The idea of revolution, which to a great extent shaped the social life during the 19th and 20th century, has influenced the field of art until the present day. The artists from the beginning of the ...last century were probably the most explicit in their attempts to break off with the traditions of the previous era, dismantle the institution of art and through their practice change the social reality. However, the avant-garde aspiration to revolutionise society by eliminating the assumed distance between art and life led primarily to the revolutionisation of the Artworld during the neo-avant-garde period with the emergence of new forms of artistic expression such as happenings, actions, performance pieces, etc. Regarding the avant-garde and neo-avant-garde legacies we will examine how they influence contemporary understandings of revolution concerning present artistic practices.
Kreativnost danas najčešće dovodimo u vezu s inovacijom, s velikim dostignućima ljudskog duha, vrijednim umjetničkim djelima iz prošlosti, nesputanošću i slobodom, usprkos tome što živimo u vremenu ...neslobode. Naime, i pored privida nesagledivih mogućnosti, suvremeni čovjek je slobodan djelovati isključivo u skladu s imperativima tržišta, koje predstavlja dominantnu paradigmu našeg vremena, te je i kreativnost najčešće u službi stjecanja profita. Ovakav paradoks uočljiv je i kada je riječ o medijskim svjetovima. Iako se raznovrsne prakse otpora umnogome oslanjaju na nove tehnologije i njima svojstvenu običajnost, postvarenom medijskom ambijentu odgovara društvo kontrole. Ovom ćemo prilikom zato ispitati mogućnosti kreativnog djelovanja, kao kritičkog i orijentiranog slobodi, a u okvirima aktualne medijske kulture.
Today we think of creativity mostly in regards to innovation, but also great achievements of human spirit, important art pieces from the past, as well as liberty, even though we live in times of ...confinement. In spite of the present-day illusion of countless possibilities, the contemporary man is free to act only according to the imperatives set by market, which presents the dominant paradigm of our era. Thus, even creativity is used for the purposes of wealth accumulation. This paradox is evident in the context of media worlds too, since the new media ambience (which is perceived as a creative one) correlates to the society of control, despite the fact that many practices of resistance use or rely upon new technologies and the social patterns generated by them. In this paper we will look closely at the possibilities of creative doings, as the ones critically oriented towards the freedom, and in regard to the present media culture.
Today we think of creativity mostly in regards to innovation, but also great achievements of human spirit, important art pieces from the past, as well as liberty, even though we live in times of ...confinement. In spite of the present-day illusion of countless possibilities, the contemporary man is free to act only according to the imperatives set by market, which presents the dominant paradigm of our era. Thus, even creativity is used for the purposes of wealth accumulation. This paradox is evident in the context of media worlds too, since the new media ambience (which is perceived as a creative one) correlates to the society of control, despite the fact that many practices of resistance use or rely upon new technologies and the social patterns generated by them. In this paper we will look closely at the possibilities of creative doings, as the ones critically oriented towards the freedom, and in regard to the present media culture.
Tekst iz kuta filozofije medija problematizira pitanje razumijeća prostora u našem dobu, a u kontekstu djelovanja medijske kulture i industrije zabave. Pojam prostora koji ovdje imamo u vidu tiče se ...njegove tehnološke geneze i apliciranja u domeni umjetnosti i suvremenih medija. Istovremeno, on je utemeljen na Kantovim pretpostavkama o jedinstvu i beskonačnosti čiste prostornosti. U tom smislu, u članku se razmatraju odgovarajući fenomeni virtualnog prostora (VR) i proširenog prostora (AR) koji, nakon perioda u kojemu su tretirani kao »tehnička atrakcija«, bivaju primijenjenima u regiji kreativnih industrija – kao VR film, djelomično kazalište ili videoigre. Njihova daljnja sudbina tiče se komercijalne eksploatacije što, povratno, omogućuje daljnji razvoj, usložnjavanje i multipliciranje u funkciji profita. Članak na problemski način nastoji prepoznati transformiranje njihove osnovne uloge, u rasponu od tehničke atrakcije, preko umjetničkih medija, do resursa za komercijalnu eksploataciju.
This paper examines, from the perspective of philosophy of media, our comprehension of space in the context of media culture and entertainment industry. The notion of space, while being based on ...Kant’s assumptions of unity and infinity of pure spatiality, will be discussed mostly regarding its technological genesis and applications within the domains of arts and contemporary media. Consequently, we will look into the phenomena of virtual space (VR) and augmented space (AR). After the period during which they were treated as “technological attractions”, they are being increasingly used by creative industries – VR cinema, partly theatre, and video games. Their fate is thus related to the commercial exploitation which, reversibly, leads to their complexification and multiplication, as well as the further development carried out for profit. The paper attempts to address – from the critical standpoint – these transformations of their primary roles: from technological attraction, through artistic media, to the resource for commercial exploitation.
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