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

Katarina Miljković

Composer Katarina Miljkovic investigates interaction between science, music and nature through collaborative musical performance. This interest led her to the mathematician Benoit Mandelbrot's essay The Fractal Geometry of Nature and self-similar complex structures resulting in the cycle, Forest, “…a dreamy piece, along the lines of Feldman or Brown, entirely captivating (Signal to Noise). Her generative music has been described as a refined, hypnotic dream (Danas) a work of musical and visual slow-motion with only a few delicately elaborated musical metaphors (Radio Belgrade), "ambient tone poem... that moved hypnotically through the sonic frame" (Lucid Culture).

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In collaboration with Wolfram Research, Miljkovic has been working on sound mapping of the elementary rules from Stephen Wolfram's New Kind of Science. She presented her exploration in this new field at NKS conferences in Waltham, MA, 2004, Washington, D.C., 2006, University of Vermont, 2007, Wolfram Technology Conference, Champaign, IL, 2005, The Musical and Scientific Legacies of Iannis Xenakis, 2006, Toronto, Cambridge Science Festival, 2009-2010, Boston Cyber Festival, 2007-20011, the International Conference on Mathematics and Computation in Music, 2007, Berlin, and Empirics, Computation, Mathematics, Science and Technology in Music and Acoustical Signal Analysis (ECMST ~ MASA), 2010, Berlin, Electronic Music Midwest, Chicago, IL, 2010, First Night, Boston, 2011.

Katarina Miljkovic's works have been performed at major music festivals in her native Yugoslavia, including the Belgrade Music Festivities, BEMUS, Music Biennale and World Festival of Chamber Music in Zagreb, the Rostrum of Yugoslav Music and, at the international festivals in Budapest, Romanische Sommer, Cologne and soundAxis, Toronto. Her Rondo, Sequence for String Orchestra was performed internationally by Belgrade String Orchestra in China, Greece, Hungary, Bulgaria, Italy, Russia, and Great Britain, at venues such as the Beijing Concert Hall, the Moscow Conservatory Big Concert Hall and the Bulgaria Symphony Hall. Miljkovic's work Swifts, for Symphonic Orchestra was performed by the Belgrade Radio Orchestra, the Athens Symphony Orchestra and broadcasted internationally. Her recent collaborative projects include works with Theater Dah from Belgrade, director Vlada Petric, Harvard University, Milan Popovic, video artist, Belgrade, choreographers Dawn Kramer and Stephen Buck, Boston, composer/performer Ko Ishikawa, Japan and percussionist, Peter Negroponte, NYC.

Miljkovic moved to Boston in 1992. She is faculty at the New England Conservatory of Music since 1996 and the recipient of the Louis Krasner and Lawrence Lesser award for excellence in teaching.

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Milena Kitić

A star of the Belgrade, Yugoslavia Opera, Milena Kitic made her operatic debut in 1989, as Olga in Tchaikovsky's "Eugene Onegin." She performed at the National Theater in Belgrade for 8 years in a wide range of roles: from Rosina in Rossini's "Il Baribiere di Siviglia", Cherubino in Mozart's "Le Nozze di Figaro", Preziosilla in Verdi's "La Forza del destino", Fenena in "Nabucco'', to the title role of Carmen and Principessa de Buillon in Cilea's "Adiana Lecouvreur."

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The One and the Many

Studies of God, Man, the Church, and the World today

by Metropolitan John D. Zizioulas

This volume offers a collection of Zizioulas articles which have appeared mostly in English, and which present his trinianatarian doctrine of God, as well as his theological account of the Church as the place in which freedom and communion are actualized. The title, The One and the Many, suggests the idea of a profound relationship that exists between the Persons in the Holy Trinity, between Christ and the Church, between one Catholic Church and many catholic Churches. On each of these levels of communion, each one is called to receive from one another and indeed to receive one another. And while this is understandable at the Triadological and Christological levels, it raises all sorts of fundamental ecclesiological questions, since the highest point of unity in this context is both the mutual ecclesial-eucharistic recognition and agreement on doctrine and canonical-eccelesiological organization.

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