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(personal, national etc.) are translated online and present a distinct continuity with the offline worlds. In the process of full-on digitisation, memory and remembering practices have become at the same time more personalised and public, more easily and widely adjustable, yet also more vulnerable and even more elusive. With this in mind, it can be maintained that the internet and the internet enabled media are in fact decisively influencing the ways in which the past is appropriated and re-presenced. The digital ―‗reliquaires‘ ‗preserve and cherish the fragment, the souvenir, the talisman, the exotic‘ and treat ‗the ephemeral object as if it were the rarest heirloom‘.‖ 439 More importantly still, and not entirely unrelated to digital empathy, the co-creation of cyberplaces of remembering nevertheless seems to offer a space for the aspects of remembering that in the Yugoslav case ‗fell out‘ of the official narratives; despite the difficulties and drawbacks discussed above. However, due to decisive interrelatedness and the mutual nestedness of the on- and offline, any potential liberating power attributed to technological remedy alone, seems ill fated to challenge and transcend the persistent socio-cultural perturbations or motivate people to challenge their walls of belief that bitterly persevere in the face of change. 439 Vivian Sobchack, ―Nostalgia for a Digital Object,‖ in Lauren Rabinowitz and Abraham Geil (eds.), Memory Bites, History, Technology and Digital Culture, Durham and London, Durham University Press, 2004, 305–329, 306. 228
Povzetek Zdi se, da sta splošno razširjeni fascinacija s prisotnostjo preteklosti in izmuzljivost sedanjosti brezmejni. Ob zaĉetku 21. stoletja je svet sicer res v marsiĉem precej drugaĉen od tistega v prejšnjem stoletju, vendar pa je, z ozirom na kontinuiteto tehnološko-kulturnega razvoja, vseeno še vedno globoko povezan, »organsko« pripet na obdobje, ki ga je Hobsbawm poimenoval kratko 20. stoletje. Kar preteklo stoletje dela tako zelo kratko in vsebolj re-prezentirano (pri-sedanjeno oziroma po-prisotnjeno), je trajna prisotnost avdiovizualnih in besedilnih zapisov odloĉilnih epizod in dogodkov, ki se v vsakdanje ţivljenje najoĉitneje pretakajo prek popularne kulture in politike. Ta nenehna prisotnost je v veliki meri podprta z razvojem komunikacijskih tehnologij, ki so omogoĉile in pospešile znatno drugaĉen naĉin razumevanja ĉasa. Z drugimi besedami lahko tako reĉemo, da je 20. stoletje – s svojimi fascinantnimi doseţki na polju tehnološkega, kulturnega, ekonomskega in druţbenega razvoja na eni strani ter uniĉujoĉima katastrofama dveh svetovnih vojn, hladne vojne in mnogimi drugimi druţbenopolitiĉnimi pretresi na drugi strani – postalo velikanski zgodovinski in hkrati tudi medijski dogodek. Skozi nenehna medijska prisvajanja in reprezentacije, remediacije, pa se to stoletje obenem kaţe tudi kot neizmerno razdrobljeno … Socialistiĉna federativna republika Jugoslavija (SFRJ) je bila, skupaj z veĉino drugih socialistiĉnih drţav, morda res izroĉena zgodovini, a njena izdatna prisotnost, ki ni omejena le na polja filma, glasbe, literature, dnevne politike in vsakdanje kulture, kaţe drugaĉno podobo. Preteklost je vedno pogosteje in vedno bolj preţemajoĉe prisotna v digitalnih medijih: internetnih straneh, blogih, forumih, YouTubu, Facebooku in drugih socialno omreţnih straneh (SOS). S tem uspešno kljubuje sanjam o »postsocialistiĉnem tranzicionalizmu«, ki bi moral v idealnem primeru pospešiti izkoreninjenje kakršnekoli sledi »kompromitirajoĉe socialistiĉne preteklosti«. Tej novi »osvobodilni« ideologiji se zaenkrat še ni prav posreĉilo, da bi na novo napisala preteklost, prej nasprotno. Poslediĉno je temi »digitalnega posmrtnega ţivljenja« Jugoslavije in Jugoslovanov (post-Jugoslavije in post-Jugoslovanov) v tej disertaciji namenjena osrednja pozornost. V nadaljevanju poskušam najti odgovore na skupek naslednjih temeljnih vprašanj: Kako so, v domeni digitalno podprtih komunikacijskih tehnologij, zgodovina Jugoslavije in popularne remediacije njene zgodovine (re)apropriirane in (re)narativizirane? Na kakšen način uporabniki uporabljajo tehnologijo v svojih intervencijah? In kakšne poseldice ima to za (post-jugoslovanske) spominske prakse v digitalni dobi? 229
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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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European that originated in Asia an
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Jugoslavijo A much more elaborate v
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Figure 27 | Photograph of a delegat
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And breaks into the refrain: moja r
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Damned be Josip Broz ―Tito‖ all
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HERZEGOVINA, THAT IS, IT IS THE ONL
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oppression. And the cover by Azra,
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Kroz čempres vjetar duva [Through
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Figure 30 | The closing scene. What
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This is a time when men were gentle
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The string of post‘n‘replies re
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Croats had the greatest fascists an
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among the people [...] commie, do y
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(potential) action are being built.
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the contrary, they are often overly
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Chapter 4 | The Past on Facebook: P
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to make of the interweaving of poli
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Facebook: Digital Sociability and M
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keeping in touch; or, in the case o
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author traces in both the ―import
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Nevertheless, many of these profile
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Page 195 and 196: Zlatko Crnogorac unfortunately I se
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Page 199 and 200: The user Šime Zelić stands firmly
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Page 215 and 216: Chapter 5 | Conclusion: ... Archivi
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Page 227: Jugoslavija Facebook profile case d
Page 231 and 232: Priĉujoĉo raziskavo sestavljajo t
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Page 237 and 238: avdiovizualnih izvedb preteklosti.
Page 239 and 240: Lahko bi se reklo, da je bila praks
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Page 243 and 244: »Zgodovina« uporabniške dejavnos
Page 245 and 246: katere bi se lahko gradila ta zaţe
Page 247 and 248: to malo verjetno. Kljub temu pa to
Page 249 and 250: Baker, Catherine. ―Where to Read
Page 251 and 252: ―Constitution of CY (English).‖
Page 253 and 254: Hahn, Chris M. Postsocialism, Ideal
Page 255 and 256: Josip Broz Tito. ―Info.‖ http:/
Page 257 and 258: mejerchold. ―Tatu - Jugoslavija.
Page 259 and 260: Pogaĉar, Martin. ―Nostalgia in C
Page 261 and 262: Sobel, Jon. ―HOW: Technology, Tra
Page 263: ―RAZNI IZVODJACI Hitovi Omera Pob
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