learn it anywhere else. For example, there was this Miloje Rakocevic,
technologist that was obsessed by Njegos and wrote about the connection of Njegos with science. On the base of the portrait of Njegos,
that is of the library that was represented in the background of that
portrait, he made a selection of books that Njegos owned in his library and what were the books he could read at the time. Than,
combining these and other facts, he concluded that Njegos was
aware of some very complex math formula, because all of his lyrics
followed a certain mathematical thread. This mathematical thread
had two exceptions though. For years, he couldn’t prove his point.
Finally, in some archive, he found the original handwritings of Njegos
and thanks to those he proved that the two exceptions were made
during the printing preparations and so his theory was confirmed.
Rakocevic was a correspondent for the British Royal Society.
One of the referees was also Goran Putnik. He is now a professor at Porto in Portugal. Ordinary professors are appointed by
the Ministry there. He went there with the lecture entitled “How
much does a kilo of mind cost?” He’s been there for some twenty
years now. Putnik made a calculation of how many kilos of minds
would take to make a satellite. He created some conceptual works
influenced by this, and he had never been involved with art before
that. One of his works was entitled “Demolition Ball Machine”
(“Masina Djule”), and another one “The Language of Water” (“Jezik
vode”). Demolition ball is really a machine, a simple machine used
in the mining. It breaks great chunks of coal. “The Language of
Water” is a round bowl he filled to overflowing with water. The suggestion is that the water has its own language and that this is a gesture language.
I was also doing my post-graduate studies then in “History
and Philosophy of Science” at the Centre for the Multidisciplinary
Studies (Centar za multidisciplinarne studije). At the time it was an
independent centre governed by Zoran Bozovic. I did all the exams,
but I never did the final paper. It was Zoran that opened at the Centre a Department of Social Sciences. He made an agreement with
the Science and Technology Museum (Muzej Nauke i Tehnike), that
is with Aleksandar Despic, that this Department should first be part
of the Academy of Sciences and the Science and Technology Museum. Then it was moved to the Faculty of Natural and Mathematical Sciences. That is where I met a group of extraordinary men. I
recall Radovan Samardzic with great pleasure, he was very knowledgeable. He was a genius.
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