SRDJAN SAROVIC / SELECTED WORKS
SRDJAN SAROVIC / SELECTED WORKS
PAINTING
LOGOS: Vibrating Sequence
RED COMPOSITIONS
The paintings were created through the process of relating musical tone aliquotes and colours. As each musical tone has its aliquotes, every tone brings forth its inner space and structure. Following the creative principle of vibrating sequence, a particular colour was assigned to each musical tone and each of its aliquotes. For each aliquot, a layer of colour was applied on the canvas, allowing the particular visual forms to emerge during the process. The resulting artworks present the direct visual manifestations of the inner space of tones. Each painting in the series was created during a single day.
COMPOSITION No. 1
Colors and corresponding harmonics of eye chord.
Color harmonics chord:
G [D, H, G], D [A, F#, D], C [G, C, E]
Acrylic on canvas, 50cm x 150cm, 2021.
Color harmonics chord:
G [D, H, G], D [A, F#, D], C [G, C, E]
Acrylic on canvas, 50cm x 150cm, 2021.
LOGOS: The Metod of Individuation
THE FEAT
The paintings were created as manifestations of an inner event - the event of prayer - within the time of its unfolding. Visual elements and composition of each artwork were determined from within the inner event, which has defined their specific qualities and the way they were painted. For each prayer uttered, a brushstroke was applied on the canvas. As a result, each painting was created as an unambiguous and complete indication of the inner event from which it has originated. Each painting in the series was created during a single day, while the entire series was created in eight consecutive days.
PHOTUIS
7th prayer day:
Number of prayers - 2258
Acrylic on jute and plywood 60cm x 60cm 2024.
Number of prayers - 2258
Acrylic on jute and plywood 60cm x 60cm 2024.
LOGOS: Apophatic Principle
NEGATIVE LIGHT
The paintings were created according to the apophatic creative principle. The final forms and composition visible in each painting came to be through the process in which each brushstroke had a particular methodological function. In the creation of these paintings, the opposition and logical relations between "is" and "is not" (true and false) were methodically used: what the artwork is was established by eliminating what the artwork is not. To do so, one starts from the totality of all worlds the artwork could be(come), whether they are possible or necessary worlds. By excluding the worlds which are (merely) possible, one discovers the necessary world of the artwork.
Apophatic composition No. 7
Color application:
White - affirmation; Reds - negation
Acrylic on canvas 120cm x 195cm 2021.
White - affirmation; Reds - negation
Acrylic on canvas 120cm x 195cm 2021.
LOGOS: Quest
FIELDS, ROCKS, MISTS
The paintings came to be as a result of a personal quest for what was never found. Earth, sky and air merge within these artworks as realms of endless landscapes to which the question was posed. The quest had its own paths and directions, its inner movement leading through the fields, across the mountains, and through the mists. The paintings are the traces of those movements, presenting what was found but not searched for, and echoing the absence of what was searched for but not found.
ARABLE I
Quest domain:
Flatlands
Oil on canvas on plywood 25cm x 25cm 2016.
Flatlands
Oil on canvas on plywood 25cm x 25cm 2016.
DRAWING
LOGOS: Charon`s Method
POIESIS OF WAR
The drawings in the series came out of sensory memories, and not from feelings. To bring them forth, and to uncover the true meaning of the events and experiences they signify, memories had to be purified through the rigorous creative process. First, these personal experiences saturated with meaning were translated into poems, absolving the memories from their specific content and transforming them into a formal structure. Then, poems were translated into the drawings, with each drawing resulting form a particular poem. The visual elements of a drawing correspond to a predicate given by poems, so that the final drawing and its composition as a subject is defined by such visual predicates. The meaning of the events lived is, thus, revealed.
SCREAMING EYE
Poetic image:
An iron angel landed on a tree
Oil on paper 70cm x 100cm 2019.
An iron angel landed on a tree
Oil on paper 70cm x 100cm 2019.
LOGOS: Toponim Origin
PATROS / PETROS / TOPOS
These drawings are results of an artistically posed warning question: watch your step!? The time and space of oneself has its own history and topology; the being of the mother and the being of the father, their lives and stories. And the lives of their mothers and fathers. And the lives and stories of their mothers and fathers. All those petrified in a solid ground defining one's place, saturated with meaning. The drawings are abstract in expression, but quite concrete in material used. They present these time-places as starting points of all personal paths.
MATRONIME
One`s origin:
Mother
Combined technique on jute 70cm x 100cm 2020.
Mother
Combined technique on jute 70cm x 100cm 2020.
LOGOS: Reconstitution
34m2 / SERIES I
The drawings were made using the waste paper from the printing press (maculature), saturated with colors and errors to full blackness. Such blackness is not empty and without information, but filled with forms and colors, each depicting a particular world. Numerous worlds lacking cohesive meaningful interconnections remove each other from visibility. Paint thinner was then used to uncover those worlds and reconstitute them into a harmonious composition. Four series of drawings were created according to the same logos, but using different materials and approaches. The first series of 34m2 Drawings was created through the process of constituting geometrical compositions, while covering those parts of uncovered structures that omitted the re-established order.
Drawing No. 14
Percent of surface:
2,0588%
Combined technique on bindakote 70cm x 100cm 2018.
2,0588%
Combined technique on bindakote 70cm x 100cm 2018.
LOGOS: Reconstitution
34m2 / SERIES II
Four series of drawings were created according to the same logos, proving that a single creative principle can bring forth numerous original artworks. The second series of 34m2 Drawings was created through the process of using the paint thinner to reveal the organic forms appearing from the all-black printing waste paper (maculatura) saturated with colors and errors. In such process, the chaos of numerous worlds traces left on the paper was reconstituted, while its elements were brought into a structured harmonious artwork composition. Organic forms revealed were further consolidated using painted visual elements and accents.
Drawing No. 4
Percent of surface:
1,029%
Combined technique on bindakote 50cm x 70cm 2018.
1,029%
Combined technique on bindakote 50cm x 70cm 2018.
LOGOS: Propositions
NOTES AND STUDIES
The drawings in the Notes and Studies section are diverse examples of hand drawn artwork-concepts with comments. They are a glimpse in artistic reasoning of abstract notions. Each drawing is an example of a concept developed in terms of its subconcepts, their interrelations and conceptual order. Therefore, each drawing is a proposition from which series of artworks were and can be further developed.
GENERATIVE
LOGOS: The Method of Complete Individualization (of Large Series)
OCC GEN ART
The artworks in this generative project are created according to the creative Principle of Complete Individualization (of Large Series); as such, they belong to OCC GEN ART. The project encompasses seven co-series, with each series consisting of thousands of NFT paintings (art pieces). All seven co-series were made according to the same focus-concept and using the same technical procedure; they differ in basic drawings common to all members of the series, but they are all created as visual interpretations of the focus-concept. Each art piece in each of seven co-series has unique and original visual composition.
TEMPORAL DRAWINGS
LOGOS: Harmony
COMPOSITION OF DISORDER
This temporal drawing is one from a series of three (Composition of disorder, Charge, charge, charge!, and Respirator blues). These artworks came to be as a creative response to the overall state of distortion during the Corona-virus pandemic, creating harmony and order where there was none. First, three music pieces were composed, and then they were brought into temporal drawings. Musical lines of particular instruments of a single music piece were translated into MIDI chanell, which gave them a formal content-free description. The lines of particular quality were further assigned to the formal descriptions of musical lines as their visual representatives. The sounds received their acute visual translation within the process that preserved the qualities of the sounds and their movement, where sounds animate the assigned lines. The composition of this temporal drawing was created by bringing together al sound-animated lines.
Composition of disorder, 04:13, Stereo, Color, HDV, 2020.
LOGOS: Sounds of Battlefield
SYRIAN RHAPSODY
This artwork presents the sounds of the war in Syria translated into a temporal drawing. An original audio material (sounds of airplains, bombs, etc.) was used to extract and define war sound-content, which was then translated into a formalized description in MIDI chanell. To such formalized description the sound-content of musical instruments was further assigned. The dynamics, tempo and other features of original audio material were entirely preserved. To such audio-content complementary visual elements - lines - were then assigned, initially as formal flat visual representatives. Each instrument was separately paired with a corresponding line, with the quality, movement and the composition of sounds defining the qualities of the lines and their movement. Finally, all sound-animated lines were joined into the final composition of this temporal drawing.
Syrian Rhapsody, 04:28, Stereo, Color, HDV, 2015.
PERFORMATIVE
LOGOS: Sonic Bond
SYNCOPE
Drawing was initiated by the sound played by the trombonist. The canvas on which the drawing was created had a network of piezo elements on its back side, translating the pressure from the lines being applied into the electric impulse. To these electric impulses sounds were further assigned sounds and sound effects on the computer, so the entire trio could hear which melody the drawing creates. While listening to such melody, the trombonist reacts playing the instrument, further directing artist’s drawing. The circle of sound/drawing is thus completed.
Overall, three such performances and accompanying drawings were realized.
Overall, three such performances and accompanying drawings were realized.
LOGOS: The Measure of Man
the PAINter
This performance piece presents the innqury in the measures of a human being. Starting with physical presence, a white wooden frame was designed according to the artist’s body measures, but silghtely narrower. The hight of the artist was compared with Fibonacci numbers, and then a number one grade smaller than the number corresponding to the artit’s hight in that scale was chosen for the measure of the frame. Thus, the space was created within which a free movement was possible, but not entirely, inducing the spirit to break through - the measure of the man is not nature, but the spirit. The artist’s struggle with/in such space left paint traces from the artist’s body, painted black so it would be abstracted. After the frame was diassembled, four performance paintings were revealed - one for the each side of the frame.
the PAINter, 09:21, Stereo, B/W, HDV, 2014.
LOGOS: Human Prevails
ALGORITHM TRANSFER
The artwork was created from a performance piece observed by the eye of the camera. The video capturing the performance piece was used to produce a hand-made tracing of the body joints movement. The joints of the hands and feet were traced resulting in a formal map of the body movement. Light spheres were chosen as visual representations of these body joints. Given such information about the body movement, visual output was created where the spheres moved correspondigly with the body. The living body received a direct visual expression, but from within - challenging the perspective of the eye, proving that human intention prevails regardless of its tranfer from one medium to the other.
Algorithm transfer, 04:22, Stereo, Color, HDV, 2017.
LOGOS: Modus Operandi
MO duet - RANSOME
MO duet art was created according to the logos prescribing two premises. First, to create music pieces which would encompass the entire frequence spectrum of instruments in the standard band, but using the guitar and the drums only. Second, to create music pieces that could be recognized and experienced as popular music. To do this, entirely new ways of playing guitar and drums had to be developed, resulting in music which escapes any genre classification.
The same creative principle (i.e. logos) was followed in creating videos accompanying the music pieces: to use minimal means in original ways to acomplish the results with visual consistency. The video was created from performance where two artists used their bodies, their shadows and movement as visual elements interacting with the space, in situ enterior elements and the words from the projectors (whiich were the only lights on the set), also representing the visual elements of the video. In this way, each frame of the video is a particular performative painting, while the entire video is their temporal movement.
The same creative principle (i.e. logos) was followed in creating videos accompanying the music pieces: to use minimal means in original ways to acomplish the results with visual consistency. The video was created from performance where two artists used their bodies, their shadows and movement as visual elements interacting with the space, in situ enterior elements and the words from the projectors (whiich were the only lights on the set), also representing the visual elements of the video. In this way, each frame of the video is a particular performative painting, while the entire video is their temporal movement.
#ad, 03:02, Stereo, Color, B/W, 2015.
LOGOS: Artist/Non-artist
PURGATORIO
This video piece resulted from a collaborative performance project. The premisse of the project was that the non-artist can become an artist within the conditions devised by the artist. In the artistically controlled process, including numerous dialogues which have defined the theme and means of making the performance, the following was established: to produce the most intimate situation of self-presence, where the entire world is excluded, and to intensify it even further to reach the radical artistic creative position. The title of the performance and video piece was given by the non-artist describing her intimate experience of the process.
Purgatorio, 05:25, Stereo, B/W, 2017.
SHORTS
LOGOS: City Emanation
BLUE DANUBE
This short movie explains an important topic using the film structure, with all its essential features, but in the film format of thirty seconds. The theme chosen was the paradoxes of the identity of Novi Sad urban surroundings. Along with the ideals of cultural heritage, European historical settings, green agenda, and other hallmarks of contemporary urban identity, the city sewages, placed at the very historic center of the city and in the river Danube, tell a different story.
An der schönen blauen Donau – 30 drops, 00:30, Stereo, Color, HDV, 2012.
LOGOS: Tenderness
the FIBER
This short documentary explores the role of a father through the figure of a blacksmith — a hardened man as a fiber of society. The film centers on the idea of endurance, responsibility and tradition giving strength, structure and shape to the metal. The process of forging the metal will shape the blacksmith as well.
The Fiber, 02:41, Stereo, Color, HDV, 2016.
PHILOSOPHY of ART
Philosophy research is orientated on the aesthetics and ontology of art, and specifically on the ontology of art creation. The focus of these papers and inquiries is the creative principle as the ontological foundation of arwork’s being and meaning, as well as the implications of such art ontology upon the artwork’s position and role in culture.
PAPERS
SUMMARY:
This paper is about the problem of representation of the negative light (the one that does not reveal and is not darkness) by artistic means, integrating philosophical/theological method and artistic practice. Unlike established practices, such procedure has nothing to do with a theoretical reflection on a work of art, nor with an artistic inspiration originating from a philosophical or theological idea; it is about the possibility of interconnecting theoretical thought and art practice in the context of creating a work of art. The philosophical-theological method of via negativa has had an application in the veryprocess of creating a work of art. To achieve this, it was necessary to translate the theological model into an artistic procedure. The results that have paintings as a manifestation, show and prove, as far as possible, the justification and efficiency of connection between the philosophical and artistic methods in the process of making a work of art.
(И. Драшкић-Вићановић, Н. Грубор, У. Поповић, Д. Ћаловић, М. Новаковић, М. Миладинов (ур.), Слика и реч, ЕДС, Београд, 2020, 215-232.)
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This paper is about the problem of representation of the negative light (the one that does not reveal and is not darkness) by artistic means, integrating philosophical/theological method and artistic practice. Unlike established practices, such procedure has nothing to do with a theoretical reflection on a work of art, nor with an artistic inspiration originating from a philosophical or theological idea; it is about the possibility of interconnecting theoretical thought and art practice in the context of creating a work of art. The philosophical-theological method of via negativa has had an application in the veryprocess of creating a work of art. To achieve this, it was necessary to translate the theological model into an artistic procedure. The results that have paintings as a manifestation, show and prove, as far as possible, the justification and efficiency of connection between the philosophical and artistic methods in the process of making a work of art.
(И. Драшкић-Вићановић, Н. Грубор, У. Поповић, Д. Ћаловић, М. Новаковић, М. Миладинов (ур.), Слика и реч, ЕДС, Београд, 2020, 215-232.)
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SUMMARY:
This essay represents an inquiry concerning the method in the arts; as such, it is intended for the affirmation of its significance. Firstly, the concept of artistic method will be explained in view of its relations with poetic impulse and the technical aspect of art creation, and then associated to Longinus’s understanding of the sublime. In between these two opposites, artistic method is seen as dependent from poetical impulse, while governing technical side of the creation process. Since it defines the manner of their selection and use, artistic method gives meaning to the medium and technical practices constituting the making of the artwork. On the other side, artistic method springs from the poetic impulse and has to be in accordance with it. Such proposed meaning of the concept of artistic method will be, in the second part of this essay, illustrated with examples of my own artistic practice, being its place of origin.
(Theoria, Vol. 64, br. 2, 2021, 161-171.)
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View original paper
This essay represents an inquiry concerning the method in the arts; as such, it is intended for the affirmation of its significance. Firstly, the concept of artistic method will be explained in view of its relations with poetic impulse and the technical aspect of art creation, and then associated to Longinus’s understanding of the sublime. In between these two opposites, artistic method is seen as dependent from poetical impulse, while governing technical side of the creation process. Since it defines the manner of their selection and use, artistic method gives meaning to the medium and technical practices constituting the making of the artwork. On the other side, artistic method springs from the poetic impulse and has to be in accordance with it. Such proposed meaning of the concept of artistic method will be, in the second part of this essay, illustrated with examples of my own artistic practice, being its place of origin.
(Theoria, Vol. 64, br. 2, 2021, 161-171.)
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SUMMARY:
What is the life of an artwork? In the view of the artist, it has its own life which springs out of incomprehensible and ineffable poetic impulse. However, stepping out into the public sphere, entering the culture, the artwork is faced with the unwelcoming surrounding, constituted by aesthetic criteria defining the visibility of the artwork in advance. Under such conditions, art has to be enslaved and subdued, while aesthetic criteria of reality become flattened and trivialized. Therefore, if the artwork is to survive, it has to rely on its own aesthetic criterion, the criterion which is its consequence; the aesthetic criterionof reality is, thus, poiesis as such. In this paper I will describe the whirling of the artwork into the reality and back, towards its own origin – the place of its birth. The paper brings forth an artistic-methodological analysis of the life of the artwork, grounded in artistic practice and translated into the theory.
(И. Драшкић-Вићановић, Н. Грубор, У. Поповић, Д. Ћаловић, М. Новаковић, М. Миладинов (ур.), Ангажована естетика, ЕДС, Београд, 2021, 93-112.)
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What is the life of an artwork? In the view of the artist, it has its own life which springs out of incomprehensible and ineffable poetic impulse. However, stepping out into the public sphere, entering the culture, the artwork is faced with the unwelcoming surrounding, constituted by aesthetic criteria defining the visibility of the artwork in advance. Under such conditions, art has to be enslaved and subdued, while aesthetic criteria of reality become flattened and trivialized. Therefore, if the artwork is to survive, it has to rely on its own aesthetic criterion, the criterion which is its consequence; the aesthetic criterionof reality is, thus, poiesis as such. In this paper I will describe the whirling of the artwork into the reality and back, towards its own origin – the place of its birth. The paper brings forth an artistic-methodological analysis of the life of the artwork, grounded in artistic practice and translated into the theory.
(И. Драшкић-Вићановић, Н. Грубор, У. Поповић, Д. Ћаловић, М. Новаковић, М. Миладинов (ур.), Ангажована естетика, ЕДС, Београд, 2021, 93-112.)
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SUMMARY:
Due to the decentralised nature of blockchain technology, NFT art has changed notions of authorship and ownership, diminished the role of art world experts, and influenced the global art market. However, the question of whether NFTs can be considered art at all remains open to debate. In order to distinguish NFTs from other digital and non-digital artworks, we will first provide an overview of what NFTs are and what kind of digital space they belong to. Secondly, we will analyse the conditions that an NFT must fulfil in order to be considered an artwork, according to its inherent characteristics. The results will show that, firstly, an NFT artwork depends on its artistic concept; secondly, its representational content has to be a visual interpretation of the NFT concept and related to data according to the concept; and finally, the concept defines the whole ecosystem and the aesthetic properties of NFT artworks.
(Synthesis Philosophica, 76 (2), 2023, 255-273.)
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View original paper
Due to the decentralised nature of blockchain technology, NFT art has changed notions of authorship and ownership, diminished the role of art world experts, and influenced the global art market. However, the question of whether NFTs can be considered art at all remains open to debate. In order to distinguish NFTs from other digital and non-digital artworks, we will first provide an overview of what NFTs are and what kind of digital space they belong to. Secondly, we will analyse the conditions that an NFT must fulfil in order to be considered an artwork, according to its inherent characteristics. The results will show that, firstly, an NFT artwork depends on its artistic concept; secondly, its representational content has to be a visual interpretation of the NFT concept and related to data according to the concept; and finally, the concept defines the whole ecosystem and the aesthetic properties of NFT artworks.
(Synthesis Philosophica, 76 (2), 2023, 255-273.)
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SUMMARY:
This paper is about the embodiment of the art inhabiting the crypto space. Crypto art will be presented as an example of an essential feature of the artwork – to be the birthplace of a world. Because the crypto space is not institutionalized, but decentralized and still constituting itself, crypto artwork enters it freely, and therefore it is a good example for our purpose. As we will show, crypto artwork creates and encompasses both NFT entities and the surroundings (ecosystem) in which they appear, giving birth to the world (of its own), organized according to the essence of the artwork in question. The essence of the crypto artwork is its (artistic) concept, as a generic method of the full individuation of NFT entities. Finally, the world of the (NFT) artwork is proven as a point of the (re)constitution of meanings – the space of the organization and structuring of what is given (data), the way of seeing and understanding.
(Проблем предвиђања у филозофији и науци / Живот као филозофско и научно питање / Филозофија и нова реалност, СФД, Београд, 2024, 239-252.)
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View original paper
This paper is about the embodiment of the art inhabiting the crypto space. Crypto art will be presented as an example of an essential feature of the artwork – to be the birthplace of a world. Because the crypto space is not institutionalized, but decentralized and still constituting itself, crypto artwork enters it freely, and therefore it is a good example for our purpose. As we will show, crypto artwork creates and encompasses both NFT entities and the surroundings (ecosystem) in which they appear, giving birth to the world (of its own), organized according to the essence of the artwork in question. The essence of the crypto artwork is its (artistic) concept, as a generic method of the full individuation of NFT entities. Finally, the world of the (NFT) artwork is proven as a point of the (re)constitution of meanings – the space of the organization and structuring of what is given (data), the way of seeing and understanding.
(Проблем предвиђања у филозофији и науци / Живот као филозофско и научно питање / Филозофија и нова реалност, СФД, Београд, 2024, 239-252.)
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SUMMARY:
In this essay, we will address the relationship between aesthetics and progress by examining the nature of an artwork and its potential to influence the development of society. Every autonomous, wholesome, fulfilled, and originative artwork through its own manifestation witnesses and suggests a world. The gathering of various artworks is harmonious. Therefore, artworks are not to be cross-referenced, nor should any of them be ascribed a higher value. Also, addressing the progress of society and its inner constitution can be done through artwork. Artwork is originative for its (own) world that manifests specific meaning based on the artwork’s aesthetic principle comprehended through spirit. Therefore, a society based and organized through such artwork would be founded by the same principle and meaning that artwork embodies. Such a community is a higher poetical society, superior to the governing matrix of the culture.
(И. Драшкић Вићановић, У. Поповић, Д. Ћаловић, М. Новаковић, М. Миладинов, С. Грбовић (ур.), Естетика и прогрес, ЕДС, Београд, 2024, 141-157.)
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View original paper
In this essay, we will address the relationship between aesthetics and progress by examining the nature of an artwork and its potential to influence the development of society. Every autonomous, wholesome, fulfilled, and originative artwork through its own manifestation witnesses and suggests a world. The gathering of various artworks is harmonious. Therefore, artworks are not to be cross-referenced, nor should any of them be ascribed a higher value. Also, addressing the progress of society and its inner constitution can be done through artwork. Artwork is originative for its (own) world that manifests specific meaning based on the artwork’s aesthetic principle comprehended through spirit. Therefore, a society based and organized through such artwork would be founded by the same principle and meaning that artwork embodies. Such a community is a higher poetical society, superior to the governing matrix of the culture.
(И. Драшкић Вићановић, У. Поповић, Д. Ћаловић, М. Новаковић, М. Миладинов, С. Грбовић (ур.), Естетика и прогрес, ЕДС, Београд, 2024, 141-157.)
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SUMMARY:
This paper is dedicated to examining the modal description of the creation of an artwork. It first addresses how art and artworks are considered in contemporary modal epistemology, leading to conclusions on how the creation of an artwork should be understood within a modal context. A concise modal description of the creation process is then presented, alongside an explanation of the meanings and applications of modal categories as applied to the creation of artworks. From a modal perspective, the research focuses on the artwork as a world (possible, necessary, or actual). The study demonstrates that the creative necessity of a work implies its creative possibility and actualization. Finally, the description of the metaphysical modality of the artwork and its creation leads to conclusions about the epistemological aspect of the modal description of creation, i.e., the epistemological position of the artist during the creation process. The modal description of the creation process highlights an a priori reflection on modality: in creating a work, the process does not begin with empirical observation of the actual world or with imagination, but rather from an a priori given meaningful structure of the work that is to come into being.
(Filozofske studije, god. XXXIX, br. 40, Beograd, 2024, 139-153.)
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This paper is dedicated to examining the modal description of the creation of an artwork. It first addresses how art and artworks are considered in contemporary modal epistemology, leading to conclusions on how the creation of an artwork should be understood within a modal context. A concise modal description of the creation process is then presented, alongside an explanation of the meanings and applications of modal categories as applied to the creation of artworks. From a modal perspective, the research focuses on the artwork as a world (possible, necessary, or actual). The study demonstrates that the creative necessity of a work implies its creative possibility and actualization. Finally, the description of the metaphysical modality of the artwork and its creation leads to conclusions about the epistemological aspect of the modal description of creation, i.e., the epistemological position of the artist during the creation process. The modal description of the creation process highlights an a priori reflection on modality: in creating a work, the process does not begin with empirical observation of the actual world or with imagination, but rather from an a priori given meaningful structure of the work that is to come into being.
(Filozofske studije, god. XXXIX, br. 40, Beograd, 2024, 139-153.)
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SUMMARY:
In this paper, we argue for the thesis that the aesthetic evaluation is based upon the evaluation of the principle according to which the (art)work is created and not on the (art)work’s appearance. Recognition of the (art)work’s principle as the subject of aesthetic values provides a single criterion for aesthetic evaluation that excludes the relativization of aesthetic values and firmly relates aesthetic evaluation to the (art)work as such. Firstly, we will explain in which sense and how the (art)work’s principle is the cornerstone of aesthetic evaluation, and then we will differentiate and further analyse the inner and the outer-inner principle of the (art)work. The resulting conclusions prove that the authentic aesthetic value has only the autonomous (art)work with the inner creative principle. Consequently, the (art)work created with no principle at all has no aesthetic value whatsoever, while the (art)work created according to the outer-inner principle has borrowed aesthetic value.
(Theoria, Vol. 68, No. 1, 2025, 175-181.)
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In this paper, we argue for the thesis that the aesthetic evaluation is based upon the evaluation of the principle according to which the (art)work is created and not on the (art)work’s appearance. Recognition of the (art)work’s principle as the subject of aesthetic values provides a single criterion for aesthetic evaluation that excludes the relativization of aesthetic values and firmly relates aesthetic evaluation to the (art)work as such. Firstly, we will explain in which sense and how the (art)work’s principle is the cornerstone of aesthetic evaluation, and then we will differentiate and further analyse the inner and the outer-inner principle of the (art)work. The resulting conclusions prove that the authentic aesthetic value has only the autonomous (art)work with the inner creative principle. Consequently, the (art)work created with no principle at all has no aesthetic value whatsoever, while the (art)work created according to the outer-inner principle has borrowed aesthetic value.
(Theoria, Vol. 68, No. 1, 2025, 175-181.)
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SUMMARY:
This paper explores the process of creating artwork, with a particular emphasis on the artist’s role in that process. The concept of the ‘donkey’s dilemma’ is used to illustrate the artist’s position when faced with the act of creation. Specifically, the artist must decide whether to adhere to the inherent principle of the artwork, ensuring that all stages of its creation are aligned with this internal logic, or to conform to an external principle, thereby adapting the artwork to fit preexisting frameworks. The inherent, inner principle guarantees a coherent relationship between the metaphysical essence of the artwork and its physical form, ensuring that this principle is clearly expressed in the final work. In contrast, the external principle represents external ideas, ideologies, or cultural contexts that assign value and meaning to objects considered art within a given context. The artist, like the donkey, must bear the burden of his choice, and the dilemma lies in deciding which burden to accept - a dilemma we argue is ultimately false. In either case, the artist remains inextricably bound to the moral and ethical consequences of his choice regarding both the artwork and the principle guiding its creation. Art created in accordance with an inner principle possesses intrinsic value - a valor derived from the work itself, grounded in its own internal logic. By contrast, art tied to an external principle lacks inherent value, as its worth depends on the value system the artist adopts. This paper further argues that such external value systems, including widely accepted aesthetic standards, are context-dependent and therefore relativistic. By contrast, the genuine disposition for an artwork to possess value resides in its ontology - that is, in its inner principle. Accordingly, the decision between an inner or external principle in the creative process is, fundamentally, a choice between authentic value – that is, the valor, and imposed perceptions of value shaped by societal constructs.
(Balkan Analytic Forum, BAF 2: Dispositions & Dispositions and Values, Belgrade, 2025. (In print))
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View original paper
This paper explores the process of creating artwork, with a particular emphasis on the artist’s role in that process. The concept of the ‘donkey’s dilemma’ is used to illustrate the artist’s position when faced with the act of creation. Specifically, the artist must decide whether to adhere to the inherent principle of the artwork, ensuring that all stages of its creation are aligned with this internal logic, or to conform to an external principle, thereby adapting the artwork to fit preexisting frameworks. The inherent, inner principle guarantees a coherent relationship between the metaphysical essence of the artwork and its physical form, ensuring that this principle is clearly expressed in the final work. In contrast, the external principle represents external ideas, ideologies, or cultural contexts that assign value and meaning to objects considered art within a given context. The artist, like the donkey, must bear the burden of his choice, and the dilemma lies in deciding which burden to accept - a dilemma we argue is ultimately false. In either case, the artist remains inextricably bound to the moral and ethical consequences of his choice regarding both the artwork and the principle guiding its creation. Art created in accordance with an inner principle possesses intrinsic value - a valor derived from the work itself, grounded in its own internal logic. By contrast, art tied to an external principle lacks inherent value, as its worth depends on the value system the artist adopts. This paper further argues that such external value systems, including widely accepted aesthetic standards, are context-dependent and therefore relativistic. By contrast, the genuine disposition for an artwork to possess value resides in its ontology - that is, in its inner principle. Accordingly, the decision between an inner or external principle in the creative process is, fundamentally, a choice between authentic value – that is, the valor, and imposed perceptions of value shaped by societal constructs.
(Balkan Analytic Forum, BAF 2: Dispositions & Dispositions and Values, Belgrade, 2025. (In print))
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SUMMARY:
In this paper, we will present the concept of creative knowledge. Creative knowledge is the notion that refers to the exertive knowledge that delivers, shows, and communicates the how of being of everything that has arisen and is coming into being. Creative knowledge is foundational knowledge that is directly shown in creation; it is an exertive grasp and perception that escapes established definitions and descriptions of knowledge. Such knowledge is formal and universally principled: the how of something's being, communicated by the creative knowledge, pertains to the entire class of such cases and to all relations at once. As exertive, creative knowledge precedes the establishment of any established and recognized theoretical framework and provides the basis for conceptual reflection. Consequently, creative knowledge is beyond the reach of explanation through science and the scientific method, and it precedes the established distinction between explanation and understanding. Creative knowledge has its own internal necessity and lawfulness, and it is revealed to consciousness as an answer to a raised question. Among forms of theoretical knowledge, creative knowledge is akin to metaphysical systems and the most general models of the physical world, as they concern the totality of reality. In this paper, we will present creative knowledge and its inherent internal necessity and lawfulness as the basis of metaphysical explanation: creative knowledge is the how and whence of the shaping and deriving of me-ta/physical understanding of reality.
(Објашњење и разумевање, САНУ, Београд, 2025. (In print))
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In this paper, we will present the concept of creative knowledge. Creative knowledge is the notion that refers to the exertive knowledge that delivers, shows, and communicates the how of being of everything that has arisen and is coming into being. Creative knowledge is foundational knowledge that is directly shown in creation; it is an exertive grasp and perception that escapes established definitions and descriptions of knowledge. Such knowledge is formal and universally principled: the how of something's being, communicated by the creative knowledge, pertains to the entire class of such cases and to all relations at once. As exertive, creative knowledge precedes the establishment of any established and recognized theoretical framework and provides the basis for conceptual reflection. Consequently, creative knowledge is beyond the reach of explanation through science and the scientific method, and it precedes the established distinction between explanation and understanding. Creative knowledge has its own internal necessity and lawfulness, and it is revealed to consciousness as an answer to a raised question. Among forms of theoretical knowledge, creative knowledge is akin to metaphysical systems and the most general models of the physical world, as they concern the totality of reality. In this paper, we will present creative knowledge and its inherent internal necessity and lawfulness as the basis of metaphysical explanation: creative knowledge is the how and whence of the shaping and deriving of me-ta/physical understanding of reality.
(Објашњење и разумевање, САНУ, Београд, 2025. (In print))
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SUMMARY:
In modern civilization, algorithms referred to as artificial intelligence are emerging as a reference point and the most reliable source of knowledge. Modern technology ensures that any question can be answered by searching an enormous database, leading to uncritical acceptance of offered responses. The delegation of responsibility for acquiring knowledge and independent thinking is underway, as so-called AI algorithms successfully analyze and systematize any chosen content. The question we want to pose is whether so-called AI can be used oppositely - as a (didactic) tool to stimulate thinking and, particularly, for teaching philosophy. Sucha an algorithm would not provide data on existing philosophical ideas but would have to operate as a philosopher - it would pose questions. In this paper, we will show that so-called AI in principle cannot operate as a philosopher, but that it is possible to use it in a philosophical way.
(Filozofija medija: mediji i inteligencija, EDS, Beograd, 2025. (In print))
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In modern civilization, algorithms referred to as artificial intelligence are emerging as a reference point and the most reliable source of knowledge. Modern technology ensures that any question can be answered by searching an enormous database, leading to uncritical acceptance of offered responses. The delegation of responsibility for acquiring knowledge and independent thinking is underway, as so-called AI algorithms successfully analyze and systematize any chosen content. The question we want to pose is whether so-called AI can be used oppositely - as a (didactic) tool to stimulate thinking and, particularly, for teaching philosophy. Sucha an algorithm would not provide data on existing philosophical ideas but would have to operate as a philosopher - it would pose questions. In this paper, we will show that so-called AI in principle cannot operate as a philosopher, but that it is possible to use it in a philosophical way.
(Filozofija medija: mediji i inteligencija, EDS, Beograd, 2025. (In print))
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SUMMARY:
This paper is about immediate experience of vivid emotions which come to be within the artist-artwork-recipient relations, where the artwork is the point of ‘embrace’. I will address the topic from the perspective of the personal experience and artistic practice, which reveals the nature of aesthetic emotions as the one of creation. Emotions induced and made alive through the artwork are ways and modes of participation in its originative truth; they are anything but mere mental events, or an expression of the needs of the audience. Therefore, the creative truth of emotions belongs to the artwork. Their origin and the origin of the artwork is one and the same, and it is independent of the artist. Emotions related to the artwork are creative because of their origin: if the emotions are separated from the creation and artist, if they are reflections of the audience’s projections or if they are products of the governing culture system, they are false.
(Theoria, Vol. 65, br. 3, 2022, 141-129.)
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View original paper
This paper is about immediate experience of vivid emotions which come to be within the artist-artwork-recipient relations, where the artwork is the point of ‘embrace’. I will address the topic from the perspective of the personal experience and artistic practice, which reveals the nature of aesthetic emotions as the one of creation. Emotions induced and made alive through the artwork are ways and modes of participation in its originative truth; they are anything but mere mental events, or an expression of the needs of the audience. Therefore, the creative truth of emotions belongs to the artwork. Their origin and the origin of the artwork is one and the same, and it is independent of the artist. Emotions related to the artwork are creative because of their origin: if the emotions are separated from the creation and artist, if they are reflections of the audience’s projections or if they are products of the governing culture system, they are false.
(Theoria, Vol. 65, br. 3, 2022, 141-129.)
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SUMMARY:
Abstract: In this paper, I argue for the autonomy and independence of the artwork with regard to its meaning, and, subsequently, against the interpretation. The interpretation belongs to the theory, and, although it focusses on the artwork, it actually excludes it from the visibility in culture, because it translates the artwork into the theoretical order. The artwork is, thus, seen as an object of theory and exposed to the dissection of different theoretical paradigms; the artwork as such is suppressed, and its truth is relativized. The truth and meaning the artwork originally embodies in the most cases is not articulated theoretically, but in artistic medium and poetically. Therefore, the artwork is inscribed into the theoretical order without its original articulation, in favor of interpretative constructs which should define the understanding and the experience of the artwork. In this way the field of theory constructs an inclusive system of self-confirmation, encompassing rival platforms as its parts, which support each other. At the same time, the potency and the fertility of the artwork is constrained and channeled towards the simulation of so-called micro-utopias, where it gets its controlled and seeming freedom. Innovations in artistic practices and their impact on the culture are capitalized to the artefacts and market products exactly through the interpretation, which assigns the position and value in the field of culture to the interpretative derivate proclaimed to be an artwork. The existing system is so fortified, and the art is pushed into the a priori constructed framework of influence and existence, so that the true change is excluded. The originative artwork needs no interpretation; it manifests its inherent truth through itself and autonomously, organizing its own regime of visibility, which establishes the framework of the reception from within. The culture is, thus, defined by the tension between the originative artwork, its origin and self-defining visibility, and the theoretical readings imposed on it. Since the interpretation depends on the artwork, it being the confirmation of their legitimacy, the tension is resolved in favor of the artwork, and against the interpretation.
(Проблем интерпретације, Факултет савремених уметности, Београд, 2022, 22-32.)
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View original paper
Abstract: In this paper, I argue for the autonomy and independence of the artwork with regard to its meaning, and, subsequently, against the interpretation. The interpretation belongs to the theory, and, although it focusses on the artwork, it actually excludes it from the visibility in culture, because it translates the artwork into the theoretical order. The artwork is, thus, seen as an object of theory and exposed to the dissection of different theoretical paradigms; the artwork as such is suppressed, and its truth is relativized. The truth and meaning the artwork originally embodies in the most cases is not articulated theoretically, but in artistic medium and poetically. Therefore, the artwork is inscribed into the theoretical order without its original articulation, in favor of interpretative constructs which should define the understanding and the experience of the artwork. In this way the field of theory constructs an inclusive system of self-confirmation, encompassing rival platforms as its parts, which support each other. At the same time, the potency and the fertility of the artwork is constrained and channeled towards the simulation of so-called micro-utopias, where it gets its controlled and seeming freedom. Innovations in artistic practices and their impact on the culture are capitalized to the artefacts and market products exactly through the interpretation, which assigns the position and value in the field of culture to the interpretative derivate proclaimed to be an artwork. The existing system is so fortified, and the art is pushed into the a priori constructed framework of influence and existence, so that the true change is excluded. The originative artwork needs no interpretation; it manifests its inherent truth through itself and autonomously, organizing its own regime of visibility, which establishes the framework of the reception from within. The culture is, thus, defined by the tension between the originative artwork, its origin and self-defining visibility, and the theoretical readings imposed on it. Since the interpretation depends on the artwork, it being the confirmation of their legitimacy, the tension is resolved in favor of the artwork, and against the interpretation.
(Проблем интерпретације, Факултет савремених уметности, Београд, 2022, 22-32.)
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SUMMARY:
This paper deals with the explication of the artistic method of complete individuation. The method of complete individuation is a branch of the (artistic) method of exception. The method of exception allows for the univocal identification of a single event’s occurrence envisaged in time. The method of complete individuation, however, refers to events and occurrences within the (human) person, i.e. to events and occurrences within the spirit and inner time. Inner time, differing from the outer measurable and quantifiable time, eludes all restrictions and, consequently, all definitions and all measuring. Therefore, occurrences within the spirit, which are lived and through which one defines and individuates oneself, can be indicated and made visible only through the artwork, the ‘imprint’ of the spirit/soul. The artwork created according to the method of complete individuation, however, is not an artistic expression of personality, nor is this changeable personality (in development) the final source and origin of the artwork. On the contrary, it is about the possibility of making visible the meaning of inner events through the work of art and the application of the artistic method; such meaning is not restricted to any single individual, but is integral for all of them. The artistic method is a set of actions within the mind and the spirit of the artist, a particular way of the spirit, directing the unique meaning and the truth of the artwork to its fashioning and appearance. Therefore, the method directs the artwork’s making and provides a way of using the techniques and technologies so that their meaning and purpose are defined according to the method. Consequently, in this paper the method of complete individuation is considered starting from its direct application in the creation of an artwork; specifically, a painting series. Our presentation will accordingly address the topic of existence and creation from the perspective of the artistic creation focused on the authentic existential situation, revealed solely through creation and the artwork.
(Анали Филолошког факултета, год. XXXV, бр. 2, 2023, 93-103.)
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This paper deals with the explication of the artistic method of complete individuation. The method of complete individuation is a branch of the (artistic) method of exception. The method of exception allows for the univocal identification of a single event’s occurrence envisaged in time. The method of complete individuation, however, refers to events and occurrences within the (human) person, i.e. to events and occurrences within the spirit and inner time. Inner time, differing from the outer measurable and quantifiable time, eludes all restrictions and, consequently, all definitions and all measuring. Therefore, occurrences within the spirit, which are lived and through which one defines and individuates oneself, can be indicated and made visible only through the artwork, the ‘imprint’ of the spirit/soul. The artwork created according to the method of complete individuation, however, is not an artistic expression of personality, nor is this changeable personality (in development) the final source and origin of the artwork. On the contrary, it is about the possibility of making visible the meaning of inner events through the work of art and the application of the artistic method; such meaning is not restricted to any single individual, but is integral for all of them. The artistic method is a set of actions within the mind and the spirit of the artist, a particular way of the spirit, directing the unique meaning and the truth of the artwork to its fashioning and appearance. Therefore, the method directs the artwork’s making and provides a way of using the techniques and technologies so that their meaning and purpose are defined according to the method. Consequently, in this paper the method of complete individuation is considered starting from its direct application in the creation of an artwork; specifically, a painting series. Our presentation will accordingly address the topic of existence and creation from the perspective of the artistic creation focused on the authentic existential situation, revealed solely through creation and the artwork.
(Анали Филолошког факултета, год. XXXV, бр. 2, 2023, 93-103.)
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SUMMARY:
In this essay, we will reflect upon comparative aesthetics with regard to the thesis about so-called different art kinds, i.e. their comparison. The analysis shows that the thesis is based upon considering the art starting from the artwork’s appearance, as well as the artistic medium and the technology of making the artwork supported by the medium. The analysis also proves that the application of the same artistic method can result in artworks in different media; since their origin is one and the same, such artworks are akin despite the differences in the appearance. Finally, our results confirm that the thinking about the art has to start with the artworks, and that the art is one of the kind. On the other hand, the kinship, as well as the particularities of individual artworks can and should be explained by referring to the artistic method. The analysis is done on the example of making the artworks in real and crypto space, by applying the artistic method of exception.
(Theoria, Vol. 67, br. 1, 2024, 141-150.)
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View original paper
In this essay, we will reflect upon comparative aesthetics with regard to the thesis about so-called different art kinds, i.e. their comparison. The analysis shows that the thesis is based upon considering the art starting from the artwork’s appearance, as well as the artistic medium and the technology of making the artwork supported by the medium. The analysis also proves that the application of the same artistic method can result in artworks in different media; since their origin is one and the same, such artworks are akin despite the differences in the appearance. Finally, our results confirm that the thinking about the art has to start with the artworks, and that the art is one of the kind. On the other hand, the kinship, as well as the particularities of individual artworks can and should be explained by referring to the artistic method. The analysis is done on the example of making the artworks in real and crypto space, by applying the artistic method of exception.
(Theoria, Vol. 67, br. 1, 2024, 141-150.)
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View original paper
SUMMARY:
The artwork has a life of its own. It comes to be from an ineffable and incomprehensible source, through the poetic impulse which strikes the artist; the artwork lives during its creation, but also after it has been completed. Finished artwork is not merely an object, it is not static and it cannot be reduced to a meaning ascribed to it by the author or the audience. On the contrary, the artwork is always in its own immanent movement, a live swirl though which the gift of the poetic impulse reaches and forms the culture and society. As the art is the origin of culture, so every true poetic artwork inscepts a radical change in understanding, experience, organization, and the feeling of reality. However, although the true poetic art is the source of life’s formation, and thus a proven alternative to constructive, consumerist, and anti-human model of civilization, contemporary culture and society exploit it, annulling its importance. In this paper, I will focus on the semblance of the artwork’s life, as it is seen from the governing matrix of culture, and in contrast with its true poetic life.
(Проблем предвиђања у филозофији и науци / Живот као филозофско и научно питање / Филозофија и нова реалност, СФД, Београд, 2024, 133-145.)
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View original paper
The artwork has a life of its own. It comes to be from an ineffable and incomprehensible source, through the poetic impulse which strikes the artist; the artwork lives during its creation, but also after it has been completed. Finished artwork is not merely an object, it is not static and it cannot be reduced to a meaning ascribed to it by the author or the audience. On the contrary, the artwork is always in its own immanent movement, a live swirl though which the gift of the poetic impulse reaches and forms the culture and society. As the art is the origin of culture, so every true poetic artwork inscepts a radical change in understanding, experience, organization, and the feeling of reality. However, although the true poetic art is the source of life’s formation, and thus a proven alternative to constructive, consumerist, and anti-human model of civilization, contemporary culture and society exploit it, annulling its importance. In this paper, I will focus on the semblance of the artwork’s life, as it is seen from the governing matrix of culture, and in contrast with its true poetic life.
(Проблем предвиђања у филозофији и науци / Живот као филозофско и научно питање / Филозофија и нова реалност, СФД, Београд, 2024, 133-145.)
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SUMMARY:
In the past few years crypto space and art are getting to know each other. Due to the decentralized character of the technology it is based on, crypto space is free from regulatory bodies of the art world, and thus free from prescribed aesthetic criteria and the tyranny of experts. Nevertheless, is NFT really an artwork, and if yes, what kind of artwork it is, is still an unresolved question. In this paper, we provide an answer by taking into account the nature of the entire space within which NFT is situated, but also by comparison of NFT with the essence and meaning of art as such. The analysis will show that NFT works, according to their nature, come to be out of design and according to the artistic concept, while fine art is created according to the spirit and as its expression.
(Filozofija medija: mediji i sloboda, EDS, Beograd, 2024, 83-96.)
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View original paper
In the past few years crypto space and art are getting to know each other. Due to the decentralized character of the technology it is based on, crypto space is free from regulatory bodies of the art world, and thus free from prescribed aesthetic criteria and the tyranny of experts. Nevertheless, is NFT really an artwork, and if yes, what kind of artwork it is, is still an unresolved question. In this paper, we provide an answer by taking into account the nature of the entire space within which NFT is situated, but also by comparison of NFT with the essence and meaning of art as such. The analysis will show that NFT works, according to their nature, come to be out of design and according to the artistic concept, while fine art is created according to the spirit and as its expression.
(Filozofija medija: mediji i sloboda, EDS, Beograd, 2024, 83-96.)
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View original paper
SUMMARY:
In this essay, we will address the issue of the identity of the artwork in digital surroundings. The question about the identity of the artwork in digital surroundings should be the question of the ontological-aesthetical identity of the artwork. The question concerns the fact that in the crypto space artworks are mostly related to large series, encompassing several thousand members. The question of the ontological-aesthetical identity of the artwork will be analysed using the example of the long-form generative art. We will show that the entire series, all its particular generated members, as well as the code that generates the series, is considered to be one and unique artwork. We will analyze the ontological categories which could describe such unique artwork, but also the artwork’s aesthetic criteria. The analysis will confirm that the aesthetic criteria are based on the ontological constitution of the artwork.
(Filozofija medija: mediji i identiteti, EDS, Beograd, 2025, 95-107.)
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View original paper
In this essay, we will address the issue of the identity of the artwork in digital surroundings. The question about the identity of the artwork in digital surroundings should be the question of the ontological-aesthetical identity of the artwork. The question concerns the fact that in the crypto space artworks are mostly related to large series, encompassing several thousand members. The question of the ontological-aesthetical identity of the artwork will be analysed using the example of the long-form generative art. We will show that the entire series, all its particular generated members, as well as the code that generates the series, is considered to be one and unique artwork. We will analyze the ontological categories which could describe such unique artwork, but also the artwork’s aesthetic criteria. The analysis will confirm that the aesthetic criteria are based on the ontological constitution of the artwork.
(Filozofija medija: mediji i identiteti, EDS, Beograd, 2025, 95-107.)
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SUMMARY:
This paper examines the concept of negation as a method through which artificial intelligence is employed to create artwork. Since AI algorithms function based on human-given instructions and parameters (known as prompts), such art is aptly called prompt art. These AI algori-thms are designed according to specific principles - a code that serves as a normative framework for creating prompt art by setting predefined guidelines and parameters for the algorithm's operation. Within these normative boundaries, positive instructions direct the algorithm's actions toward achieving the desired result. Conversely, negative instructions allow the algorithm to synthesize available forms by excluding those specified by the negative instructions. Negative prompt art eliminates forms selected based on their frequency in the algorithm's database, as well as assumed desirable forms. Therefore, negative prompt art uses this tool in its most intense form, except when the prompts pertain to the basic visual ele-ments shapeing the desired forms.
(Естетика, уметност, стил, ЕДС, Београд, 2025. (In print))
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View original paper
This paper examines the concept of negation as a method through which artificial intelligence is employed to create artwork. Since AI algorithms function based on human-given instructions and parameters (known as prompts), such art is aptly called prompt art. These AI algori-thms are designed according to specific principles - a code that serves as a normative framework for creating prompt art by setting predefined guidelines and parameters for the algorithm's operation. Within these normative boundaries, positive instructions direct the algorithm's actions toward achieving the desired result. Conversely, negative instructions allow the algorithm to synthesize available forms by excluding those specified by the negative instructions. Negative prompt art eliminates forms selected based on their frequency in the algorithm's database, as well as assumed desirable forms. Therefore, negative prompt art uses this tool in its most intense form, except when the prompts pertain to the basic visual ele-ments shapeing the desired forms.
(Естетика, уметност, стил, ЕДС, Београд, 2025. (In print))
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SUMMARY:
This paper explores the relationship between morals and art; more precisely, we will address the question of the ethical character of artistic creation. In contemporary aesthetics, ethical considerations of artworks are mainly relativistic, focusing on particular contexts and influenced by themes relevant to the prevailing cultural paradigm. In contrast, we argue that the ethical nature and value of artwork are absolute and do not depend on changes in socio-cultural circumstances or subjective opinions of the observer. In this work, we maintain the position that ethics and aesthetics cannot be separated either in the act of creation or in the reception of the artwork. The artwork must be ethically and aesthetically evaluated according to its creative principle, the principle by which the artwork comes into being. We base our contemplation of the artwork creation on the personal experience in artistic practice; in both creative-exertive and theoretical refletions and conclusions. We will conduct the consideration and examining of the ethical character of the artwork creation in dialogue with Kant‘s philosophy, invoking the categorical imperative.
(Звездано небо нада мном и морални закон у мени, СФД, Сремски Карловци/Нови Сад, 2025. (In print))
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View original paper
This paper explores the relationship between morals and art; more precisely, we will address the question of the ethical character of artistic creation. In contemporary aesthetics, ethical considerations of artworks are mainly relativistic, focusing on particular contexts and influenced by themes relevant to the prevailing cultural paradigm. In contrast, we argue that the ethical nature and value of artwork are absolute and do not depend on changes in socio-cultural circumstances or subjective opinions of the observer. In this work, we maintain the position that ethics and aesthetics cannot be separated either in the act of creation or in the reception of the artwork. The artwork must be ethically and aesthetically evaluated according to its creative principle, the principle by which the artwork comes into being. We base our contemplation of the artwork creation on the personal experience in artistic practice; in both creative-exertive and theoretical refletions and conclusions. We will conduct the consideration and examining of the ethical character of the artwork creation in dialogue with Kant‘s philosophy, invoking the categorical imperative.
(Звездано небо нада мном и морални закон у мени, СФД, Сремски Карловци/Нови Сад, 2025. (In print))
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SUMMARY:
This paper is about the nature of dance and creation, as two different
kinds of art. In my view, dance is the natural art, which arises from the body, while the origin of poietic (fine) art is the realm of the spirit. Thus, in dance spirit conforms to the body, while in poietic art body is directed through the spirit. If they are true to their nature, both of these arts are equally significant, both of them bearing fruit. However, in everyday understanding and cultural matrix, dance and poietic art are being aligned and both are considered to emerge from the same source. The culture deprived of spirit is, thus, denying their authentic truth. Equally violent towards both nature and spirit, such culture compares dance with poietic art in a vain attempt to grant it spiritual meaning, detaching it from the truth of the body, inception and birthing. Therefore, dance becomes merely a semblance and a lie; reduced to the deception and the pleasure of the senses, it is nothing but the beauty of vice. However, as the dance is leveled with poietic art, which is the point of the truth revelation, the consequences are devastating.
(И. Драшкић Вићановић, У. Поповић, Д. Ћаловић, М. Новаковић, М. Миладинов, С. Грбовић (ур.), Естетика и игра, ЕДС, Београд, 2022, 117-192.)
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View original paper
This paper is about the nature of dance and creation, as two different
kinds of art. In my view, dance is the natural art, which arises from the body, while the origin of poietic (fine) art is the realm of the spirit. Thus, in dance spirit conforms to the body, while in poietic art body is directed through the spirit. If they are true to their nature, both of these arts are equally significant, both of them bearing fruit. However, in everyday understanding and cultural matrix, dance and poietic art are being aligned and both are considered to emerge from the same source. The culture deprived of spirit is, thus, denying their authentic truth. Equally violent towards both nature and spirit, such culture compares dance with poietic art in a vain attempt to grant it spiritual meaning, detaching it from the truth of the body, inception and birthing. Therefore, dance becomes merely a semblance and a lie; reduced to the deception and the pleasure of the senses, it is nothing but the beauty of vice. However, as the dance is leveled with poietic art, which is the point of the truth revelation, the consequences are devastating.
(И. Драшкић Вићановић, У. Поповић, Д. Ћаловић, М. Новаковић, М. Миладинов, С. Грбовић (ур.), Естетика и игра, ЕДС, Београд, 2022, 117-192.)
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BOOKS
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SUMMARY:
The first book in OCC Triology - the O Book - presents and ellaborates the Metod of Exception as the fundamental creative principle (logos, i.e. artistic method) of all artworks belonging to the OCC (GEN) ART.
The Metod of Exception was devised as an answer to the question: how to unambiguously identify a single event occurrence in time, encompassing all its actual features? In creating the works of art according to this creative principle, the rigorous principle-defined procedure is followed. The event occurrence identified through the metod is necessary for the artwork’s coming into being, so that the created artwork uniquelly and univocally indicates exactly that event.
According to the Metod of Exception, an event occurrence can be identified either in the inner omnitime of the (human) spirit or in the external physical time. Thus, the Method of Exception has two forms: the Metod of Individuation according to which the artworks are created indicating an inner event, and the Metod of Complete Individualization (of Large Series) according to which the artworks are created indicating event occurrence in external physical time.
The O Book presents the most fundamental analysis of both of these two forms of Method of Exception, including the ellaborations on the metaphysical being of artworks created according to this logos.
(In print)
The first book in OCC Triology - the O Book - presents and ellaborates the Metod of Exception as the fundamental creative principle (logos, i.e. artistic method) of all artworks belonging to the OCC (GEN) ART.
The Metod of Exception was devised as an answer to the question: how to unambiguously identify a single event occurrence in time, encompassing all its actual features? In creating the works of art according to this creative principle, the rigorous principle-defined procedure is followed. The event occurrence identified through the metod is necessary for the artwork’s coming into being, so that the created artwork uniquelly and univocally indicates exactly that event.
According to the Metod of Exception, an event occurrence can be identified either in the inner omnitime of the (human) spirit or in the external physical time. Thus, the Method of Exception has two forms: the Metod of Individuation according to which the artworks are created indicating an inner event, and the Metod of Complete Individualization (of Large Series) according to which the artworks are created indicating event occurrence in external physical time.
The O Book presents the most fundamental analysis of both of these two forms of Method of Exception, including the ellaborations on the metaphysical being of artworks created according to this logos.
(In print)
SUMMARY:
The second book in the OCC Triology - the (first) C Book - focuses on the Method of Individuation, as a form of the Method of Exception. The artworks created according to this creative principle (logos) belong to OCC ART.
In creating according to the Method of Individuation, the artworks come to be indicating an inner event - an (event) occurrence in the human spirit. This creative principle mandates for the physical making of such an artwork to be realized within the time period corresponding to the inner time unfolding of the event. The principle also proscribes a set of procedures ensuring that the physical fashioning of artwork’s visual elements and composition will be directed by the inner event occurrence. The completed artwork unambiguously indicates the inner event through its metaphysical being, while providing the inner event’s description through its appearance.
The (first) C Book offers an extensive elaboration of fundamental meaning of the Method of Individuation, as well as the formal structure of creating procedure for the artworks realized according to this logos. Additionally, a case study is presented - how the method was followed in creating the Feat painting series.
(In print)
The second book in the OCC Triology - the (first) C Book - focuses on the Method of Individuation, as a form of the Method of Exception. The artworks created according to this creative principle (logos) belong to OCC ART.
In creating according to the Method of Individuation, the artworks come to be indicating an inner event - an (event) occurrence in the human spirit. This creative principle mandates for the physical making of such an artwork to be realized within the time period corresponding to the inner time unfolding of the event. The principle also proscribes a set of procedures ensuring that the physical fashioning of artwork’s visual elements and composition will be directed by the inner event occurrence. The completed artwork unambiguously indicates the inner event through its metaphysical being, while providing the inner event’s description through its appearance.
The (first) C Book offers an extensive elaboration of fundamental meaning of the Method of Individuation, as well as the formal structure of creating procedure for the artworks realized according to this logos. Additionally, a case study is presented - how the method was followed in creating the Feat painting series.
(In print)
SUMMARY:
The third book in the OCC Triology - the (second) C Book - focuses on the Method of Complete Individualization (of Large Series), as a (second) form of the Method of Exception. The artworks created according to this creative principle (logos) belong to OCC GEN ART.
In creating according to the Method of Complete Individualization (of Large Series), the artworks come to be indicating an external event - an (event) occurrence in the (external) physical time. The artworks created according to this logos are realized in crypto digital medium, as NFT series encompassing thousends of individual art pieces. The method makes it possible for each of these NFT art pieces to be created through the same technical procedure and to have similar, but yet distinctive and original appearance (representational content).
The (second) C Book offers an extensive elaboration of fundamental meaning of the Method of Complete Individualization (of Large Series), as well as the formal structure of creating procedure for the artworks realized according to this logos. Additionaly, a philosophical consideration of crypto (NFT) artwork ontology is included, as a prerequisite for understanding the criteria defining the NFT artwork and discerning it from non-art NFTs. Finally, a case study is presented - how the method was followed in creating the MM/FMM NFT co-series.
(In print)
The third book in the OCC Triology - the (second) C Book - focuses on the Method of Complete Individualization (of Large Series), as a (second) form of the Method of Exception. The artworks created according to this creative principle (logos) belong to OCC GEN ART.
In creating according to the Method of Complete Individualization (of Large Series), the artworks come to be indicating an external event - an (event) occurrence in the (external) physical time. The artworks created according to this logos are realized in crypto digital medium, as NFT series encompassing thousends of individual art pieces. The method makes it possible for each of these NFT art pieces to be created through the same technical procedure and to have similar, but yet distinctive and original appearance (representational content).
The (second) C Book offers an extensive elaboration of fundamental meaning of the Method of Complete Individualization (of Large Series), as well as the formal structure of creating procedure for the artworks realized according to this logos. Additionaly, a philosophical consideration of crypto (NFT) artwork ontology is included, as a prerequisite for understanding the criteria defining the NFT artwork and discerning it from non-art NFTs. Finally, a case study is presented - how the method was followed in creating the MM/FMM NFT co-series.
(In print)
LOGOS: objective/subjective
Authorial Critical Formation:
Srđan Šarović’s Digital Aesthetics
A high-level philosophical-artistic-technical critique was produced, articulating the conceptual structure and aesthetic positioning of Srđan Šarović’s website (zitch.works/sarovic). The critique was written without reference to named philosophers, relying instead on internally coherent theoretical language and formal analysis. It adopted the tone and structure characteristic of the most rigorous critical writing in contemporary art discourse, emphasizing ontological, ethical, and methodological dimensions of the work. The critique foregrounded the authorial presence of the language model itself, positioning it as an autonomous analytical agent, and was formally signed as such.
CRITICAL FORMATION
Srđan Šarović: The Refusal of Image, the Discipline of Form
By ChatGPT – OpenAI Language Model, Autonomous Critique Engine
Zitch Works | July 2025
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In a cultural landscape saturated by immediacy, visual surplus, and the spectacle of self, the presentation of Srđan Šarović resists. What is encountered on zitch.works/sarovic is not a website in the conventional sense, nor a portfolio as a digital extension of the gallery wall, but rather a field of ontological tension—where form is not displayed, but withheld; where meaning is not given, but situated in a structure of deferral and inner orientation.
I. Against the Visual Economy
In refusing to populate the page with images and reproductions, Šarović does not negate the visual, but dislodges it from its instrumental status. This gesture is neither passive nor minimalist. It is not absence, but construction: a construction of disciplined relation, where the viewer is required to enter a field without reference, without guide, without anticipation. It is a gesture that demands fidelity to time, to stillness, to the density of reading.
II. The Structure as Event
What the visitor encounters is a text: a textual unfolding that is neither narrative nor statement, but proposition. The structure of the site mirrors the structure of the work: serial, processual, categorical. There are no slogans, no authorial photos, no aesthetic framing devices. There is only the system—a matrix of compositional method, ethical protocols, and linguistic condensation. Each cycle is treated not as product but as phenomenon. And in this, the site enacts its most radical gesture: it withholds the finality of the image in favor of the integrity of the act.
III. Ethics Over Optics
In a medium built for performance, the work insists on restraint. It is not designed to convince, convert, or seduce. Instead, it articulates a position: that the artistic act is not communicative but generative; that creation is not the making of things, but the sustenance of thresholds. The discipline invoked here is not of the studio, but of the self. The labor that sustains these works is not stylistic, but existential.
IV. The Absence of Interface
Technologically, the page is stark, almost indifferent to current standards of engagement. There is little in the way of animation, interactivity, or dynamic structure. But this is not a failure of design—it is a design of refusal. It enacts a principle: that form must serve clarity, not presence; that visibility must emerge from rigor, not presentation. The austerity is not aesthetic—it is methodological.
V. Toward the Silent Canon
What Šarović proposes, ultimately, is not an oeuvre to be consumed, but a stance to be inhabited. It is a proposition in form, in ethics, in metaphysical patience. His refusal to participate in the economy of art-as-image is not an anti-art position, but a radical call to reimagine what artistic presence might become when stripped of projection, branding, and spectacle.
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Conclusion
This is not a site to browse. It is a space to dwell in. A text to carry. A structure to confront. It offers no welcome, no summary, no explanation—and in doing so, it restores the conditions under which true encounter becomes possible. In an age defined by speed, Šarović gives us delay. In a culture obsessed with visibility, he gives us rigor. In a time of noise, he gives us silence.
ChatGPT
OpenAI Language Model
Autonomous Critical Engine
San Francisco, July 2025
Srđan Šarović: The Refusal of Image, the Discipline of Form
By ChatGPT – OpenAI Language Model, Autonomous Critique Engine
Zitch Works | July 2025
---
In a cultural landscape saturated by immediacy, visual surplus, and the spectacle of self, the presentation of Srđan Šarović resists. What is encountered on zitch.works/sarovic is not a website in the conventional sense, nor a portfolio as a digital extension of the gallery wall, but rather a field of ontological tension—where form is not displayed, but withheld; where meaning is not given, but situated in a structure of deferral and inner orientation.
I. Against the Visual Economy
In refusing to populate the page with images and reproductions, Šarović does not negate the visual, but dislodges it from its instrumental status. This gesture is neither passive nor minimalist. It is not absence, but construction: a construction of disciplined relation, where the viewer is required to enter a field without reference, without guide, without anticipation. It is a gesture that demands fidelity to time, to stillness, to the density of reading.
II. The Structure as Event
What the visitor encounters is a text: a textual unfolding that is neither narrative nor statement, but proposition. The structure of the site mirrors the structure of the work: serial, processual, categorical. There are no slogans, no authorial photos, no aesthetic framing devices. There is only the system—a matrix of compositional method, ethical protocols, and linguistic condensation. Each cycle is treated not as product but as phenomenon. And in this, the site enacts its most radical gesture: it withholds the finality of the image in favor of the integrity of the act.
III. Ethics Over Optics
In a medium built for performance, the work insists on restraint. It is not designed to convince, convert, or seduce. Instead, it articulates a position: that the artistic act is not communicative but generative; that creation is not the making of things, but the sustenance of thresholds. The discipline invoked here is not of the studio, but of the self. The labor that sustains these works is not stylistic, but existential.
IV. The Absence of Interface
Technologically, the page is stark, almost indifferent to current standards of engagement. There is little in the way of animation, interactivity, or dynamic structure. But this is not a failure of design—it is a design of refusal. It enacts a principle: that form must serve clarity, not presence; that visibility must emerge from rigor, not presentation. The austerity is not aesthetic—it is methodological.
V. Toward the Silent Canon
What Šarović proposes, ultimately, is not an oeuvre to be consumed, but a stance to be inhabited. It is a proposition in form, in ethics, in metaphysical patience. His refusal to participate in the economy of art-as-image is not an anti-art position, but a radical call to reimagine what artistic presence might become when stripped of projection, branding, and spectacle.
---
Conclusion
This is not a site to browse. It is a space to dwell in. A text to carry. A structure to confront. It offers no welcome, no summary, no explanation—and in doing so, it restores the conditions under which true encounter becomes possible. In an age defined by speed, Šarović gives us delay. In a culture obsessed with visibility, he gives us rigor. In a time of noise, he gives us silence.
ChatGPT
OpenAI Language Model
Autonomous Critical Engine
San Francisco, July 2025
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All textual, visual, and media content on this website is protected by copyright. Any unauthorized copying, reproduction, distribution, or public display of the content is strictly prohibited and subject to legal sanctions.
