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And, finally, a telling illustration for the third category: the post form 3 June at 22:55, for instance, features the following text: ―Good evening to all Yugoslavs wherever you are and welcome to the night programme‖ and a link to a popular song ―Igra rok en rol cela Jugoslavija‖ by the band Elektriĉni orgazam. 366 ‗Liked‘ by 358 people, the post is also enhanced by 30 comments. For the most part the comments express the most mundane, ordinary expressions of wishing a ‗good night‘ to all the other users of the profile: ―Marica Grbić-Maca Evening good,YUGOSLAVS! 03 June at 23:16.‖ In response another user says: ―Dragan Zekić Good evening to all the lot of you! The more of us the sooner the borders will be deleted! 03 June at 23:22.‖ 367 The exchange spurred by the song generally remains very superficial: Sasa Ilic LEGENDARY STUFF 04 June at 03:45 Ivi Špelko Yuga was a real rock and rol country. ♥♥♥ 04 June at 09:21 Goran Stojakovic First dringks,then all dance on the tables... :) 04 June at 11:31 Jasmina Zivkovic my son and his mate are singing karaoke at a fourth birthday party :))))))))))) 04 June at 22:26 Referring to the song, the above posts reveal the very emotional involvement of the visitors into the song‘s symbolic universe, and at that also to the past and the present (the last post). An interesting link here can be established, once again, to the commonality emerging when listening to a song broadcast on the radio, 368 dispersed in space and time, the users all ‗tune in‘ to listen to the song ... and share their most banal and intimate response with the ‗audience.‘ This perhaps is the case of a very intimate on-the-fly community, with the positive recognition of the most blatant biological aspects of being human (go to sleep) and the technology-supported sociability. Very brief posts may bear little analytical value and express little narrative or elaborate remembering. They are predominantly affective expressions of emotions/memories which are intrinsically interwoven with the visitors‘ respective presents and their pasts. In the process, a pop-cultural excerpt/trace/remnant of the past is digitally remediated into DME as a 4MO: first in YouTube and then in this particular historical profile. These examples actively engage with the interpretations of the past and often give a very personal understanding of the Yugoslav past, publicly available and open to debate. These debates usually 366 SFR Jugoslavija – SFR Yugoslavia, post from 3 June 2011 at 22:55. 367 Ibid. 368 See the discussion on radio and listening in Chapter 2. 186
oil down to pros and cons of Yugoslav existence in general and more often than not end up in the abyss between partisan movement and collaborationists. The debates frequently overtly refer to the present, post-socialist socio-political constellations in newly independent states and, particularly in Slovenian digital media space, vigorously appropriate the past for interpreting present political dead-ends. Occasionally, the debates spill over to the discussion section. Regardless of the possibilities of media convergence and remediation, it appears that it is the realm of the textual (‗unburdened‘ by the audiovisual) that still provides the means for mediating memories, and for expressing thoughts and arguments that fuel the field of re-appropriations of not only Yugoslav past but also of the issues related to the EUropean problematic. Apart from this, the discussions tend to be much more ‗permanent‘ repositories of discussions/memory as compared to Wall posts, they are considerably smaller in number and much more accessibly stored. As such they promise to offer more elaborate/detailed accounts of remembering Yugoslavia. The case with discussions, however, is often that a topic rarely gets much response. In some cases though, the debates evolve to a remarkable level. The problem, however, with SFR Jugoslavija in particular is that the admins have the right and means to intervene into the discussions. And not only textually curbing the passions, but also by deleting the posts they find offensive or inappropriate. They play the role of moderators of the discussions and, importantly, also as curators/censors (of memory and remembering). Effectively, such actions contribute to impoverishing their own archive, hindering the potential of the profile as a digital memorial. At the end of the day, the profile is reduced to a community of like-minded users. In a way they act much like Facebook management in the case described above, or, for that matter, any totalitarian regime. As an employee of Facebook stated in an interview: Silencing stupid people is not how you make stupid people go away. It's by pointing out how stupid they are and bringing those people into the light of day so everyone with a shred of common sense can see who they are and remember never to give them an ounce of respect in any aspect of life. [...]You do not combat ignorance by trying to cover up that ignorance exists. You confront it head on. Facebook will do the world no good by trying to become its thought police. 369 The following debate between a user and a former admin in the ―Deleting posts and comments in the group (Brisanje postova i komentara u grupi)‖ topic reveals quite heated emotions: Mirko Kontić [...] You‘ve deleted a post where a d e v e l o p m e n t occurred, thinking. The essence you deny is that Yugoslavia will never rise again as it once was if someone goes above the majority to block pluralism. 369 Quoted in Caroline McCarthy, ―Hate speech on Facebook: How much is too much?‖ the social by Caroline McCarthy, http://news.cnet.com/8301-13577_3-10239926-36.html#ixzz1QTbj0cZ4, accessed 24 August 2011. 187
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UNIVERSITY OF NOVA GORICA GRADUATE
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Some cases in vernacular digital me
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others in the remains of Yugoslavia
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Chapter 1 | Introduction: Cyberplac
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storytelling, memories and memorial
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conceptual framework supporting thi
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Media and Memory The most ubiquitou
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Archiving, Techno-topia and Pervasi
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as an archive, 29 the randomness of
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technologies (typewriters, calculat
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digital age. 41 Yet, considering th
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which she can, at the click of the
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However, in the case of Yugoslav di
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narrativisations, sampling, remixin
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cultural frameworks.‖ 67 Moreover
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from ‗pre-media‘ (before the in
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framework accounts for numerous eme
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outside the process of representati
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understanding of (the production an
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they are able through digital conne
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Setting Sail Reappropriations and r
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After the internet and digital comm
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that was made during the era of soc
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create and communicate, via digital
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time.‖ 127 Drawing on this concep
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the different musics‘ ―common f
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Blogging and Memory The practice of
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enhanced in blogging, it apparently
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and enthusiasts alike. Thus, for in
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videos are used as audiovisual reco
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Figure 4 | Yugoslav Airlines Luggag
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the posts are fairly scant textuall
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Finally, if initially recording and
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spectacle for which that audience h
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usiness) and outdated principles of
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and replaying music require much le
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encourages the visitors to buy. 173
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also provides a genre distinction a
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initial way for the past to ‗surv
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Through referring (nostalgically) t
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posts he uses a first-person, very
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the past ... on the part of the vis
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uploaded, so do share with others.
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music. Such blog-enabled preservati
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This activity is in a way similar t
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I guess that in 1984 Luna and Katar
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TCHECHOSLOVAKIA, HUNGARY, ROMANIA,
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makes it into an organised database
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which required more ‗action‘ to
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files as digital media objects. As
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Chapter 3 | YouTube and Digital Mem
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users of the site. 217 Moreover, as
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In the category of vernacular or us
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selection is in many cases thorough
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database is changing as well. As Ge
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image. That's it.‖ 241 The fact i
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The site is no longer operable, yet
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inflame a reaction formation: the
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commemorative act, crucially (co-)d
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and use of technology, also as ‗g
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photographs and footage from often
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[We have scattered around the world
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The ending of the video sends a ver
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Milošević giving a speech is embe
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memory practices and nostalgic refe
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moje detinjstvo, sloboda, mir [my c
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4) In Zemun [part of Belgrade]. How
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Page 137 and 138: Jugoslavijo A much more elaborate v
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Page 143 and 144: Damned be Josip Broz ―Tito‖ all
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Page 147 and 148: oppression. And the cover by Azra,
Page 149 and 150: Kroz čempres vjetar duva [Through
Page 151 and 152: Figure 30 | The closing scene. What
Page 153 and 154: This is a time when men were gentle
Page 155 and 156: The string of post‘n‘replies re
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Page 175 and 176: Nevertheless, many of these profile
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Page 189 and 190: Enver Dizdarevic Is the idea to cre
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Page 195 and 196: Zlatko Crnogorac unfortunately I se
Page 197 and 198: Party: Komunista Partija Jugoslavij
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avdiovizualnih izvedb preteklosti.
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Lahko bi se reklo, da je bila praks
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skozi avdiovizualne in besedilne ko
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»Zgodovina« uporabniške dejavnos
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katere bi se lahko gradila ta zaţe
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to malo verjetno. Kljub temu pa to
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Baker, Catherine. ―Where to Read
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―Constitution of CY (English).‖
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Hahn, Chris M. Postsocialism, Ideal
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Josip Broz Tito. ―Info.‖ http:/
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mejerchold. ―Tatu - Jugoslavija.
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Pogaĉar, Martin. ―Nostalgia in C
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Sobel, Jon. ―HOW: Technology, Tra
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―RAZNI IZVODJACI Hitovi Omera Pob
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