheard from the stagnancy of cultural hegemony. Demystification of the racist premises of the original film reflects the political aspirations of the remix as a means of undermining the stigmatizing rule of the white middle-aged man towards the other and for a proper representation of black culture within the wider American culture.
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Дерида, семплот и слободната игра во дискурсот на ремикс културата
(Institute of Macedonian Literature, 2019)
To create something new from “the existing” is the paradigm of present-day remix culture. Several decades have passed since the global culture lost its faith in the search for “the new”, regardless if it was sought in the arts, the entertainment industry or music. We should not grieve the loss of that faith at all. The faith in the new is a faith in the sovereign author-god and in the concept of a complete and finished work of art. The sovereign author, who in pre-modern times was identified as the denominator of the undisputed semantic meaning of a work of art, is lost in the remixing process. Once a work/text becomes susceptible to reproduction, it is stripped bare of its author’s position as a sole determining factor of its semantic resonance. A DJ who mixes and manipulates a song replaces the author as an additional semantic attribute-factor, and the relationship is democratized and liberalized even further when we find out that the DJ mixes music according to the reactions of party-goers. In this equation, the audience actually becomes a chief procreative factor. This inherent interactivity of remix culture has intensified even more in the last 20-odd years with the emergence of new technologies and the internet, which enable every networked user (with a decent computer) to enter the potentially endless cycle of remixing any work of art/culture represented by new media.
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Уметноста како интерактивен процес
(Macedonian Academy of Sciences and Arts, 2018)
The contemporary work of art has found itself in a situation where it must renegotiate its ontological foundations in the age of digital reproduction, because its aura is now being additionally blurred by the digital replica (not only by the mechanical one). Therefore, we can’t expect that the reception of artworks will still continue to be “pure” and stable, according to the classical understanding of the notion. The new consideration of aesthetic reception should bare in mind the essentially interactive properties of new media. Because new media art or digital art should be considered as a sort of interface between the machine and the public, its aura (ontology) should rise from the interactive connection between the architects of the virtual reality of databases and the consumers who gain access to it. Therefore, the thing that today is considered to be a work of art is in fact a work of context: artists provide unfinished “art contexts” (even in cases where works are initially not envisaged as contexts, but rather as ordinary works of art) for others to complete and/or to put through an endless cycle of deconstruction, recontextualization, restructuring, reshaping... Consequently, although semantic deconstruction still plays a large role and effectively is a basic ontological factor of aesthetic legitimacy in digital art, it still has to be diversified from the semantic virtualization which dominates in interactive arts. Conclusion: The semantic virtualization means that aesthetic communication is no longer based solely on interpretation and deconstruction of the meaning of works of art, but rather on direct participatory advantage-taking of the contexts that are provided by them.
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Античката уметничка вдаховеност и исихастичкото просветлување
(Филозофски факултет, УКИМ, Скопје, 2020)
The text seeks to draw a parallel between Plato’s theory of inspiration and enthusiasm in the understanding of poetic creation and the practices of enlightenment in Isihastic Orthodox Christianity, in the way that they were elaborated by the professor of ancient, medieval and Byzantine philosophy Vera Georgieva. It also elaborates some contemporary implications of both themes in the area of popular music, namely, the ways in which psychedelic experiences in rock and roll and techno music evoke enlightenment experiences. The conclusion is that the Orthodox mystical approach of Isihazm leads to a direct union with god, while the approach of divine and/or psychedelic artistic inspiration can only bring us closer to that unity. However, that closeness can never be fully realized.
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Киберпанкот и слободното толкување на стварноста
(Филозофско друштво на Македонија - Скопје, 2019)
The text offers a particular contextualisation of the theoretical research of cyberpunk narratives and hermeneutics. The science-fiction subgenre of cyberpunk is taken as a narrative paradigm because of its intrinsic treatment of reality, perception and memory. In its topics of interest, set design and iconography we recognize an “acceleration” of the main concerns of the critical theory of neoliberal capitalism: subordination caused by the metastasis of global consumerism, sophisticated construction of reality in cyberspace, simulated desires and needs in the agenda of reproduction of capital, etc. Three modes of the concept of cyberspace in the narrative of cyberpunk are examined: cyberspace as virtual reality, cyberspace as our reality and cyberspace as a medium for interpenetration of those realities. The problems of reality, perception, desire and freedom are extracted as key in a Marxist reading of cyberpunk, concluding that what we call “reality” should not be treated as something “out there” (or objective), but rather as a platform for expanding the possibilities for proactive and/or virtual construction of reality.
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Фикцијата на киберпанкот како автентично искуство на стварноста
(Macedonian Academy of Sciences and Arts, 2018)
The text offers a particular contextualisation of the theoretical research of Marxist hermeneutics. Therefore, the science-fiction subgenre of cyberpunk is taken as a narrative paradigm. In its topics of interest, set design and iconography we recognize an “acceleration” of the main concerns of neomarxism: hyperconsummerism, subordination caused by the metastasis of global capitalism, sophisticated construction of reality in cyberspace, simulated desires and needs in the agenda of reproduction of capital, etc. Three modes of the concept of cyberspace in the narrative of cyberpunk are examined: cyberspace as virtual reality, cyberspace as our reality and cyberspace as a medium for interpenetration of those realities. The problems of reality, desire and freedom are extracted as key in a Marxist reading of cyberpunk.

Nonevski, Vangel

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