From the point of view of the philosophy of the media, the text problematises the possibility and practice of thinking (self-awareness) in the time of media domination and the rule of ...technological-information ‘madness’. Also, in the background of the presentation plan, the article touches on the critique of the so-called media-based capitalism; it confronts the concept of ‘madness’ that we encounter under the veil of activity of the rational (instrumental) mind and modern media on the one hand and the thinking subject, his theoretical and practical possibilities, on the other. All this is demonstrated on the example of the (mis)use of artificial intelligence in modern media, which most often acts on social networks through two phenomena: the ‘epistemic bubble’ and the ‘echo chamber’. Based on the performed analyses, it is shown that the philosophy of the media, as an interdisciplinary oriented, theoretical critique of the media and mediated reality, has the opportunity and obligation to position itself towards technical inventions such as artificial intelligence used in the media, thus contributing to self-awareness and practice, both of the own discipline and of the social community in which the philosophy of the media critically participates.
Saopštenje iz ugla filozofije medija problematizuje mogućnost i praksu mišljenja (samosvest) u vremenu dominacije medija i vladavine tehničko-informatičkog “ludila”. Takođe, u pozadinskom planu izlaganja, saopštenje se dotiče kritike tzv. medijski zasnovanog kapitalizma; suočeljavaju se koncept “ludila” koji susrećemo pod maskom aktivnosti racionalnog (instrumentalnog) uma i savremenih medija na jednoj strani, i poimanje mislećeg subjekta, njegove teorijsko-praktičke mogućnosti, na drugoj strani. Sve ovo demonstrira se na primeru (zlo)upotrebe veštačke inteligencje u savremenim medijima, koja na društvenim mrežama najčešće deluje posredstvom dva fenomena: “epistemičkog mehura” i “eho komore”. Na osnovu izvedenih analiza, pokazuje se da filozofija medija, zasnovana kao interdisciplinarno orjentisana teorijska kritika medija i medijatizovane stvarnosti, ima priliku i obavezu da se problemski odredi prema tehničkim izumima kao što je veštačka inteligencija upotrebljena u medijma, čime doprinosi samovesti i praksi, kako vlastite discipline, tako i društvene zajednice u kojoj kritički participira.
Taking the philosophy of media as a starting point, this text examines the possibilities, forms and status of critique in our times which are dominated, at least in the West, by what is known as ...media culture. On the one hand, the text avoids reducing systemic and strategic critique of capitalism to merely a critical point of view, while on the other it problematizes and examines the critique of modern media practices. The authors implicitly conclude that merely asking these questions paves the road to comprehensive critical action, within the existing systems of this media universe, as well as beyond it, i.e. in the particular socio-economic system of thought and action. This text also examines the possibility of achieving critical practices through art, and in the context of emerging new technologies. Possibilities for critique within the framework of new media art are explored in particular, as this might revolutionize not only media practices, but also the social, historical and economical practices of capitalism as such.
U članku se, sa stanovišta filozofije medija, otvara pitanje o potencijalima, načinima i položaju kritike u našem dobu koje karakteriše, bar kada je reč o zapadnim kulturnim krugovima, dominacija tzv. medijske kulture. S jedne strane, izbegava se redukcija sistemske i strateške kritike sveta kapitala na puko kritičko mišljenje, dok se, s druge strane, problemski preispituje kritika delujuća unutar savremenih medijskih praksi. Autori implicitno zaključuju da je već samo otvaranje ovakvih pitanja utiranje puta za sveobuhvatno kritičko delovanje, kako unutar zatečenih sistema medijskog univerzuma, tako i izvan njega, odnosno u konkretnom društveno-ekonomskom sistemu mišljenja i delovanja. Takođe, u tekstu se razmatra mogućnost kritičkih praksi posredstvom umetnosti, odnosno unutar konteksta dejstva novih tehnologija. U tom smislu, posebno se istražuju potencijali za kritiku u okvirima novomedijske umetnosti, što bi trebalo da predstavlja uvod u revolucionisanje ne samo medijske, već i društveno-povesno-ekonomske prakse u eri kapitalizma.
Saopštenje iz ugla filozofije medija problematizuje mogućnost i praksu mišljenja (samosvest) u vremenu dominacije medija i vladavine tehničko-informatičkog “ludila”. Takođe, u pozadinskom planu ...izlaganja, saopštenje se dotiče kritike tzv. medijski zasnovanog kapitalizma; suočeljavaju se koncept “ludila” koji susrećemo pod maskom aktivnosti racionalnog (instrumentalnog) uma i savremenih medija na jednoj strani, i poimanje mislećeg subjekta, njegove teorijsko-praktičke mogućnosti, na drugoj strani. Sve ovo demonstrira se na primeru (zlo)upotrebe veštačke inteligencje u savremenim medijima, koja na društvenim mrežama najčešće deluje posredstvom dva fenomena: “epistemičkog mehura” i “eho komore”. Na osnovu izvedenih analiza, pokazuje se da filozofija medija, zasnovana kao interdisciplinarno orjentisana teorijska kritika medija i medijatizovane stvarnosti, ima priliku i obavezu da se problemski odredi prema tehničkim izumima kao što je veštačka inteligencija upotrebljena u medijma, čime doprinosi samovesti i praksi, kako vlastite discipline, tako i društvene zajednice u kojoj kritički participira.
This paper reflects the relationship between contemporary media and games in the context of aesthetic research and the existing practice of digitalization of culture. The essay aims to explore and ...re-examine how the traditionally conceived notion of game can be considered and applied in theoretical terms in our time, taking into account the prevailing digital media culture and the presence of artificial intelligence in it. Furthermore, the essay deliberately addresses a possible critique of digital culture from the perspective of freedom and the general humanistic worldview.
From the point of view of the philosophy of the media, the text problematises the possibility and practice of thinking (self-awareness) in the time of media domination and the rule of ...technological-information ‘madness’. Also, in the background of the presentation plan, the article touches on the critique of the so-called media-based capitalism; it confronts the concept of ‘madness’ that we encounter under the veil of activity of the rational (instrumental) mind and modern media on the one hand and the thinking subject, his theoretical and practical possibilities, on the other. All this is demonstrated on the example of the (mis)use of artificial intelligence in modern media, which most often acts on social networks through two phenomena: the ‘epistemic bubble’ and the ‘echo chamber’. Based on the performed analyses, it is shown that the philosophy of the media, as an interdisciplinary oriented, theoretical critique of the media and mediated reality, has the opportunity and obligation to position itself towards technical inventions such as artificial intelligence used in the media, thus contributing to self-awareness and practice, both of the own discipline and of the social community in which the philosophy of the media critically participates.
Media and freedom: Basic issues Vuksanović, Divna
Communication and media (Novi Sad, Serbia),
2022, Letnik:
17, Številka:
52
Journal Article
Odprti dostop
The text problematizes, from the perspective of media philosophy, the relationship between the philosophical concept of freedom and the possibility of practicing freedom today in the media. The ...concept of freedom is one of the central themes of all philosophy, while the media is a newer field of research in philosophical-critical thought. Freedom in the media, which we propose in our article, is understood as a self-evident phenomenon. It is mostly spoken of on the basis of segmented, bureaucratically articulated "standards" that are often reduced to numbers, that is, quantitative criteria. Modern media, which are primarily an industry (mainstream media, Internet, and social networks), and thus quantification, can also hardly contribute to any kind of human emancipation, since they unquestionably serve profit, i.e., large corporate systems. Moreover, they have recently been significantly infused with artificial intelligence, and social networks are the main training ground for its use. Therefore, it is absurd to expect emancipation through algorithms, which are increasingly used in modern media. It should also be emphasized that free journalism has been banished from the media scene, so to speak, if we exclude the few alternative media that are being systematically pushed out of the public sphere. After all, how can modern media be said to be working in the public interest (even for freedom), and Julian Assange, a symbol of the presentation of relevant facts in the global media space, has beenbimprisoned for a decade as a political prisoner or criminal, similar to many others, less known, like him?
Digital Performances Ćalović, Dragan; Vuksanović, Divna
In medias res (Zagreb, Online),
05/2024, Letnik:
13, Številka:
24
Journal Article
Recenzirano
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.
Polazeći od Austinove teorije govornih akata i razlike koja se na metajezičkom nivou uspostavlja između dve vrste iskaza: performativa i konstativa, autori sa stanovišta filozofije medija iznose stav da je u digitalnom univerzumu, gdje se jezički i svaki drugi izraz medijski transponira, svaka interakcija, ustvari, performativna, pošto i doslovno, kao medijska tvorevina ne može imati podmet u stvarnosti. Krenuvši sa stanovišta da je osnova digitaliziranja, odnosno radnji i postupaka koje ga interakcijom potvrđuju, isključivo ekonomske prirode, pa je, stoga, dakle, cjelokupni digitalni prostor vezan za vladajuću kapitalističku društveno-ekonomsku paradigmu, autori postavljaju pitanje je li u tom smislu dovoljno tvrditi da performativnost digitalnih uređaja i algoritamsko organiziranje predstavljaju nužan i dovoljan uvjet za sveukupnu digitalnu performativnost, bez razlike? Odnosno, ukoliko bi se sve interakcije u digitalnom svijetu svele isključvio na logičke identitetske operacije, ne bi postojao „simbolički višak“ koji jezik čini jezikom, a umjetnost umjetnošću, neovisno od njihove materijalne osnove. U tekstu se zaključuje da digitalna kultura uspostavlja jednu novu distopijsku liniju kulturalnog razvoja koja na planu performativnosti svoju manifestaciju dobija u digitalnim izvođenjima. Riječ je o obliku koji ishodište pronalazi u naročitoj softverskoj kulturi kao antikulturnoj devijaciji digitalne kulture. Digitalna izvođenja, na tom nivou promatrano, u tekstu su shvaćena kao ne-izvođenja ili entiteti koji postoje tek u svojoj povezanosti sa izvođenjima, koja, opet, nikada ne mogu postati.
Along with studying the world of culture, Milena Dragićević Šešić has also dealt with reflections in the field of media theory. These two parallel lines of study, as well as long-term teaching ...activities in the designated areas, in my opinion, represent a paradigm, where they approach each other, conflict and fight for the dominance of two different value systems existing today. In principle, on the side of culture and its interests and possibilities, M. D. Šešić does not fall into the trap of technophobia, but, on the other hand, does not fetishize the existing media reality. By analysing the current media scene - either theoretically or practically, the author Šešić discreetly supports culture in its struggle for a more equal status in relation to the media dictum, in the era of the rule of modern communication technologies. Without disputing the idea and practice of accelerated technical and technological progress, M. D. Šešić critically valorises the world of media, advocating a cultural value paradigm in the field of the media communication.
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