Contemporary cemeteries / video / mini DV / color / 3:58 min / 2010   The work Contemporary cemeteries can be read in a number of ways: it speaks about  the exploitation of the Bosnian war casualties by the media; about meta-narrative  frolicking with the term Contemporary (art); about a world of information technology  racing ahead, where media manipulation and presence represent a legitimate actuality,  based on which a new society of mass media and new collective memory may be built.  The frequent use of the term trauma in postmodern art and elsewhere stems from,  among other things, a growing disproportion between man, whose capacity is limited  in terms of his biological makeup, and mankind, whose technological and information  expansion is unlimited. According to Theodore Roszak, the author of the ‘Neo-  Luddite’ manifesto against infocracy, the proliferation of information hinders the  creative ability of the human mind. ‘The mind operates on ideas, not on information.’  1 In order to be selected, written works, works of fine art as well as all other products  of art work had to meet the strictest requirements The mind operates on ideas, not on  information, whereas today’s global net allows democratic riot and omnipresence. The  virtual space of the monitor has become cheap, while information broken loose is no  longer a resource of the information society and is turning into its enemy. 2  Jelena Veljković —————————  1 Roszaak Theodore, The cult of information. A Neo-Luddite Treatise on Hig-Tech, Artificial Intelligence, and the True Art of Thinking, Berkely,University of California, 1994, p.88 2 John Naisbitt, Megatrends – Ten New Directions Transforming Our Lives, Warner Books, New York, 1982 Contemporary cemeteries have no single meaning stronghold. Anyhow, some  notions are dominating, making the two primary layers and describing the motivation  of their relation. Those two semantic layers are in a direct visual correlation, it’s issue  of “multicultural cemeteries” within Bosnia and Herzegovina and general “diversity of  TV noises”. This video shows contemporary cemetery in Bosnia and Herzegovina,  where some of tombs started to emit video noises. These video signals are nicely  framed in an architecture of tombs and seem to be a previously planed tombs’, long-  awaited video activity. Such tombs’ video activity overwhelmingly evokes the issues  of Boris Groys’ essay Religion in the age of digital reproduction, in which he exams  obvious “religious renaissance” within visual medias and its implications to revision  of distribution of religious discourse. Tombs are in media space of Bosnia and  Herzegovina one of the most beloved objects. Their type, size, numbers, time and  space, are “from some reasons” in constant media actualization. Religious objects, in  this case a tombs, by randomly giving sing of media life, evoke to a sort of “natural”  relationship between contemporary religious discourse and its needs to be mediated by  most direct ways, appropriating the media’s visual language in the most absurd  formats. Poetically said, this Bosnjak’s contemporary cemeteries landscape seems to  be an illustration of embry phase of religious-media organism, which is created by  accumulated religious-electricity, being ready soon for an own, cemeteries broadcast  or even podcast. Mladen Bundalo