A great man is one who collects knowledge the way a bee collects honey and uses it to help people overcome the difficulties they endure - hunger, ignorance and disease!
- Nikola Tesla

Remember, remember always, that all of us, and you and I especially, are descended from immigrants and revolutionists.
- Franklin Roosevelt

While their territory has been devastated and their homes despoiled, the spirit of the Serbian people has not been broken.
- Woodrow Wilson

Milica Paranosic

Critically acclaimed composer Milica Paranosic has established herself as one of New York’s finest and most daring composers, performance artists, producers, and technologists. Her music was described as “Amazing…astonishing,” (The New York Times), “Like liquor-filled pralines,” (Germany’s Morgenpost), and “A painter, musical Jackson Pollack,” (SEAMUS). Milica’s works range from one-woman multimedia shows and sound installations to operatic and symphonic works. Inspired by her travels and international collaborations, Milica imaginatively incorporates music of her Serbian homeland in addition to cross-continental muses such as Brazil, Ghana and China, always striving to create new sound worlds in which contrasting concepts vividly coexist in unique textures.

Milica is recipient of many honors and awards; her work was commissioned by major NYC organizations such as American Composers Orchestra, New Juilliard Ensemble, VisionIntoArt and Buglisi Dance Theater and has appeared at stages of Symphony Space, Zankel Hall/Carnegie, Alice Tully Hall/Lincoln Center, BAM café, Bohemian National Hall and many others. International and intercontinental highlights include BEMUS (Belgrade, Serbia), EtnaFest (Catania, Italy) and Internacional De Música Contemporânea Ppgmus-Ufba, (Bahia, Brazil). Her recent commission by the American Composers Orchestra's for an opener of their 2012-13 season at the Carnegie’s Zankel Hall, was co-sponsored by the LVMH Moët Hennessy • Louis Vuitton.

Milica’s Film scores include original score for Cure by Andrea Staka and Prokleta je Amerika by Boban Skerlic.

Since 1995, Milica has been on the music faculty of The Juilliard School where she co-founded and produced Beyond the Machine, Juilliard’s Festival of Electronic Music. She has taught and created curricula in varied settings such as Belgrade Music University, San Diego State University, Franklin Marshall College, Brotherhood Sister Sol, and 92nd Street Y. She maintains an active private teaching studio, working with professional musicians and beginners, ranging from 5 to 93. Furthering her deep commitment to education and outreach, Milica founded Give to Grow, an education initiative, which brings music technology to developing communities in Ghana.

Milica is a current associate director of Composers Concordance, advisory board member at Composers Now and Miolina, music director of Gallery MC, and founder and CEO of Paracademia LLC and ifounder and executive director a non-profit for Music and Arts educaiton and perfomance, Paracademia Center, Inc.

Source: Official Web Site


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Dragoljub Pokrajac

Dr. Dragoljub (David) Pokrajac is a full professor of Delaware State University and IEEE member. He graduated in 1993 at the Faculty of Electronics in Nis (Serbia) with GPA 9.97, and obtained MS in Telecommunications in 1997. He attended Washington State University and defended his PhD dissertation in spatial-temporal data mining at Temple University (Philadelphia, Pennsylvania, USA) in 2002. He is an author of numerous papers and book chapters and two patents.

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Sailors of the Sky

A conversation with Fr. Stamatis Skliris and Fr. Marko Rupnik on contemporary Christian art

In these timely conversations led by Fr. Radovan Bigovic, many issues are introduced that enable the contemporary reader to deepen and expand his or her understanding of the role of art in the life of the Church. Here we find answers to questions on the crisis of contemporary ecclesiastical art in West and East; the impact of Impressionism, Expressionism, Cubism, Surrealism and Abstract painting on contemporary ecclesiastical painting; and a consideration of the main distrinction between iconography and secular painting. The dialogue, while resolving some doubts about the difference between iconography, religious painting, and painting in general, reconciles the requirement to obey inconographic canons with the freedom essential to artistic creativity, demonstrating that obedience to the canons is not a threat to the vitatlity of iconography. Both artists illumine the role of prayer and ascetisicm in the art of iconography. They also mention curcial differences between iconography in the Orthodox Church and in Roman Catholicism. How important thse distinctions are when exploring the relationship between contemporary theology and art! In a time when postmodern "metaphysics' revitalizes every concept, these masters still believe that, to some extent, Post-Modernism adds to the revitatiztion of Christian art, stimulating questions about "artistic inspiration" and the essential asethetic categories of Christian painting. Their exceptionally wide, yet nonetheless deep, expertise assists their not-so-everday connections between theology, ar, and modern issues concerning society: "society" taken in its broader meaning as "civilization." Finally, the entire artistic project of Stamatis and Rupnik has important ecumenical implications that aswer a genuine longing for unity in the Christian word.

The text of this 94-page soft-bound book has been translated from the Serbian by Ivana Jakovljevic, Fr. Gregory Edwards, and Andrijana Krstic. Published by Sebastian Press, Western American Diocese of the Serbian Orthodox Church, Contemporary Christian Thought Series, number 7, First Edition, ISBN: 978-0-9719505-8-0