{"id":276,"date":"2014-09-16T17:35:55","date_gmt":"2014-09-16T17:35:55","guid":{"rendered":"https:\/\/sweet-mcclintock.194-60-87-163.plesk.page\/inmediasres\/2014\/09\/16\/in-medias-res-broj-7\/"},"modified":"2014-09-16T17:35:55","modified_gmt":"2014-09-16T17:35:55","slug":"in-medias-res-broj-7","status":"publish","type":"post","link":"https:\/\/centar-fm.org\/inmediasres\/index.php\/in-medias-res-broj-7\/","title":{"rendered":"\u010clanci IN MEDIAS RES br. 7"},"content":{"rendered":"

IV Uz \u010detvrti simpozij Filozofija medija (2014)<\/p>\n

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\n  4(7)#11 2015<\/strong> <\/p>\n<\/td>\n

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\n\"Creative<\/a>
\u010casopis je otvorenog pristupa, a ovo djelo je dano na kori\u0161tenje pod licencom Creative Commons Imenovanje-Nekomercijalno 4.0 me\u0111unarodna.<\/strong><\/a><\/p>\n<\/td>\n

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UDK 37.014.53-028.82:316.422.4
\n Izvorni \u010dlanak
\n Original scientific paper
\nPrimljeno: 14.6.2015.<\/strong><\/p>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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Dragan \u0106alovi\u0107<\/span><\/p>\n

Megatrend University
\nFaculty of Culture and Media, Belgrade
\ncalovic_dragan@yahoo.com<\/p>\n

Community Art as a Medium for Future<\/span><\/strong><\/p>\n


\nPuni tekst: pdf (308 KB), English, Str. 998 – 1010
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Abstract<\/em><\/strong><\/p>\n

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In this article we will examine the possibilities of strengthening local communities through art. Art is seen as a powerful force able to bring visions to local community members and to initiate their involvement in social reconstruction. We will analyse the perspectives of development of local urban places into local cultural spaces. For such development, cooperation between artists and urban residents is recognised as highly important. Different art projects can inspire local community members to build stronger connections and help them to define visions of better society. Cooperation in artistic work can gather community members and inspire them to involve in political decision-making process. It also can improve their ability to state program of society development in a more democratic, more inclusive manner.<\/em><\/p>\n

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Role of art and alternative education, we consider as crucial in initiating social actions that are able to truly reconstruct local communities, to redefine a status and to change perception of marginalised social places and to inspire those who live in the same neighbourhood to cooperate and fight for common interest. For this reason, we will analyse perspectives of development approaches in which art and alternative education can come together to create changes.<\/em><\/p>\n

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Creation of new cultural space needs development of alternative education, that can encourage community members to overcome old prejudices, and it also needs inclusive arts practices, that can help people to connect each others and to find their vision of betterness. Through art and alternative education they may doscover their power to recreate reality and to change the situation that oppresses them. Instead to \u201cintegrate\u201d or \u201cincorporate\u201d into the society that multiply injustice, alienation, and separation, they may perceive that they are members of a community, so they are able to engage themselves to participate in its recreation. If we make efforts to reimagine our cultural space, we may discover our potentials to visualise authentic development and our strength to challenge old ideological prejudices.<\/em><\/p>\n

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Key words:<\/em><\/strong> alternative education, community art, cultural space, participation, theory of art.<\/em><\/p>\n

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Statement of the problem<\/strong><\/p>\n

Throughout the years, the notion of community has been explored through various approaches. Activists and scholars alike have underline an urgent need for new understanding of community. In Western countries, increased social mobility is recognized as one of the main factors that has caused the decreased sense of community (Keyes, 1973; Putnam, 2000). Many activists come together to recreate, reconstruct and reform communities through the social relationships (Green & Haines, 2002; Hutzel, 2005). Loss of motivation to act, has resulted in acceptance of specific non-acting mechanisms. Mechanisms of non-acting are perpetuated by weakened influence on political decisions and failing educational systems.<\/p>\n

While this perceived loss of community sense infiltrates the majority of urban residents, youths have developed a much stronger social identity. However, even they have developed a strong sense of social identity, their responses to unjustice, issues of oppression, classism, etc., mostly are not directed to social improvement. One of the reasons that local social networks have not been recognised as a powerful force, able to initiate wide reform of society, is lack of vision. Schools, public institutions and media, having a reputation for developing competitive, superficial and narcissistic individuals, have constructed social context in which creativity, proactive thinking and social responsibility are highly marginalised. Lack of vision how to create a better society, as much as lack of beliefs in ability to make changes, keep members of social networks out of struggle for more influential, more democratic community.<\/p>\n

In this article we will examine the possibilities of strengthening local communities through art. Art is seen as powerful force able to bring visions to local community members and to initiate their involvement in social reconstruction. We will analyse the perspectives of development of local urban places into local cultural spaces. For such development, cooperation between artists and urban residents is recognised as highly important. Different art projects can inspire local community members to build stronger connections and help them to define visions of a better society. Cooperation in artistic work can gather community members and inspire them to involve in political decision-making process. It also can improve their ability to state program of society development in a more democratic, more inclusive manner. Local initiatives can be the driving force in transformation of marginalised urban places.<\/p>\n

However, redevelopment projects, initiated by those with decision-making power rarely activate local forces. Instead of that, authors of those projects, very often, aim to motivate residents of specific part of the urban area to participate in colaborative actions that much more reflect their vision of community development then that articulate the visions of local community members. Even though there are many groups, organizations and individuals who work tirelessly to improve social conditions in marginalized urban places, many of realised programs have emphasized the role of service institutions. However, service institutions often “create a wall between lower income communities and the rest of society \u2013 a wall of needs which, ironically enough, is built not on hatred but (at least partly) on the desire to ‘help’” (Kretzmann & McKnight, 1993:2).<\/p>\n

Role of art and alternative education, we consider as crucial in initiating social actions that are able to truly reconstruct local communities, to redefine a status and to change perception of marginalised social places and to inspire those who live in the same neighbourhood to cooperate and fight for common interests. For this reason, we will analyse perspectives of developmental approaches in which art and alternative education can come together to create changes.<\/p>\n

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Alternative education<\/strong><\/p>\n

\u00a0Alternative education we can describe in connection with social reconstruction as a preparation and motivation for reconstruction of society that will better serves the interests of all groups of people (compare Sleeter & Grant, 1999:189). A particular interest of ours is alternative education that is connected with cultural changes. Paulo Freire explores the role of experiental, liberating education as a preparation for cultural revolution. “’Cultural revolution’ takes the total society to be reconstructed, including all human activities, as the object of its remolding action. Society cannot be reconstructed in a mechanistic fashion; the culture which is culturally recreated through revolution is the fundamental instrument for this reconstruction. ’Cultural revolution’ is the revolutionary regime’s maximum effort at conscientiza\u00e7\u00e3o<\/em> \u2013 it should reach everyone, regardless of their personal path”(Hutzel, 2005:13; Freire, 1993:158-159).<\/a>[1<\/strong><\/span>]<\/sup><\/a> He emphasizes that both humanization and dehumanization are possibilities for a person, but only the first is the people’s vocation (Freire, 2005:43). One of the main goals of alternative education certainly should be a recognition of dehumanization.<\/p>\n

The struggle for humanization should affect not only those whose humanity has been stolen, but also those who have stolen it (compare Freire, 2005:44). So we can imagine an inclusive negotiation that will not change relation between centre and margin, but that will erase any distinction between them. This inclusive nagotiation must be historically radical, in Freire’s understanding of radicalism, and in connection with his thoughts that “[\u2026], sooner or later being less human leads the oppressed to struggle against those who made them so. In order for this struggle to have meaning, the oppressed must not, in seeking to regain their humanity (which is a way to create it), become in turn oppressors of the oppressors, but rather restores of the humanity of both” (Freire, 2005:44). Alternative education should be recognised as powerful force, able not only to deconstruct mechanisms of oppression and to show that dehumanization is not a given destiny but the result of an unjust order (Freire, 2005:44), but also to create new visions of struggle and to initiate radical historical changes.<\/p>\n

True liberation, as the great humanistic task, has as its condition education for understanding of oppressive society. Only through such education, oppressed can recognised their tendention to become oppressors, which is specific for initial stage of every social struggle, as essentially wrong. Becoming oppressors, former oppressed actually reestablish old conditions, even though the rols are changed. This is why the revolution that is focused on redistribution of power, but that keeps old interpretation of society, is historically meaningless. Revolution, by which society can be truly reshaped, is conditioned by very different structure of thoughts that leads those who enter the struggle.<\/p>\n

Understanding of oppressive society requires understanding of mechanisms of its reproduction. It requires an effort to recognise the reality of oppression as a historical fact, but not as a historical necessity. However, this can not be accomplish through official system of education, which is the part of the same mechanisms that reproduce ideology of oppression. So what we need is alternative education. Education that can change outdated ideals and that can renew our understanding of humanity.<\/p>\n

Education that we need should provide new visions that can inspire both oppressed and oppressors to come together in a process of reconstruction of a society. What we propose here are a radical social changes through reconstruction of cultural space. Different system of values, different aspirations and different horizonts for future development can arise only under different cultural circumstances.<\/p>\n

Only new cultural space can provide the new knowledge<\/em>. What we mean when we say new knowledge are not a new results of scientific researches, but knowledge that grows on radically new paradygm. That kind of new knowledge can be accomplished only through a new system of values. That’s why new cultural space is crucial for a process of overcoming all prejudices of old society.<\/p>\n

Education for a new community should provide a perspectives for liberation. However, each revolution, which transforms a concrete situation of oppression by establishing the proces of liberation, must confront the phenomenon that during the initial stage of their struggle, the oppressed find in the oppressor their model of manhood<\/em> (Freire, 2005:46). That is why the oppressed very often recognise a revolution as an opportunity to become oppressors. The fear of changes, which equally affects oppressors as oppressed, lead them to almost fanatic obsession of allocation of roles in a society, keeping them away from the process of liberation. Luck of vision has as its one condition desire for freedom without liberation. This is the tragic contradiction that alternative education must take into account.<\/p>\n

Alternative education should provide necessary elements for engagement in a struggle for reconstruction of a community. Even more, it should inspire to solidarity, to active participation in community growth and to development of an authentic interpretation of community. Such concept of education has to be inclusive and has to provide cooperation between all participants in learning process.<\/p>\n

However, while scholars respond to loss of community through research, writing and theory, activists and educators respond through social action and education, which keep their actions often in isolation from one another (Hutzel, 2005:11). Emphasizing this problem, Karen Elizabeth Hutzel recognises pragmatism as aproach that coalesces theory and practice and that provides method by which more successful solutions can be found (Hutzel, 2005:11). Pragmatism is seen as approach that can connect scholars, educators and activists in coordinnate action, that has strong potentials to reach success of practical application in the community. Even though scholars and educators are crucial for society reconstruction process, they have to work together to accomplish stated goals. Both educators and schorars should come together to bring new visions to life. While scholars can offer critical reflection of society and provide the new visions, educators can open access to their theories for community members.<\/p>\n

New visions, if they are radical, can not be discuss through official institutions of some society. Those institutions are not only controled by established mechanisms of monitoring and systems that maintain status quo<\/em>, but they are based in ideology that can to contaminate purity of new ideas. Because of that, cooperation between educators and scholars has to be established through independent chanels like alternative education.<\/p>\n

However, the new ideas, especially if they are radical, are never easily accepted by community members. That means that alternative education is not enough. Participants in\u00a0 struggle for a new society have to be enlighten. They have to be inspired both to accept new knowledge and to get involved in community changing process. Alternative education aims to reach members of the society and helps them to evolve into participants and constructors of a new society. But as there no huge changes taken by one person, no matter how strong he or she is, there is also no radical changes of society taken by separated individuals, community members which are dedicated to become participants of a new society, but which are not gathered in common action. Hence, alternative education has to be unseparate from actions that connect new society constructors.<\/p>\n

Besides that, alternative education has to find new approaches and methods that radically differ from those accepted in institutional education process. Educators should not persuade, they should not state paradygm of new knowledge as a frame that has potential to discredit all approaches that are uncoordinated with dominant systems of beliefs and with conventionally accepted methodology. Quite the opposite, they should open horizons for true thinking, which always includes reflections that are critical and creative. Alternative education process must provide experience that connect different individualities and that strengthen their critical and creative potentials enforcing them to define common vision.<\/p>\n

What we suggest here is experiential learning through creative connectivity. Learning that initiates changes through democratic participation in common creative project. Its agenda should cut at the very nature of how old society interprets culture and knowledge. Only education that seeks to change the status quo<\/em>, as opposed to reinforce it (Freire), has potential to develop democratic values. Such radical reconstruction we consider possible only through recreation of cultural space. Stuggle for a new society may not be accomplished at a political or economical level, keeping old interpretations of the world. For that reason, alternative education should provide field of opportunities not just for free imagination but also for free creation of a new cultural space, that will be at the root of political and economic changes.<\/p>\n

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Community art<\/strong><\/p>\n

The field of community art has emerged as an umbrella over such practices as pragmatic art, visual culture art education, community-based art education, etc., in which the art is understood as closely connected with community life. Dissanayake emphasized that traditional uses of arts are inherently cultural, connected with the everyday lifes of communities through ritual and celebration (Dissanayake, 1988). The same vision is placed in idea of art as community constructor. The idea of art as community constructor can be best compared with understanding of placement that art has within indigenous societies as the cultural center of their community life (T. Anderson, 2003). For indigenous society members, art was not just a symbol of social relations (Dissanayke, 1988), but also a function which strengthens social bonds (Dewey, 1934). Imbedded in the arts, shared stories and meanings create a sense of unity (Hutzel, 2005:19) by expressing the life of the community (Dewey, 1934:328). Dewey explains that social customs are uniform external modes of action because they are saturated with story and transmitted meaning (Dewey, 1934:326). Analysing the role of the arts through traditionalism, modernism and postmodernism, Terry Anderson (2003) has applied a combined approach to his vision of “art for life” (Hutzel, 2005:18). He suggested that many social reconstructionists, introduced with and inspired by traditions of indigenous societies, “have recentred art as an artifact or performance that reflects and facilitates the cultural life of a community”(T. Anderson, 2003:62; Hutzel, 2005:18). Their approach is connected with Dewey’s understanding that collective individuality and social bonds exists through the shared aesthetic of a community (Dewey, 1934).<\/p>\n

Even though the arts of indigenous societies, arts that were communal, are the source out of which all fine arts have developed (Dewey, 1934:327), in Western theory, socially-based arts are often interpreted as pragmatic use of art for purposes that stay out of art itself. In oppose to traditional aesthetics, pragmatic theory of art is “based on the assumption that art should do something worthwhile for the members of the community that produces the art. Specifically, art should pave the way to a world that is socially, politically or (most frequently) spiritually better” (R. Anderson, 1990:208; Hutzel, 2005:21).<\/p>\n

Like R. Anderson, Kretzmann and McKnight also suggest that artists shoud take a part in a process of community development. From the pragmatic viewpoint they emphasize that “artists are weavers<\/em> whose skills help to keep [\u2026] communal fabric intact. They also have the ability to create new patterns within it in response to current community needs and demands\u2026 An artist’s vision can even create new possibilities for community growth and further development\u2026 Artists take pride in their work. This pride grows in proportion to the acceptance not only to the artist’s sense of self-esteem but also to the community’s positive recognition of its own unique character and value” (Kretzmann & McKnight, 1993:95-96; Hutzel, 2005:22). They recognise artists as important participants within community regeneration process, because of their ability to bring new visions and to initiate bonding of a community.<\/p>\n

However, affects of social mobility and new communacional technology have minimized the need for local community conections within particularly territory of place. Reunderstanding of social bonding among residents of an urban area, weaks potentials of different urban places to become centres of cooperative actions for new society. Without a vision of community development, residents of urban areas stay indifferent to the wider urban politics and excluded from the participation in a process of teritorial restructuration of society. Because of that, artistic initiatives focused on projects that have potential to connect residents of an urban area and to motivate them to interact each other, can influence their perception of themselves, and help them to state common vision for future growth. Participatory art projects have potential not only to provoke willingness among residents of some urban area to participate in community activities, but also to inspire them to become more active participants of democratic society.<\/p>\n

Through development of interactive works, art can show the way how to rebuild our society to become more democratic. Beside that, artistic vision can provide ideas for innovative development of society. Describing art as inherently cultural, Lippard considers that “all art is a framing device for visual and\/or social experience, it is difficult for an artform to dispense altogether with the frame, or to change frames on the spot, offering multuple views of the ways in which a space or place can be and is used. The challenge is to establish more bonds radiating out from the art community<\/em> \u2013 to marginalized artists, to participant communities and audiences, allowing the art idea to become, finally, part of the social multicenter rather than an elite enclave, sheltered and hidden from public view or illegibly representing privileged tastes in public view” (Lippard, 1997:286; Hutzel, 2005:21). Acording to this point of view, we can propose a perspective of social development through reconstruction of cultural space on micro level. Reconnected through inclusive artistic projects, members of local communities will be able to state common vision for future growth of society and to share that vision with others. Art can inspire them to become more cooperative and to develop their way of thinking in a more democratic manner.<\/p>\n

Karen Elizabeth Hutzel suggests that “community art can be situated within community organizing and community visioning as the potential to nagotiate for a pragmatic social reconstructionist agenda in art education” (Hutzel, 2005:24). As an example of a successful campaign for community development in which the social capital provided the most significant assets for participation, organizing and visioning, she pointed at Dudley Street Neighborhood Initiative in Boston, Massachusetts (Hutzel, 2005:24; Medoff & Sklar, 1994). She emphasized that this case study had presented a successful community mobilization effort to revitalize an urban neighborhood, where “a community mural was an important asset of this initiative, which encouraged teenagers to enter into the community development process” (Hutzel, 2005:24).<\/p>\n

Arthur Danto (1981) and Arto Haapala (1989) regard interpretation as a criterion of the existence of an artwork. According to their point of view, works of art exist only as interpreted. Sami Pihlstr\u00f6m compares their understanding of art with pragmatism and Popperian World 3 ontology (Pihlstr\u00f6m, 2000:4). Aming to specify the world of human-made cultural artefacts that are not reducible to the physical world (World 1) or to the subjective states of individual minds (World 2), Karl Popper entered the concept of World 3<\/em>. As Pihlstr\u00f6m interpretates, “the key idea here is that works of art, as cultural entities irreducible to mental states or to physical objects and events but nevertheless ‘embodied’ in physical nature and requiring human mental action in order to exist, ought to be as World 3 entities, roughly in the sense in which scientific theories, natural numbers, or societies and institutions are taken to exist in World 3” (Pihlstr\u00f6m, 2000:4). It is important to emphasize that Popper within concept of World 3 had not discussed art in any detail, so Pihlstr\u00f6m do not takes the Popperian three-world ontology too literary, but rather as a heuristic tool to be used in order to emphasize the irreducibility of the mental and cultural “levels”of existence, as Pihlstr\u00f6m himself underlines (Pihlstr\u00f6m, 2000). He continues that, without social institutuions or practices within which works are created, recived, interpreted and assessed as works of art, there could be no works of art at all (Pihlstr\u00f6m, 2000:4). Works that we recognise as artistic, without specific world of arts, could be marked only as a commonplace objects, “[\u2026], pieces of matter instead of sculptures or paintings, sounds in the air instead of symphonies, material copies of books and manuscripts instead of poems or novels. The existence of such works as<\/em> works of art necessarily presupposes a complex network of socio-cultural relationships on the cultural level of World 3, irreducible to Worlds 1 and 2”( Pihlstr\u00f6m, 2000:4). According to this, works of art, as cultural entities, belong to World 3, and only through this conceptual level they can be realised.<\/p>\n

What we propose here is art that ocupies whole World 3<\/em>. It is actually an interpretation of art as powerful force, able to reshape community that produces it. If we imagine social context as a specific matherial that can be used by artists, we can consider a perspective of development of such artistic practices that deal with social context. Interpretation of art we are proposing is connected with understanding of art of indigenous societies, but it also has its origins in theoretical approaches that shaped development of vanguard, socialist realism, land art, appropriation art, etc. This interpretation does not requires a specific artistic strategy, but rather it gathers different artistic approaches, that are focused on reconstruction, rebuilding or reinterpretation of social context.<\/p>\n

As Hutzel suggests “art can provide the means toward approaching a social reconstructionist agenda for a more equal and equitable society” (Hutzel, 2005:24). She underlines Beardsley’s words that “art fosters mutual sympathy and understanding and offers an ideal for human life”(Beardsley, 1981\/1958:574-575; Hutzel, 2005:24). So we can imagine an movement for social reconstruction through recreation of cultural space. Aesthetic experience that gathers members of some community, becomes powerful force, able to bring new visions and to inspire to action.<\/p>\n

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Conclusion<\/strong><\/p>\n

The use of art as a community-constructor has been applied by practitioners and considered by theoreticians (Adejumo, 2000; Emme, 1998; Bastos, 1998; Hutzel, 2005). Over the time, different approaches and visions how to utilize the arts as an educational, social service tool, have developed. So now we have both theoretical framework and practical experience to state basic agenda to reconstruct cultural space through art and education.<\/p>\n

Community-based art education provides an approach to connecting classrooms to the local community. The goal is to strengthen connections between community members and art practitioners. After continuous classroom observation of art teachers, Katter (2002) have noticed the absence of community connections in schools. “As I look back over my years of teaching and my observations of the teaching of others, I sense a neglect of really connecting with community. So often the teaching of art ignores the culture of the community, as though art existed somewhere else, outside of the local community, or apart from the lives of the students” (Katter, 2002:5; Hutzel, 2005:28). Even thouth community-based art education practices have received scattered attention from various art educators over the years (Hutzel, 2005:28), we still need to take significant efforts to connect community members with artists and to encourage their involvement in a process of cultural space development. But this connecting should go thgough education. So what we need is a new knowledge that will inspire community residents to get involved in a reconstruction projects and artistic actions that will connect them into community.<\/p>\n

That kind of knowledge should be radical and stated on democratic principles. We agree to Bastos when she suggests to incorporate Freire’s vision to promote social changes through education. “A Community-based art education project attentive to Freire’s ideas has the potential to bring to light the context of art production through study of local art: dynamics of social interaction in a given community, as well as power struggles, cultural influences, and history” (Bastos, 1998:58). Education we are proposing here should fill the needs of all community members and should have potentials to lead them to a better society. Similary to Bastos ideas, we suggest that vision of better reality can iniciate a need for changing that reality.<\/a>[2<\/strong><\/span>]<\/sup><\/a> Our vision is to promote alternative education and artistic projects that can connect communities and inspire its members to affect changes in society, bringing new cultural context to life.<\/p>\n

At these place we want to emphasize significance of connecting communities. Education that has democratic foundations has to be multicultural. So it is closed to T. Anderson’s concept of art for life, in which he proposed actions for a global, rather than tribal community. “This entails embracing our own cultures for their particular values and strenghts, but also recognising that our own cultural ways are not the only good and correct ways of engaging the world” (T. Anderson, 2003:63, Hutzel, 2005:30). In oppose to T. Anderson, we do not propose a global community, but a network of communities that are connected on global level. However without democratic perspective, without orientation to involve all community members and to teach them how to understand and how to help each other, any kind of education will stay powerless to bring improvement to society. What we need are integrative efforts that engage all society members, and that are strong enough to ensure cooperation for common good.<\/p>\n

Reconstruction of cultural space is not a task that can be done if we follow the program which is state on some institutional level. Actions that are truly radical and that lead community to beternes, should be initiated and nagotiaded by community members. That is why we need art to connect residents of different urban area and to inspire them to think beyond ideological framevork they had accepted over the years of ideological training (through institutions such are school, church, family, media, etc.), and that is why we need alternative education to encourage them to act.<\/p>\n

Following Freire’s critique of banking concept of education<\/em> (Freire, 2005:73) we can underline that any developing program that is planned without consulting community members, considers them as adaptable, manageable beings. Analysing education, Freire has noticed that “the more students work at storing the deposits entrusted to them, the less they develop the critical consciousness which would result from their intervention in the world as transformers of that world. The more completely they accept the passive role imposed on them, the more they tend simply to adapt to the world as it is and to the fragmented view of reality deposited in them” (Freire, 2005:73). Like banking concept of education, that has capability to minimize or annual the student’s creative power (Freire, 2005:74), community reconstruction projects, that offer to community members an illusion of acting through the action of the activists, do not have potentials to trully reconstruct community.<\/p>\n

What we need are not projects with staten agenda, but rather projects with an agenda-in-progress<\/em>. Projects that have potentials to inspire to action and to involve all community members to a vision-making process. Projects that open new horizons and that lead community members aut of position of margin.<\/p>\n

As long as we offer solutions, rather than we open new possibilities, democratic progress will stay an ideal which can not be reached in practice. The only way to change situation is to change the way of thinking. What we need is a new cultural space in which new social realtions will be made. However, creation of new cultural space needs development of alternative education, that can encourage community members to overcome old prejudices, and it also needs inclusive arts practices, that can help people to connect each others and to find their vision of betterness. Through art and alternative education they may doscover their power to recreate reality and to change the situation that oppresses them. Instead to “integrate” or “incorporate” into the society that multiply injustice, alienation, and separation, they may perceive that they are members of a community, so they are able to engage themselves to participate in its recreation. If we make efforts to reimagine our cultural space, we may discover our potentials to visualise authentic development and our strength to challenge old ideological prejudices.<\/p>\n

 <\/p>\n

\n
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<\/a>[1<\/strong><\/span>]<\/sup><\/a> 
\nConscientiza\u00e7\u00e3o (conscientization) is a term first coined by Freire in his book Pedagogy of the Oppressed<\/em> (Pedagogia do Oprimido<\/em>, first published in Portuguese in 1968), that signify an attempt to use education as a means of consciously shaping the person and the society. <\/span><\/p>\n<\/div>\n

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<\/a>[2<\/strong><\/span>]<\/sup><\/a> <\/p>\n

„[…] knowledge of immediate reality can incite a need for changing that reality“(Bastos, 1998:58).
\n<\/span><\/p>\n<\/div>\n

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Literature:<\/strong><\/p>\n

Adejumo, C. O. (2000). „Community-Based Art“. School Arts<\/em>. 99(6), 12-13.<\/p>\n

Anderson, R. (1990). Calliope’s Sisters: A Comparative Study of Philosophies of Art<\/em>. Englewood Cliffs, New Jersey: Prentice Hall.<\/p>\n

Anderson, T. (2003). „Art Education for Life“. The International Journal of Art and Design Education<\/em>. 22(1), 58-66.<\/p>\n

Bastos, F. M. C. (1998). Making the Familiar Strange: Teacher’s Interpretations of Community Art<\/em>. Dissertation. Indiana University.<\/p>\n

Beardsley, M. (1981\/1958). Aesthetics: Problems in the Philosophy of Criticism<\/em>. Indianapolis: Hackett Publishing Company<\/p>\n

Dewey, J. (1934). Art as Experience<\/em>. New York: The Berkley Publishing Group.<\/p>\n

Dissanayake, E. (1988). What Is Art For?<\/em> Seattle: University of Washington Press.<\/p>\n

Emme, M. J. (1998). „Teaching to the future: community activism and art education“. School Arts<\/em>. 97(5), 6-7.<\/p>\n

Freire, P. (2005). Pedagogy of the Oppressed<\/em>. New York: Continuum.<\/p>\n

Green, G. P. & Haines, Anna. (2002). Asset Building and Community Development<\/em>. Thousand Oaks, CA: Sage Publications.<\/p>\n

Hutzel, K. E. (2005). Learning from Community: A Participatory Action Research Study of Community Art for Social Reconstruction<\/em>. Dissertation, The Florida State University.<\/p>\n

Katter, E. (2002). „Community conections“. School Arts<\/em>. 101(7), 4.<\/p>\n

Kayes, R. (1973). We the lonely people: Search for community<\/em>. New York: Harper-Row.<\/p>\n

Kretzmann, J. P. & McKnight, J. L. (1993). Building Communities from the Inside Out: A Path Toward Finding and Mobilizing a Community’s Assets<\/em>. Chicago: ACTA Publications.<\/p>\n

Lippard, L. R. (1997). The Lure of the Local: Senses of Place in a Multicentred Society<\/em>. New York: The New Press.<\/p>\n

Lowe, S. S. (2000). „Creating Community: Art for Community Development“. Journal of Contemporary Ethnography<\/em>. 29(3), 357-386.<\/p>\n

Pihlstr\u00f6m, S. (2000). „Pragmatism, Art, and the Real World Action“. Criticism & Theory for Music Education<\/em>. 1 (1), 2-32.<\/p>\n

Putnam, R. D. (2000). Bowling Alone: The Collapse and Revival of American Community<\/em>. New York: Simon & Schuster.<\/p>\n

Sleeter C. E. & Grant, C. A. (1999). Making Choices for Multicultural Education: Five Approaches to Race, Class, and Gender<\/em>. Upper Saddle River, NJ: Prentice-Hall, Inc.<\/p>\n

Warren, M. R. (2001). Dry Bones Rattling: Community Building to Revitalize American Democracy<\/em>. Princeton, New Jersey: Princeton University Press.<\/p>\n

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Umjetnost kao medijum za budu\u0107nost<\/span><\/strong><\/p>\n

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Sa\u017eetak<\/strong><\/em><\/p>\n

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U tekstu se ispituju mogu\u0107nosti ja\u010danja lokalnih zajednica putem umetnosti. Autor zastupa stav da je putem umetnosti mogu\u0107e preneti vizije \u010dlanovima lokalnih zajednica i inspirisati ih na u\u010de\u0161\u0107e u procesima dru\u0161tvenog rekonstruisanja. U tekstu \u0107e biti analizirane perspektive transformisanja urbanih celina u specifi\u010dne prostore kulture. U tom smislu, posebno se nagla\u0161ava zna\u010daj saradnje izme\u0111u umetnik\u00e2 i pripadnik\u00e2 lokalnih zajednica. Razli\u010diti umetni\u010dki projekti mogu inspirisati \u010dlanove lokalnih zajednica na uspostavljanje sna\u017enijih veza, te im mogu pomo\u0107i da defini\u0161u vizije boljeg dru\u0161tva. Saradnja na umetni\u010dkom projektu mo\u017ee okupiti \u010dlanove zajednice i inspirisati ih na uklju\u010divanje u proces politi\u010dkog odlu\u010divanja. Ona, pored toga, mo\u017ee osna\u017eiti njihovu sposobnost da postave program dru\u0161tvenog razvoja u jednom vi\u0161e demokratskom, vi\u0161e inkluzivnom maniru. <\/em><\/p>\n

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Uloga umetnosti i alternativnog obrazovanja u tekstu se posmatraju kao presudne u iniciranju dru\u0161tvenih akcija putem kojih je mogu\u0107e su\u0161tinski rekonstruisati lokalne zajednice, redefinisati status i izmeniti percepciju marginalizovanih prostora, te inspirisati susedsku saradnju i njihova zalaganja za zajedni\u010dki interes. <\/em><\/p>\n

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Izgradnja novog kulturnog prostora zahteva razvoj alternativnog obrazovanja, putem kojeg je mogu\u0107e osna\u017eiti \u010dlanove zajednice da prevazi\u0111u stare predrasude, ali i razvoj inkluzivnih umetni\u010dkih praksi, koje mogu pomo\u0107i \u010dlanovima zajednice u me\u0111usobnom povezivanju, te u pronala\u017eenju vlastite vizije boljitka. Kroz umetnost i alternativno obrazovanje, oni mogu otkriti svoju mo\u0107 da se suprotstave opresivnim dru\u0161tvenim odnosima. Suprotno pozivima na integraciju u dru\u0161tvo koje umno\u017eava nepravdu, otu\u0111enje i razdvojenost, upravo putem umetnosti oni mogu uo\u010diti \u010dinjenicu da su zapravo \u010dlanovi zajednice, sposobni da u\u010destvuju u njenoj izgradnji.<\/em><\/p>\n

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Klju\u010dne rije\u010di:<\/em><\/strong> alternativno obrazovanje, kulturni prostor, participacija, teorija umetnosti, umetnost zajednice.<\/em><\/p>\n

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\n\n\n\n
\"inmediasresno7malo\"<\/p>\n

\n  4(7)#12 2015<\/strong> <\/p>\n<\/td>\n

\n

\n\"Creative<\/a>
\u010casopis je otvorenog pristupa, a ovo djelo je dano na kori\u0161tenje pod licencom Creative Commons Imenovanje-Nekomercijalno 4.0 me\u0111unarodna.<\/strong><\/a><\/p>\n<\/td>\n

\n

UDK 2-186:316.774
\n Izvorni \u010dlanak
\n Original scientific paper
\nPrimljeno: 19.6.2015.<\/strong><\/p>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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 <\/p>\n

Divna Vuksanovi\u0107<\/span><\/p>\n

Fakultet dramskih umetnosti, Beograd<\/p>\n

vuksanovic.divna@gmail.com<\/p>\n

Budu\u0107nost medija:
\nmediji i smrt<\/span><\/strong><\/p>\n


\nPuni tekst: pdf (359 KB), Hrvatski, Str. 1012 – 1023
\n<\/span><\/strong><\/a><\/p>\n

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Sa\u017eetak<\/em><\/strong><\/p>\n

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Tekst problematizira temu budu\u0107nosti medija polaze\u0107i sa stanovi\u0161ta ideje o smrti medija i kraju medijske kulture kakvu danas poznajemo. Isprva se tema reprezentiranja smrti u medijima tretira kao osnova za kreiranje mnogobrojnih medijskih sadr\u017eaja, da bi se te\u017ei\u0161te istra\u017eivanja, potom, s prikazivanja prizora smrti u medijima, postepeno prebacilo i fokusiralo na tzv. posthumnu medijsku komunikaciju. Usporedo s procesom transformiranja medijskih sadr\u017eaja njihovim preusmeravanjem na temu smrti i komunikacije sa svjetovima umrlih \u2013 \u0161to se pokazalo kao profitabilno \u2013 pojedini teoreti\u010dari medija, poput Virilija, na primjer, nagovje\u0161tavaju i krah medijske slike, kao posljedice vo\u0111enja globalnih informati\u010dkih ratova. To bi, ujedno, zna\u010dilo i priliku za novi po\u010detak i posve druk\u010diju, novu medijsku paradigmu. Pritom, ovdje nije rije\u010d o pukoj zamjeni starih i tzv. \u201eprimitivnih\u201c novim medijima, ve\u0107 o zna\u010dajnoj, su\u0161tinskoj transformaciji. Mediji, naime, prema na\u0161em shva\u0107anju, ne umiru u smislu kona\u010dne smrti, ve\u0107 prelaze u dimenziju postojanja koja se nalazi negdje \u201eizme\u0111u\u201c, na samoj granici \u017eivota i smrti. Ovakva transformacija medija, iz dimenzije \u017eivota u smrt i natrag (ka budu\u0107nosti), analo\u0161ki mi\u0161ljeno, najsrodnija je budisti\u010dkom pojmu i fenomenu \u201ebardo\u201c.<\/em><\/p>\n

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Klju\u010dne rije\u010di:<\/em><\/strong> budu\u0107nost medija, smrt medija, posthumna komunikacija, zastarjeli i novi mediji, bardo.<\/em><\/p>\n

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Filozofija medija, ukoliko nastoji biti problemski orijentirana prema svijetu suvremenih komunikacijskih tehnologija i proizvoda medijskih i kreativnih industrija, osim vladaju\u0107ih uvjerenja da su mediji (zajedno s umjetno\u0161\u0107u i kulturom), u ve\u0107ini slu\u010dajeva uzev\u0161i, instrument manipulacije, otu\u0111enja, pa \u010dak i sredstvo za prepariranje i upravljanje oru\u017eanim konfliktima i ratovima ve\u0107ih razmjera, trebala bi kriti\u010dki sagledati perspektivu razvoja medija i tzv. „medijske kulture“ u budu\u0107nosti. Takvih poku\u0161aja je, povijesno gledano, svakako bilo, recimo, kada je u pitanju propitkivanje ideje medijske konvergencije (Fidler \/Fidler\/), ili, pak, kada je bilo govora o aktualnim refleksijama u smislu prodora utjecaja mre\u017enih tehnologija i tzv. novih medija u svakodnevni \u017eivot \u010dovjeka, a koji danas bitno djeluju na izmjenu paradigme do\u017eivljaja stvarnosti, bar kada je rije\u010d o tehnolo\u0161ki razvijenom svijetu.<\/a>[3<\/strong><\/span>]<\/sup><\/a> Op\u010dinjenost i paraliziranost mnogobrojnim informacijama i medijskim slikama, s jedne strane, te noviji poku\u0161aji da recepcija medijskih sadr\u017eaja preraste u digitalni vid interakcije s korisnicima, na drugoj strani, zapravo su jedan te isti produkt redukcionisti\u010dkog koncepta potrage za istinom, smislom, ljepotom, op\u0107im dobrom i vrijednostima, svedenim na mehani\u010dku, odnosno, puku posredni\u010dku dimenziju realnosti. To, me\u0111utim, samo po sebi, i ne bi bilo toliko lo\u0161e da uvijek <\/em>nije rije\u010d o \u010dinjenici da aktualni tipovi medijskog posredovanja referiraju na sferu koja ujedno, istim tim mehanicizmom, transcendira sam \u017eivot.<\/p>\n

Jedan od prvih teoreti\u010dara koji je kriti\u010dki problematizirao status suvremenih medija, kako mas-komunikacija, tako i interneta i novih medija, i to u interpretativnom kontekstu globalno umre\u017eenog svijeta \u2013 Paul Virilio (Virilio), tvrdi da se dana\u0161nji mediji, kao i budu\u0107i (recimo, „interaktivne reklame“, i sl.), podr\u017eani tzv. „tehnonaukama“, neosjetno kre\u0107u ka „krahu slika“.<\/a>[4<\/strong><\/span>]<\/sup><\/a> Ovaj doga\u0111aj je, u isto vrijeme, povezan s prethodnim konceptom „suparni\u0161tva ikona“,<\/a>[5<\/strong><\/span>]<\/sup><\/a> tj. tr\u017ei\u0161nom, ali i politi\u010dkom konkurencijom u borbi za dominaciju vizualne paradigme u globalnom okru\u017eenju, gdje se vode informati\u010dki, odnosno kiberneti\u010dki ratovi. Svrha ovih sukoba, po njegovom mi\u0161ljenju, jest uspostavljanje totalne perceptivne kontrole nad stvarno\u0161\u0107u, a posredstvom medija i tzv. „digitalne kulture“. <\/p>\n

Tipi\u010dan primjer informati\u010dkog ratovanja u na\u0161em vremenu predstavlja aktualan slu\u010daj francuskog \u010dasopisa Charlie Hebdo,<\/a>[6<\/strong><\/span>]<\/sup><\/a> koji je, djeluju\u0107i prvobitno kroz medij karikature i satire, do\u017eivio prijetnje smr\u0107u i teror nad svojim novinarima, \u0161to se kasnije pretvorilo u tragi\u010dno stradanje dijela redakcije ovog lista. Nakon ubojstva \u010dlanova redakcije, uslijedio je val protesta u Francuskoj, zatim u Europi i u \u010ditavom svijetu, u spektru djelovanja razli\u010ditih politi\u010dkih akcija i okupljanja gra\u0111ana na ulicama i trgovima Pariza u znak podr\u0161ke i solidarnosti sa stradalima, do virtualnog odobravanja ili osporavanja postupaka jednih ili drugih sudionika u sukobu, a koji su preplavili cyber<\/em>-prostor i dru\u0161tvene mre\u017ee, bilo u smislu empatije sa \u017ertvama ubojstva i podr\u0161ke slobodi govora i tiska, ili u smjeru kritike represivnog francuskog re\u017eima, rasizma i hipokrizije medija i politi\u010dkih lidera koji, nagla\u0161avanjem slu\u010daja „Ebdo“, izbjegavaju izvijestiti o masovnim stradanjima u drugim dijelovima svijeta – u Indoneziji, Nigeriji ili Srbiji (slu\u010daj NATO raketiranja RTS-a), na primjer. I naposljetku, iz aktualnog djelovanja medija se, posredno ili neposredno, moglo i\u0161\u010ditati da je tu rije\u010d o svojevrsnom medijskom ratu, tj. sukobu kultura\/civilizacija (euro-atlanske i arapske, tj. kr\u0161\u0107ana i pobornika islama), pojednostavljeno re\u010deno.<\/p>\n

Sljede\u0107i, iz serije vrlo karakteristi\u010dnih oblika ratovanja koje \u010desto poti\u010du i pokrivaju dana\u0161nji mediji jest ono koje je vo\u0111eno „pod crnom zastavom“, popularno nazvano False<\/em>flag<\/em>. Ova vrsta informati\u010dkih ratova zasnovana je na ideji operacija na terenu, naj\u010de\u0161\u0107e teroristi\u010dkih, a koje se pripisuju odre\u0111enim akterima, organiziranim grupama, pa \u010dak i \u010ditavim dr\u017eavama, s ciljem da izazovu efekt i reakcije globalne javnosti koji su, zapravo, u interesu skrivenih centara mo\u0107i, odnosno onih koji ih planiraju, organiziraju i provode iz sjene, maskirani u „drugog“, tj. u neprijatelja. Katkad su ove „slike smrti“ u potpunosti medijski inscenirane, ali je \u010de\u0161\u0107i slu\u010daj da se one doista odigravaju u stvarnosti, a potom medijski prediciraju ne realnim po\u010diniteljima smrti i zlo\u010dina, ve\u0107 njihovim protivnicima. Interpretacija ovakvih akcija, pri \u010demu je zaista te\u0161ko razlu\u010diti istinu od la\u017ei na temelju isklju\u010divo medijski definirane slike doga\u0111aja, u najboljem slu\u010daju vodi k relativiziranju vrijednosti, pa samim tim i \u017ertava stradalih u njima, dok realno predstavlja uvodne sekvence za kraj ere slike.\u00a0 <\/p>\n

U tom smislu, indikativan je postulat Paula Virilija o razbijanju (vladaju\u0107e) slike svijeta koji produciraju globalni mediji (fragmentarizacija na razli\u010dite imperijalne prikaze svijeta \u2013 prim. D. V<\/em>.), \u0161to istovremeno ozna\u010dava i mogu\u0107i, novi po\u010detak ne samo za medije, nego i za \u010dovje\u010danstvo. „Ekran protiv ekrana, monitor ku\u0107nog kompjutera i televizijski ekran se suprotstavljaju u borbi za dominaciju na tr\u017ei\u0161tu globalne percepcije<\/em>, \u010dije kontroliranje \u0107e sutra zapo\u010deti novo doba, kako na eti\u010dkom, tako i na estetskom planu.“<\/a>[7<\/strong><\/span>]<\/sup><\/a> Izvjesno, ovdje nije rije\u010d samo o sukobu izme\u0111u tradicionalnih i novih medija, odnosno tiskanih i elektronskih, nasuprot digitalnim medijima, kao i nacionalnih, nasuprot postkolonijalnim vrijednostima, ve\u0107 o tome da umjesto „sustavnog djelovanja“ medija masovnih komunikacija (Frankfurtska filozofska \u0161kola) ili medijskog konvergiranja (Fidler) ovdje imamo na djelu ratne konflikte, i to ne na nivou sadr\u017eaja, ve\u0107 u domeni percepcije, \u010diji \u0107e krajnji ishod, kako anticipira Virilio, biti slom slike, a pod djelovanjem tzv. „informati\u010dke bombe“. Pri svemu ovome, \u017eelimo naglasiti da je odnos starih i novih medija, po na\u0161em shva\u0107anju, dijalekti\u010dan i da podrazumijeva pro\u017eimanje i sukob spomenutih proturje\u010dnosti. <\/p>\n

Mo\u017eda bi, u tom kontekstu sagledano, trebalo razmotriti i mogu\u0107nost kraja (vladavine) medijske slike u ontolo\u0161kom smislu rije\u010di, \u0161to bi, ujedno, moglo zna\u010diti i povratak logosu<\/em>, i putu njegovog „oslu\u0161kivanja“, a koji je suprotan dominaciji pojavnosti \u0161to referira na samu sebe. U Informati\u010dkoj bombi<\/em> Virilio nagovje\u0161tava propadanje pojavnog svijeta (analogija s implozijom smisla, o kojoj je govorio Baudrillard), na koji utje\u010de krah tr\u017ei\u0161ta, s jedne strane (tzv. „financijski mjehur“), i „virtualna inflacija“, na drugoj. Uvodi li nestajanje pojavnosti, \u010dovje\u010danstvo u novu epohu djelovanja medija, kroz „teleprisustvo“, a u vezi s pitanjem preformuliranja stvarnosti, odnosno definiranja estetskog i \u010dulnosti pod uplivom tr\u017ei\u0161nih zakonitosti i prekomjernosti vizualnih (estetskih) senzacija dana\u0161njice. O tome Virilio pi\u0161e na sljede\u0107i na\u010din: „Samo ekonomska dezinformacija mo\u017ee okrenuti u svoju korist propast pojavnosti i krah vidljivog: analo\u0161ko<\/em> prepu\u0161ta svoju preimu\u0107nost numeri\u010dkom<\/em>, nedavno ‘zgu\u0161njavanje podataka’ omogu\u0107uje ubrzanje, odnosno suo\u010davanje s na\u0161im odnosom s realno\u0161\u0107u… ali pod uvjetom da pristanemo na sve ve\u0107e osiroma\u0161enje vidljivih pojava.“<\/a>[8<\/strong><\/span>]<\/sup><\/a> I nadalje se pita: „Ho\u0107e li, na taj na\u010din, postupna digitalizacija audiovizualnih, taktilnih i olfaktivnih informacija, prete\u0107i pad neposrednih osje\u0107aja, analo\u0161ka sli\u010dnost<\/em> bliskog, usporedivog, ustupiti svoj primat jedinoj numeri\u010dkoj vjerovatnosti<\/em> daljina, svih daljina, definitivno zaga\u0111uju\u0107i time ekologiju osjetnog.“<\/a>[9<\/strong><\/span>]<\/sup><\/a><\/p>\n

Na\u0161a polazna hipoteza o budu\u0107nosti medija koja pretpostavlja njihovu smrt u dosada\u0161njem obliku pojavljivanja i djelovanja, iako izgleda paradoksalno, ti\u010de se, zapravo, dijalektike odnosa \u017eivota i smrti medijske kulture s kraja XX. i po\u010detkom XXI. stolje\u0107a, i temelji se dijelom na interpretacijama prethodno spomenutih teoreti\u010dara. Naime, ako apstrahiramo povijest medija tako \u0161to \u0107emo promatrati samo onu domenu njihovih aktivnosti koja prerasta u hegemoniju nad stvarno\u0161\u0107u, a to je upravo, po na\u0161em mi\u0161ljenju, sada\u0161nji trenutak, onda mo\u017eemo, uprkos relativno kratkoj povijesti sustavnog djelovanja medija masovnih komunikacija, kao i novih medija u sinergiji s njima, proglasiti kraj medija, i konstatirati \u010de\u017enju za kvalitativnim skokom u nepoznatu zonu njihovog budu\u0107eg aktiviranja. To bi, istovremeno, ozna\u010davalo smrt medija kakve danas poznajemo i njihov posve druk\u010diji, novi \u017eivot, u smislu evociranja hegelovskog principa Aufhebunga<\/em>, primijenjenog na povijest medija. <\/p>\n

A kako stoji smrt medija u dana\u0161njem vremenu? Osim njihovog kvantitativnog umno\u017eavanja i konstantnog tehni\u010dkog usavr\u0161avanja, promatrano sa stanovi\u0161ta istinskih inovacija, na\u0161e doba ne donosi ni\u0161ta novo niti originalno,\u00a0 pogotovo kada se ima u vidu globalno ocrtana medijska scena. Film je na zalasku, analogna fotografija biva gotovo u potpunosti supstituirana digitalnom, radio i televizija ponavljaju programske matrice i ustaljene formate, tisak je preplavljen tabloidnim sadr\u017eajima. Drugim rije\u010dima, mediji kakve smo do sada poznavali su na samrti, s tim \u0161to logika profita nemilosrdno odla\u017ee njihov kona\u010dni kraj. Naravno, kada govorimo o kraju medija, nije nam na umu njihova fakti\u010dka smrt ovdje i sada<\/em>, ve\u0107, zapravo, imamo u vidu procese njihovog (od)umiranja. Jedan od na\u010dina da se javno progovori o kraju medija jest i putem samog medijskog djelovanja, \u0161to je tijekom 2014. godine u\u010dinila grupa aktivista NGO „Mladi gra\u0161ak“ iz Beograda, proglasiv\u0161i u\u017eivo, na programu dr\u017eavnog radija, smrt medija, izvo\u0111enjem istoimenog, jednominutnog performansa direktno u programu Radio Beograda 202.<\/a>[10<\/strong><\/span>]<\/sup><\/a>\u00a0\u00a0 <\/p>\n

Kako se dogodilo da mediji masovnih i novih komunikacija, kakvi su nam danas poznati, \u017eive svoj kraj, iako su, s izuzetkom tiska, sude\u0107i prema vremenu nastanka, ve\u0107inom novijeg datuma. Suvremeni mediji i smrt su, prema na\u0161im shva\u0107anjima, u dvostrukom odnosu: s jedne strane, mediji obilato eksploatiraju temu smrti koja je u ranijim vremenima, ako se izuzme u\u017ea, umjetni\u010dka sfera njihovog djelovanja, bila takore\u0107i tabuizirana. I danas je, primjera radi, u reklamnoj industriji prikazivanje smrti u svrhu advertisinga<\/em> nepo\u017eeljno (rije\u010d je, svakako, o nevidljivim zabranama), po\u0161to se pokazalo da vezivanje fenomena, pojma ili ideje smrti za neki proizvod, robnu marku, odnosno brend, ne posti\u017ee dobar efekt na tr\u017ei\u0161tu. Nasuprot ovome, nekrofilna tematika se, tijekom posljednjih nekoliko desetlje\u0107a, podmuklo uvukla u mnoge aktualne medijske sadr\u017eaje, pravdaju\u0107i ovakve ure\u0111iva\u010dke poteze ili autorske poetike (kada je rije\u010d o filmu i fotografiji, na primjer), otvoreno ili prikriveno, potrebama i zahtjevima samog medijskog tr\u017ei\u0161ta. <\/p>\n

Otuda film, pa \u010dak i crtani filmovi namijenjeni djeci, obiluju prizorima smrti i nasilja, pa su se, tako, osje\u0107anje, do\u017eivljaj i prikazivanje smrti na celuloidnoj traci razvili u poseban filmski \u017eanr poput horora, koji se isklju\u010divo bavi ovom problematikom. U stilskom pogledu, nadalje, ovaj \u017eanr se iz medija filma preto\u010dio u vizualnu neogotiku, posebno aktualnu na blogovima i dru\u0161tvenim mre\u017eama, \u0161to, ujedno, ukazuje i na porijeklo \u017eanra, poteklo iz domene knji\u017eevnosti (Mary Shelley). Kada je rije\u010d o televiziji, dovoljno je podsjetiti da se jedna od najve\u0107ih globalnih medijskih ku\u0107a BBC News World, na primjer, reklamira kao vode\u0107a svjetska televizijska stanica za tzv. breaking news<\/em> sadr\u017eaje, koji se uglavnom ti\u010du velikih katastrofa, sukoba, smrti, i naj\u010de\u0161\u0107e izvje\u0161tavaju o tanati\u010dkim temama. <\/p>\n

Manuel Castells smatra da je otvaranje „(semanti\u010dkog) polja smrti“ na podru\u010dju medijskih aktivnosti povezano sa strukturama mo\u0107i, i to na globalnom nivou. Jer, po njegovom razumijevanju stvari, medijska politika nije ograni\u010dena samo na reklamne, odnosno izborne kampanje, kako se to obi\u010dno misli. Politi\u010dki stratezi, naime, nastoje svakodnevno utjecati na sadr\u017eaje plasiranih informacija, zasnovanih na odnosima mo\u0107i, \u0161to se u podjednakoj mjeri odnosi na „vlade, stranke, lidere“, kao i na nevladine „dru\u0161tvene aktere“.<\/a>[11<\/strong><\/span>]<\/sup><\/a> Rije\u010dju, za \u010ditavo polje medija ozna\u010deno smr\u0107u, Castells optu\u017euje utjecajne politi\u010dke aktere, koje naziva „politi\u010dkim ubojicama“.<\/a>[12<\/strong><\/span>]<\/sup><\/a> Istovremeno, autor poku\u0161ava demistificirati mehanizme \u0161to ih koriste „politi\u010dki ubojice“ medijskih sadr\u017eaja, koje ovdje navodimo u cijelosti: „Prvi korak: Politi\u010dke ubojice iskopavaju prljav\u0161tinu o nekom. Drugi korak: Prljav\u0161tina se potom dostavlja ispitiva\u010dima javnog mnijenja, koji preko sofisticiranih anketa mogu odrediti koji su komadi\u0107i prljav\u0161tine naj\u0161tetniji u umovima bira\u010da. Tre\u0107i korak: Ispitiva\u010di javnog mnijenja daju svoje rezultate ljudima koji se bave marketingom u medijima, koji potom postave dva ili tri naj\u0161tetnija negativna problema na TV, radio i reklamne mailove kojima je cilj raskomadati njihove politi\u010dke protivnike. Tre\u0107i korak je zaista impresivan. Divim se nevjerovatnim talentima organizatora medijskih spinovanja… Kad se sve to jednom zavr\u0161i, razotkriva se istina \u2013 a protivnikova kampanja ve\u0107 je do\u017eivjela ozbiljan udarac, od kojeg se \u010desto vi\u0161e i ne oporavi.<\/a>[13<\/strong><\/span>]<\/sup><\/a>\u00a0\u00a0\u00a0\u00a0 <\/p>\n

Dakle, pitanje budu\u0107nosti medija nesumnjivo se ti\u010de relacije medija sa smr\u0107u, \u0161to bi trebalo biti osnovna pretpostavka novog po\u010detka njihovog djelovanja. Po na\u0161em mi\u0161ljenju, me\u0111utim, ovaj odnos ne referira samo na kraj medija i njihove djelatnosti kakva nam je danas poznata. Naime, ve\u0107 sama tema smrti, koja je u pro\u0161lim vremenima rijetko problematizirana, osim u filmovima i TV serijama, ili pak u djelima likovnih umjetnosti, od reklamnog i medijskog tabua, kako rekosmo, u na\u0161em vremenu prerasta u svojevrsnu opsjednutost tanatosom. Ovaj fenomen bi se, otuda, mogao svesti pod kategoriju upliva “opscenog” ili “zazornog”, o \u010demu je podrobno pisala Julija Kristeva.<\/a>[14<\/strong><\/span>]<\/sup><\/a><\/p>\n

S tim u vezi, tako\u0111er bi valjalo naglasiti da su se smrt i spektakl oduvijek, u izvjesnom smislu rije\u010di, dijalekti\u010dki posredovali i prepletali. Bilo kao odsutna ili prisutna u razli\u010ditim medijima, tema smrti je \u010desto predstavljala konstitutivni dio radnje (drama), odnosno spektakla, \u0161to je najbolje ilustrirano na primjeru starogr\u010dke tragedije. Iako su pisci najpoznatijih tragedija, poput Eshila, Sofokla i Euripida, naveliko tematizirali i opisivali smrt te se bavili pitanjem smrti u svojim djelima, kada je rije\u010d o njenom prikazivanju na sceni, inscenatori su se striktno dr\u017eali konvencije odsustva prizora zlo\u010dina i smrti u amfiteatrima. To se, zapravo, smatralo neprikladnim, te su se zazorne “scene” doga\u0111ale iza pozornice, da bi tek njihov kona\u010dni ishod bio predstavljen na sceni, u smislu izno\u0161enja ve\u0107 “usmr\u0107enih” tijela protagonista na pozornicu. Ovo prvenstveno otuda, \u0161to je ati\u010dka tragedija imala, osim umjetni\u010dkih aspiracija, zadatak da “odgaja” gra\u0111ane u duhu inkorporiranja odre\u0111enih eti\u010dkih vrlina. Nasuprot ovome, u realnosti su se doga\u0111ala ubojstva i pogubljenja, bilo na anti\u010dkim ili srednjovjekovnim trgovima, ili, recimo, na ulicama Pariza, nakon tehni\u010dkog izuma giljotine. Ovakva pogubljenja, kao dio spektakla smrti, karakteristi\u010dna su za neke dijelove svijeta i danas, a snimke zlostavljanja \u017eena, novinara ili svjetskih lidera, te njihova usmr\u0107ivanja snimljena mobilnim telefonom ili videokamerom, postala su dio medijske svakodnevice \u0161irom na\u0161eg planeta.\u00a0\u00a0 <\/p>\n

Usprkos tome, svojevrsni tabu prikazivanja smrti u domeni umjetnosti i kulture, odr\u017eao se gotovo do na\u0161ih dana, a paradigmatski zaokret se desio definiranjem estetike ru\u017enog u modernoj umjetnosti, odnosno zahvaljuju\u0107i transformiranju umjetni\u010dkih u masmedijske proizvode. Zatim slijede i tzv. “crne” novinske kronike, a potom i \u010ditavi “specijali”, odnosno televizijske i radijske emisije, posve\u0107ene ovim temama. Za razliku od reklamne industrije, mediji su prepoznali temu smrti kao resurs za stjecanje profita. Upravo zbog ovog razloga, a u odsustvu eti\u010dkih pricipa djelovanja, koji su zamijenjeni idejom uspje\u0161nog poslovanja, mediji su danas okupirani najrazli\u010ditijim senzacijama \u0161to se ti\u010du tema smrti i umiranja. Ovo detabuiziranje medija u pogledu reprezentiranja smrti, predstavlja, prema na\u0161em uvjerenju, prvi simptom umiranja \/ kraja medija kakve ih danas poznajemo.<\/p>\n

Na\u0161a je pretpostavka da, osim tr\u017ei\u0161nih mogu\u0107nosti za eksploatiranje tanati\u010dke problematike u suvremenim medijima, i aktuealna znanstvena istra\u017eivaja daju adekvatan povod, odnosno pogoduju\u00a0 fokusiranju medijske pa\u017enje na temu smrti i umiranja. Jedna od popularnih teorija interdisciplinarnog karaktera, a koja u sebi kombinira istra\u017eivanja kvantne fizike, genetike i kozmologije, jest teorija biocentrizma. Ova teorija, \u010dije se autorstvo pripisuje Robertu Lanzi i suradnicima, za razliku od prethodnih epistheme<\/em>,<\/em> osim \u0161to preispituje ideju postojanja multiverzuma, koja bi trebala supstituirati interpretiranje svijeta kao jednog jedinstvenog (univerzuma), posjeduje i revolucionarni potencijal kada je rije\u010d o tuma\u010denjima pojma \u017eivota, pa samim tim i koncepta smrti koji iz toga proizlazi. <\/p>\n

Naime, znanstvenici koji zastupaju biocentri\u010dke ideje o nastanku svijeta \u2013 a rije\u010d je o idealisti\u010dkim postavkama, nasuprot vladaju\u0107im, materijalisti\u010dkim \u2013 zala\u017eu se za ideju da je \u017eivot “stariji” od kozmosa, odnosno, da je kostitutivan za nastale svjetove, a ne obratno: “Biocentrism completes this shift in worldview, turning the planet upside down again with the revolutionary view that life creates the universe instead of the other way around. In this new paradigm, life is not just an accidental byproduct of the laws of physics.”<\/a>[15<\/strong><\/span>]<\/sup><\/a> Krajnje simplificirano, ideja okosnica ove teorije jest da je \u017eivot osnova kozmosa, i da mu kao takav prethodi, \u0161to proturije\u010di dosada\u0161njim znanstvenim hipotezama, kao i jednom dijelu religijskih u\u010denja o postanku svijeta. Iako je ova teorija tek jedan od mnogih popularnih sustava vjerovanja na\u0161eg vremena, kritizirana, pritom, za nereflektirani idealizam, tj. misticizam, u na\u0161em slu\u010daju je, kako se \u010dini, relevantna za ocrtavanje zna\u010dajnog trenda u poimanju i reprezentiranju \u017eivota i smrti u okvirima tzv. “mediasfere”. Jer, ukoliko je \u017eivot u osnovi svega, a smrt samo njegova imanentna transcendencija, to onda zna\u010di da je smrt u bliskoj vezi s pojmom svijeta, i kao takva, relevantna za medijsko “predstavljanje”.<\/p>\n

Zanimljivo je, me\u0111utim, da novi medijski trendovi tematizuju ne smrt kao takvu, ve\u0107 njenu “komunikabilnu” dimenziju. Dakle, fokus suvremenih medija postupno se izmje\u0161ta s tema neposredno vezanih za smrt, na tzv. posthumnu komunikaciju, pri \u010demu i sami mediji “evoluiraju” u tom pravcu, prilago\u0111avaju\u0107i se novim zahtjevima tr\u017ei\u0161ta. Tako se, na primjer, neka groblja ure\u0111uju kao muzeji za prezentiranje “privatne povijesti” pokojnika (Njema\u010dka), \u0161to podrazumijeva mogu\u0107nost emitiranja odabranih audio- i videozapisa o \u017eivotu umrlih. Naravno, pored fizi\u010dki definiranih prostora koji se adaptiraju u ovakve svrhe, i cyber<\/em>\u2013prostor otvara sli\u010dne mogu\u0107nosti; funkcioniraju\u0107i po analogiji s neuga\u0161enim FB nalozima pokojnika, a koji mogu poslu\u017eiti kao mjesta za “opra\u0161tanje” s njima, te daljnju komunikaciju u njihovom fizi\u010dkom odsustvu,<\/a>[16<\/strong><\/span>]<\/sup><\/a>, danas se, u sve ve\u0107oj mjeri, otvaraju tzv. virtualna groblja (virtual cementary<\/em>), koja mogu poslu\u017eiti kao neka vrsta supstitucije onim u fizi\u010dkom prostoru; posredstvom njih je, naime, omogu\u0107eno indirektno komuniciranje s mrtvima preko administratora, kao i slanje virtualnih buketa cvije\u0107a, razmjena razli\u010ditih ritualnih obreda i konvencija, i sl. Ovakva groblja naj\u010de\u0161\u0107e slu\u017ee za postavljanje memorabilija o pokojnicima, kao i za “genealo\u0161ke informacije”.<\/a>[17<\/strong><\/span>]<\/sup><\/a> Primjetno je, tako\u0111er, da se u posljednje vrijeme na internetu mogu \u010desto sresti pozivi da na vrijeme za\u0161tititi “digitalno vlasni\u0161tvo”, tj. da se pravovremeno omogu\u0107i svoje “online legate”.<\/a>[18<\/strong><\/span>]<\/sup><\/a><\/p>\n

O tome da je ovdje rije\u010d prvenstveno o tr\u017ei\u0161nim zahtjevima vezanim za medije, odnosno o ekploatiranju \u010dovjekove potrebe za posthumnom kominikacijom s bli\u017enjima koji su nas napustili, govori i evidencija o postojanju specijaliziranih agencija za slanje telegrama pokojnicima (o\u017eivljavanje telegrama kao medija), a koje napla\u0107uju usluge korisnicima. Istovremeno, u eteru su se pojavile i specijalizirane TV stanice (uglavnom kablovske), poput televizije koja se bavi problemima zagrobnog \u017eivota, medijske komunikacije s pokojnicima, i istra\u017eivanjem razli\u010ditih fenomena “\u017eivota nakon smrti” (Afterlife Television<\/em>).<\/a>[19<\/strong><\/span>]<\/sup><\/a> Na ovaj na\u010din, preokupacija temama smrti, prisutna u suvremenim medijima, postupno ustupa mjesto istra\u017eivanjima na\u010dina (medijuma\/medija) uspostavljanja komunikacije s drugim “dimenzijama” \u017eivota poslije smrti, \u0161to se aktualno ispostavlja kao medijska stvar par<\/em> excellence<\/em>. Druk\u010dije formulirano, budu\u0107nost medija koji \u0107e se sadr\u017eajno, ali i formalno baviti participiranjem u drugim dimenzijama realnosti (\u0161to se, zapravo, ve\u0107 dogodilo \u2013 donekle u eri vladavine elektronskih medija, a posebno se intenzivira pojavom interneta i novih medija), ve\u0107 je pred nama. Ovo ne samo da sadr\u017eajno pro\u0161iruje granice djelovanja medija u pogledu njihove tematike, prebacuju\u0107i zanimanja sa \u017eivota, definiranog u u\u017eem smislu rije\u010di, na iskustva tzv. \u017eivota poslije smrti, ve\u0107 inicira i potragu za novim formama medijacije i komunikacije (ili pak starim, \u0161to su adaptirane za obavljanje novih funkcija), koje \u0107e adekvatno uspostaviti relaciju izme\u0111u “\u017eivota” i “smrti”.<\/p>\n

Usporedno s procesima medijskog povezivanja sa smr\u0107u i njenim komunikabilnim fenomenima, pojavljuju se i umjetni\u010dki projekti koji istra\u017euju temu smrti medija, kao \u0161to je Sterlingov rad o mrtvim medijima (“The Dead Media Project”).<\/a>[20<\/strong><\/span>]<\/sup><\/a> Naime, pisac znanstvene fantastike Brus Sterling, do\u0161ao je na ideju da napravi priru\u010dnik tzv. mrtvih medija, koncipiraju\u0107i tijekom 1995. godine umjetni\u010dki projekt na vrlo \u0161irokoj platformi djelovanja. Sterling je ovim svojim projektnim radom postavio svojevrsni izazov zajednici digitalnih umjetnika, koji se sastojao od zahtjeva da suvremeni umjetnici, kori\u0161tenjem novih tehnologija, istra\u017ee nestale medije, odnosno medije koji se, s dana\u0161njeg stanovi\u0161ta promatrano, smatraju mrtvim. Autor je, u stvari, poku\u0161ao napraviti jednu mapu, koja bi predstavljala arhivu, ili “groblje” starih medija, tj. onih koji vi\u0161e nisu u upotrebi. Projekt je istovremeno trebao demonstrirati i neku vrstu povijesti medija, kao i manifestirati brzinu kojom se oni smjenjuju, tj. zastarijevaju. Sterling se, zapravo, poput Julesa Vernea, koji mu je, na neki na\u010din bio uzor, poigravao s idejom tehni\u010dkih utopija, koje iz futuristi\u010dkih, prelaze u dimenziju pro\u0161losti. Zapravo, koriste\u0107i elektronsku po\u0161tu, pisac se obratio digitalnim umjetnicima s molbom da mu proslijede listu prijedloga \u0161to bi to bili tzv. “primitivni” mediji, odnosno oni mediji koji su danas uglavnom iza\u0161li iz upotrebe. Umjetnici koji su se odazvali akciji navodili su, primjera radi, formacije u kamenu, dimne signale, zvuk bubnjeva, pa \u010dak i zvi\u017edukanje. Potom, tu su se na\u0161li i mediji koji simuliraju po\u0161tanske sustave, te mediji koji su skoro iza\u0161li iz upotrebe \u2013 sinerama, sinemaskop, a zatim i rani digitalni mediji, kao \u0161to je teletekst, na primjer. Danas, kako smatra Sterling, ove “primitivne” medije uglavnom koriste djeca tijekom igre. Osnovna ideja koja se krije iza ovog projekta, po na\u0161em mi\u0161ljenju, jest nastojanje da se doka\u017ee koliko je tanka linija razgrani\u010denja izme\u0111u \u017eivota i smrti medija, pokazuju\u0107i ne samo opseg djelovanja u po\u0161losti, ve\u0107 i najrazli\u010ditije vrste medija koji su do danas “umrli”. \u00a0<\/p>\n

Isti autor, tvorac je i tzv. “Manifesta”<\/a>[21<\/strong><\/span>]<\/sup><\/a> u kojem je objavio osnovne intencije projekta. Govore\u0107i o dana\u0161njoj kulturi koja generira velik broj novih vrsta medija, u isto vrijeme zaboravljaju\u0107i na tzv. “dinosauruse”, odnosno prethode\u0107e medije, Sterling navodi \u0161iroku upotrebu novih, “mutant” vrsta medija \u0161to su na granici s halucinacijama, na jednoj strani, ali i aktualne te\u0161ko\u0107e u “koherentnom razumijevanju \u017eivota i smrti medija” (coherent understanding<\/em> of the life and death<\/em> of media<\/em>), na drugoj. Kako je projekt jo\u0161 u tijeku, a broj priloga o mrtvim medijima sve vi\u0161e se uve\u0107ava na internetu, dru\u0161tvenim mre\u017eama i platformama (recimo, na Youtubeu), moglo bi se zaklju\u010diti da se zanimanje za temu smrti medija iz dana u dan pove\u0107ava. Istovremeno, Sterling, kao futurist, spominje i razli\u010dita ukr\u0161tanja \u010dovjeka s medijima, \u0161to nije posebna novina jo\u0161 od McLuhana, preko Harawayeve, pa sve do apostrofiranog Virilija.<\/p>\n

Na osnovi re\u010denog, ukoliko bi trebalo odrediti stanje u kojem se kako tradicionalni i masmediji, tako i novi i digitalni mediji u ovom trenutku nalaze, to stanje bismo mogli usporediti sa stupnjem razvoja i medijske transformacije koji se pojavljuje kao me\u0111ustupanj \u0161to egzistira u dimenziji izme\u0111u \u017eivota i smrti. Iako, na prvi pogled, djeluje kao puka konstrukcija, ovakvo stanje je, prema na\u0161em do\u017eivljaju aktualne medijske stvarnosti, najbli\u017ee odre\u0111enju pojma ‘bardo’<\/a>[22<\/strong><\/span>]<\/sup><\/a> u tibetskom budizmu (mada sam ‘bardo’, po tradicionalnom shva\u0107anju, ima \u0161est nivoa svog manifestiranja). Naravno, kada je rije\u010d o budisti\u010dkom odnosu prema smrti, to podrazumijeva stanje transformiranja \u017eivota u smrt, \u0161to je gotovo uvijek novi, reinkarnirani \u017eivot, promatrano sa stanovi\u0161ta kona\u010dnosti, a u odnosu prema beskona\u010dnom univerzumu. Ono \u0161to je tako\u0111er zanimljivo, a upu\u0107uje na mogu\u0107e uspostavljanje analogije izme\u0111u “smrti subjekta” (tipi\u010dno za postmoderno stanje i njemu adekvatnu tehnologiju, o \u010demu je govorio Sterling), jest to da smrt medija, sli\u010dno, predstavlja takvo jedno stanje, koje je, zapravo, izvan sfera \u017eivota i smrti. ‘Bardo’ bi, dakle, bilo neko stanje transcendiranja medija kakve ih danas poznajemo, pri \u010demu bi njihovo ra\u0111anje u posve novom obliku bilo ona budu\u0107nost koja neposredno pridolazi.<\/p>\n

Evo kako Lama Ole Nidal govori o fenomenu barda, koji smatramo, mo\u017ee, opet zaklju\u010divanjem po analogiji, biti doveden u relaciju s pitanjem smrti medija: “Kada se govori o bardu, obi\u010dno se misli na vrijeme nakon smrti. Ipak, ovaj izraz je vi\u0161ezna\u010dan i odnosi se na bilo koje ‘me\u0111ustanje’".<\/a>[23<\/strong><\/span>]<\/sup><\/a> I dalje: “Prvo nastupa sam proces umiranja. Bez obzira je li smrt brza ili spora, dolazi do transformacije. Nakon toga, slijedi period u kojem um nastavlja s naviknutim tokom iz prethodnog \u017eivota. Nakon spoznaje da je nastupila smrt, odigrava se proces restrukturiranja i, u zavisnosti od dominantnog stanja, um stupa u novo podru\u010dje u okviru \u0161est nivoa postojanja.“<\/a>[24<\/strong><\/span>]<\/sup><\/a> Iako je ovdje upotrijebljen termin ‘um’, a ne medij, u dana\u0161njem vremenu, moglo bi se re\u0107i da, makar u dijelu svijeta koji je postao “mediacentri\u010dan”, pojam uma ili subjekta, interpretiranog u tradicionalnom smislu pojma (bilo da je rije\u010d o zapadnoeuropskoj misli ili o isto\u010dnja\u010dkim kulturama) biva supstituiran medijima, tj. tehnolo\u0161ki konstruiranim umnim svjetovima. Dakle, mediji kao subjekt, posredovani svije\u0161\u0107u, mi\u0161ljenom u tradicionalnom smislu pojma, slabe, nestaju i postupno prelaze u bardo stanje, u kojem su trenutno zate\u010deni. Ovaj prelazak \u010dini stadij ‘izme\u0111u’, iluziju \u0161to predstavlja, u nedostatku samosvijesti, medijsku kulturu kakvu danas poznajemo, a koja je na svom zalasku.<\/p>\n

Pojam bardo, nagla\u0161avamo, ovdje koristimo kao metaforu koja mo\u017ee ukazati na tendenciju dijalekti\u010dkog kretanja medija u smjeru budu\u0107nosti, a na temelju konstatiranja njihove aktualne smrti ili, preciznije re\u010deno, procesa (od)umiranja, te transformiranja ukupne medijske sfere k nekom novom, za sada nepoznatom stadiju njenog \u017eivota i razvoja. Iako ovo na prvi pogled zvu\u010di trivijalno, rije\u010d je o tome da mediji danas \u017eive to grani\u010dno stanje, to\u010dnije trenutak “izme\u0111u”, i to kao onaj proces, u kojem je vidljivo njihovo postupno umiranje, s jedne strane, te naziranje novog oblika \u017eivota, s druge strane, a da se, pritom, jo\u0161 ne zna kako \u0107e se taj proces konkretno dijalekti\u010dki razrije\u0161iti\u2026 Paradoksalno gledano, ovo stanje ili me\u0111ufaza \u017eivota i smrti medija je rezultat napredovanja tehnologije, odnosno “komunikativnog uma” tehnike. I svakako je artificijelno, sude\u0107i po podrijetlu nastanka.\u00a0 <\/p>\n

Bardo, pritom, predstavlja onaj me\u0111ustupanj, koji ne ozna\u010dava ni \u017eivot medija onakvih kakvi su danas u upotrebi, a ni smrt u smislu nekakvog definitivnog okon\u010danja njihove egzistencije. Rije\u010d je, kako bi to poststrukturalisti rekli, o “iluziji kraja”. Otuda bi iluzija \u017eivota, ali i smrti medija, predstavljala privid koincidiranja suprotnosti. I ina\u010de, jedan od \u0161est stupnjeva bardo stanja (koji sintetizira \u010ditav \u017eivotni ciklus) je pored sna i snivanja \u2013 definiran kao iluzija.\u00a0 Tako\u0111er, iako ga zami\u0161ljamo kao me\u0111ufazu, rije\u010d je, zapravo, o stupnjevitom kontinuitetu izme\u0111u smrti i novog \u017eivota medija, a nikako o iznenadnom kraju medija. Na sli\u010dan na\u010din bi se mogla tuma\u010diti i spomenuta teza Paula Virilija o informati\u010dkoj bombi, koja bi predstavljala „fuziju“ informati\u010dkih ratova \u0161to kroz posjedovanja i sukobe suprotnosti dovode do sloma slike. \u00a0Tim prije, \u0161to mediji danas, u sve ve\u0107oj mjeri, preuzimaju na sebe ulogu subjekta (podmeta), pomjeraju\u0107i te\u017ei\u0161te dijalekti\u010dkog razvoja uma od trenutka antropocentrizma na medijsko posredovanje realnosti. <\/p>\n

Stoga je ovo doba uvjetno nazvano epohom transhumanizma, u njegovom tehnolo\u0161ki definiranom vidu. A \u0161to se tehnicizirane umnosti ti\u010de, jasno je da je u pitanju otu\u0111enje uma od vlastite forme (slike), na koju se on fakti\u010dki reducira. Zato \u0161to jest nekakva svijest (poput lucidnih snova, na primjer), ali ne i samosvijest, bardo je najpogodniji pojam s kojim se ovo stanje mo\u017ee usporediti. Ono \u0161to je ovdje bitno istaknuti jest to da, po\u0161to mediji danas uvelike posreduju stvarnost (ma \u0161ta ona zna\u010dila), a u isto vrijeme i umiru, to potvr\u0111uje ideju nestajanja stvarnosti (Virilio), na ra\u010dun uve\u0107anja iluzije ili estetskog privida koji opet generiraju mediji. Zaklju\u010dak koji bi se na osnovi svega re\u010denog mogao formulirati sastoji se u sljede\u0107em: dana\u0161nji mediji definitivno stare, i u posljednjoj su fazi \u017eivotnog ciklusa, \u0161to je pojednostavljeno nazvano \u2013 kako krizom medija, tako i gubitkom (podmeta) realnosti. Ujedno, dana\u0161nji mediji prelaze u neko drugo stanje, pri \u010demu je po\u010detak jo\u0161 neproziran. Otuda \u017eivimo medijsku smrt, odnosno smrt nas vodi k novom \u017eivotu i po\u010detku djelovanja medija, a kroz me\u0111ufazu u kojoj po\u010diva kako smrt tako i budu\u0107nost istovremeno.<\/p>\n

 <\/p>\n

\n
\n

<\/a>[3<\/strong><\/span>]<\/sup><\/a> 
\n“Once upon a time, there was no Facebook, Twitter, Instagram or YouTube. Our lives did not revolve around a stream of status updates, tweets, videos and filtered photos. That was just 10 years ago.” Mary Catherine Wellons, 11 Predictions on the future of social media, <\/em>na stranici: http:\/\/www.cnbc.com\/id\/102029041<\/a>.
\n<\/span><\/p>\n<\/div>\n

\n

<\/a>[4<\/strong><\/span>]<\/sup><\/a> 
\nPaul Virilio, Informati\u010dka bomba<\/em>, Svetovi, Novi Sad, 2000, str. 110.
\n<\/span><\/p>\n<\/div>\n

\n

<\/a>[5<\/strong><\/span>]<\/sup><\/a> 
\nIsto.
\n<\/span><\/p>\n<\/div>\n

\n

<\/a>[6<\/strong><\/span>]<\/sup><\/a> 
\nhttp:\/\/www.charliehebdo.fr\/<\/a>.
\n<\/span><\/p>\n<\/div>\n

\n

<\/a>[7<\/strong><\/span>]<\/sup><\/a> 
\nPaul Virilio, Op. Cit<\/em>, str. 111.
\n<\/span><\/p>\n<\/div>\n

\n

<\/a>[8<\/strong><\/span>]<\/sup><\/a> 
\nIsto, str. 113.
\n<\/span><\/p>\n<\/div>\n

\n

<\/a>[9<\/strong><\/span>]<\/sup><\/a> 
\nIsto.
\n<\/span><\/p>\n<\/div>\n

\n

<\/a>[10<\/strong><\/span>]<\/sup><\/a> 
\nDana 29. IX. 2014. godine Udru\u017eenje gra\u0111ana za umjetnost, kulturu, medije i dru\u0161tvena pitanja „Mladi gra\u0161ak“ iz Beograda, neposredno po povratku s me\u0111unarodne znanstvene konferencije o budu\u0107nosti medija odr\u017eane na Cresu, realizovalo je kratki performans povodom smrti medija, u\u017eivo u programu Radio Beograda 202, \u010dime je, na simboli\u010dki na\u010din, ozna\u010dena nova etapa djelovanja medija na ovom kulturnom prostoru.
\n<\/span><\/p>\n<\/div>\n

\n

<\/a>[11<\/strong><\/span>]<\/sup><\/a> 
\nUsp. Manuel Castells, Mo\u0107 komunikacija<\/em>, Clio, Beograd, 2014, str. 237. i 239.
\n<\/span><\/p>\n<\/div>\n

\n

<\/a>[12<\/strong><\/span>]<\/sup><\/a> 
\nIsto, str. 237.
\n<\/span><\/p>\n<\/div>\n

\n

<\/a>[13<\/strong><\/span>]<\/sup><\/a> 
\nIsto, str. 237. i 238.
\n<\/span><\/p>\n<\/div>\n

\n

<\/a>[14<\/strong><\/span>]<\/sup><\/a> <\/p>\n

Vidi: Julija Kristeva, Mo\u0107i u\u017easa<\/em>, Ogled o zazornosti, Naprijed, Zagreb, 1989.
\n<\/span><\/p>\n<\/div>\n

\n

<\/a>[15<\/strong><\/span>]<\/sup><\/a> 
\nVidi: na stranici: http:\/\/www.robertlanza.com\/biocentrism-how-life-and-consciousness-are-the-keys-to-understanding-the-true-nature-of-the-universe\/<\/a>.<\/p>\n

<\/span><\/p>\n<\/div>\n

\n

<\/a>[16<\/strong><\/span>]<\/sup><\/a> 
\nUsp. Adam Tucker, "Virtually Dead: The Extension of Social Agency to Corpses and the Dead on Facebook" (2014). Honors Theses.<\/em> Paper 53, na stranici: http:\/\/digitalcommons.csbsju.edu\/honors_theses\/53<\/a>.
\n<\/span><\/p>\n<\/div>\n

\n

<\/a>[17<\/strong><\/span>]<\/sup><\/a> <\/p>\n

Primjera radi, detaljnije o „projektu“ virtualnog groblja vidi na stranici:\u00a0 http:\/\/www.genealogy.com\/vcem_welcome.html<\/a>, kao i na mnogim sli\u010dnim web-stranicama; zanimanje za ovakav vid predstavljanja smrti i posthumne komunikacije na internetu u tolikoj meri je poraslo da ve\u0107 postoje i virtualna groblja za ku\u0107ne ljubimce: http:\/\/www.virtualpetcemetery.org\/pet\/index.html<\/a>, i sl.
\n<\/span><\/p>\n<\/div>\n

\n

<\/a>[18<\/strong><\/span>]<\/sup><\/a> 
\nVidi na primjer, tekst iz sije\u010dnja 2011.: „After Death, Protecting Your ‘Digital Afterlife’“, na stranici: http:\/\/www.npr.org\/2011\/01\/10\/132617124\/after-death-protecting-your-digital-afterlife<\/a>.<\/p>\n

<\/span><\/p>\n<\/div>\n

\n

<\/a>[19<\/strong><\/span>]<\/sup><\/a> 
\nPored britanske TV serije (Afterlife<\/em>, 2005 – ), koja se bavi komunikacijom s mrtvima posredstvom medija, zatim i britanskog Afterlife<\/em> show programa koji je emitiran od 2005. do 2007. godine, pojavila se i Afterlife television<\/em> Boba Olsona, koja, shva\u0107aju\u0107i zna\u010daj novih medija, postavlja svoje priloge na platformi Youtube, bave\u0107i se potragom za „dokazima“ o \u017eivotu poslije smrti. Vidi na stranici: http:\/\/www.afterlifetv.com\/<\/a>.
\n<\/span><\/p>\n<\/div>\n

\n

<\/a>[20<\/strong><\/span>]<\/sup><\/a> 
\nUkratko o Projektu vidi na stranici: http:\/\/www.deadmedia.org\/<\/a>.
\n<\/span><\/p>\n<\/div>\n

\n

<\/a>[21<\/strong><\/span>]<\/sup><\/a> 
\nDetaljnije o “Manifestu” vidi na stranici: http:\/\/boingboing.net\/deadmedia.html<\/a>.
\n<\/span><\/p>\n<\/div>\n

\n

<\/a>[22<\/strong><\/span>]<\/sup><\/a> 
\nEvans-Wentz, W. Y., ed. The Tibetan Book of the Dead, or he After-Death Experiences on the Bardo Plane, <\/em>according to Lama Kazi Dawa-Samdup’s English Rendering, <\/em>1927. Reprint, Oxford: Oxford University Press, 2000.
\n<\/span><\/p>\n<\/div>\n

\n

<\/a>[23<\/strong><\/span>]<\/sup><\/a> <\/p>\n

http:\/\/www.magicus.info\/hr\/magicus\/tekst.php?id=25551<\/a>.
\n<\/span><\/p>\n<\/div>\n

\n

<\/a>[24<\/strong><\/span>]<\/sup><\/a> 
\nIsto.
\n<\/span><\/p>\n<\/div>\n

 <\/p>\n

Literatura:<\/strong><\/p>\n

„After Death, Protecting Your ‘Digital Afterlife’“, http:\/\/www.npr.org\/2011\/01\/10\/132617124\/after-death-protecting-your-digital-afterlife<\/a>.<\/p>\n

http:\/\/boingboing.net\/deadmedia.html<\/a>. <\/p>\n

http:\/\/www.afterlifetv.com\/<\/a>.<\/p>\n

http:\/\/www.charliehebdo.fr\/<\/a>.<\/p>\n

http:\/\/www.deadmedia.org\/<\/a>. <\/p>\n

http:\/\/www.genealogy.com\/vcem_welcome.html<\/a>.<\/p>\n

http:\/\/www.robertlanza.com\/biocentrism-how-life-and-consciousness-are-the-keys-to-understanding-the-true-nature-of-the-universe\/<\/a>.<\/p>\n

\n http:\/\/www.virtualpetcemetery.org\/pet\/index.html<\/a>. <\/p>\n

Kastels, M., Mo\u0107 komunikacija<\/em>, Clio, Beograd, 2014.<\/p>\n

Kristeva, J., Mo\u0107i u\u017easa<\/em>, Ogled o zazornosti, Naprijed, Zagreb, 1989.<\/p>\n

Tucker, A., "Virtually Dead: The Extension of Social Agency to Corpses and the Dead on Facebook" (2014). Honors Theses.<\/em> Paper 53, http:\/\/digitalcommons.csbsju.edu\/honors_theses\/53<\/a>.<\/p>\n

Virilio, P., Informati\u010dka bomba<\/em>, Svetovi, Novi Sad, 2000. <\/p>\n

Wellons, M. C., 11 Predictions on the future of social media,<\/em> http:\/\/www.cnbc.com\/id\/102029041<\/a>.<\/p>\n

 <\/p>\n

The Future of Media: Media and Death<\/span><\/strong><\/p>\n

 <\/p>\n

Abstract<\/strong><\/em><\/p>\n

 <\/span><\/p>\n

The text deals with the problem of the future of media, starting from the standpoint of the idea of death of the media and the end of media culture we know it today. At first the topic of death represented in the media treats death as the basis for the creation of numerous media concepts, in order to focus research, then, with the presentation of the death scene in the media, gradually shifted and focused on the so-called posthumous communication. In parallel with the process of transforming their media content redirection on the theme of death and communication with the worlds of the dead – which proved to be profitable – some media theorists, such as Virilio, for example, suggest the collapse of media images, as well as the consequences of keeping global information war. It would also mean, the possibility of a new beginning of media and a very different, a new media paradigm. At the same time, we are not talking about replacement of old and so-called \u201cPrimitive\u201d new media, but about a significant transformation. The media, in fact, upon our opinion, do not die in terms of their final death, but change in the dimension of existence, which is somewhere \u201cin between\u201d, on the border of life and death. This transformation of the media, from the dimensions of life to death and back (into the future), analogically meant, the most similar to the Buddhist concept and phenomenon of \u201cBardo\u201d.<\/p>\n

<\/em><\/p>\n

 <\/p>\n

Key words:<\/em><\/strong> the future of media, media death, posthumous communication, outdated and new media, bardo.<\/em><\/p>\n

 <\/span><\/p>\n

<\/a><\/p>\n

 <\/span><\/p>\n

\n\n\n\n
\"inmediasresno7malo\"<\/p>\n

\n  4(7)#13 2015<\/strong> <\/p>\n<\/td>\n

\n

\n\"Creative<\/a>
\u010casopis je otvorenog pristupa, a ovo djelo je dano na kori\u0161tenje pod licencom Creative Commons Imenovanje-Nekomercijalno 4.0 me\u0111unarodna.<\/strong><\/a><\/p>\n<\/td>\n

\n

UDK 7:316.774Galeta, I. L.
\n Prethodno priop\u0107enje
\n Preliminary communication
\nPrimljeno: 25.7.2015.<\/strong><\/p>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n

 <\/p>\n

Sead Ali\u0107<\/span><\/p>\n

Sveu\u010dili\u0161te Sjever – Sveu\u010dili\u0161ni centar Koprivnica<\/p>\n

sead.alic@centar-fm.org<\/p>\n

Ivan Ladislav Galeta \u2013 istra\u017eiva\u010d medijskog prostora i medijskoga vremena<\/span><\/strong><\/p>\n


\nPuni tekst: pdf (931 KB), Hrvatski, Str. 1024 – 1040
\n<\/span><\/strong><\/a><\/p>\n

 <\/p>\n

Sa\u017eetak<\/em><\/strong><\/p>\n

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Ivan Ladislav Galeta bio je multimedijski umjetnik koji je \u0161irio granice umjetnosti, ali i multimedije. Njegova su predavanja bila sli\u010dna performansima. Bio je istra\u017eiva\u010d povezanosti umjetnosti-\u017eivota-duhovnosti-prolaznosti. Mo\u017ee ga se odrediti i kao istra\u017eiva\u010da novih medijskih mogu\u0107nosti. On je istra\u017eivao elemente paradoksalnog i manipulacijske elemente u mediju televizije. \u0160to je umjetni\u010dki \u010din i koji je njegov odnos prema \u017eivotu? Neka od njegovih pitanja bila su i: stvarnost stvarnoga, kretanje, pitanje recikliranja umjetni\u010dkih proizvoda, permakulture, bioenergije, ljudske percepcije, svetosti i\/ili potpisivanja umjetni\u010dkih djela …Rad \u017eeli naglasiti one to\u010dke umjetni\u010dkog rada Ivana Ladislava Galete koje sugeriraju druk\u010diju budu\u0107nost medija ili barem jednog njihovog dijela.<\/em><\/p>\n

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Klju\u010dne rije\u010di:<\/em><\/strong> Ivan Ladislav Galeta, vrijeme, prostor, umjetnost, medij.<\/em><\/p>\n

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Uz djelo Ivana Ladislava Galete<\/a>[25<\/strong><\/span>]<\/sup><\/a> umjetnika<\/em> koji \u00a0je \u00a0\u017eivio svoju umjetnost („Svaki moj \u010din je zapravo umjetni\u010dko djelo“), teoreti\u010dara umjetnosti<\/em> koji se nije dao daleko od sunca i prirode, eksperimentatora<\/em> koji je medije ispravno razumijevao kao posrednike u naj\u0161irem smislu, sveu\u010dili\u0161nog profesora<\/em> \u010dija su se predavanja pribli\u017eavala performansima, osniva\u010da i urednika<\/em> koji je bio svjestan potrebe uvr\u0161tavanja video i animiranih materijala u edukacijske procese, istra\u017eiv\u010da <\/em>novih iskustava u medijima umjetnosti i umjetni\u010dkom \u010dinu , onoga koji je tragao za umjetni\u010dkim prosvjetljenjem, \u010dovjeka koji je poku\u0161avao dovoditi sebe „u energetsku situaciju“ u kojoj „zra\u010di“ \u2013multimedijskog umjetnika<\/em> koji je pro\u0161irio i odrednice multimedije do razina permakulture i povezanosti \u017eivota, zdravlja, lijepoga, smijeha, duhovnosti…<\/p>\n

Onako kako la\u017eni moral onemogu\u0107uje ono zbog \u010dega je uspostavljen; onako kako la\u017eno novinarstvo onemogu\u0107uje demokraciju u koju se kune; onako kako pozivanja na slobodu, budu\u0107nost, sre\u0107u i raj nerijetko vode u totalitarizme, na sli\u010dan na\u010din na\u0161e hipnoti\u010dko buljenje u nove masmedijske igra\u010dke su\u017eava na\u010dine gledanja, percepcije svijeta, oblike razmi\u0161ljanja, na\u0161u (jo\u0161 uvijek mogu\u0107u) kriti\u010dku dimenziju. Stoga promi\u0161ljanje mogu\u0107e budu\u0107nosti medija mo\u017ee i\u0107i u dva smjera. Jedan je slutnja tehni\u010dkih mogu\u0107nosti novih naprava (koje nam \u017eivot pojednostavljuju uglavnom kompliciraju\u0107i ga). Ve\u0107ina promi\u0161ljanja o temi budu\u0107nosti medija manje-vi\u0161e ide u tom smjeru.<\/p>\n

No postoji i drugi pristup. Govor je to o mogu\u0107oj i druga\u010dijoj budu\u0107nosti medija, govor o poniranju u tehni\u010dku, misaonu, stvarala\u010dku igru s aktualnim nam medijima, igru koja mo\u017ee naslutiti dimenzije koje atraktivnost medija skriva, a koje su u medijima sadr\u017eane.<\/p>\n

U ovom tekstu zadr\u017eat \u0107emo se na jednom umjetniku koji bi mogao simbolizirati takav pristup, umjetniku koji prelazi preko okvira odrednice umjetnika, te koji nas svojim radovima uvla\u010di u na trenutke zastra\u0161uju\u0107u dubinu vlastitog simbolizma. Rije\u010d je Ivanu Ladislavu Galeti.<\/p>\n

Ne\u0107e to me\u0111utim biti niti predstavljanje Galete, niti obja\u0161njavanje njegovih djela. Tekst \u017eeli razmi\u0161ljati zajedno s Galetom, jer je upravo Galetino djelo gotovo idealno za poniranje u nedirnute dubine od\u010ditavanja mogu\u0107nosti medija, promjene ljudske percepcije i njeno osloba\u0111anje.<\/p>\n

Pritom ne treba zaboraviti da se sam Galeta \u010desto pozivao na filozofiju. Na filozofijsku dimenziju Galetina rada pozivali su se i svi kriti\u010dari koji su analizirali Galetino djelo.<\/a>[26<\/strong><\/span>]<\/sup><\/a> Ovaj bi tekst volio biti nadogradnjom na teze kritike, odnosno oblikom razvijanja nekih teza koje su u tim tekstovima mo\u017eda implicite i prisutne, ali koje nisu izronile na povr\u0161inu. <\/p>\n

Filozofsko-medijsko promatranje koje se ne lovi u mre\u017eu objekta svog promatranja poku\u0161ava proniknuti u dubinu koja mo\u017ee ali i ne mora biti izravno vezana s objektom istra\u017eivanja. Primjerice, simbolika prisutna u Galetinom djelu mo\u017ee biti interesantna istra\u017eiva\u010dima u podru\u010dju matematike, programiranja, teologije, mistike, pa i poljoprivrede odnosno permakulture. No ono \u0161to je do toga dovelo to je pristup koji je proizvod Galetine slobode, njegovog kreativnog \u010dina, njegove upornosti, njegove osu\u0111enosti na traganje, njegove upu\u0107enosti na ono jedno, jedinstveno i zajedni\u010dko koje bi se moglo ili trebalo nalaziti u temeljima svega.<\/p>\n

Bez obzira tuma\u010dimo li budu\u0107nost kao ono utopijsko ili ono jo\u0161-ne realizirano, dakle, potencijal koji egzistira u postoje\u0107em \u2013 sve \u0161to je oko nas daje nam ishodi\u0161nu to\u010dku: ili to\u010dku otklona ili rudnik. Je li potreban radikalan rez ili je mogu\u0107a prilagodba? Kako su mediji i budu\u0107nost medija povezani sa sudbinom \u010dovjeka kao takvoga, s njegovom mi\u0161lju i mogu\u0107no\u0161\u0107u njegova opstanka?<\/p>\n

U svom je pristupu Galeta umjetnik koji se uvijek iznova osvr\u0107e na znanost. Tihomir Milovac bilje\u017ei: „U svojim, u po\u010detku fotografskim, a potom i filmskim radovima vizualizirao je va\u017ene oznake kvantne mehanike i energije polja nulte to\u010dke kao \u0161to je jedinstvenost, neizvjesnost i povezanost, to\u010dka sredi\u0161ta i \u0161irenje energije, prazni prostor, subatomske \u010destice, determinirani kaos, paralelni svjetovi<\/em>\u2026 da bi u zreloj dobi taj interes prepoznao kao osobnu misiju: pokazati da postoje\u0107i postulati i doktrine o materijalnom svijetu, razumijevanju energije i evolucije nisu dostatni i da postoji potreba za tra\u017eenjem novih tuma\u010denja i definicija.“<\/a>[27<\/strong><\/span>]<\/sup><\/a><\/p>\n

Poput traga\u010da za svetim gralom umjetni\u010dkoga \u010dina, Galeta ulazi u podru\u010dje samosvjesnog traga\u010da koji razumije da je ono \u0161to tra\u017ei u njemu samome, da je svaka umjetnost samo povr\u0161ina onoga \u0161to se kao energija, i volja, i snaga, i ljepota, pojavljuje u samom traga\u010du. Traganje za izlaskom iz labirinta vodi ga do piramidalno ustrojenog kafkinog teksta koji bilje\u017ei joyceovsku struju svijesti kao sliku koja je simbol onog univerzalnog za kojim traga. Slova su postala dijelom slike kao simbola koji nadilazi zna\u010denje zabilje\u0161ki velikih imena: „Uliks Jamesa Joycea \u010diji mu narativ toka svijesti slu\u017ei kao predlo\u017eak za istra\u017eivanje meta-odnosa rije\u010di, simbola i brojeva te omogu\u0107ava potvrdu sveobuhvatnosti i jedinstva vremena i prostora kakvu \u010dita u prirodi.“<\/a>[28<\/strong><\/span>]<\/sup><\/a><\/p>\n

Zrakoplovi koji lete nadzvu\u010dnom visinom ne vide ljude, oni vide to\u010dkice koje treba izbrisati.’Pametne’ su bombe dobile krila i postale bespilotne letjelice. Iz perspektive tih letjelica \u010dovjek nije ‘strijela odapeta prema samome sebi’ nego cilj kojega treba pogoditi projektil ‘odapet’ sa sigurne razdaljine.<\/a>[29<\/strong><\/span>]<\/sup><\/a><\/p>\n

Politika je postala umije\u0107e mogu\u0107ih obe\u0107anja. Politi\u010dke stranke ne razgovaraju s ljudima kojima obe\u0107avaju. Oni u pravilu ne vide ljude nego vide i \u010duju glasove u obliku ljudi-brojeva. Za medije je pak potraga za seksom, skandalima i smrtnim presudama u politi\u010dkim izborima na\u0161la svoj zlatni rudnik.<\/a>[30<\/strong><\/span>]<\/sup><\/a><\/p>\n

Tehni\u010dka mogu\u0107nost ubrzanja imperativ je koji se u skladu s vremenom i op\u0107eva\u017ee\u0107im stereotipima (naizgled) mora realizirati, ali koji donosi konzekvence pogubne po civilizaciju homo sapiensa. \u017divimo s vijestima koje nisu to\u010dne, nego su brze.<\/a>[31<\/strong><\/span>]<\/sup><\/a><\/p>\n

Mi\u0161ljenje ne ide u dubinu nego se utrkuje s brzinom sofisti\u010dkih medijskih igrarija. Znanost je postala platformom za napredovanja birokratiziranih sveu\u010dili\u0161nih struktura. (Sustav manipulacija, na sveu\u010dili\u0161tima razvijen je do najsitnijih detalja. Sloboda sveu\u010dili\u0161ta proizvela je neslobodu ljudi koji ve\u0107i dio svoga vremena kalkuliraju, oslu\u0161kuju, prate, a tek manjim dijelom rade na svojoj re\u010denici, odnosno, misli). <\/p>\n

Bankanizirana svijest pretvorila je svijet u \u010dinjenice s kojima je jednostavno operirati, ali kojima je tako\u0111er jednostavno i manipulirati.<\/p>\n

\u0160to u takvom svijetu mo\u017ee o\u010dekivati ona vrsta energije koja ne ide u susret stereotipima i koja poku\u0161ava vlastite napore hraniti \u017eeljom za autenti\u010dnim istra\u017eivanjem? Prije svega osudu na marginalnost, nerazumijevanje, pa i zaborav.<\/p>\n

To je kontekst koji upu\u0107uje na onu vrstu umjetnika koji su vrlo rano shvatili tu pogubnost brzine, ali i tehni\u010dku dimenziju pripremanja \u010dovjeka za sustav brzog i bezbolnog, neosjetljivog \u2013 prolaska kroz ne\u017eivljeni \u017eivot\u2026<\/p>\n

Zajedno s Ladislavom Galetom mogli bismo tvrditi: Sve je mogu\u0107e kondenzirati i interpretirati kao \u010dinjenicu, ali Chopen konzumiran u djeli\u0107u sekunde zorno predo\u010dava (simbolizira) besmislenost brzine, na njoj utemeljene civilizacije \u2013 \u00a0fast food kulture.\u00a0 \u010cin umjetnika, naoko besmislen, stvara situaciju koja je bogata mogu\u0107nostima \u010ditanja. Kako, dakle, izgleda jedno umjetni\u010dko djelo kondenzirano do razine mrvice vremenskog odsje\u010dka kao mrvice instant umjetni\u010dkoga praha?<\/p>\n

Ni zvukom, a niti slikom rezultat ne veseli. No, pojavljuje se novi na\u010din gledanja koji donosi pitanja iz neo\u010dekivanoga smjera: \u0160to nam donosi ljepota ubrzana do razine brzine kojoj stremimo? U \u0161to se pretvara estetska dimenzija ubrzavanjem do neprepoznatljivosti? Ako su odgovori i jednostavni mora se priznati da o\u010diglednost koju posti\u017ee umjetnik iznena\u0111uje, a da hrabrost upu\u0107ivanja u eksperiment zadivljuje.<\/p>\n

Nakon \u0161to se povr\u0161na ljepota prodala tabloidima i reklamnoj industriji na umjetnosti je prona\u0107i dublje dimenzije ljepote. Lijepo i istinito ne plivaju po povr\u0161ini. Ono kriti\u010dko umjetni\u010dkoga \u010dina mora zaroniti u dubinu. Brecht je dobro postavio problem, ali na njega nije uspje\u0161no odgovorio.<\/p>\n

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