Između slike i ideala Vuger, Dario
Filozofska istraživanja,
08/2023, Volume:
43, Issue:
2
Journal Article, Paper
Peer reviewed
Open access
Autor će sagledati aspekte promišljanja ideje Europe na razmeđu epoha digitalnog i post-digitalnog svijeta kroz znakovite tekstove Edgara Morina Kako misliti Europu? te Komentar uz društvo spektakla ...Guya Deborda, objavljenih koncem osamdesetih godina pro- šloga stoljeća, u pokušaju razumijevanja njihovih temeljnih pozicija i implicitnih stavova o tome s kojom se namjernom i na koji način pristupa realizaciji nečega poput političke i nad-nacionalne unije europskih zemalja usporedno sa strelovitim razvojem digitalnih tehnologija i novih medija. Sâma ideja ujedinjene Europe pojavljuje se ovdje kao kantovski »sumnjivi pleonazam«, čija je vrijednost danas dovedena u pitanje, a posebice s razvojem novih globalnih politika i post-kulturnih virtualnih okruženja koja od pojmova – poput Europa, Mediteran i Zapadni svijet – čine još samo artefakte dekadentne okcidentalne kulture, čije stvarne ruševine prekriva suviše stvarni spektakl virtualnog obilja.
The author will look at aspects of thinking about the idea of Europe at the crossroads of the digital and post-digital epochs – through Edgar Morin’s text Thinking Europe and Guy Debord’s Comments on the Society of the Spectacle, published in the late 1980s, in an attempt to understand their fundamental positions and implicit views on how to approach and pursue something like the political and supranational union of European countries in parallel with the rapid development of digital technologies and new media, which fundamentally change our experience of the world. The very idea of a united Europe appears here as a Kantian “suspicious pleonasm”, whose value is questioned today, especially with the development of new global policies and post-cultural virtual environments that make – notions such as Europe, the Mediterranean, and the Western world – only artifacts of decadent Occidental cultures whose real ruins are overshadowed by an overly real spectacle of virtual abundance.
U naslovljenom radu autor će predložiti novo čitanje Heideggerova promišljanja tehnike utemeljenog na kritici kibernetike Gilberta Simondona kao glavnog oponenta filozofiji Norberta Wienera, čiji je ...misaoni projekt gotovo samostalno uspostavio znanost upravljanja informacijskim sustavima kao krovnu disciplinu moderne znanosti uopće. Simondon predlaže zasnivanje tehno-kulture otvorenih mašina u kojem se čovjek pronalazi kao tehničar i mehanolog novog društvenog sklopa. No za takav projekt potrebno je ponajprije razviti radikalno disruptivan odnos prema svakodnevnom jeziku koji u sebi krije sredstva za novo osmišljavanje našeg odnosa prema svakodnevnim izazovima tehno-znanstvenog ovladavanja svijetom.
In this paper, the author will propose a new reading of Heidegger’s reflections on technology based on Gilbert Simondon’s critique of cybernetics as a major opponent of Norbert Wiener’s philosophy, whose thought project almost single-handedly established the science of information systems management as the grounding discipline of modern science. Simondon proposes the establishment of a techno-culture of open machines in which man finds himself as a technician and mechanologist of a new social nexus. But for such a project, it is first necessary to develop a radically disruptive attitude towards everyday language, which hides in itself the means to rethink our attitudes towards the everyday challenges of techno-scientific enframing of the world.
In this paper, the author will propose a new reading of Heidegger’s reflections on technology based on Gilbert Simondon’s critique of cybernetics as a major opponent of Norbert Wiener’s philosophy, ...whose thought project almost single-handedly established the science of information systems management as the grounding discipline of modern science. Simondon proposes the establishment of a techno-culture of open machines in which man finds himself as a technician and mechanologist of a new social nexus. But for such a project, it is first necessary to develop a radically disruptive attitude towards everyday language, which hides in itself the means to rethink our attitudes towards the everyday challenges of techno-scientific enframing of the world.
U naslovljenom radu autor će sagledati odnos između popularne znanosti, suvremene kulture i novih oblika svakodnevnog života na razmeđi povijesnog razvoja i odgovora na globalnu zdravstvenu krizu ...koja je cjelokupni društveni život pogurnula u ono što ćemo u ovom radu postaviti kao tezu – kulturu vizualizacija. No i ona je sama djelom tehno-znanstvenog razvoja dvadesetog stoljeća iz tehnika promatranja ka znanosti slike i tzv. cyber-kulture. Da bi se kritički pristupilo razumijevanju suvremenog stanja stvari, medijska teorija razvijena na osnovama kritičke teorije društva i tehnologije postaje radikalno neadekvatna upravo zato što i veza između stvarnog života i njegove vizualizacije, između slike i svijeta efektivno ne postoji u općoj sve-jednosti integralnog prikaza zbilje kao čistog u-življavanja.
In the proposed presentation we will concern ourselves with the relationship between popular science, contemporary culture and the new forms of daily life on the crossroads of historical development and the answer to the global health crisis that has pushed the social life into something that we will theme as our main thesis – the culture of visualizations. This culture itself is a part of techno-scientific development of the twentieth century from the so called technics of the observer and image science to the cyber-culture and so on. The contemporary state of affairs can not be critically understood on the basis of media theory that has been developed on the grounds of social theory and its critique of technology because the notion of existing relations between the real and the virtual, image and the world effectively disappears in the integral show of visualization.
In the proposed presentation we will concern ourselves with the relationship between popular science, contemporary culture and the new forms of daily life on the crossroads of historical development ...and the answer to the global health crisis that has pushed the social life into something that we will theme as our main thesis – the culture of visualizations. This culture itself is a part of techno-scientific development of the twentieth century from the so called technics of the observer and image science to the cyber-culture and so on. The contemporary state of affairs can not be critically understood on the basis of media theory that has been developed on the grounds of social theory and its critique of technology because the notion of existing relations between the real and the virtual, image and the world effectively disappears in the integral show of visualization.
In the proposed presentation we will concern ourselves with the relationship between popular science, contemporary culture and the new forms of daily life on the crossroads of historical development ...and the answer to the global health crisis that has pushed the social life into something that we will theme as our main thesis – the culture of visualizations. This culture itself is a part of techno-scientific development of the twentieth century from the so called technics of the observer and image science to the cyber-culture and so on. The contemporary state of affairs can not be critically understood on the basis of media theory that has been developed on the grounds of social theory and its critique of technology because the notion of existing relations between the real and the virtual, image and the world effectively disappears in the integral show of visualization.
In this paper, the author establishes and defends the thesis that the 1980s horror film production acts as a paradigm of the spectacle, especially in terms of the system of reduction of immediate ...life to image related mediations and phenomena. Thus, three disparate elements are now connected in a conceptual framework by which author supposes one must judge the media theory and media at large at the end of the twentieth and the beginning of the twenty-first century. The three elements are the Heideggerian notion of the age of the world-picture, the Debordian notion of the spectacle, and the Deleuzian experiment of the philosophy of film that, through Beller, establishes itself as a film-philosophy, to be a possible answer to the contemporary state of a society in which the film spectacle reflects itself in the essentially cinematic culture, that is, in society put in motion exclusively only through the relation of image representations.
U ovom radu autor će - na tragu promišljanja Guya Deborda i njegova filma odbacivanja svih kritika i pohvala izrecenih o filmu Drustvo spektakla - ponuditi specifično citanje suvremenog drustva, a ...kako ga danas opisuju neki od prominentnih teoreticara ekonomije medija poput Jonathana Bellera i Jonathana Craryja, no ovdje sa utemeljenjem u kasnoj situacionistickoj misli prvog francuskog filozofa medija. Film kao medij i simptom drustvene zbilje dvadesetog kao i dvadesetiprvog stoljeca u misli Guya Deborda zauzima posebno mjesto, spoja teorije i prakse u temeljitoj dekonstrukciji drustvenih uvjeta proizvodnje same teorije i takozvane drustveno angazirane prakse. Svaki je film, stoga upravo nositelj tezine koja odgovara njegovoj epohi. Upravo je Debordov film, film posvecen odbijanju ikakvog izraza komentara ka njegovom filmu Drustvo spektakla - koji sam ostaje kao spomenik rekuperaciji studentskih prosvjeda 1968. - simptomatican spis i opis vremena ravan Heideggerovom Dubu slike svijeta, jednim od autora sa kojim su situacionisti svakako imali skrovit, ali siguran dijalog.
In this paper, the author will offer a new and specofoc reading of the contemporary media society, the society as it is understood by some of the most prominent thinkers of the media-economy like ...Jonathan Beller and Jinathan Crary, but here with a foundatiin in late situationist thought of the first french philosopher of the media, Guy Debord. Film as the media and the symptom of the contemporary society takes an essential place in the thought of Guy Debord, that of the mixture of both theory and practice in the thorough deconstruction of the conditions of production of the theory and practice as a socially engaged and progressive construct. No film is, therefore, more difficult than its era. It is exactly the Debords film Refutation of All the Judgments, Pro or Con, Thus Far Rendered on the Film “The Society of the Spectacle” a notible work and a description of the time in close relationship with the Age of the World Image, written by Martin Heidegger with the more or less same didactic intent.
In this paper, the author will offer a new and specofoc reading of the contemporary media society, the society as it is understood by some of the most prominent thinkers of the media-economy like ...Jonathan Beller and Jinathan Crary, but here with a foundatiin in late situationist thought of the first french philosopher of the media, Guy Debord. Film as the media and the symptom of the contemporary society takes an essential place in the thought of Guy Debord, that of the mixture of both theory and practice in the thorough deconstruction of the conditions of production of the theory and practice as a socially engaged and progressive construct. No film is, therefore, more difficult than its era. It is exactly the Debords film Refutation of All the Judgments, Pro or Con, Thus Far Rendered on the Film “The Society of the Spectacle” a notible work and a description of the time in close relationship with the Age of the World Image, written by Martin Heidegger with the more or less same didactic intent.
PDF