We investigated the resilience of small-scale family farms because of the contemporary importance of both the farms’ resilience and the role of these farms in five countries of Central and Eastern Europe. The authors addressed a research gap concerning cross-sectional research on the resilience of farms by combining determinants from various fields. Thus, the primary goal of this article was to identify microeconomic and political factors and links to markets that affect the resilience of small-scale family farms in Lithuania, Moldova, Poland, Romania and Serbia. Using a database of over 3500 farms, the resilience of the farms was calculated, and then the impact of selected factors on that resilience was determined. The research showed that the production scale was the key determinant of the resilience of farms. To achieve higher benefits, increasing the production should be combined with strengthening the market integration of agricultural producers. The position of the producer in the food supply chain determined the income situation of the farm (economic stability). This shaped the quality of life of the family members (social stability). Identifying the effects of those dependencies may provide recommendations for the policy of supporting small-scale family farms in the analysed countries.

Distribution of agricultural products from the aspect of farms is a continuous issue. Efficient application of the distribution model should provide a farm owner with regular income, as well as with a competitive advantage. Assessment of distribution channels in the context of an agricultural producer is subject to multi-criteria decisions, including both qualitative and quantitative factors. The aim of this paper is to develop a model which enables a structured analysis and an efficient assessment of distribution channels. The methodology based on the Analytical Hierarchy Process (AHP) will be a useful tool in setting various criteria for deciding on distribution channels, as well as a tool for managing a multi-variant qualitative assessment of data included in decision-making processes. The survey results show that the most important distribution channel for agricultural products is the channel of sales via processing plants (cooling and drying facilities, silos and agricultural combines), compared to sales through advertising (which significantly increased its share with the COVID-19 pandemic), sales through sales channels or at farmers’ markets.

Although, until the nineteenth century, we could not find in Japanese thought an approach that would be considered a counterpart to Western aesthetics, in art and cultural practice, nuanced interpretations of aesthetic experiences have been developed, such as wabi sabi, mono no aware and ma. The term mono no aware refers to impermanent, that is, transient beauty, ie. her experience that does not arise on the basis of current sensory experience. This concept should be understood as an aesthetic experience that accepts the beauty of transience, although transience itself cannot be considered beautiful. Mono no aware, is not the emotional response to the rational judgment of transience, but the feeling that permeates us when we become aware of sensory experience with the knowledge of transience. This, however, is not about any sensory experience, but only one in which we find beauty. Hence, the concept of mono no aware remains inseparable from the experience of the beautiful, but it is not equated with it.

Starting from Austin’s theory of speech acts and the difference that is established at the meta-linguistic level between two types of utterance: performative and constative, the authors, from the point of view of media philosophy, claim that in the digital universe, where linguistic and every other expression is transposed by the media, every interaction, being a media creation and therefore without foundations in reality, is performative. Recognizing digitization, i.e. the actions and procedures that confirm it through interaction, as economically based and therefore the entire digital space as bound to the ruling capitalist socio-economic paradigm, the authors questioning whether is enough to claim that the performativity of digital devices and algorithmic structure represent, without distinction, a necessary and sufficient condition for overall digital performativity? That is, if all interactions in the digital world were reduced exclusively to logical operations, there would be no “symbolic surplus” that makes language to be a language and art to be an art, regardless of their material basis. The authors conclude that digital culture establishes a new dystopian line of cultural development, which (in the considered case) finds its manifestation in digital performances. Mentioned form has its origin in a particular software culture as an anti-cultural deviation of digital culture. Digital performances, viewed from that point, are understood as non-performances, or entities that exist only in their connection to performances, which, again, can never become.

DoiFil - Repository of Digital Object Identifiers (DOIs) Issued by Faculty of Philology, University of Belgrade