{"id":130800,"date":"2026-09-25T15:36:26","date_gmt":"2026-09-25T13:36:26","guid":{"rendered":"https:\/\/www.ffos.unios.hr\/?page_id=130800"},"modified":"2026-09-25T15:38:19","modified_gmt":"2026-09-25T13:38:19","slug":"estlab-radio","status":"publish","type":"page","link":"https:\/\/www.ffos.unios.hr\/en\/science-portal\/aesthetics-laboratory-of-the-faculty-of-humanities-and-social-sciences\/estlab-radio\/","title":{"rendered":"EstLab Radio"},"content":{"rendered":"<div class=\"embed-responsive embed-responsive-16by9\"><iframe title=\"EstLab Radio\" width=\"1170\" height=\"658\" src=\"https:\/\/www.youtube.com\/embed\/_33OOs1i1KE?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/div>\n<h2>PROGRAMMES \/ EVENTS<\/h2>\n<h3>12 March 2022<br \/>\nThe Other Side \u2013 Hard Times (Episode 4)<\/h3>\n<p>A series of New Wave conversations about time, space and, above all, music at the Aesthetic Laboratory of the Faculty of Humanities and Social Sciences in Osijek.<br \/>\nConversation between Marijan Krivak and Goran Rem.<\/p>\n<div class=\"embed-responsive embed-responsive-16by9\"><iframe title=\"EstLab - Drugom stranom - Te\u0161ko vrijeme\" width=\"1170\" height=\"658\" src=\"https:\/\/www.youtube.com\/embed\/B9cRfmy94mE?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/div>\n<p><strong>AZRA or\u2026 <em>Straight to the Bottom<\/em><\/strong><\/p>\n<p><strong>I was<\/strong> there. Somewhere in the black, boiling darkness opposite the stage where they played, sang, sweated and\u2026 made history. \u201cNights here are strange dilemmas\u2026\u201d Indeed, as if in some <em>film<\/em>, I immersed myself in \u201c<strong>A Woman\u2019s Warm Lips<\/strong>\u201d. (Yes, there was also a certain FILM there, renegades from the band I am speaking about now\u2026 Everything, however, begins with A\u2026 as in AZRA!) But soon came a sobering that has lasted to this day: \u201cHard times for old men, my friend\u201d (and they still continue).<\/p>\n<p>Together with a group of fellow \u201cscrapers of city asphalt\u201d, we happened to choose just the right evening (out of seven in a row) to go \u201c<strong>Straight to the Bottom<\/strong>\u201d. We allowed the <em>Phantom of Freedom<\/em> to reveal to us, at Kulu\u0161i\u0107, the secret, hidden essence of everything. Nothing less\u2026 As in the famous, ultimately nostalgic film <em>Stand by Me<\/em>, we sensed that nothing in our lives would ever be the same again. That Wednesday at Kulu\u0161i\u0107, 21 October 1981, was my <em>Ereignis<\/em>, the Kantian \u201cemergence from self-incurred immaturity\u201d\u2026 enlightenment, an epiphany of Being-there.<\/p>\n<p>Am I exaggerating? Of course, but \u201cso much the worse for the facts\u201d, as Hegel would conclude. Branimir \u0160tuli\u0107 was an \u201ceternal grumbler\u201d. And what remains of me, an \u201cold fart\u201d? Precisely, \u201ceternal grumbling\u201d and never being reconciled with the time and space in which I live! \u201cPeople without calibre or ideas force black-and-white truths upon us.\u201d Hey, look around\u2026 Has anything changed since 21 October 1981? My dear comrade Goran posed the question: where did Johnny disappear after 1991? The new, reinvented history of that time and its narrative about our archetypal distinctiveness and ethnic selfhood could not swallow Johnny\u2019s AZRA. Because this was no romantic heroine of Heine\u2026 This was about the \u201curban poetry\u201d of asphalt, as Goran lucidly observed. Even \u201canthologised\u201d poetry\u2026 \u201cMadness, with the power of the ocean, floods my soul and corrodes my mind\u2026\u201d Unlike most of my co-ethnics \u2013 who are now supposedly masters in their own house \u2013 \u201c\u2026 I am here by accident and I AM DAMN ANGRY\u201d.<\/p>\n<p><strong><em>mk<\/em><\/strong><\/p>\n<p><strong>I know<\/strong> of one, and indeed several, relationships and marriages that began with \u0160tuli\u0107\u2019s ballads and nothing ever rolled them straight to the bottom. Instead, they were surprised when, recently, a Croatian Television entertainer delivered an incomparably dignified performance of the song <em>Ako zna\u0161 bilo \u0161to<\/em>, fully equal to the hoarse tributes of Marijan Ban in performances of another title.<\/p>\n<p><em>He is a bad singer, musician, poet, arranger and producer, but he had a creative madness that fascinates and that enabled him to produce around twenty songs worthy of an anthology<\/em>, art historian Darko Glavan says of Branimir Johnny \u0160tuli\u0107. <em>Since Bregovi\u0107 arrived at \u201cauthenticity\u201d by denying rock and dressing it up as its opposite, \u0160tuli\u0107 was needed to save it, reverse the process and give it the future it deserved<\/em>, writes psychologist Dragan Ambrozi\u0107. <em>The game with censors and politics gave Johnny the aura of a man greater and more important than the system that would, within a few years, begin its inevitable and irreversible collapse<\/em>, writes economist Aleksandar Draga\u0161. Sociologist Marjan Ogrinc, in his account of Punk among the Slovenes, says: <em>Azra knows that Pankrti brought and liberated the democratisation of society<\/em>. Grogy adds: \u2026<em>there\u2019s no one better!<\/em><\/p>\n<p>For me, the story of Azra begins in the late 1970s, when Ante Batinovi\u0107, during our outing to Sopot, turned up an exciting demo of <em>A \u0161ta da radim<\/em> on a small crackling transistor radio, and all of us froze in the middle of eating our sandwiches, without hearing who the author was. Then, at Lokosi, during the graduation trip of all Vinkovci schools in 1978, meaning one week later, among a pile of unknown little bands, we heard those songs <em>live<\/em>, hahaha. The menacing Threat, the death of Emotion, would be heard only slightly later in Cave, in another deeply dark way, but Society as an unethical minefield of unbearable morphology is Johnny\u2019s dehierarchised theme, more surreal than the pioneers from Rijeka \u2013 <em>Paraf<\/em> \u2013 or the gun-blazing <em>Pankrti<\/em> from Ljubljana.<\/p>\n<p>Then the story jumps to the Osijek concert in 1980, where we were all ready to sing every song from the album <em>Azra<\/em>, only to be left speechless by at least thirty songs beyond those already recorded\u2026<\/p>\n<p>Then came some point in the mid-1980s when the connection broke twice in the middle of the song <em>An\u0111eli<\/em>, with pauses for reconstructing the cables, until the stage \u201cfinally\u201d collapsed, and Azra continued, on the third attempt, to perform the same song. Everything else was a debate over whether Jura or \u0160tula was the better poet, and the impossibility of answering kept us fired up with arguments until that unfortunate country disappeared.<\/p>\n<p>Then there followed Johnny\u2019s brilliantly bad choice of collaborators, but he played in all the <em>villages and towns where people wanted to hear him<\/em> (Dado T. sang that, far too quickly losing his strong progressive <em>Time<\/em> talent from the 1970s), while Ambrozi\u0107\u2019s claim could not have been more precise: Azra punk-and-rollised everything that would later listen to the 1990s, along with the conclusion of the first private rock magazine <em>Heroina<\/em> by Branko Male\u0161 that <em>not listening to rock means living illiterate<\/em>.<\/p>\n<p>As a bad musician and lyricist, \u0160tula had everything punk needed, as well as everything that New Wave lacked in its repeated attempts to keep the waves of New Wave alive throughout the 1980s. At some point in 1987 or 1988, the Osijek band <em>No passaran<\/em> performed the best unknown and nonexistent Azra song \u2013 <em>Kao u izlogu<\/em>.<\/p>\n<p>Still, let us leave the badness to the world as the context from which he \u2013 derailing media echoes and History in political interpretation \u2013 precisely \u201ccopied\u201d, while his lyrics \u201cended up\u201d not only in his own poetry collection, but also, in 1995, in the most important anthology of Croatian poetry of the previous thirty years, <em>Strast razlike, tamni zvuk praznine<\/em> by Branko \u010cegec and Miroslav Mi\u0107anovi\u0107; then in the most representative panorama of Croatian art, awarded Book of the Year in Poland in 2005 \u2013 <em>Widjec Chorwacje<\/em> (<em>Seeing Croatia<\/em>); and he was also included in a monographic doctoral dissertation in 2019. His lyrics had \u201cended up\u201d even earlier \u2013 in 1989 \u2013 as intertextual matrices in Mate Ba\u0161i\u0107\u2019s short-story collection <em>Led &amp; dugi mar\u0161<\/em>, while four years earlier they entered a cult short story by multimedia artist Stanislav Habjan, <em>Johnnyijeva slika ili ljubav gomile<\/em>.<\/p>\n<p>Then, suddenly, he disappeared; hopelessness killed him.<\/p>\n<p><strong><em>Goran Rem<\/em><\/strong><\/p>\n<table border=\"0\" width=\"70%\">\n<tbody>\n<tr bgcolor=\"#B62126\">\n<td><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<h3>10 March 2022<br \/>\nAdvanced Philosophy Seminar (2) \u2013 Edmund Husserl \u2013 The Idea of Philosophy and Its Historical Origin<\/h3>\n<p>In the second <strong>Advanced Philosophy Seminar<\/strong> of the Aesthetic Laboratory, through which we introduce the knowledge-seeking to philosophy, you can listen to <strong>Edmund Husserl\u2019s<\/strong> essay \u201c<em>The Idea of Philosophy and Its Historical Origin<\/em>\u201d. The editor of the Advanced Philosophy Seminar is <strong>Bo\u0161ko Pe\u0161i\u0107<\/strong>.<\/p>\n<div class=\"embed-responsive embed-responsive-16by9\"><iframe title=\"EstLab - Filozofski nadseminar #2 - Edmund Husserl - Ideja filozofije i njeno povijesno podrijetlo\" width=\"1170\" height=\"658\" src=\"https:\/\/www.youtube.com\/embed\/jtppH2cBPOE?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/div>\n<table border=\"0\" width=\"70%\">\n<tbody>\n<tr bgcolor=\"#B62126\">\n<td><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<h3>14 January 2022<br \/>\nAdvanced Philosophy Seminar #1 \u2013 Hanna Arendt \u2013 The Gap Between Past and Future<\/h3>\n<p>In the first <strong>Advanced Philosophy Seminar<\/strong> of <em>EstLab Radio<\/em>, you can listen to <strong>Hanna Arendt\u2019s<\/strong> essay \u201c<em>The Gap Between Past and Future<\/em>\u201d. The essay was read by Vlatka Perkovi\u0107 and Maja Ivani\u0161. The editor of the Advanced Philosophy Seminar is Bo\u0161ko Pe\u0161i\u0107.<\/p>\n<div class=\"embed-responsive embed-responsive-16by9\"><iframe title=\"EstLab - Filozofski nadseminar #1 - Hannah Arendt - Jaz izme\u0111u pro\u0161losti i budu\u0107nosti\" width=\"1170\" height=\"658\" src=\"https:\/\/www.youtube.com\/embed\/mX6RjOBrKs0?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/div>\n<p>&nbsp;<\/p>\n<table border=\"0\" width=\"70%\">\n<tbody>\n<tr bgcolor=\"#B62126\">\n<td><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<h3>21 December 2021<br \/>\nThe Other Side \u2013 New Wave Package Arrangement (Episode 3)<\/h3>\n<p>PAKET ARAN\u017dMAN was a guerrilla joint action by three Belgrade bands. At some point during the 1980s, energy \u201cswelled\u201d in the largest city of the then Yugoslavia. These young people wanted to say something similar to what the punk pioneers from the western part of the land of the \u201cSouth Slavs\u201d were saying.<\/p>\n<p><strong><em>Idoli<\/em><\/strong> had already prepared the ground through graffiti actions on the walls of the metropolis. At that point, they were still <strong><em>BOYS<\/em><\/strong>. They inserted the single \u201cRetko te vi\u0111am\u2026\u201d into the magazine <em>Vidici<\/em>. \u201cMalj\u010diki\u201d was a true masterpiece of artistic satire, a full-blooded punk-Cossack song.<\/p>\n<p><strong><em>\u0160arlo akrobata<\/em><\/strong> recorded the first reggae dub-punk in this region. The single \u201cOna se budi\/Mali \u010dovek\u201d paved the way for the best album recorded in this region. <em>Bistriji ili tuplji \u010dovek biva kad<\/em>\u2026 confirmed the ego trip \u201cNiko kao Ja\u201d.<\/p>\n<p><strong><em>Elektri\u010dni orgazam<\/em><\/strong> contributed three \u201cnumbers\u201d to PA: \u201cKad krokodili dolaze\u201d, a comic-book horror transformed into an anthem of Belgrade New Wave, while \u201cVi\u201d anticipated \u201cNebo\u201d and ElOrg\u2019s debut album, together with the flash of ironic dance punk \u201cZlatni Papagaj\u201d.<\/p>\n<p>According to many, this record completely transformed the (sub)cultural image of the then Yugoslavia.<\/p>\n<div class=\"embed-responsive embed-responsive-16by9\"><iframe title=\"EstLab - Drugom stranom - Novovalni paket aran\u017eman\" width=\"1170\" height=\"658\" src=\"https:\/\/www.youtube.com\/embed\/Px02qunKR5c?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/div>\n<table border=\"0\" width=\"70%\">\n<tbody>\n<tr bgcolor=\"#B62126\">\n<td><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<h3>12 December 2021<br \/>\n<strong>The Other Side \u2013 Punk Pioneers (Episode 2)<br \/>\n<\/strong><\/h3>\n<p>The PUNK explosion in the former Yugoslavia? Did it really explode, or did we merely dream it? It had an influence equal to that of Gorgona, New Tendencies, BITEF, the cinematic Black Wave\u2026 much was heard about it, but few people really knew what it was about.<\/p>\n<p>\u201cAND THE DAY HAD STARTED SO BEAUTIFULLY\u201d, as the title of Paraf\u2019s first album tells us. It was not the first punk album in Croa\u2026 pardon, among Yugoslavs at the time. Yet Croats were, even then \u2013 as they are today in everything! \u2013 first. <em>Prljavo kazali\u0161te<\/em> by the band of the same name dates from 1979. (Excuse me? Aren\u2019t those the ones invoking \u201cCroatian Rose\u201d?) In any case, before those Ljubljana boys who enlightened Branimir \u0160tuli\u0107 and AZRA\u2019s first single, <strong><em>Balkan<\/em><\/strong>: \u201cI shave my beard and moustache to look like PANKRTI\u201d. Their (third ever!) concert at the SC Gallery in Zagreb in 1977 was the first truly public trace. In the bodies here and on their sharp minds, that \u201ctrace\u201d (Derrida) remains indelible. We set off \u201cON THE OTHER SIDE\u201d\u2026<\/p>\n<p>Thus, in the first episode we talked about PANKRTI, PARAF, PRLJAVO KAZALI\u0160TE\u2026 About <em>Dolgcajt<\/em> (Boredom), \u201cthe beginnings of the day in the city\u201d, about \u201csmall municipalities where there are no problems\u201d, somewhere between 1979 and 1980.<\/p>\n<p>It was the \u201cprimordial sound\u201d of an urban tribe. Brought over from London, it came alive on the streets and concert stages of Ljubljana, Rijeka and Zagreb.<\/p>\n<div class=\"embed-responsive embed-responsive-16by9\"><iframe title=\"EstLab - Drugom stranom - Punk pioniri\" width=\"1170\" height=\"658\" src=\"https:\/\/www.youtube.com\/embed\/rvYKwg420B0?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/div>\n<table border=\"0\" width=\"70%\">\n<tbody>\n<tr bgcolor=\"#B62126\">\n<td><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<h3><strong><a name=\"brecelj\"><\/a><br \/>\n9 November 2021<br \/>\n<\/strong>Testimony: \u201cAnswers to Questions and Without Questions\u201d: <strong>MARKO BRECELJ<\/strong><\/h3>\n<p><img decoding=\"async\" class=\"alignleft wp-image-14322 size-medium\" src=\"https:\/\/www.ffos.unios.hr\/wp-content\/uploads\/2021\/11\/brecelj_marko-230x300.png\" alt=\"\" width=\"230\" height=\"300\" srcset=\"https:\/\/www.ffos.unios.hr\/wp-content\/uploads\/2021\/11\/brecelj_marko-230x300.png 230w, https:\/\/www.ffos.unios.hr\/wp-content\/uploads\/2021\/11\/brecelj_marko.png 410w\" sizes=\"(max-width: 230px) 100vw, 230px\" \/>MARKO BRECELJ is a Yugoslav, Slovenian and Koper-based multimedia artist. A <em>rock<\/em> musician, poet, chanson singer and persistent performer\/<em>entertainer<\/em>. His work is immensely important to the cultural imagination of artistic and intellectual circles in this region. Marko Brecelj is the author of one of the most powerful singer-songwriter debuts on the Slovenian and Yugoslav scene. His <em>Koktel<\/em> (1974), arranged by Bojan Adami\u010d (!), is a true \u201cunknown gem\u201d and a masterpiece of eccentric chanson and <em>jazz-rock<\/em> fusion.<\/p>\n<p data-wahfont=\"16\" data-wahpro-txt-style=\"text-align: justify; font-size: 16px;\">Brecelj is, however, best known as the <em>frontman of the alter-rock<\/em> giants BULDO\u017dER from Ljubljana. Their debut album <em>PLJUNI ISTINI U O\u010cI<\/em> (1975) was one of the most subversive artistic assaults on the Yugoslav <em>rock<\/em> <em>establishment<\/em> of the time. It was the first truly conceptual Yugoslav <em>rock<\/em> album. The record developed its own original <em>rock<\/em> language, leaving a lasting trace (Derrida!) not only through its music, but also through its conceptual message. As a resolute and uncompromising opposition to the Yugoslav <em>rock<\/em> \u201cmainstream\u201d of the time, Buldo\u017eer paved the way \u2013 ON THE OTHER SIDE. Through their avant-garde nerve and Monty Python- and Alan Ford-style humour, Brecelj and the band opened the door for many original young <em>punk<\/em> and <em>new-wave<\/em> <em>rock<\/em> musicians. Brecelj and Buldo\u017eer were leaders of the resistance against the \u201cshepherd rock\u201d of Bijelo dugme. The end of Brecelj\u2019s New Wave phase after Buldo\u017eer was marked by the masterful minimalist single <em>Parada\/Majmuni\/Trotoari<\/em> (1981).<\/p>\n<p data-wahfont=\"16\" data-wahpro-txt-style=\"text-align: justify; font-size: 16px;\">See what it was like when the NEW AGE emerged (Brecelj, 1979). We spoke with him in the form of a \u201cTESTIMONY \u2013 answers to questions and without questions\u201d as part of EstLab\u2019s <em>The Other Side<\/em> programme.<\/p>\n<div class=\"embed-responsive embed-responsive-16by9\"><iframe title=\"EstLab - Marko Brecelj - Svjedo\u010denje: \u201cOdgovori na i bez pitanja\u201d - 9.11.2021.\" width=\"1170\" height=\"658\" src=\"https:\/\/www.youtube.com\/embed\/Q2OHAYaZvAk?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/div>\n<table border=\"0\" width=\"70%\">\n<tbody>\n<tr bgcolor=\"#B62126\">\n<td><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<h3>26 October 2021<br \/>\n<strong>The Other Side \u2013 Prehistory (Episode 1)<br \/>\n<\/strong><\/h3>\n<p><em>A kilometre of sea is very much a wave<\/em> is a line by Branko Male\u0161, first performed live, published in a magazine and at readings in 1975, and later included in the 1978 book-album <em>Tekst<\/em>. Its humorous and absurd cheerfulness, which avoided mockery while \u2013 through the fantastic <em>footwork<\/em> of sonic-rhythmic games \u2013 repairing the pathetic world of an increasingly exhausted History, had to exist somewhere else as well. And of course it did: in Sound, in Music, in the Ljubljana band <em>Buldo\u017eer<\/em>, in their Monty Python-esque album <em>Pljuni istini u o\u010di<\/em>.<\/p>\n<p>The poet Vojislav Despotov from Novi Sad was doing something similar through ultra-irony, while the first punk demolition, or work of deconstructing concrete historical phrases, was performed in 1976 and 1977 by the Rijeka band Paraf! By then, things were already wonderfully \u2013 and irreversibly \u2013 underway, and all the arriving punks had long been listening to Buldo\u017eer and that first album, which they recorded predominantly in the officially active language of the then SFRY. That brilliant move placed the album permanently and prominently on the radio charts of that state.<\/p>\n<p>Thanks to that album, <em>Pljuni istini u o\u010di<\/em>, one may say in the Yugoslav context that the concrete body of departure from glam and progressive rock genuinely began as Buldo\u017eer\u2019s joking NEW WAVE, which enabled all the wise music editors of that region, above all, to provide an alternative to the dominance of Bijelo dugme. The latter had itself just expanded certain boundaries and integrated intergenerational threads, but had settled, in glam fashion, into the heroism of Yugoslav stars and accepted what it was \u2013 as Darko Glavan put it \u2013 shepherd rock. Buldo\u017eer, however, is the Other: melodic, compositionally exciting, while lyrically desacralising, anti-pathetic and thematically astonishingly precise in its playful engagement with and outmanoeuvring of the most worn-out thematic <em>slime<\/em> \u2013 whether it came from music charts or from mass-media programmes broadcast or printed. Buldo\u017eer was the most creative deconstructor of socialist realism, which had sophisticatedly converted itself into the most popular Yugoslav band of the mid- and late 1970s. Yet Buldo\u017eer\u2019s proto-New Wave brought reserves of Intelligence that liberated punks both from Intelligence and from stupidity and gave them stage space \u2013 and so they arrived, unconcerned with intelligence, grinning and getting angry, or proto-aestheticising their dirtiness. But they arrived before, on their second and third albums, accepting the fate of stadium bands. By then it was already the mid-1980s, and that was that.<\/p>\n<p style=\"text-align: right;\">Goran Rem<\/p>\n<p>\u2192 The conversation entitled \u201cThe Other Side \u2013 Prehistory\u201d, part of the series of New Wave conversations about time, space and especially music at the Aesthetic Laboratory of the Faculty of Humanities and Social Sciences in Osijek, can be found at the following address: <a href=\"https:\/\/www.youtube.com\/watch?v=q-aGRCoeseo&amp;ab_channel=EstLabRadio\" rel=\"noopener\">https:\/\/www.youtube.com\/watch?v=q-aGRCoeseo&amp;ab_channel=EstLabRadio<\/a><\/p>\n<div class=\"embed-responsive embed-responsive-16by9\"><iframe title=\"EstLab - Drugom stranom - Pretpovijest\" width=\"1170\" height=\"658\" src=\"https:\/\/www.youtube.com\/embed\/q-aGRCoeseo?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/div>\n","protected":false},"excerpt":{"rendered":"<p>PROGRAMMES \/ EVENTS 12 March 2022 The Other Side \u2013 Hard Times (Episode 4) A series of New Wave conversations about time, space and, above all, music at the Aesthetic Laboratory of the Faculty of Humanities and Social Sciences in Osijek. Conversation between Marijan Krivak and Goran Rem. AZRA or\u2026 Straight to the Bottom I [&hellip;]<\/p>\n","protected":false},"author":35,"featured_media":8743,"parent":125486,"menu_order":6,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_acf_changed":false,"footnotes":""},"class_list":["post-130800","page","type-page","status-publish","has-post-thumbnail","hentry"],"acf":[],"_links":{"self":[{"href":"https:\/\/www.ffos.unios.hr\/en\/wp-json\/wp\/v2\/pages\/130800","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.ffos.unios.hr\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.ffos.unios.hr\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.ffos.unios.hr\/en\/wp-json\/wp\/v2\/users\/35"}],"replies":[{"embeddable":true,"href":"https:\/\/www.ffos.unios.hr\/en\/wp-json\/wp\/v2\/comments?post=130800"}],"version-history":[{"count":3,"href":"https:\/\/www.ffos.unios.hr\/en\/wp-json\/wp\/v2\/pages\/130800\/revisions"}],"predecessor-version":[{"id":130803,"href":"https:\/\/www.ffos.unios.hr\/en\/wp-json\/wp\/v2\/pages\/130800\/revisions\/130803"}],"up":[{"embeddable":true,"href":"https:\/\/www.ffos.unios.hr\/en\/wp-json\/wp\/v2\/pages\/125486"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.ffos.unios.hr\/en\/wp-json\/wp\/v2\/media\/8743"}],"wp:attachment":[{"href":"https:\/\/www.ffos.unios.hr\/en\/wp-json\/wp\/v2\/media?parent=130800"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}