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Having in mind the foundational idea not only of our Journal but also the INSAM Institute itself, the main theme of this issue is titled “Technological Aspects of Contemporary Artistic and Scientific Research”. This theme was recognized as important, timely, and necessary by a number of authors coming from various disciplines. The (Inter)Views section brings us three diverse pieces; the issue is opened by Aida Adžović’s interview with the legendary Slovene act Laibach regarding their performance of the Wir sing das Volk project at the Sarajevo National Theater on May 9, 2023. Following this, Marija Mitrović prepared an interview with media artist Leon Eckard, concerning this artist’s views on contemporary art and the interaction between technology and human sensitivity. An essay by Alexander Liebermann on the early 20th-century composer Erwin Schulhoff, whose search for a unique personal voice could be encouraging in any given period, closes this rubric. The Main theme section contains seven scientific articles. In the first one, Filipa Magalhães, Inês Filipe, Mariana Silva and Henrique Carvalho explore the process and details of technological and artistic challenges of reviving the music theater work FE...DE...RI...CO... (1987) by Constança Capdeville. The second article, written by Milan Milojković, is dedicated to the analysis of historical composer Vojislav Vučković and his ChatGPT-generated doppelganger and opera. The fictional narrative woven around the actual historical figure served as an example of the current possibilities of AI in the domain of musicological work. In the next paper, Luís Arandas, Miguel Carvalhais and Mick Grierson expand on their work on the film Irreplaceable Biography, which was created via language-guided generative models in audiovisual production. Thomas Moore focuses on the Belgium-based Nadar Ensemble and discusses the ways in which the performers of the ensemble understand the concept of the integrated concert and distinguish themselves from it, specifying the broadening of performers’ competencies and responsibilities. In her paper, Dana Papachristou contributes to the discussion on the politics of connectivity based on the examination of three projects: the online project Xenakis Networked Performance Marathon 2022, 2023Eleusis Mystery 91_Magnetic Dance in Elefsina European Capital of Culture, and Spaces of Reflection offline PirateBox network in the 10th Berlin Biennale. The penultimate article in the section is written by Kenrick Ho and presents us with the author’s composition Flou for solo violin through the prism of the relationship between (historically present) algorithmic processes, the composer, and the performer. Finally, Rijad Kaniža adds to the critical discourse on the reshaping of the musical experience via technology and the understanding of said technology using the example of musique concrète. In the final Review section, Bakir Memišević gives an overview of the 13th International Symposium “Music in Society” that was held in Sarajevo in December 2022.

The Editorial Board of the INSAM Journal of Contemporary Music, Art and Technology decided that both issues of 2022 will be dedicated to one main theme, namely, “Fighting for the attention: Music and art on social media”. We can say that this call for papers went very successfully, as we are now presenting to you INSAM Journal No. 9. In a year which has seen many grave turbulences on socio-economic and political levels on a global scale, we have once again confirmed the importance of social media for communication and the spreading of news, and we have also seen the limitations of these tools. Turning to music and art on social media, our Main Theme section consists of five intriguing papers, Beyond the Main Theme section has two articles, (Inter)Views bring three exciting pieces, and the Reviews one festival report.

The couple of issues of the INSAM Journal of Contemporary Music, Art and Technology planned for this year – of which the issue before us, No. 8, is the first one – are dedicated to the theme titled “Fighting for the attention: Music and art on social media”. This theme also leans on the previous ones that dealt with music and art in times of crisis or the relationship between music and art with mental health in contemporary society. This time, we are shedding the light on artists, creators, procedures, methodologies and outputs that are in direct correlation with the ways in which diverse social media platforms today function and grab our attention. The Main Theme section brings us seven exciting papers

Историографски чланци и расправе. Књ. 1 и 2 / Василије Ђ. Крестић ; уредник Михаило Војводић. – Београд : САНУ ; Нови Сад : Матица српска, 2020. Говорили: академик Василије Ђ. Крестић, академик Славенко Терзић, др Софија Божић. У Београду, уторак 23. новембар 2021. у 13 часова.

We have before us the sixth issue of INSAM Journal of Contemporary Music, Art and Technology. This is the second issue in a row dedicated to the global crisis caused by the Covid-19 pandemic. After the overwhelming response from all over the world to the call for papers and provocative inspections that ensued, here we wanted to discuss the ways in which technology shapes and enables work in the areas of music, arts, humanities, and the education process, this time inviting our collaborators to discuss the shortcomings and struggles of the working processes in these fields. The main theme, “Music, Art and Humanities in the Time of Global Crisis”, expanded from the Main Theme section into the interviews as well.

In the seventh issue of INSAM Journal of Contemporary Music, Art and Technology, we are continuing our series on themes dedicated to art, music, and humanities in times of global crisis. After dealing with more general questions regarding these areas of creation, in this volume we are thinking about the issue of mental and bodily health during the Covid-19 pandemic and its possible ties and representations in music and art.

The papers in this thematic issue are dedicated to the following topics: interreligious dialogue, negotiation of ethnic and religious affiliation in everyday life, religious conversion, inherited institutions of the Ottoman society and attitude towards them, (re)presentation of historical figures and events in literary narratives, Muslim religious organizations in the past and present. The thematic issue aims to contribute to academic dialogue in domestic and international context, in which strategies, topoi and actors related to the Ottoman heritage, Muslims and Islam are very current. Радови у овом тематском броју посвећени су следећим темама: међурелигијски дијалог, преговарање о етничкој и верској припадности у свакодневном животу, верска конверзија, наслеђене институције османског друштва и однос према њима, (ре)презентација историјских личности и догађаја у књижевни наративи, муслиманске верске организације у прошлости и садашњости. Тематско издање има за циљ да допринесе академском дијалогу у домаћем и међународном контексту, у којем су веома актуелне стратегије, топои и актери везани за отоманско наслеђе, муслимане и ислам.

Human-Machine Collaboration in music, arts, and theory, has come to be a particularly challenging, provocative, and necessary topic. As we underlined in the Call for Papers, the theme of the issue highlighted our intention to give space to overcoming the deep-rooted dichotomy “human vs. machine” in the arts. In finding and understanding the flaws and strengths of both sides through theoretical, inter and trans-disciplinary, and critical thinking, we strive towards creating a platform for open discussions on the subject. In the issue of INSAM Journal in front of us, this conversation is inspired by the propelling artwork of Sougwen Chung.

The fifth issue of INSAM Journal of Contemporary Music, Art and Technology is the second one we are preparing and publishing in the Covid-19 pandemic. And while the theme for the previous issue was conceived in a world unburdened with what has preoccupied our minds and lives in 2020, the theme for this one is directly shaped by it. During the Spring, when we were taken aback by the governmental measures and the fear of the “invisible enemy” (the use of militant vocabulary is rather prominent in the discourse surrounding the virus), the uncertainty for the future grew strong. However, at that time, we could not predict the longevity, brevity and consequences of the pandemic – in December we are still not certain, but we are getting tired. This is why I would like to thank all the authors for working with us in these trying times, unpacking what can only be a beginning of ‘a global crisis’ during the Summer and Autumn of 2020. The main theme of the issue, Music, Art, and Technology in the Time of Global Crisis, strives to capture this period through the lens of workers in art, music, and academia around the world, focusing on the role and place of arts and technology in our/their relocated institutional realities.

Light-ness је интердисциплинарни уметнички пројекат, чије теоријско истраживање резултира уметничким радом реализованим употребом дигиталне технологије. Основни циљ пројекта је да истражи спрегу између динамичких категорија лако и тешко. У раду се проучава питање односа ових феномена као универзалних и свеприсутних животних појава, које као такве чине и неизоставан део уметничке праксе. Полазна основа пројекта је есеј Итала Калвина Америчка предавања, у коме аутор анализира лакоћу насупрот тежини. Концепт је додатно разрађен студијом различитих теоријских, новомедијских и филозофских становишта. Писани део докторског уметничког пројекта подељен је на четири целине: „Теоријски оквир и поетички опис”, „Методолошкa разматрања”, „Aнализа практичног рада” и „Закључна разматрања”. Реализација практичног дела рада подразумева употребу дигиталне технологије у циљу материјализације виртуелних података и конструкције мултимедијалних инсталација. Овакав приступ подразумева дигитално прикупљање, обраду података и употребу ЦНЦ машине за њихову продукцију. Light-ness is an interdisciplinary art project where the theoretical research results in the artistic work being produced through the use of digital technology. The main goal of the project is to explore the dynamic link between the categories of lightness and heaviness. This paper examines the question of these relations as universal phenomena, which therefore make it an inevitable part of artistic practice. The starting point for this argument is Italo Kalvino's essay American Lectures and his thesis about lightness. The concept is further observed with a study of various theoretical, newmedia and philosophical views. The written part of the art project is divided into four parts: Theoretical framework and poetic description, Methodological considerations, Analysis of practical work and Final considerations. The production of the practical part of the project involves the use of digital technology in order to materialize virtual data and construct multimedia installations. This approach involves the collecting and processing of data and the use of the CNC machine for production.