{"id":379,"date":"2021-05-26T09:56:57","date_gmt":"2021-05-26T09:56:57","guid":{"rendered":"https:\/\/sweet-mcclintock.194-60-87-163.plesk.page\/inmediasres\/2021\/05\/26\/clanci-in-medias-res-br-18\/"},"modified":"2021-05-26T09:56:57","modified_gmt":"2021-05-26T09:56:57","slug":"clanci-in-medias-res-br-18","status":"publish","type":"post","link":"https:\/\/centar-fm.org\/inmediasres\/index.php\/clanci-in-medias-res-br-18\/","title":{"rendered":"\u010clanci IN MEDIAS RES br. 18"},"content":{"rendered":"

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\n  10(18)#1 2021<\/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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UVOD<\/span><\/strong><\/p>\n

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Predrag Finci<\/span><\/p>\n

\nFlat 5, Rosa Freedman Ctr.<\/p>\n

17 Claremont Way, London, England<\/p>\n

predrag.finci@gmail.com<\/p>\n

Korona, bilje\u0161ke<\/span><\/strong><\/p>\n


\nPuni tekst: pdf (226 KB), Hrvatski, Str. 2779 – 2787
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1.<\/p>\n

Gotovo svuda samo jedna vijest: korona. Pandemija. <\/p>\n

Odjednom se sve promijenilo. Gotovo sve oko nas, mnogo toga i u nama. Svijet se promijenio. U doba pandemije kovida postao jedan. Na\u017ealost, nakratko i samo u nesre\u0107i, ali barem tada.<\/p>\n

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2.<\/p>\n

Jo\u0161 uvijek svako jutro krenem uz ulicu, u \u0161etnju ili kupovinu. Izbjegavam autobus. Sve je manje svijeta na ulici, ti\u0161ina sve ve\u0107a, sve \u010de\u0161\u0107e svi kontaktiramo s drugima samo telefonom ili novim elektroni\u010dkim sredstvima komuniciranja. Ljudi kupuju vi\u0161e nego ikad, ali samo hranu i higijenske potrep\u0161tine. I u prodavaonicama manje osmijeha, manje ljubaznosti nego ranije. Atmosfera me neobi\u010dno podsje\u0107a, mada samo u naznakama, na onu u Sarajevu na nekoliko dana pred rat. Dodu\u0161e, ovdje, u Londonu, sve je pod kontrolom, radnje rade, nitko ih ne plja\u010dka, ali je neprijatelj svuda oko nas. Premjer umiruje stanovni\u0161tvo, poduzete su mjere, bit \u0107e hrane, lijekova, sve \u0161to stanovni\u0161tvu treba, premda \u0107e, nagla\u0161ava, na\u017ealost biti \u017ertava. To je svakako opreznije od Izetbegovi\u0107eve izjave da rata u Bosni ne\u0107e biti. Na vijestima gotovo samo govore o pandemiji korona virusa. Savjeti, kao i pred rat, bez naro\u010dite u\u010dinkovitosti. Ljudi su i prije prali ruke, i prije stariji nisu izlazili kada se prehlade ili imaju temperaturu. Ali, sada su “stariji gra\u0111ani” postali opasnost. Vidim i sam kako mi se izmi\u010du na ulici, \u010dak i mladi snagatori misle da sam opasan, nisu kada sam bio mlad. Umno\u017eeni strahovi stvaraju kolektivnu paranoju. Ponovo su se razmahale i stare rasne predrasude, ovaj put usmjerene prema ovda\u0161njim Kinezima, u \u010dijoj \u010detvrti sada gotovo nikoga. Starijima se sugerira da ne izlaze iz ku\u0107e. Mo\u017eda bi trebali na javnim mjestima (premda nikome nije mnogo do njih) napisati “Zabranjeno za starije od 60”! Ali,sada ve\u0107 izgleda da je to bila samo nada. Ne umiru samo stari, nego svi, svugdje, u svim klimatskim okolnostima. Mnogi govore, kao i ja, da je ova ofenziva smrtonosnog virusa sli\u010dna ratu. Ali, u ratu zna\u0161 s kim ratuje\u0161. Ovaj neprijatelj je mnogo opasniji. Nevidljivi, nijemi neprijatelj. Na sve strane, u svakome. Nitko ne zna kako se od njega mo\u017eemo potpuno za\u0161tititi, ni kada \u0107e i gdje napasti. U ratu sam sebi govorio da smrt do\u0111e brzo; sada ponovo mislim, sebe tje\u0161im: ni u najgorem slu\u010daju umiranje od ovog virusa ne traje dugo. Kao i u ratu, sada bi svako mogao ispri\u010dati svoju pri\u010du. I u tom pogledu isti osje\u0107aj kao u ratu: \u010demu o tome govoriti, kada je svaka osobna nesre\u0107a nesre\u0107i bli\u017enjeg sli\u010dna. A pomo\u0107i mo\u017eemo te\u0161ko i sebi samima. Nego se nadati, ne\u0107e dugo. Na ovaj ili onaj na\u010din, ne\u0107e sigurno dugo. I opet sve vi\u0161e mislim o ljudskoj nemo\u0107i u odnosu na prirodu, u kojoj se oduvijek potencijalno postojalo svako dobro, ali i sve opasnosti, koje se povremeno razbude, pomalo fatalisti\u010dki mislim o nekoj tajnovitoj sili, koja uspostavlja svoj red, mislim o onome \u0161to nam jo\u0161 nije znano, a uti\u010de na na\u0161e sudbine. Koja ni u najbolja vremena ne ovisi samo o nama. <\/p>\n

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3.<\/p>\n

Ljudi kupuju, sve \u0161to vide od hrane i pi\u0107a kupuju. Sje\u0107anje na rat: svaka konzerva koja nije bila pojedena i poslije rata bila ba\u010dena oteta je od nekoga tko je umro od gladi i iscrpljenosti.<\/p>\n

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4.<\/p>\n

Korona Virus je u\u010dinio jednu dobru stvar: razbudio je na\u0161u svijest o kozmosu, o nu\u017edi sklada s logosom stvari, brizi o okoli\u0161u i potrebi suradnje s prirodom, a samoj prirodi pomogao da se oslobodi prljav\u0161tine. Nadam se da u tu prljav\u0161tinu ne spada i ljudska vrsta.<\/p>\n

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5.<\/p>\n

Moj strepnja pi\u0161e tekst u doba pandemije virusa korona. Naslovih ga Post-borgesovska tiskara. Tekst mi nije objavljen u Oslobo\u0111enju. S glasilom sam dugo sura\u0111ivao, to mi se po prvi put dogodilo. Mo\u017eda s pravom nisu htjeli objaviti tekst, jer je\u00a0 bio obeshrabruju\u0107i. Bilo bi to ranjavanje ranjenih. Mra\u010dne tekstove ljudi \u010ditaju kada im je dobro, kao \u0161to gledaju filmove strave i u\u017easa kada nije oko njih stvarna prijetnja i opasnost. A sada bi trebao pisati samo ne\u0161to vedro, ne\u0161to \u0161to se otima smrti. Tekst sam ipak sa\u010duvao, onda ga poslao Jergovi\u0107u, on ga odmah objavio i na svom FB zidu napravio ovaj komentar: „Predrag Finci je napisao pri\u010du koju mo\u017eete pro\u010ditati na dva na\u010dina. Kao pri\u010du o zbilji, jer je tako napisana: i pri\u010da \u0107e vas malkice ubiti u pojam. Kao borhesovski artefakt, jer je i tako napisana: i pri\u010da \u0107e vas odu\u0161eviti. Pa izvolite, \u010ditajte .” <\/p>\n

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6.<\/p>\n

Rijetko sam dolazio u du\u0107an na uglu iako mi je najbli\u017ei ku\u0107i. Nije u du\u0107anu bilo mnogo proizvoda, tek poneki kupac, gazda uvijek namr\u0161ten, jedva i pozdravi. Od kada je nastala pandemija, u radnji gu\u017eva, na njegovom licu se kona\u010dno pojavio osmijeh.<\/p>\n

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7.<\/p>\n

Takvo doba: mislim sve bi moglo biti jo\u0161 gore, nadam se najboljem. Ljudi se ujedinili, nestale podjele, utihnule mr\u017enje, nitko ne slu\u0161a maloumne politi\u010dare, svi nastoje pomo\u0107i koliko mogu. Pa pomislim: dobri su ljudi. A onda, sa uvijek prisutnom sumnjom, pomislim i: kakvi su to ljudi kada samo pred opasno\u0161\u0107u postaju bolji? A neki, \u0161to je posebno razo\u010daravaju\u0107e, ba\u0161 tada jo\u0161 gori. Sre\u0107om, oni dobri jo\u0161 bolji.<\/p>\n

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8.<\/p>\n

Htio bih da ne pi\u0161em o koroni, a ne znam mogu li o i\u010demu drugom. Iz nekoliko razloga. Ne mogu, jer je to najve\u0107i problem s kojim se u ovom trenutku svi suo\u010davamo. Svjetske zdravstvene organizacije i mediji na sve strane ogla\u0161avaju: „Stanovnici svih zemalja, \u010duvajte se”. Kovid 19 je postao zajedni\u010dka briga i tema sviju nas. U svijetu u kojem \u017eivim, u Velikoj Britaniji do te mjere da predstoje\u0107i „Brexit” nije naro\u010dito ili barem ne toliko va\u017ena vijest, iako \u0107e i to trajno utjecati na ovda\u0161nji \u017eivot. Nitko postignutim sporazumom nije zadovoljan, ni oni koji su bili za, ni oni koji su bili protiv ovog razlaza. A i kako bi bili, kada se sva ta pri\u010da oko britanskog napu\u0161tanja EU otprilike svela na to da \u0107e ljudska prava u jo\u0161 uvijek ujedinjenom kraljevstvu biti manja, nesigurnost ni\u0161ta manja nego ranije, radni ugovori manje pravedni, prispjeli ilegalni emigranti u jo\u0161 te\u017eoj poziciji nego ranije, a sve cijene barem nekoliko postotaka vi\u0161e. Ljudi ipak trenutno mnogo vi\u0161e brinu o pandemiji i prinudnoj izolaciji, nego o politi\u010dkoj i ekonomskoj budu\u0107nosti zemlje. Sada je ve\u0107 registriran i mutirani virus, pa su neke zemlje prekinule zra\u010dne veze sa Otokom. Koji postaje Otok u svakom pogledu.<\/p>\n

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9.<\/p>\n

Bilo bi, naravno, nerazumno praviti se kao da problema pandemije korone nema, bez obzira \u0161to mislimo o njegovim uzrocima. Uvijek kada neka prijetnja nadvije ona postaje prva briga i nerazumno, a i nemoralno bi bilo ne voditi o njoj ra\u010duna. <\/p>\n

U demokratski ustrojenim zemljama politi\u010dari uglavnom nastoje da se bira\u010dkom tijelu dopadnu, rje\u0111e da svoje ideje nametnu. Prvi su \u010desto bliski kratkovidnom populizmu, drugi lako mogu po\u010deti nalikovati zlokobnom politi\u010dkom totalitarizmu, pa radije savjetuju nego \u0161to napadno sugeriraju i zahtijevaju.\u00a0 A u trenutnoj situaciji i konzervativci i oni skloni liberalizmu ipak moraju da se pona\u0161aju kao zastupnici „nanny state”. Zato vlada upozorava da nas vakcina, barem za nekoliko sljede\u0107ih mjeseci, ne\u0107e spasiti, a oni koji su skloni teorijama zavjere dokazuju da \u0107e nas vakcina sve uni\u0161titi. No, ako je smrt svakako blizu, bolje je probati odgoditi, mo\u017eda vakcina pomogne. <\/p>\n

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10.<\/p>\n

Sje\u0107am se kako mi je davno jedan dugogodi\u0161nji politi\u010dar rekao da u doba katastrofa politi\u010dari neometano mogu sprovesti mnoge nepopularne mjere. Tako su gotovo neprimjetno pro\u0161le sve nove politi\u010dke odluke, odobravane sve vrste ograni\u010denja, a nije puno nemira izazvalo podizanje cijena prehrambenih artikala i lokalnih taksi. Naravno, sada\u0161nja vlast \u0107e platiti svoje rukovo\u0111enje ovom „zdravstvenom krizom”, jer \u0107e biti optu\u017eena za sve negativne posljedice, a njene posljedice \u0107e sigurno biti ogromne, najprije zdravstvene (a tu \u0107e, rekao bih, vi\u0161e \u0161tete biti na psiholo\u0161kom nego na fizi\u010dkom planu), potom posljedice na planu dru\u0161tvenih odnosa, a ekonomska \u0161teta je ve\u0107 o\u010digledna. <\/p>\n

I doista, mnogi su se ve\u0107 navikli na svijet bez kontakata, knji\u017enica, kina, kazali\u0161ta, bez kulturnih navika i predali pre\u017eivljavanju od danas do sutra, u kojem je najva\u017enije da ima hrane i vode, drugo\u00a0 ih ba\u0161 briga. Mrak je ve\u0107 stigao. Pred ovogodi\u0161nje bo\u017ei\u0107ne i novogodi\u0161nje blagdane mnogi su napustili velike gradove, London posebno, kao da su u strahu bje\u017eali od smrti ili se nadali da \u0107e u nekom dalekom mjestu sa svojim bli\u017enjima biti sigurniji. Oni kojima je ova prisilna odijeljenost od svijeta dodijala, postavljaju radikalna pitanja o osobnoj slobodi. Imamo li pravo na smrt? Jesam li slobodan umrijeti ako mi nije do mene samog u ovom vremenu sku\u010denog \u017eivota? Ili, manje radikalno, imam li pravo riskirati i \u017eivjeti na vlastitu odgovornost? Ali, onda dolazi pitanje granica vlastite slobode, jer mi nismo slobodni da svojim odlukama i pona\u0161anjem ugro\u017eavamo Drugog i \u0161tetimo bli\u017enjima. Nemoralno bi bilo i izlagati druge riziku ili ne brinuti o njima, ma koliko mislili da je odbacivanje „za\u0161titnih mjera” pravo slobodne ljudske jedinke, jer nismo slobodni ugro\u017eavati druge. A tu je u pitanju i eti\u010dko dr\u017eanje svakog od nas. Tada se vra\u0107amo onim na\u010delima koja su formulirana ve\u0107 u anti\u010dka vremena, a koja nas upozoravaju da su medicinska (zdravstvena) pitanja u sprezi sa eti\u010dkim pitanjima. I da je solidarnost nu\u017ena ako ho\u0107emo da se izbavimo iz te\u0161ke situacije, pa i iz ove u kojoj smo. Tek nakon toga mo\u017ee do\u0107i do „svo\u0111enja ra\u010duna” na svim nivoima. Na politi\u010dkom planu prije svega, jer \u0107e to postati prvo pitanje: \u0161to ste i kako \u010dinili u doba pandemije? <\/p>\n

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11.<\/p>\n

Sino\u0107 na BBC 4 snimak briljantne predstave Ujka Vanja, malo osuvremenjena drama A. P. \u010cehova. Prava drama za kraj ove godine: \u010cehovljev prigu\u0161eni humor, njegovi ranjeni junaci, njegov tugaljivi optimizam. Majstorska re\u017eija, briljantna gluma (treba li to uop\u0107e re\u0107i kada su u pitanju londonska pozori\u0161ta\/kazali\u0161ta), svaka uloga sjajno donesena. Na kraju se pogase svjetla. Glumci pozdravili jedni druge. Predstava zavr\u0161ena. Nema aplauza, prazna sala. Korona.<\/p>\n

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12.<\/p>\n

Moj susjed, s kojim ponekad pijem kavu, zna da se bavim filozofijom. Ne znam \u0161to on pod filozofijom podrazumijeva, ali mi se po njegovom pitanjima \u010dini da on pod filozofima podrazumijeva neke „stru\u010dnjake op\u0107e prakse”<\/strong>, koji imaju odgovore na sva pitanja. Zato me svaki \u010das pita o ne\u010demu drugom. U zadnje vrijeme samo o koroni<\/strong>, a tome odmah uslijedi pitanje kada \u0107e kavane po\u010deti raditi kao nekada, ho\u0107emo li mo\u0107i uskoro bez brige oti\u0107i na po jednu.<\/p>\n

O tome pone\u0161to ka\u017eem, ali za razliku od sveznalica koje se na sve strane ogla\u0161avaju pod raznim pseudonimima sa izvje\u0161tajima iz svojih fantazija, ne znam mnogo. Imam mnogo vi\u0161e pitanja, nego odgovora<\/strong>.<\/p>\n

Tvrdnja u filozofiji mora biti dobro utemeljena, razlo\u017ena i argumentirana. U njoj ne smije biti brzopletosti<\/strong>. Je li refleksiji nu\u017ena distanca u promi\u0161ljanju problema i fenomena? Nu\u017eno joj je odstojanje od osobnog interesa, od samog predmeta interesa, a i vremensko odstojanje. Mo\u017ee li onda filozofija odgovoriti na izazov trenutka? Iskustvo u\u010di mi\u0161ljenju. Mislimo situaciju, a situacija uvjetuje mi\u0161ljenje. Ne diktira mi\u0161ljenje iskustvo, nego iskustvo mi\u0161ljenje<\/strong>. Jedno je ono \u0161to sam o ratu mislio za vrijeme rata, pogotovo dok sam ratu izravno svjedo\u010dio i ratne neda\u0107e osje\u0107ao, a drugo \u0161to danas o ratu mislim. Kada pomislim na rat i danas je u meni isti osje\u0107aj, ali sada malo bolje znam za\u0161to je rat bio. Spoznaja mijenja na\u0161u predod\u017ebu. \u0160to je potpunija, na\u0161a slika problema o kojem mislimo je cjelovitija. Barem mislimo i vjerujemo: jasnija.<\/p>\n

U promi\u0161ljanju odre\u0111enog fenomena postavljamo najprije pitanje \u0161to je taj fenomen u odre\u0111enoj situaciji i potom \u0161to je fenomen sam po sebi. Fenomen najprije opisujemo, onda po\u010dinjemo analizirati, razumijevati, tuma\u010diti, uistinu spoznavati. Za sada na\u0161u novu, planetarnu nevolju, pandemiju korone, samo opisujemo. I poku\u0161avamo razabrati \u0161to su joj uzroci.<\/p>\n

U slu\u010daju korone sam fenomen je lako identificiran, \u010dak i vizualno predstavljen. Odmah je izbilo pitanje: otkud ova napast?<\/strong> Do sada smo dobili tri vrste odgovora-hipoteza: korona je rad prirode; ljudsko djelo (virus proizveden u laboratoriju) ili volja vi\u0161e sile (sudbine ili samog Boga).<\/p>\n

Ova posljednja tvrdnja se ipak najmanje spominje, jer bi time Svevi\u0161njem bile pripisane zle namjere, zlo\u0107a, \u0161to ve\u0107ina vjernika ne mo\u017ee prihvatiti, jer bi takva hereti\u010dna misao vodila raskidanju saveza s Bogom i pripisivanje sotoninih namjera Svevi\u0161njem. O tome da je u pitanju priroda govore oni koji su skloni osuvremenjenoj verziji Malthusovih stajali\u0161ta, po kojima sama priroda vodi ra\u010duna o ravnote\u017ei i harmoniji, pa je do\u0161lo vrijeme da se oslobodi suvi\u0161ka. Ni ova biologisti\u010dka ideja nije previ\u0161e u opticaju. Oni pak koji su bliski „teorijama zavjere” i svojim vlastitim fantazijama, a naj\u010de\u0161\u0107e poma\u017eu u \u0161irenju panike i udovoljavaju vlastitom nezadovoljstvu, ponajvi\u0161e vjeruju u mo\u0107ne demone, otjelovljene u liku pojedinih znanstvenika ili politi\u010dara, koji nam spremaju propast.<\/strong><\/p>\n

Na sve na\u010dine ljudi nastoje na\u0107i neki zadovoljavaju\u0107i odgovor na ovu novu infekciju. No, mi sa svojim udesom potencijalno odavno, zapravo oduvijek \u017eivimo. \u017divimo sa svojom ranjivo\u0161\u0107u, izlo\u017eeno\u0161\u0107u, smrtno\u0161\u0107u. I bez prethodnih upozorenja i iskustava, a priori <\/em>znamo za postojanje smrtonosnih virusa, infekcija i bolesti, ali se nismo pripremili. Mnoge, posebno razvijene zemlje su mnogo vi\u0161e ulo\u017eile u naoru\u017eanje (tako bespomo\u0107no u borbi protiv stvarne opasnosti, a ipak ugro\u017eeno stanovni\u0161tvo rijetko spominje te nepotrebne izdatke), nego u znanost, u medicinu posebno.<\/p>\n

Uz sve pretpostavke, nisu nam jo\u0161 uvijek znane sve okolnosti. Zato ni uzroke jo\u0161 ne mo\u017eemo s dovoljno pouzdanja ozna\u010diti. To je trenutno stanje. Poslije \u0107e svi biti „pametni”<\/strong>, poslije \u0107e se javiti oni koji su „oduvijek znali”, to na sav glas dokazivati. Kao i uvijek.<\/p>\n

Govorimo o fenomenu koji nam samo kao oblik nije znan, premda nam je znana bolest kao takva. Govorimo o razvoju korone u njenom pojavljivanju. Mislimo o prisutnoj opasnosti koju svakojaka naga\u0111anja nisu u\u010dinila manje nepoznanicom. Ono \u0161to je ve\u0107 vrlo jasno jest da opasnost po tijelo kao i uvijek postaje i opasnost po duh, po psihi\u010dko stanje subjekta, i da kao i uvijek inficirani duh razara tijelo. A to jasno pokazuje da je na\u0161e postojanje ugro\u017eeno. Najprije je nastala ugroza pojedinca, onda problem komunikacije, a iz toga prijeti opasnost samoj egzistenciji, koja \u0107e u „novom nenormalnom” sigurno do\u017eivjeti neugodne transformacije.<\/p>\n

U nas je o koroni s filozofske to\u010dke najvi\u0161e pisao prof. Hrvoje Juri\u0107<\/strong>. Njegova knjiga, koja je po mojim informacijama ve\u0107 spremna, unijet \u0107e novo svjetlo u ovaj tamni fenomen. Meni taj fenomen nije jasan, pa bih za ovu priliku najradije parafrazirao \u010duvenu Marxovu zavr\u0161nu "Tezu o Feuerbachu": Filozofi su do sada razli\u010dito tuma\u010dili koronu. Radi se o tome da se korone oslobodimo.<\/p>\n

Diskutiranje o urgentnim i dramati\u010dnim situacijama bilo je vrlo prisutno u filozofiji egzistencijalizma<\/strong>. U njoj je upozoravano: filozofija se mora suo\u010diti sa aktualnim problemima. Mora odgovoriti na izazove situacije, na izazove svog vremena. Oni donose one probleme i pitanja o kojima je nu\u017eno misliti. Otud, iz filozofije egzistencijalizma dolazi i prvi odgovor \u0161to nam je \u010diniti: brinuti i odgovarati na moralna pitanja. Ako taj filozofski zadatak malo pojednostavim, onda \u0107u mojem susjedu mo\u0107i re\u0107i da najprije moramo brinuti jedan o drugom, jer je ljudska solidarnost prvi uvjet spasa u svakoj nevolji. Re\u0107i \u0107u mu: „We will stick together!”. Ako on ka\u017ee „Separately”, i to \u0107e biti u skladu s ovda\u0161njom tradicijom, a i „novim nenormalnim”<\/strong>.<\/p>\n

 <\/p>\n

I3.<\/p>\n

Moje postojanje dokazuje Drugi. Bez Drugog koji potvr\u0111uje moju egzistenciju moje stajali\u0161te je bezvrijedni solipsizam. Bez iskustva i svjedo\u010danstva Drugog moja egzistencija nije stvarna egzistencija. U tome bi se slo\u017eila ve\u0107ina filozofa, pogotovo onih koji su bliski filozofiji egzistencije, egzistencijalizmu i neomarksizmu. Moje postojanje dokazuje susret, komunikacija, interakcija. U doba pandemije virusa odjednom se sve izmijenilo. Da parafraziram slavnu Sartreovu rije\u010d: Drugi je Korona. Dru\u0161tvo je mjesecima postojalo samo jo\u0161 u virtualnom prostoru. Ba\u0161 kao \u0161to su mi u djetinjstvu u bajkama koje sam \u010ditao ili gledao bili stvarni junaci tih bajki, iako ih nigdje osim u imaginaciji nisam susretao, tako se u doba „dru\u0161tvene izolacije” ono \u0161to mi je do ju\u010der bila stvarnost polako udaljavalo od mene i postajalo mogu\u0107e samo kao virtualna stvarnost, kao stvarnost koju stvarna gesta vi\u0161e ne dokazuje. Nastao je svijet bez razmjene, zajedni\u010dke djelatnosti, bez dodira, bez tjelesnosti. Samo rije\u010d i slika, \u010dija zna\u010denja znam i koja osje\u0107am na osnovu ranijih iskustava, na osnovu onoga \u0161to je sada bilo sve manje mogu\u0107e. \u0160to takvo stanje bude du\u017ee trajalo, ono \u0161to mi je do nedavno bila stvarnost postajat \u0107e mi sve dalje, sve manje stvarno. Mogli bismo uskoro postati jedni drugima potpuno imaginarna bi\u0107a.<\/p>\n

Svijet je barem na neko vrijeme postao nedjelatni svijet. Svijet u kojem se preporu\u010duje, a ponegdje i nare\u0111uje izolacija, svijet pasivnosti, svijet bez produktivnosti, privremeni svijet obamrlosti. U takvom svijetu je jo\u0161 jedino smrt stvarna, a i ona se pretvorila samo u navo\u0111enje statisti\u010dkih podataka. Ljudi je, ka\u017eu, svakako previ\u0161e, i da ih milijarda ostane bit \u0107e ih opet puno, previ\u0161e (pri takvom ra\u010dunanju svako ra\u010duna da \u0107e pre\u017eivjeti, umrijet \u0107e drugi!), a ovo doba njihovog prinudnog odsustva dokazuje da su samo balast prirodi: \u010dak ni u ogromnom Londonu nema nesnosne buke, zrak je \u010di\u0161\u0107i, voda ponovo pitka, priroda ljep\u0161a nego ikada. Korona je ugrozila ljudsku vrstu, a pomogla prirodi. Iz toga mo\u017ee biti izvedena deprimiraju\u0107a poduka.<\/p>\n

Ali, svijet ne\u0107e mo\u0107i biti zadugo takav. Nestat \u0107e hrane, presu\u0161iti izvori, ni struja ne mo\u017ee zauvijek, sve \u0107e prestati sa radom, pa i na\u0161e elektroni\u010dke spravice, proizvodnja i snabdijevanje \u0107e zamrijeti, a ni politika vi\u0161e ne\u0107e biti mogu\u0107a, osim kao kontrola i teror. Sve vi\u0161e mislim da su distopijski romani bili djela realista. Iako sam oduvijek bio optimist i jedan od preostalih zagovornika utopije, ono \u0161to iskusih u krajnjim situacijama potvr\u0111uje mi da ono \u0161to je lo\u0161e uglavnom bude jo\u0161 gore. Zato previ\u0161e ne vjerujem da \u0107e biti bolje, ne vjerujem ni u naglo sticanje svijesti o okoli\u0161u i nu\u017edi pravednijeg dru\u0161tva. U doba korone razbudila se nada u bolji svijet. Ali, brzo \u0107e opet do\u0107i na\u0161a kukavna stvarnost. Ljudska priroda se te\u0161ko mijenja i ve\u0107ina \u0107e se vratiti svojim starim navikama. \u010cak strahujem da bi egoizam lako mogao postati dominantno moralno na\u010delo. Iz krajnjih situacija malo \u0161to pozitivno nastane, a mnogo dobrog nestane.\u00a0 Pandemija korona virusa omogu\u0107ila je postojanje svjetskog dobrovoljnog zato\u010deni\u0161tva. U njemu su oni u samo\u0107i sve vi\u0161e sami, oni u daljini jo\u0161 dalji. \u0160to du\u017ee bude ovo stanje trajalo, vlastodr\u0161ci mogu biti sve skloniji despotizmu i porobljavanju. Ve\u0107 su se posvuda pokazali efikasnim samo u dono\u0161enju i sprovo\u0111enju restriktivnih mjera, a potom „popu\u0161tanja”. I u jednom i u drugom slu\u010daju bez dovoljno utemeljenih obrazlo\u017eenja. Odjednom je postalo bjelodano da je u svakoj postoje\u0107oj dr\u017eavi politi\u010dka vrhu\u0161ka nekompetentna, svaka odluka politi\u010dara problemati\u010dna, a na\u0161a sloboda zapravo „uvjetna sloboda”, koja mo\u017ee biti ukinuta „u slu\u010daju potrebe”. Ovi privremeni a za to neovla\u0161teni \u010duvari na\u0161ih \u017eivota morali bi misliti da odgovor na nastalu neslobodu lako mo\u017ee biti nekontrolirana i nezaustavljiva erupciji bijesa. Stvarnost je jo\u0161 tu, samo se primirila. Ideja slobode nije nestala. A opasnosti je mnogo. Ako ne budu prona\u0111ena efikasna i dugotrajna rje\u0161enja, onda bi se moglo desiti da po\u010dne dominirati stvarnost „prirodne selekcije”, okrutno doba pre\u017eivljavanja najja\u010dih, atavizam koji je latentno uvijek bio prisutan, koji bi mogao postati svijet spa\u0161enih a svakojakim frustracijama upropa\u0161tenih ljudskih kreatura. Pogibelji koje stoje pred \u010dovje\u010danstvom mnogo su ve\u0107e od trenutne ugroze pandemije. U opasnost je svijet kakav smo poznavali. \u0160to je sada postala na\u0161a stvarnost saznat \u0107emo brzo, \u010dim se odmaknemo od na\u0161ih elektroni\u010dkih spravica, a na jo\u0161 jasniji na\u010din kada virus nestane. <\/p>\n

Danas je mnogo tekstova o pandemiji, a malo jasnih vizija. Naj\u010de\u0161\u0107e su ti tekstovi opisivanje op\u0107ih mjesta, neuvjerljivo mistificiranje, neosnovano spekuliranje, fantaziranje ili neznanje o virusu. Ostalo su vi\u0161e ili manje zanimljivi osobni dojmovi i poneko potresno svjedo\u010danstva. A nama nadasve treba jasan, u\u010dinkovit odgovor, uputa „\u0160to da se radi?” u doba pandemije. I kako iz nje iza\u0107i. Sve drugo je povla\u0111ivanje u\u017easu, sijanje straha, dokaz neznanja, pri\u010da u prazno i produ\u017eivanje ne\u017eeljenog stanja. <\/p>\n

Znanje i mo\u0107 su odavno, jo\u0161 u Baconovoj filozofiji, izjedna\u010davani. To\u010dnom se sada pokazuje i obrnuta tvrdnja, po kojoj je neznanje nemo\u0107. Ono \u0161to ne znamo o virusu koji hara, kao i o raznim bolestima i infekcijama koje nas tek o\u010dekuju, \u010dini nas nemo\u0107nim pred opasno\u0161\u0107u i izlo\u017eenima pogibelji. Zato su nam potrebni jasni odgovori. O svakom problemu kompetentno mo\u017ee govoriti samo onaj koji razumije prirodu problema. Zato u ovom trenutku najradije slu\u0161am znanstvenike. Pragmati\u010dnost, racionalizam i eti\u010dko dr\u017eanje nu\u017eni su u svakoj krizi, pa i ovoj. Pri \u010demu je za svakog va\u017eno da i u te\u0161kim \u010dasovima krize i trenutne pandemije sa\u010duva svijest o svojim pravima i sebi samom, a i altruisti\u010dku brigu o bli\u017enjima. U tome spasonosna mo\u017ee biti samo solidarnost i pravi\u010dnost. Ono \u0161to je sada i uvijek nadasve potrebno jest eti\u010dnost u pristupu sveprisutnoj opasnosti. Da upotrijebim jedan starinski, ali barem nekima jo\u0161 uvijek znakovit izraz: humanizam.<\/p>\n

 <\/p>\n

14.<\/p>\n

Nova vremena: danas se u Ljubljani zavr\u0161ava simpozij na kojem sam u\u010destvovao, sutra otvaram skup o medijima i ludilu u Beogradu, iza nedjelje \u0107u biti na skupu u Zagrebu, a iz ku\u0107e nisam mrdnuo! Navikavam se na novu situaciju, a ne bih da postane mojom prirodom. I ne\u0107e, dokle god se nadam i dok me moja veselost ne napu\u0161ta. Vra\u0107am se iz samotne \u0161etnje i zapisujem:<\/p>\n

Nedjeljni korona haiku<\/p>\n

Nigdje kola, nigdje raje.<\/p>\n

Samo baje.<\/p>\n

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\"inmediasres\"<\/p>\n

\n  10(18)#2 2021<\/strong> <\/p>\n<\/td>\n

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\n\"Creative<\/a>
This journal is open access and this work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License.<\/strong><\/a><\/p>\n<\/td>\n

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\nDOI 10.46640\/imr.10.18.1<\/a>
\nUDK 004.031.4:614.44*Covid-19
\nPregledni \u010dlanak
\nReview article
\nPrimljeno: 19.01.2021.<\/strong><\/p>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n

 <\/p>\n

Iva Paska<\/span><\/p>\n

Zagreb, Hrvatska<\/p>\n

paska.iva@gmail.com<\/p>\n

Bits and Pieces: Experiences of Social Reality in
\nthe Midst of the Covid-19 Pandemic<\/span><\/strong><\/p>\n


\nPuni tekst: pdf (594 KB), English, Str. 2789 – 2802
\n<\/span><\/strong><\/a><\/p>\n

 <\/p>\n

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

 <\/span><\/p>\n

Covid19-pandemic has had a profound impact on the way we live and on the social reality in the world around us. Except for the enormous strain on public and health of individuals, it has affected social functioning to great extent, at least temporarily. It has sped up digitalization and forced social activities to transfer to the digital realm to an unprecedented level. It has simultaenously confined social actors to their geographical localities. In all of this, it has offered an opportunity of different observational point of human being in the world in the context of late modernity. It is possible to assume that this kind of social situation has the potential to affect the sense of ontological security of social actors, as well as their experience of space. The contradictory implications of the transfer of the social activitiy to the digital communicative spaces to current extent are also discussed. <\/em><\/p>\n

 <\/p>\n

Key words:<\/em><\/strong> pandemic, ontological security, late modernity, digital media.<\/em><\/p>\n

 <\/p>\n

 <\/p>\n

The COVID19-pandemics functions as the situation which throws us out of the ordinary social functioning. With its massive shutdown of social activity, its disruption of the functioning of the interconnected expert systems basic to social functioning in late modernity, as well as its transference of social activity to the sphere of digital communication channels it disrupts the usual social routines that are constitutive of our social reality. It can therefore affect our sense of ontological security. This can be connected to the rise of the feelings of anxiety. What we rely on for our everyday functioning is a sense of ontological security –\u00a0 Anthony Giddens posits this sense as a sense of stability and continuity felt by the individuals.<\/a>[1<\/strong><\/span>]<\/sup><\/a>
\n Giddens links trust directly to the sense of ontological security through the evolvement of the safe environment created by the habit and routine and emotional investment of our caretakers in early childhood which further transforms into a sense of protective cocoon that makes human beings feel safe later in life \u2013 what he calls „ontological security“.<\/a>[2<\/strong><\/span>]<\/sup><\/a>
\nFor the understanding of how current lockdown can impact the sense of ontological security, it is important to especially emphasize here that Giddens, building on the work of psychoanalysts, closely connects everyday routine to the feelings of ontological security and that this sense of order is further maintained by the routines that accompany everyday social functioning in later phases of life of human beings. As Giddens notes, the robustness of the shared social reality is conveyed by the high level of reliability of the contexts of day-to-day social interaction.<\/a>[3<\/strong><\/span>]<\/sup><\/a> Ontological security functions like an envelope that shields human beings from their awareness of those questions of existence, which, if one was to ponder them all the time, would produce paralysis, Giddens notes, or the feelings of engulfment.<\/a>[4<\/strong><\/span>]<\/sup><\/a> This envelope keeps existential anxiety at bay, anxiety which can be triggered by things that we do not usually ponder about in our everyday reality but they have to do with the basics of our human existence. These questions concerning the existential structure of human existence beyond our everyday lives are what existential philosophers and psychotherapists have called existential givens – various philosophers have interpreted them differently but they are all those things that the human condition will inevitably contain, such as bodily existence, aloneness, illness or death. Anthony Giddens sees those as questions of time, space, continuity, and identity.<\/a>[5<\/strong><\/span>]<\/sup><\/a> To be able to function on an everyday level in our human lives, it is necessary to bracket these things and this is what ontological security contributes to<\/a>[6<\/strong><\/span>]<\/sup><\/a>. In the course of everyday life, individuals do not usually ponder about things that could endanger them existentially on a day-to-day basis. Giddens explains how day-to-day routines together with the practical consciousness help bracket such anxieties because of their constitutive role in organizing an „as if“ environment concerning these issues of existence and provide modes or orientation which serve as cognitive and emotional answers to these questions<\/a>[7<\/strong><\/span>]<\/sup><\/a>. He proposes that the maintenance of habits and routines provides a “formed framework” which is a crucial bulwark against threatening anxieties.<\/a>[8<\/strong><\/span>]<\/sup><\/a> It is usually only in the cases of encounter with happenings that bring to one’s awareness the possibility of endangerment of one’s existence, such as in an encounter with an accident, that this bulwark can thin out.<\/a>[9<\/strong><\/span>]<\/sup><\/a><\/p>\n

It can be argued that this is precisely what is happening within the COVID-19 pandemics. An encounter with a possibly life-threatening virus not yet sufficiently researched with potential deadly consequences and virulency is enough in itself to affect the sense of ontological security since it presents precisely such encounter that Giddens posits as the events that bring to our awareness the possibility of a threat to our very existence. Added to that, the imposed lockdown measures are disrupting shared daily social routines due to the shutdown of the shared social activity to great extent, from the work-routines to educational activities. Some of the routines can be transferred online, but most social activities in physical spaces that allow for shared social framework are discontinued due to the fear of contagion. It can be argued that replacement activities in the isolation of private households or the ones in the digital communicative spaces can only partly replace daily routines of social actors happening within the shared social settings which are, as explained before, constitutive of our sense of ontological security. All of this can thus affect the sense of ontological security. The sense of ontological security can become unsettled in the wake of the lack of the shared social activities that contribute to its maintenance. Ontological security is a concept of well-being in the world that is rooted in a sense of order in one’s social and material environment –\u00a0 in a qualitative grounded theory, thematic analyses indicated that the markers of ontological security were, for example, constancy, routine, and control.<\/a>[10<\/strong><\/span>]<\/sup><\/a> We can see how these markers could be disrupted in times of COVID19-pandemic. When the number of those infected with the COVID-19 virus is measured daily and unpredictably varies, therefore causing measures to be introduced to capriciously fluctuat, a shared social reality is created that does not have an emphasis on constancy. Furthermore, the discontinuation of the aforementioned routines that constitute a shared social framework and can cause a rip in the social reality. It can potentially disturb the modes of orientation usually provided for social actors through social activities. To put this into metaphor, it is as if social actors get bits and pieces of their usual social routine and shared social framework. For example, qualitative research of the experiences of young adults in Portugal with COVID-19 has shown that many participants reported exprience of abrupt changes to major events, as well as lack of stimulation and the absence of a structured routine, further noting felt loss of contacts, increases in distrust of others and the experience of a loss of social competences through reduced interactions with others and shared social activities.<\/a>[11<\/strong><\/span>]<\/sup><\/a> It can be proposed that this kind of experience can put great pressure on the sense of ontological security, and can provide a fertile ground for the disturbance in the sense of ontological security of social actors. This kind of rip in social functioning can bring individuals into greater proximity to the so-called existential givens. Usual continuity of social activity and daily routines produce a sense of being-in-the-world<\/a>[12<\/strong><\/span>]<\/sup><\/a> whose felt sense is immersion which prevents one from thinking about existential questions and enables the social actor to take social and existential reality for granted. The discontinuation of the social activity to the current extent due to measures against the spread of COVID-19 can unsettle this. It has the potential of making social actors fall out of this immersion and bring them into contact with the existential structures beneath this sense of immersion. It can, in other words, bring into awareness the possibility of existential threats that are inherent in human existence. Consequently, there is a risk of the flood of existential anxieties kept at bay by social activities<\/a>[13<\/strong><\/span>]<\/sup><\/a> that constitute usual social functioning. This can manifest as a variety of changes in the experience of bodily existence, perception of time and space or one’s relation to the world. For the social actors unaware of the ontological nature of these processes, but even to those aware of it, this can have an unsettling effect. <\/p>\n

What also creates potential conditions for unsettlement on the collective level is the lack of the possibility for the ascription of meaning to events of COVID19-pandemics within the confinements of the system of technological rationality whose principles are prevalent in the social system of today. Pandemic is namely on the social level interpreted within the discourse of technological rationality, which is the principle underpinning the management of the social system in contemporary society. Social system based on technological rationality has from the time-period of industrialism<\/a>[14<\/strong><\/span>]<\/sup><\/a> continued functioning on these principles also in the age of late modernity. Such a system manages social organization on the principles of calculability and utility.<\/a>[15<\/strong><\/span>]<\/sup><\/a> This is happening also with the management of the social crisis caused by the COVID19-pandemics. It is reflected in the areas that it handles, but also in the kind of narrative that it uses. The areas it handles are the ones of the instrumental rational action, while the language of this kind of narrative is technical and is reflected in terms used in public discourse to handle the crisis, such as“social distance”, “numbers of the diseased”, “number of the deceased”. Such a language is oriented towards measurements. It reduces social handling of this crisis to the principles of calculability and utility, as Adorno and Horkheimer have noted that principles of technological rationality tend to do.<\/a>[16<\/strong><\/span>]<\/sup><\/a> Such a narrative can be equipped to address the technical dimension of the COVID19-pandemics, but its potential to address the emotional and symbolic dimension of the experience is limited. Phrases such as „social distancing“ are devoid of human content, as Adorno and Horkheimer have posited about the principles of pure reason<\/a>[17<\/strong><\/span>]<\/sup><\/a> guiding contemporary systems of technical management. The dealing with the crisis that is concerned with purely managerial aspects of the crisis handling does not include understanding of the consequences felt after the isolation or the need for human touch that people lack during the lockdown. These needs are of no concern to the system of technological rationality. Technological management of the crisis is not capable of offering the meaning or a point for social actors to orient themselves to during the handling of the crisis, beyond instructions of technological rationality. These instructions do not concern themselves with the needs regarding the sociability, emotional or symbolic needs. They reveal the full extent to which such a system of technological rationality is lacking when it comes to handling the human needs beyond those of practical functionality. Emotional or symbolic needs are left for the individuals to handle themselves. This is in line with the principles guiding the age of individualization which deem systemic problems to be dealt with in an individualized manner.<\/a>[18<\/strong><\/span>]<\/sup><\/a> However, in the times in which social support is minimized and the social activity is significantly reduced, in times in which the access to the shared social routines is to great extent disenabled, it is questionable whether such handling of the COVID-19 pandemic can create sufficient support to handle experiences of loneliness and anxiety potentially created by isolation and ontological insecurity that the COVID19-pandemic threatens to unleash on a collective level. The social conditions in which the disruption of social activity which contributes to preventing existential anxiety is extreme enough to bring the sense of instability to the forefront of human experience, accompanied by the lack of meaning-making symbolic narratives does not seem supportive of the sense of psychological stability of the social actors participating in it. <\/p>\n

It is no wonder that in such social circumstances there is a danger of mental health crisis ensuing. The studies that have documented the extent of the mental health crisis following the pandemics or being linked to pandemics are numerous and growing. Anxiety, loss of identity, disruption in usual activity, increases in feelings of loneliness are some of the experiences related to the COVID-19 imposed quarantine<\/a>[19<\/strong><\/span>]<\/sup><\/a> reported by the social actors on a global scale. Further, a longitudinal research in the UK during the three waves of the lockdown has shown that the 21% of the general population experienced above the cut-off point for moderate or severe levels of symptoms of anxiety and that the rate of suicidal ideation felt by young adults increased.<\/a>[20<\/strong><\/span>]<\/sup><\/a> The study predicts the effects on mental health to be profound and long-lasting, while especially impacting the mental health of women, young people those from more socially disadvantaged backgrounds, and those with pre-existing mental health problems.<\/a>[21<\/strong><\/span>]<\/sup><\/a> Another study in Germany found increased levels of psychosocial distress, anxiety, depressive symptoms, irritability, and a decrease in overall well-being, sense of coherence, sexual contentment, and sleep quality.<\/a>[22<\/strong><\/span>]<\/sup><\/a> It can be suspected from these findings that there can be a mental health crisis following the current modes of social functioning within the COVID19-pandemic. Perhaps it is also important to note that the research has shown that actual and perceived social isolation are in general both associated with increased risk for early mortality.<\/a>[23<\/strong><\/span>]<\/sup><\/a> This should be taken into account upon crafting the measures to prevent contagion. <\/p>\n

In an attempt to further explore the lived experience of the pandemic, it is interesting to note\u00a0 how the transfer of social activity to the digital communicative spaces has the potential to affect the social experience of time and space of social actors. Manuel Castells noted that the space is in contemporary society becoming less important due to the development of what he terms the „space of flows“, based on the understanding of the space in terms of experience and social actions, which is a new type of space \u2013 the material support of simultaneous social practices communicated at a distance.<\/a>[24<\/strong><\/span>]<\/sup><\/a> Separation of time and space is noted as crucial to the dynamism of the process of disembedding in late modernity by Anthony Giddens; the separating of time and space into standardized dimensions cut through the connections between social activity and its „embedding“ in the particularities of time and space.<\/a>[25<\/strong><\/span>]<\/sup><\/a>\u00a0 This can be noted in the “lifting out” of social relations from local contexts and their re-articulation across indefinite tracts of time-space.<\/a>[26<\/strong><\/span>]<\/sup><\/a> Furthermore, in late modernity, the influence of distant events on the proximate ones as well as on one’s self becomes more commonplace.<\/a>[27<\/strong><\/span>]<\/sup><\/a> This is enabled by the ICT-supported digital communication channels. Breaking free from local practices and habits is what can be recognized as one of the implications of this process. These processes have accelerated with the rapid technological development at the end of the 20th and the beginning of the 21st century. However, the current organization of everyday life during the COVID19-pandemics where the social activity is increasingly situated within the communicative realm of digital communication channels further accelerates the transfer of social activity to the digital communication realm. What happens is an incrementation of time at home and increased communication and relationship-maintenance through digital devices<\/a>[28<\/strong><\/span>]<\/sup><\/a>. The imposed social isolation measures due to the risk of contagion have fostered the use of digital communication in everyday lives of people at an unprecedented level in modern history. There is observed change in the noticeable increase in digital communication \u2013 the research from the USA shows that during the COVID19-lockdowns 43% of respondents used text messaging more often, while voice calls increased for 36%, social media use for 35%, video calls in 30%, almost a quarter of people used email more frequently (24%).<\/a>[29<\/strong><\/span>]<\/sup><\/a> They have also forced some people to use new digital practices for the first time.<\/a>[30<\/strong><\/span>]<\/sup><\/a><\/p>\n

This is bound to be felt in the experience of time and space of social actors. It can be proposed that the increased organization of social activities through the digital communication realm further lessens the importance of space which was already taking place in late modernity. During COVID-19 pandemics most social events are held online due to the measures of social distancing intended to prevent the contagion. It is thus now possible to attend a conference or to see a theatre-play anywhere in the world, to attend class or hold a meeting from one’s living room. The increase in the social and digital practices during the COVID19-pandemics has, in other words, enabled social actors to attend an event without being physically present \u2013 it has further freed social actors of their physicality as precpondition for the participation in social activity. Giddens’s consequences of modernity in terms of disembedding of events from their local context<\/a>[31<\/strong><\/span>]<\/sup><\/a> seem to be even more radicalized. It seems that space is due to the measures imposed on the social gatherings and consequently the transfer of all events online, becoming even more irrelevant. Human beings are now able to participate in an event held anywhere in the world, which constitutes a new lived experience of the globalized shared social reality with people in different geographical locations worldwide. This novel situation has the opportunity to turn the world into McLuhan’s global village unlike ever before.<\/a>[32<\/strong><\/span>]<\/sup><\/a> Global happenings on digital applications are currently held daily on Facebook and are attended by the participants on the global level. In the COVID19-lockdowns, most social activities transcend the scope of the nation-state and turn into a stream of events in the digital realm. Physical presence is during the COVID-19 pandemic being erased as the condition necessary to one’s attending of an event to such an extent on a social level that it is becoming the norm. Another example of this is the phenomenon of “remote work”; significant scope of labor activities are being transferred to the digital communication realm and at distance from the actual working location. This phenomenon is during the COVID19-pandemics being normalized to such an extent that it has the potentiality of becoming the usual form of the social activity of work<\/a>[33<\/strong><\/span>]<\/sup><\/a>, at least partially. What is happening is a kind of a workplace displacement or its disembedding from the working place and re-embedding into the private household or the location freely chosen by the social actor. In all of these aspects, it indeed seems that the significant aspect of the COVID19-pandemic is that physical space is becoming even more increasingly irrelevant in the context of social activity than it was at the advent of late modernity. However, social phenomena are rarely one-dimensional. Instead, they often contain inherent contradictions. Manuel Castells recognized the contradiction inherent in the supposed lessening of the relevance of the space in the conditions of contemporary society – it is reflected in the fact that while the world is constructed around the logic of the space of flows, people still make their living in the space of places.<\/a>[34<\/strong><\/span>]<\/sup><\/a> This contradiction can be seen as the contradiction inherent in the general feature of the digital communication realm, which is its divorce from the material and physical aspects of the social reality, as well as the its features determined by those aspects. This contradiction is becoming palpably accentuated during the current COVID19-pandemics. Social actors are increasingly spending their time in the realm of digital communicative spaces, relying on them to maintain their everyday social functioning. This current situation, however, simultaneously reveals the extent of their constraints by the physicality and spatiality in terms of material practices and social support in the local social context to which social actors have or lack access to. Digital communication channels are enabling the continuation of those social practices that can be maintained only through the communicative aspect online. However, the satisfaction of the parts of social practices that require embodiment within digital communicative spaces is questionable. For example, a birthday or Christmas party thrown over Skype makes for a different experience than the birthday party in physical presence, which is reflected in the uncanny feeling when participants having to provide their drinks and food themselves and send gifts per post. The usefulness of the digital communicative spaces during the lockdown is indisputable, since they allow for at least partial continuation of the social activity. It is the phenomenological quality of those activities that is explored here. The absence created by the lack of the possibility of embodiment of symbolic social practices during digital communication point us to the limitations that the digital communicative spaces have for the replacement of the multifaceted nature of the human social activity. If there is a need for care by a certain social actor it becomes palpably evident that the task can be performed only by those living in the geographical proximity.\u00a0 It can be seen as revealing of how the material practices that support the survival of our bodily existence as well as determine it to some extent in the social sphere, such as in the cases of material support needed for basic care or human contact needed for social support, resist the transfer of the social activity to the digital realm. When borders between geographical areas were closed for the prevention of contagion in Croatia at certain points during the lockdown, the digital communicative realm had difficulties compensating for the lack of physical geographical locality and its social and material circumstances. However, here it should be warned against, as Eva Illouz calls, „the paradigm of pure critique“ and what she calls its „longing for purity“ and its requirement for the evaluation of certain cultural practices\u00a0 progressive or regressive in their totality.<\/a>[35<\/strong><\/span>]<\/sup><\/a> The aim of this paper is not to discard or undervalue all the aspects of digital communication practices. It is needless to say that the possibilities of continuation of communicative aspects of social practices offered by digital communication channels enable at least partial social functioning and partial retaining of the social routines during the ongoing pandemic. Furthermore, it is also evident that the stretch of the events beyond their geographical localities to the global sphere of digital communicative spaces can be beneficial for the social actors of late modernity. At least in the communicative aspects and in relation to education and exposure to new influences, this can be advantageous for social actors. The aim of this paper is not to undervalue the extent of the opportunity of these practices to further lift social relations out of local context at least partially regarding the spread of the knowledge and reach. The aim is instead to use the opportunity that was granted by the transition of social activities online to this extent due to the COVID-19 pandemic \u2013 to explore the implications of the transference of the social practices online for the lived experience of social actors. Eva Illouz advocates for the critique to leave the area of purity and try to understand certain cultural practices from the perspective of their participants.<\/a>[36<\/strong><\/span>]<\/sup><\/a>\u00a0Building on this, to explore this further, an insight into how participants themselves see digital communicative spaces during COVID-19 would be required \u2013 an inquiry into how they experience these practices as a tool for relationship-maintenance during pandemic and to which extent the lack of the possibility of the embodiment of the social practices through digital channels affects the very social activities maintained through them. Namely, there is an intimation of a special type of exhaustion that is felt after participation in social activities online, which differs from the fatigue felt within embodied communication in physical reality. This exhaustion could point to the human physicality as understood by Maurice Merleau-Ponty<\/a>[37<\/strong><\/span>]<\/sup><\/a>, where the spatiality of the phenomenal human body takes hold of the space and social situations through the objects it touches and stimuli it anticipates in the space, thereby creating situational intentionality necessary to make full sense of social situations. To what extent can this intentionality be engaged when the only points of access to the communication process are a voice and picture of another person on a computer screen instead of other bodies? One is in contact only with the picture and the voice of the person we are communicating with, bits and pieces, but the body’s inclusion in the process is limited. It is as if one gets only the communication aspect of the multifacetedness of the embodied social situations \u2013 these are felt intimations of the experience of the lack of embodiment of social practices online, after what is currently almost a year-long transfer of digital practices online and lack of shared physical social activity. There are also some intimations of the difference in the phenomenological experience between face-to-face and online communication given that the research has pointed to the face-to-face communication being associated with lower levels of loneliness and higher life satisfaction in comparison with online communication.<\/a>[38<\/strong><\/span>]<\/sup><\/a> \u00a0Given such possible implications that point to the different phenomenological experience of the face-to-face encounter and consequently shared social activities in comparison to online communication there is a need for further discussion on this matter. <\/p>\n

Furthermore, it has to be noted that the sudden transfer of social activity to the digital realm to the current extent is bound to have implications for social marginalization. Digital inequality research has documented how the internet use functions according to the patterns of inequality correlated to different educational, race, and age backgrounds which may then influence the benefits one can get from the use of the internet.<\/a>[39<\/strong><\/span>]<\/sup><\/a> The internet is mostly used as a resource of support by those with greater Internet experience and skills, while people who lack digital skills or access to digital technologies are less likely to receive digital support since they have fewer resources of support for establishing new ways of communicating \u2013 those are older people or those with lower Internet skills, who are according to the research more likely to reduce digital communication in times of COVID-19 pandemic.<\/a>[40<\/strong><\/span>]<\/sup><\/a> In this way, the transfer of the social activities to the digital realm of the internet can deepen already existing social inequalities. This is especially troublesome when it is considered that digital communication is related to the building of certain kinds of capital: economic, social, cultural, political, and civic.<\/a>[41<\/strong><\/span>]<\/sup><\/a> Due to the extent to which social activity is transferred online in times of COVID-19 pandemics the maintenance of the social capital is to a large extent also transferred to the digital realm and that this can have implications for further widening of already existing social inequalities. Marginalized social groups can experience hardship in the request to maintain social activities and routines through the digital communication realm if they possess no access or lack of high-quality equipment needed to engage in them and\/or the lack of the skills needed for the engagement. Data shows that those with lower internet skills, as well as older people, are more likely to reduce digital communication during the pandemic, which might add to their disconnection from society.<\/a>[42<\/strong><\/span>]<\/sup><\/a> When social activities are to large extent moved online, the exclusivity of access to them is based on the premises of digital skills and\/or digital access to the extent unknown before. This further brings us back to the necessity of material practices that digital communicative spaces require for their functioning and their consequent inherent physical aspect. It seems that so-called virtual reality is still determined by the physical one to great extent. <\/p>\n

In general, it can be noted that the implications of COVID19-pandemic are contradictory. On one hand, they force social actors to transfer the activity online and render space more irrelevant. In this sense they offer new opportunities for global interconnectedness, rendering physicality as unnecessary precondition for attendance of social activity. However, in the context of accompanying lockdowns they simultaneously also enforce the return to the spatial confinements of social material reality and physical bodily existence. They reintroduce social actors to the material reality of the social reality that the digital realm has trouble overcoming \u2013 the local economic and social context we have increasingly started to believe that we were in the process of abandoning by the possibilities of distanced social activity through digital communicative spaces and the increased mobility in the age of late modernity and globalization. It is almost as if the COVID19-pandemic functions as the reminder of the importance of the physicality of social space that human beings inhabit despite the space becoming more irrelevant due to technological advancements of late modernity. This is happening in the advent of late modernity which, building on the legacy of modernity stemming from the Enlightenment as well as the processes of individualization, has started taking self-determination and bodily autonomy for granted, expanded further by the possibilities of self-exploration offered by the increased mobility and digital communicative spaces. In this context, the return to the confinements determined by geographical spatiality and its social and material constraints might come as a shock.<\/p>\n

What can be noted by now in general is that the pandemic has interupted the framework of the shared social practices. They are now engaged in partially and to great extent in digital communicative spaces which functions as bits and pieces of the shared offline social reality in pre-COVID19 times. In this manner the COVID-19 pandemic has disrupted the routines needed for the maintenance of the sense of ontological security of social actors. This pandemic can also be seen as a forced re-encounter with the spatial nature of human existence. It has seemingly freed us from the restrictions of physicality by removing the physical presence as the necessary condition for the social encounter and rendering physical locality as irrelevant to the unfolding of social activity. However, it has simultaneously revealed the extent to which digital communicative practices have trouble following material and spatial determinants of our social localities. The ultimate implications of the COVID19-pandemic on social and individual functioning are complex and yet unclear. Since the pandemic is still ongoing, their extent and shape is yet to be assessed.<\/p>\n

 <\/p>\n

\n
\n

<\/a>[1<\/strong><\/span>]<\/sup><\/a> 
\nAnthony Giddens, Modernity and Self-identity<\/em>, Polity press, London, 1991., p. 3
\n<\/span><\/p>\n<\/div>\n

\n

<\/a>[2<\/strong><\/span>]<\/sup><\/a> 
\nIbid, p. 3
\n<\/span><\/p>\n<\/div>\n

\n

<\/a>[3<\/strong><\/span>]<\/sup><\/a> 
\nIbid, p. 36
\n<\/span><\/p>\n<\/div>\n

\n

<\/a>[4<\/strong><\/span>]<\/sup><\/a> 
\nIbid.
\n<\/span><\/p>\n<\/div>\n

\n

<\/a>[5<\/strong><\/span>]<\/sup><\/a> 
\nIbid, p. 37
\n<\/span><\/p>\n<\/div>\n

\n

<\/a>[6<\/strong><\/span>]<\/sup><\/a> 
\nIbid, p. 36
\n<\/span><\/p>\n<\/div>\n

\n

<\/a>[7<\/strong><\/span>]<\/sup><\/a> 
\nIbid.
\n<\/span><\/p>\n<\/div>\n

\n

<\/a>[8<\/strong><\/span>]<\/sup><\/a> 
\nIbid, p. 39
\n<\/span><\/p>\n<\/div>\n

\n

<\/a>[9<\/strong><\/span>]<\/sup><\/a> 
\nIbid, p. 40
\n<\/span><\/p>\n<\/div>\n

\n

<\/a>[10<\/strong><\/span>]<\/sup><\/a> 
\nBenjamin, Henwood, Brian Redline, Sara Semborski, Harmony Roades, Eric Rice and Suzanne L. Wenzel, “What’s next? A grounded theory of the relationship between ontological security, mental health, social relationships, and identity formation for young adults in supportive housing“<\/em>, Cityscape<\/em>, 20(3\/2018), p. 87-100.
\n<\/span><\/p>\n<\/div>\n

\n

<\/a>[11<\/strong><\/span>]<\/sup><\/a> 
\nCatia Branquinho, Colette Kelly, Lourdes C. Arevalo, Anabela Santos, Margarida Gaspar de Matos, „Hey, we also have something to say“: A qualitative study of Portugese adolescents’ and young people’s experiences under COVID-19“, Journal of Community Psychology<\/em>, 22(5\/2020).\u00a0
\n<\/span><\/p>\n<\/div>\n

\n

<\/a>[12<\/strong><\/span>]<\/sup><\/a> 
\nMartin Heidegger, Being and time<\/em>, Harper&Row, New York, 1962.
\n<\/span><\/p>\n<\/div>\n

\n

<\/a>[13<\/strong><\/span>]<\/sup><\/a> 
\nAnthony Giddens, Modernity and Self-identity<\/em>, Polity press, London, 1991., p. 39
\n<\/span><\/p>\n<\/div>\n

\n

<\/a>[14<\/strong><\/span>]<\/sup><\/a> 
\nMax Horkheimer and Theodor Adorno: Dialectic of Enlightenment: Philosophical fragments: Stanford University Press, Stanford, 2002.<\/p>\n

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

\n

<\/a>[15<\/strong><\/span>]<\/sup><\/a> 
\nMax Horkheimer and Theodor Adorno: Dialectic of Enlightenment: Philosophical fragments: Stanford University Press, Stanford, 2002., p. 3<\/p>\n

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

\n

<\/a>[16<\/strong><\/span>]<\/sup><\/a> 
\nIbid.
\n<\/span><\/p>\n<\/div>\n

\n

<\/a>[17<\/strong><\/span>]<\/sup><\/a> 
\nIbid, p.71<\/p>\n

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

\n

<\/a>[18<\/strong><\/span>]<\/sup><\/a> <\/p>\n

Ulrich Beck and Elisabeth Gernsheim-Beck: Individualization: Institutionalized Individualism and its Social and Political Consequences, Sage Publications, London, 2001.
\n<\/span><\/p>\n<\/div>\n

\n

<\/a>[19<\/strong><\/span>]<\/sup><\/a> 
\nSamanta K Brooks, Rebecca K Webster, Louise E Smith, Lisa Woodland, Simon Wessely, Neil Greenberg, Gideon James Rubin, “The psychological impact of quarantine and how to reduce it: rapid review of the evidence”, The Lancet<\/em>, 10227(395\/2020), p. 912-920.
\n<\/span><\/p>\n<\/div>\n

\n

<\/a>[20<\/strong><\/span>]<\/sup><\/a> 
\nRory O’Connor, Karen Wetherall, Seonaid Cleare, Heather McClelland, Ambrose Melson, Claire Niedzwiedz, Ronan E. O’Caroll, Daryl B. O’Connor, Steve Platt, Elizabeth Scowcroft, Billy Watson, Tiago Zortea, Eamonn Ferguson and Kathryn A. Robb, “Mental health and well-being during the COVID-19 pandemic: Longitudinal analyses of adults in the UK COVID-19 Mental Health & Wellbeing Study”, The British Journal of Psychiatry<\/em>, 2020.
\n<\/span><\/p>\n<\/div>\n

\n

<\/a>[21<\/strong><\/span>]<\/sup><\/a> 
\nIbid.
\n<\/span><\/p>\n<\/div>\n

\n

<\/a>[22<\/strong><\/span>]<\/sup><\/a> 
\nStefanie Jung, Jonas Kneer, Tillmann H.C. Kr\u00fcger, “Mental Health, Sense of Coherence, and Interpersonal Violence during the COVID-19 Pandemic Lockdown in Germany”, Journal of Clinical Medicine <\/em>9(11\/2020).
\n<\/span><\/p>\n<\/div>\n

\n

<\/a>[23<\/strong><\/span>]<\/sup><\/a> 
\nJulianne Holt-Lunstad, Timothy B. Smith, Mark Baker, Tyler Harris, David Stephenson, „Loneliness and Social Isolation as Risk Factors for Mortality: A Meta-Analytic Review“,Perspectives on Psychological Science<\/em>, 10(2\/2015), 227-37.<\/p>\n

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

\n

<\/a>[24<\/strong><\/span>]<\/sup><\/a> 
\nManuel Castells, The Rise of the Network Society, Volume I: The Information Age: Economy, Society, and Culture<\/em>, Wiley-Blackwell, 2010., xxii
\n<\/span><\/p>\n<\/div>\n

\n

<\/a>[25<\/strong><\/span>]<\/sup><\/a> 
\nAnthony Giddens, The Consequences of Modernity<\/em>, Polity press, Stanford, 1990, p. 20.<\/p>\n

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

\n

<\/a>[26<\/strong><\/span>]<\/sup><\/a> 
\nAnthony Giddens, Modernity and Self-identity<\/em>, Polity press, London, 1991, p. 18.<\/p>\n

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

\n

<\/a>[27<\/strong><\/span>]<\/sup><\/a> 
\nAnthony Giddens, Modernity and Self-identity<\/em>, Polity press, London, 1991.
\n<\/span><\/p>\n<\/div>\n

\n

<\/a>[28<\/strong><\/span>]<\/sup><\/a> 
\nValeria Saladino, Davide Algeri and Auriemma Vincenzo, “The Psychological and Social Impact of Covid-19: New Perspectives of Well-Being”, Frontiers in Psychology<\/em>, 11\/2020. <\/p>\n

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

\n

<\/a>[29<\/strong><\/span>]<\/sup><\/a> 
\nMinh Hao Ngyuen, Jonathan Gruber, Jaelle Fuchs, Will Marler, Amanda Hunsaker, Eszter Hargittai, “Changes in Digital Communication During the COVID-19 Global Pandemic: Implications for Digital Inequality and Future Research”, Social Media + Society<\/em> 6(3\/2020).
\n<\/span><\/p>\n<\/div>\n

\n

<\/a>[30<\/strong><\/span>]<\/sup><\/a> 
\nEszter Hargittai, Minh Nao Nguyen, Jaelle Fuchs, Jonathan Gruber Will Marler, Amanda Hunsaker and G\u00f6kce Karaoglu, Marco Gui, Tiziano Geroza, Elissa Redmiles, Marina Micheli, John E. Evans, Kerry Dobransky, Covid \u2013 19 Study on Digital Media and the Coronavirus Pandemic, Internet Use and Society Division<\/em>, Institute of Communication and Media Research, University of Z\u00fcrich, 2020, available at: http:\/\/webuse.org\/covid\/<\/a><\/p>\n

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

\n

<\/a>[31<\/strong><\/span>]<\/sup><\/a> 
\nAnthony Giddens, The Consequences of Modernity<\/em>, Polity press, Stanford, 1990.\u00a0<\/p>\n

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

\n

<\/a>[32<\/strong><\/span>]<\/sup><\/a> 
\nMarshall McLuhan, Understanding media: The extensions of man,<\/em> Mc Graw-Hill, London i New York, 1964.<\/p>\n

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

\n

<\/a>[33<\/strong><\/span>]<\/sup><\/a> 
\nRahul De, Neena Pandey and Abhipsa Pal: “Impact of digital surge during Covid-19 pandemic: A viewpoint on research and practice”, International Journal of Information Management<\/em>, 55(2020).
\n<\/span><\/p>\n<\/div>\n

\n

<\/a>[34<\/strong><\/span>]<\/sup><\/a> 
\nManuel Castells, The Rise of the Network Society, Volume I: The Information Age: Economy, Society, and Culture<\/em>, Wiley-Blackwell, 2010., xxxix.<\/p>\n

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

\n

<\/a>[35<\/strong><\/span>]<\/sup><\/a> 
\nEva Illouz, Hladne intimnosti: Oblikovanje \u010dustvenega kapitalizma<\/em>, Zalo\u017eba Krtina, Ljubljana 2010., p. 112.<\/p>\n

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

\n

<\/a>[36<\/strong><\/span>]<\/sup><\/a> 
\nEva Illouz, Hladne intimnosti: Oblikovanje \u010dustvenega kapitalizma<\/em>, Zalo\u017eba Krtina, Ljubljana 2010., p. 112-114.
\n<\/span><\/p>\n<\/div>\n

\n

<\/a>[37<\/strong><\/span>]<\/sup><\/a> 
\nMaurice Merleau-Ponty, Phenomenology of Perception<\/em>, The Humanities Press, New York, p.100.<\/p>\n

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

\n

<\/a>[38<\/strong><\/span>]<\/sup><\/a> 
\nDonghee Yvette Wohn, Wei Peng, Doug Zytko, „Face to Face Matters: Communication Modality, Perceived Social Support, and Psychological Wellbeing“, ResearchGate, available at: file:\/\/\/C:\/Users\/paska\/Downloads\/2017-chi17-facetofacematters.pdf<\/a><\/p>\n

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

\n

<\/a>[39<\/strong><\/span>]<\/sup><\/a> <\/p>\n

Paul DiMaggio, Eszter Hargittai, Coral Celeste, and Steven Shafer (2004). Digital inequality: From unequal access to differentiated use, in K. Neckerman (Ed.), Social Inequality<\/em>, Russell Sage Foundation, pp. 355-400.
\n<\/span><\/p>\n<\/div>\n

\n

<\/a>[40<\/strong><\/span>]<\/sup><\/a> 
\nMinh Hao Ngyuen, Jonathan Gruber, Jaelle Fuchs, Will Marler, Amanda Hunsaker, Eszter Hargittai, “Changes in Digital Communication During the COVID-19 Global Pandemic: Implications for Digital Inequality and Future Research”, Social Media + Society<\/em> 6(3\/2020).<\/p>\n

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

\n

<\/a>[41<\/strong><\/span>]<\/sup><\/a> 
\nEllen Helsper, Digital inclusion: an analysis of social disadvantage and the information society<\/em>, Department for Communities and Local Government, London, 2008.
\n<\/span><\/p>\n<\/div>\n

\n

<\/a>[42<\/strong><\/span>]<\/sup><\/a> 
\nMinh Hao Ngyuen, Jonathan Gruber, Jaelle Fuchs, Will Marler, Amanda Hunsaker, Eszter Hargittai, “Changes in Digital Communication During the COVID-19 Global Pandemic: Implications for Digital Inequality and Future Research”, Social Media + Society<\/em> 6(3\/2020).<\/p>\n

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

 <\/p>\n

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

Anthony Giddens, The Consequences of Modernity<\/em>, Polity press, Stanford, 1990.\u00a0 <\/p>\n

Anthony Giddens, Modernity and Self-identity<\/em>, Polity press, London, 1991. <\/p>\n

Anthony Giddens, The transformation of intimacy: Sexuality, Love and Eroticism in Modern Societies<\/em>, Polity press, Cambridge, 1992. <\/p>\n

Benjamin, Henwood, Brian Redline, Sara Semborski, Harmony Roades, Eric Rice and Suzanne L. Wenzel, “What’s next? A grounded theory of the relationship between ontological security, mental health, social relationships, and identity formation for young adults in supportive housing“<\/em>, Cityscape<\/em> 20(3\/2018), 87-100. <\/p>\n

Catia Branquinho, Colette Kelly, Lourdes C. Arevalo, Anabela Santos, Margarida Gaspar de Matos, „Hey, we also have something to say“: A qualitative study of Portugese adolescents’ and young people’s experiences under COVID-19“, Journal of Community Psychology<\/em>, 22(5\/2020).\u00a0 <\/p>\n

Donghee Yvette Wohn, Wei Peng, Doug Zytko, „Face to Face Matters: Communication Modality, Perceived Social Support, and Psychological Wellbeing“, ResearchGate, available at: file:\/\/\/C:\/Users\/paska\/Downloads\/2017-chi17-facetofacematters.pdf <\/p>\n

Ellen Helsper, Digital inclusion: an analysis of social disadvantage and the information society<\/em>, Department for Communities and Local Government, London, 2008. <\/p>\n

Eva Illouz, Hladne intimnosti: Oblikovanje \u010dustvenega kapitalizma<\/em>, Zalo\u017eba Krtina, Ljubljana 2010.<\/p>\n

Eszter Hargittai, Minh Nao Nguyen, Jaelle Fuchs, Jonathan Gruber Will Marler, Amanda Hunsaker and G\u00f6kce Karaoglu, Marco Gui, Tiziano Geroza, Elissa Redmiles, Marina Micheli, John E. Evans, Kerry Dobransky, Covid \u2013 19 Study on Digital Media and the Coronavirus Pandemic, Internet Use and Society Division<\/em>, Institute of Communication and Media Research, University of Z\u00fcrich, 2020, available at: http:\/\/webuse.org\/covid\/<\/a> <\/u><\/p>\n

Joseph Firth, John Torous, Brendon Stubbs, Josh A. Firth, Genevive Z. Steiner, Lee Smith, Mario Alvarez-Jimenez, John Gleeson, Davy Vancampfort, Jerome Sarris, „The ‘online brain’: how the Internet may be changing our cognition“, World Psychiatry<\/em> 18 (2\/2019), pg. 119-129. <\/p>\n

Julianne Holt-Lunstad, Timothy B. Smith, Mark Baker, Tyler Harris, David Stephenson, „Loneliness and Social Isolation as Risk Factors for Mortality: A Meta-Analytic Review“ , Perspectives on Psychological Science<\/em>, 10(2\/2015), 227-37.<\/p>\n

Manuel Castells, The Rise of the Network Society, Volume I: The Information Age: Economy, Society, and Culture<\/em>, Wiley-Blackwell, 2010.<\/p>\n

Marshall McLuhan, Understanding media: The extensions of man<\/em>, McGraw-Hill, London i New York, 1964.<\/p>\n

Martin Heidegger, Being and time<\/em>, Harper&Row, New York, 1962.<\/p>\n

Maurice Merleau-Ponty, Phenomenology of Perception<\/em>, The Humanities Press, New York, 1962.<\/p>\n

Mick Cooper, Existential therapies,<\/em> SAGE Publications, London, 2003. <\/p>\n

Minh Hao Ngyuen, Jonathan Gruber, Jaelle Fuchs, Will Marler, Amanda Hunsaker, Eszter Hargittai, “Changes in Digital Communication During the COVID-19 Global Pandemic: Implications for Digital Inequality and Future Research”, Social Media + Society<\/em> 6(3\/2020)<\/p>\n

Paul DiMaggio, Eszter Hargittai, Coral Celeste, and Steven Shafer (2004). Digital inequality: From unequal access to differentiated use, in K. Neckerman (Ed.), Social Inequality, Russel Sage Foundation, pp. 355-400. <\/p>\n

Rahul De, Neena Pandey and Abhipsa Pal: “Impact of digital surge during Covid-19 pandemic: A viewpoint on research and practice”, International Journal of Information Management<\/em>, 55(2020)<\/p>\n

Rory O’Connor, Karen Wetherall, Seonaid Cleare, Heather McClelland, Ambrose Melson, Claire Niedzwiedz, Ronan E. O’Caroll, Daryl B. O’Connor, Steve Platt, Elizabeth Scowcroft, Billy Watson, Tiago Zortea, Eamonn Ferguson and Kathryn A. Robb, “Mental health and well-being during the COVID-19 pandemic: Longitudinal analyses of adults in the UK COVID-19 Mental Health & Wellbeing Study”, The British Journal of Psychiatry<\/em>, 2020, available at: https:\/\/www.cambridge.org\/core\/journals\/the-british-journal-of-psychiatry\/article\/mental-health-and-wellbeing-during-the-covid19-pandemic-longitudinal-analyses-of-adults-in-the-uk-covid19-mental-health-wellbeing-study\/F7321CBF45C749C788256CFE6964B00C<\/a><\/p>\n

Samanta K Brooks, Rebecca K Webster, Louise E Smith, Lisa Woodland, Simon Wessely, Neil Greenberg, Gideon James Rubin, “The psychological impact of quarantine and how to reduce it: rapid review of the evidence”, The Lancet<\/em>, 10227(395\/2020), p. 912-920.<\/p>\n

Stefanie Jung, Jonas Kneer, Tillmann H.C. Kr\u00fcger, “Mental Health, Sense of Coherence, and Interpersonal Violence during the COVID-19 Pandemic Lockdown in Germany”, Journal of Clinical Medicine <\/em>9(11\/2020). <\/p>\n

Susan Greenfield, Mind Change: How digital technologies are leaving their mark on our brains<\/em>, Random House, New York 2015. <\/p>\n

Ulrich Beck and Elisabeth Gernsheim-Beck: Individualization: Institutionalized Individualism and its Social and Political Consequences, Sage Publications, London, 2001. <\/p>\n

Valeria Saladino, Davide Algeri and Auriemma Vincenzo, “The Psychological and Social Impact of Covid-19: New Perspectives of Well-Being”, Frontiers in Psychology<\/em>, 11\/2020. <\/p>\n

 <\/p>\n

Dijeli\u0107i i komadi\u0107ci: Iskustva dru\u0161tvene stvarnosti usred pandemije Covid-19<\/span><\/strong><\/p>\n

 <\/p>\n

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

 <\/span><\/p>\n

Pandemija uzrokovana koronavirusom imala je dubok utjecaj na na\u010dine na koji \u017eivimo, kao i na dru\u0161tvenu stvarnost u svijetu oko nas. Osim ogromnog optere\u0107enja na javno zdravstvo te pojedina\u010dna zdravstvena stanja, utjecala je na \u010ditav niz promjena vezanih uz socijalno funkcioniranje. Ubrzala je digitalizaciju i prijelaz dru\u0161tvenih aktivnosti na digitalno podru\u010dje u dosad nevi\u0111enom opsegu, a s druge strane je ograni\u010dila dru\u0161tvene aktere na lokalna zemljopisna podru\u010dja. U svemu tome pru\u017eila nam se prilika da zauzmemo novu to\u010dku promatranja ljudskog bivanja u svijetu kasne modernosti. Mogu\u0107e je pretpostaviti da navedena dru\u0161tvena situacija posjeduje potencijal utjecaja na osje\u0107aj ontolo\u0161ke sigurnosti dru\u0161tvenih aktera, kao i na njihovo iskustvo prostora. Kontradiktorne implikacije prijelaza dru\u0161tvene aktivnosti na digitalne komunikativne prostore u trenutnom opsegu tako\u0111er se promi\u0161ljaju.<\/em><\/p>\n

 <\/p>\n

Klju\u010dne rije\u010di:<\/em><\/strong> pandemija, ontolo\u0161ka sigurnost, kasna modernost, digitalni mediji.<\/em><\/p>\n

 <\/span><\/p>\n

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

 <\/span><\/p>\n

\n\n\n\n
\"inmediasres\"<\/p>\n

\n  10(18)#3 2021<\/strong> <\/p>\n<\/td>\n

\n

\n\"Creative<\/a>
This journal is open access and this work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License.<\/strong><\/a><\/p>\n<\/td>\n

\n


\nDOI 10.46640\/imr.10.18.2<\/a>
\nUDK 111.83:614.44
\nPregledni \u010dlanak
\nReview article
\nPrimljeno: 19.01.2021.<\/strong><\/p>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n

 <\/p>\n

Ivana Marasovi\u0107 \u0160u\u0161njara i Maja Veji\u0107<\/span><\/p>\n

Nastavni zavod za javno zdravstvo Splitsko – dalmatinske \u017eupanije, Split, Hrvatska<\/p>\n

ivana_ms@yahoo.com<\/p>\n

Media and Health \u2013 \u201cAngel and Devil\u201d<\/span><\/strong><\/p>\n


\nPuni tekst: pdf (434 KB), English, Str. 2803 – 2811
\n<\/span><\/strong><\/a><\/p>\n

 <\/p>\n

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

 <\/span><\/p>\n


\nAll media have been flooded with news related to the COVID-19 pandemic. Top scientists have been addressing the public more frequently than ever before. In addition to positive attitudes, there have also been negative ones. In the midst of the pandemic, information about health systems that cannot respond adequately, a large number of deaths, and the lack of vaccines provoked a number of unwanted reactions, such as fear and associated disorders. Bad news kept coming. They were followed by conspiracy theories. Certain groups set out to find information they wanted to accept as true on various social networks.<\/em><\/p>\n

      <\/span><\/p>\n


\nShould the media be allowed to inform about health without check, should they be allowed to pass on \u201cfake news\u201d in the domain of illness and health, or even manipulate information?<\/em><\/p>\n

      <\/span><\/p>\n


\nThey shouldn\u2019t? In order to minimize the negative impacts, there should be mutual responsibility of experts and the media in presenting health-related topics and in disseminating useful and credible information, whereby the media literacy of the end users is indispensable. <\/em><\/p>\n

 <\/p>\n

Key words:<\/em><\/strong> media, health, pandemic, infodemic, COVID-19.<\/em><\/p>\n

 <\/p>\n

 <\/p>\n

Introduction<\/strong><\/p>\n

“Informing people is more important than the law”…<\/em><\/p>\n

… was one of the ten principles of Andrija \u0160tampar, the father of the school of public health that sought to achieve “Health for All.” The results of his work, accomplished within less than ten years during the period between the two world wars, are magnificent, especially if we take into account that there was only one health institution south of the Sava at the time, that the country had a predominantly rural population, uneducated and for the most part illiterate, that 60 out of 100 children were dying, and that both acute and chronic diseases were ravaging the country.<\/a>[43<\/strong><\/span>]<\/sup><\/a> The media in various forms, such as posters, leaflets, brochures, or films, also contributed to \u0160tampar’s success and the results he was achieving. <\/p>\n

Today, the media, in addition to their educational function, play a major role in informing the public regarding all spheres of human activity. With the development of technologies, they have become ubiquitous, and their easy availability has made them one of the most important sources of information on any topic. We live in a world in which we can use modern technologies through the smartphone, which is owned by a large number of people. It is actually a computer that grants us access to expert information, here at our fingertips, in our pocket.<\/p>\n

In addition, the media today have a new dimension. Instead of being mere providers of information to the passive user, communication has become two-way and this is where the use of social networks comes to the fore. It is estimated that nowadays some 2.47 billion people use Facebook, WhatsApp, Instagram, or Messenger on a daily basis, and more than 3.14 billion use at least one Facebook service per month on the average.<\/a>[44<\/strong><\/span>]<\/sup><\/a> Furthermore, the number of users is growing every day. According to research conducted by the Pew Research Center in the United States, the number of social network users increased from less than 20% to almost 80% in the period from 2005 to 2019.<\/a>[45<\/strong><\/span>]<\/sup><\/a><\/p>\n

The use of social networks is present in all age groups, including persons over 65, although their use is often mistakenly associated exclusively with younger age groups. There is a trend of increase in all age groups, and the frequency of use grows as well. Behavioural patterns are similar in the countries of Western civilization as in developed Eastern civilizations, regardless of which social networks are observed.<\/p>\n

All of the above shows that social networks have imposed themselves as one of the dominant factors in the media space.<\/p>\n

Therefore, it has become important to use this potential related to health information: through targeted messages, through the ability to interact with the public and the two-way communication, which is why an increasing number of health organizations are turning to social networks, especially in health interventions.<\/p>\n

Opportunities for discussion (social cohesion) are considered 14 times greater on social networks compared to the written word, i.e. information shared through the social networks have been proven to result in a higher assessment of knowledge than when shared through info-brochures.<\/a>[46<\/strong><\/span>]<\/sup><\/a> This is the potential of social networks as a space for action offering the possibility of changing health behaviour. And yet, the question of the exact mechanism by which the social networks raise awareness and influence behavioural change remains open.<\/p>\n

“What makes a social media campaign successful? Does sharing content or liking imply a change in behaviour?”<\/p>\n

In the field of marketing, it is clear what it means to increase the number of clicks or sales, but in the field of public health, such questions remain unanswered.<\/a>[47<\/strong><\/span>]<\/sup><\/a><\/p>\n

The situation becomes even more complex in crisis situations related to all segments of human activity, when negative echoes in all fields receive special emphasis, including the media.<\/p>\n

 <\/p>\n

Pandemic and the media<\/strong><\/p>\n

Undoubtedly, the media are a powerful means of fostering health education. They play a fundamental role in the public response to a pandemic, as they serve as a portal for communication between governments, health facilities, and people. The “invisible” nature of pandemics imposes an important role on the media as the “eye” of the public. Media channels become windows through which people seek accurate information, scientific and sensational facts, government decisions, as well as reactions from the general public.<\/a>[48<\/strong><\/span>]<\/sup><\/a><\/p>\n

The COVID epidemic broke out in December in Wuhan, China. Shortly after spreading across China, health authorities around the world confirmed cases from Southeast Asia, America, Europe, the eastern Mediterranean, Africa, and the western Pacific. The World Health Organization (WHO) declared on March 11, 2020 that the viral disease had become a pandemic. In countries around the world, measures were taken that our generation had never seen before. Schools and workplaces went into a lockdown, borders between countries were closed, and travel restricted, and these were just some of the precautions to limit the spread of the virus. In such difficult circumstances, the public sought information and evidence-based guidance to help them respond in a system that worked to limit viral transmission. The media, in various forms, became the primary source of information.<\/p>\n

Top scientists were addressing the public more frequently than ever before. In addition to positive attitudes, there were also negative ones. Information about health systems that cannot respond adequately, a large number of deaths, and the lack of vaccines provoked a number of unwanted reactions, such as fear and associated disorders. Bad news kept coming. They were followed by conspiracy theories. Certain groups set out to find information they wanted to accept as “true” on various social networks.<\/p>\n

What can be noticed is the striking peculiarity of this crisis in the coincidence of virology and virality. Not only did the virus itself spread very quickly, but also information \u2013 and misinformation \u2013 about the outbreak, and thus the panic it created in the public. This resulted in an “infodemic”, with waves of misinformation and rumours on the pandemic that prevented its alleviation.<\/p>\n

Addressing the audience at the Munich Security Conference on February 15, 2020, Director-General of WHO, Dr Tedros Adhanom Ghebreyesus, said:<\/p>\n

“We’re not just fighting an epidemic; we’re fighting an infodemic.”<\/p>\n

The ease with which inaccuracies and conspiracies can be perpetuated and eternalized through the social media and other common outlets, puts public health at a disadvantage. The most popular global web searches related to the coronavirus disease (COVID-19) have been rated as “high” or “extreme” on the scale of infodemic and the related events.<\/a>[49<\/strong><\/span>]<\/sup><\/a><\/p>\n

Scientifically based evidence is vital to ensure that the public is well informed and can respond effectively to a pandemic. An infodemic clearly interferes with such action as it delivers misleading messages about the disease and promotes ineffective precaution measures.<\/p>\n

 <\/p>\n

Infodemic and its impact on health<\/strong><\/p>\n

“Measure what is measurable and make measurable what is not so.”<\/em><\/p>\n

\u2026 said Galileo Galilei. In order to be able to talk about a problem, it is necessary to quantify it. Our overview of the magnitude of this problem, the impact of infodemic on human health, includes insights from research conducted by Md. Saiful Islam and his colleagues.<\/a>[50<\/strong><\/span>]<\/sup><\/a> Their research included Facebook, Twitter, and online newspaper editions because these were considered the most representative platforms for monitoring misinformation in the general populace. In the period from December 31, 2019 until April 5, 2020, they analysed 2,311 reports in 87 countries published in 25 languages. Most reports (almost 90%) were classified as rumours, about 8% were conspiracy theories, and about 4% stigma. The rumours were dominated by news about COVID-19: the disease, transmission, and treatment. There were allegations that you could cure yourself by gargling saltwater or even by drinking bleach. The latter seems to be very popular, and just as dangerous, as it has sadly also been used to treat autism, likewise popularized through various media. Also, there was information that the virus had escaped from a laboratory, as well as conspiracy theories about 5G networks that cause and\/or contribute to the spread of COVID-19. The consequences were serious, to the point that some transmitters were set on fire in Birmingham and Merseyside, including one at the Nightingale Hospital in Birmingham.<\/a>[51<\/strong><\/span>]<\/sup><\/a> It was a particularly unfortunate damage at a time when hospitals needed to have maximum efficiency.<\/p>\n

In addition, rumours, stigma, and conspiracy theories have the potential to reduce the community confidence in governments and international health agencies. Rumours can be disguised as credible infection prevention and control strategies, and potentially have serious implications if given priority over proven guidelines. For example, the popular myth of consuming highly concentrated alcohol to disinfect the body and thus kill the virus circulated in different parts of the world.<\/a>[52<\/strong><\/span>]<\/sup><\/a> Following this misinformation, approximately 800 persons died, while 5,876 were hospitalized. 60 persons developed complete blindness after drinking methanol as an anti-coronavirus drug.<\/a>[53<\/strong><\/span>]<\/sup><\/a> In addition to individuals following misinformation, cases have been documented where some religious organizations give inappropriate and erroneous advice. Thus, a church in South Korea used a spray bottle to spray consecrated water among believers, which resulted in more than 100 infections among those present.<\/a>[54<\/strong><\/span>]<\/sup><\/a> Similar practices have been observed in some other churches around the world, and even in Croatia Masses have been held despite bans on gatherings.<\/a>[55<\/strong><\/span>]<\/sup><\/a><\/p>\n

Stigma and fear of discrimination have also contributed to healthcare-related infections, as observed in some South Asian countries where certain healthcare workers have used deficient protective equipment.<\/a>[56<\/strong><\/span>]<\/sup><\/a><\/p>\n

Because of the fear of stigma, people may avoid screening\/testing and further spread the deadly disease.<\/a>[57<\/strong><\/span>]<\/sup><\/a> Additional reasons may be financial, e.g. if they receive insufficient salary compensation.<\/a>[58<\/strong><\/span>]<\/sup><\/a> During this pandemic, there have been repeated reports of verbal and physical abuse aimed at persons of Asian descent.<\/a>[59<\/strong><\/span>]<\/sup><\/a> Other stigmatized persons include those suffering from COVID, which is primarily associated with fear of infection. In African countries, such situations culminate to the point that they lead to denials of hospital admission.<\/a>[60<\/strong><\/span>]<\/sup><\/a>\n<\/p>\n

Rumours, stigma, and conspiracy theories in health crisis situations are not a novelty. During the onset of the HIV epidemic, rumours that HIV did not exist (similar to those in present-day media that COVID does not exist)<\/a>[61<\/strong><\/span>]<\/sup><\/a> and that its treatment was harmful to humans resulted in the rejection of antiretroviral therapy in South Africa. Furthermore, their government promoted traditional medicines that encouraged vertical HIV transmission in the community and unfortunately took more than 300,000 lives.<\/a>[62<\/strong><\/span>]<\/sup><\/a><\/p>\n

The spread of rumours, stigma, and conspiracy theories not only affect the health of individuals, but can also have consequences at the societal level, including the healthcare system. After the lockdown, rumours that spread across several countries caused panicked purchases. This in turn led to the rise in prices and a shortage of basic goods such as protective masks, hand sanitizers, and toilet paper, which were out of reach for many. It has been described how the extreme deficiency of some of these items has contributed to the transmission of COVID-19 in hospitals and homes in several cases in some countries.<\/a>[63<\/strong><\/span>]<\/sup><\/a><\/p>\n

Should the media be allowed to inform about health without checks or pass on “fake news” in the domain of disease and health, or even manipulate information?” Why are they doing that?<\/strong><\/p>\n

False news, misinformation, and conspiracy theories have been a known fact in human history, but in the age of social media they have become extremely important due to the exponential growth of information dissemination, and since the beginning of the COVID-19 pandemic they have skyrocketed. This situation is extremely worrying, because it undermines trust in health institutions and programmes. The pandemic has raised many questions to which the scientific community is still seeking answers. But the authorities rarely make decisions based on empirical evidence alone: the political interest is key. Governments want to point out that the situation is under control and are too quickly providing false beliefs. Consequently, disagreement between government messages and reversals in recommendations based on emerging evidence (e.g. on the use of masks and their usefulness in protecting against infection) can be misinterpreted as incompetence. Such miscommunication is further given a negative note by the mass media because they often favour fast, sensationalist reporting rather than carefully worded scientific messages with a balanced interpretation. The outcome is an erosion of public trust and a sense of helplessness, which are the perfect preconditions for spreading harmful misinformation that makes up a vicious circle.<\/a>[64<\/strong><\/span>]<\/sup><\/a><\/p>\n

There is another crucial question: “Who benefits from this information?” According to Claire Wardle, co-founder and director of First Draft<\/em>, there are three aspects of benefit: financial gain, political gain, and experimental manipulation. An example of financial gain is companies that have direct profits from anti-vaccination campaigns. The anti-vaxxer movement has 58 million Internet followers, and the giants of social networks are deliberately keeping them as they generate cumulative revenue of one billion US dollars from advertising. Political gain from launching untruths in order to affirm or challenge a certain policy has long been a proven method. It includes control of words and their meanings, and control of people who have to use those words, especially in times of uncertainty and anxiety, and especially if such times last longer.<\/p>\n

 <\/p>\n

How can one solve\/mitigate the problem?<\/strong><\/p>\n

In addition to personal, professional and moral responsibility, immediate, coordinated action by the global political, corporate, and scientific community is certainly needed to maintain the integrity and credibility of professional expertise and to restore public confidence.<\/p>\n

An example could be the efforts of the WHO platform EPI-WIN to reduce misinformation. Its goal is to share verified information, because it is not only about informing people, but also about making sure that they are properly informed.<\/a>[65<\/strong><\/span>]<\/sup><\/a><\/p>\n

Undoubtedly, social media can and should be used to support the public healthcare response with the development of increasingly adequate tools. In addition, digital technologies can overcome the limitations of social distancing during quarantine and be a resource to support mental health and solidarity with people in isolation.<\/p>\n

It must not be forgotten that, at times like this, the literacy of end users is indispensable. In this case, it is especially health literacy, i.e. e-health literacy. From a public healthcare perspective, health literacy is considered a personal skill that develops over a lifetime and promotes empowerment in health-related decision-making,<\/a>[66<\/strong><\/span>]<\/sup><\/a> while e-health literacy is based on the concepts of both healthcare and media literacy, and refers to an individual’s ability to search, understand, and evaluate health data from electronic sources, and to make informed health decisions to address a health-related problem in daily activities.<\/a>[67<\/strong><\/span>]<\/sup><\/a> In the context of COVID-19, an individual’s health literacy supports his or her decisions about washing hands, maintaining physical distance, adopting protective behaviours, visiting a physician, and adhering to quarantine policies, thus contributing to a more likely successful public healthcare strategy.<\/a>[68<\/strong><\/span>]<\/sup><\/a> Health literacy is even more challenging when knowledge of the topic is incomplete, changing, and context-dependent. Yet, at times like this, e-health literacy is needed around the world to resist the infodemic and to empower individuals to believe and act based on reliable information, recommendations, and advice. This includes people who apply a range of skills to understand health information and the available services even in rapidly changing situations and contexts. Reliable sources must provide accurate and timely information that is relevant to the context, easy to access, easy to understand, easy to implement, and easy to use. Providing reliable, easy-to-understand information in response to these basic, urgent inquiries is crucial.<\/p>\n

Crises such as the current COVID-19 pandemic remind us that investing in education and health literacy throughout our lives is a global resource and an asset of any community.<\/p>\n

 <\/strong><\/p>\n

Concluding remarks<\/strong><\/p>\n

The media play an important role in promoting health. But in addition to their positive effects, there are also negative ones (infodemic). In order to minimize these negative impacts, there should be mutual responsibility of experts and the media in presenting health-related topics and in disseminating useful and credible information, whereby the media literacy of the end users is indispensable.<\/p>\n

 <\/p>\n

\n
\n

<\/a>[43<\/strong><\/span>]<\/sup><\/a> 
\nAndrija \u0160tampar, Pet godina socijalno-medicinskog rada u Kraljevini Srba, Hrvata i Slovenaca 1920-1925<\/em> [Five years of social-medical work in the Kingdom of Serbs, Croats, and Slovenes, 1920-1925]. Institut za socijalnu medicinu, Zagreb, 1926.<\/p>\n

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

\n

<\/a>[44<\/strong><\/span>]<\/sup><\/a> 
\nZephoria Digital Marketing, “The Top Valuable Facebook Statistics,” https:\/\/zephoria.com\/top-15-valuable-facebook-statistics\/<\/a> (last accessed on November 9, 2020). <\/p>\n

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

\n

<\/a>[45<\/strong><\/span>]<\/sup><\/a> 
\nPew Research Center, “Social Media Fact Sheet,” https:\/\/www.pewresearch.org\/internet\/fact-sheet\/social-media\/<\/a> (last accessed on August 27, 2020).<\/p>\n

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

\n

<\/a>[46<\/strong><\/span>]<\/sup><\/a> 
\nNick Milton, “Why Knowledge Transfer through Discussion Is 14 Times More Effective than Writing,” http:\/\/www.nickmilton.com\/2014\/10\/why-knowledge-transfer-through.html<\/a> (last accessed on October 10, 2020).<\/p>\n

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

\n

<\/a>[47<\/strong><\/span>]<\/sup><\/a> 
\nGough Aisling et al., “Tweet for Behavior Change: Using Social Media for the Dissemination of Public Health Messages,” JMIR Public Health Surveillance 3<\/em> (1\/2017), e14.<\/p>\n

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

\n

<\/a>[48<\/strong><\/span>]<\/sup><\/a> 
\nNour Mheidly and Jawad Fares, “Leveraging Media and Health Communication Strategies to Overcome the COVID-19 Infodemic,” Journal of Public Health Policy<\/em> 41 (2020), pp. 410-420.<\/p>\n

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<\/a>[49<\/strong><\/span>]<\/sup><\/a> 
\nAlessandro Rovetta and Akshaya Srikanth Bhagavathula<\/a>, “Global Infodemiology of COVID-19: Analysis of Google Web Searches and Instagram Hashtags,” Journal of Medical Internet Research<\/em> 22 (8\/2020), e20673.
\n<\/span><\/p>\n<\/div>\n

\n

<\/a>[50<\/strong><\/span>]<\/sup><\/a> 
\nMd. Saiful Islam et al., “COVID-19-Related Infodemic and Its Impact on Public Health: A Global Social Media Analysis,” The American Journal of Tropical Medicine and Hygiene<\/em> 103 (4\/2020), pp. 1621-1629.<\/p>\n

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

\n

<\/a>[51<\/strong><\/span>]<\/sup><\/a> 
\nAhmed Siddiqui MY et al., “Social Media Mis-Information: An Epidemic within the COVID-19 Pandemic,” The American Journal of Tropical Medicine and Hygiene<\/em> 103 (2020), pp. 920-921.<\/p>\n

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\n

<\/a>[52<\/strong><\/span>]<\/sup><\/a> 
\nWorld Health Organization, 2020. Alcohol Does Not Protect against COVID-19; Access Should Be Restricted during Lock-down. Alcohol Use. Geneva, Switzerland: WHO, Regional Office for Europe.<\/p>\n

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\n

<\/a>[53<\/strong><\/span>]<\/sup><\/a> <\/p>\n

Aljazeera, 2020. Iran: Over 700 Dead after Drinking Alcohol to Cure Coronavirus. Aljazeera. https:\/\/www.aljazeera.com\/news\/2020\/04\/iran-700-dead-drinking-alcohol-cure-coronavirus 200427163529629.html<\/a> (last accessed on June 4, 2020).
\n<\/span><\/p>\n<\/div>\n

\n

<\/a>[54<\/strong><\/span>]<\/sup><\/a> <\/p>\n

Chan-Kyong P, 2020. Coronavirus: Saltwater Spray Infects 46 Church-Goers in South Korea. South China Morning Post. Causeway Bay, Hong Kong: South China Morning Post.
\n<\/span><\/p>\n<\/div>\n

\n

<\/a>[55<\/strong><\/span>]<\/sup><\/a> 
\nGoran Borkovi\u0107, “Napada\u010dima na novinarke kraj crkve u Splitu prijeti do pet godina zatvora” [Attackers on Journalists near church in Split risk up to five years in prison], Novosti. Vijesti\/Hrvatska (April 12, 2020), https:\/\/www.portalnovosti.com\/unatoc-zabrani-u-splitu-odrzana-misa-vjernici-napali-novinarke-i-snimateljicu<\/a> (last accessed on August 31, 2020).<\/p>\n

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

\n

<\/a>[56<\/strong><\/span>]<\/sup><\/a> 
\nTawsia Tajmim, “Coronavirus: 41 Doctors, 10 Nurses Infected,” https:\/\/tbsnews.net\/coronavirus-chronicle\/covid-19-bangladesh\/coronavirus-41-doctors-10-nurses-infected-68689<\/a> (last accessed on September 1, 2020).<\/p>\n

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

\n

<\/a>[57<\/strong><\/span>]<\/sup><\/a> 
\nNational Herald, “Social Stigma Forcing Corona Patients to Avoid Screening in India,” https:\/\/www.nationalheraldindia.com\/national\/social-stigma-forcing-corona-patients-to-avoid-screening-in-india<\/a> (last accessed on October 27, 2020).<\/p>\n

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

\n

<\/a>[58<\/strong><\/span>]<\/sup><\/a> 
\nHZZO, “Obavijest osiguranicima \u2013 koronavirus (COVID-19)” [Information for healthcare users \u2013 Coronavirus (COVID-19)], https:\/\/www.hzzo.hr\/obavijest-osiguranicima-koronavirus\/<\/a> (last accessed on September 15, 2020). <\/p>\n

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

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<\/a>[59<\/strong><\/span>]<\/sup><\/a> 
\nEditorial, “Stop the Coronavirus Stigma Now,” Nature<\/em> 580 (2020), pp. 165, https:\/\/www.nature.com\/articles\/d41586-020-01009-0<\/a> (last accesed on August 25, 2020).<\/p>\n

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\n

<\/a>[60<\/strong><\/span>]<\/sup><\/a> 
\nBarry S. Hewlett and Richard P. Amola, “Cultural Contexts of Ebola in Northern Uganda,” Emerging Infectious Diseases<\/em> 9 (10\/2003), pp. 1242-1248.<\/p>\n

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<\/a>[61<\/strong><\/span>]<\/sup><\/a> 
\nTeklic.hr.svaki dan (September 5, 2020), “Anti-korona prosvjed u Zagrebu: ‘Covid je la\u017e, nismo svi covidioti’” [Anti-corona protests in Zagreb: “COVID is a lie, not all of us are covidiots”], https:\/\/www.teklic.hr\/lifestyle\/anti-korona-prosvjed-u-zagrebu-covid-je-laz-nismo-svi-covidioti\/172506\/<\/a> (last accessed on October 10, 2020).<\/p>\n

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\n

<\/a>[62<\/strong><\/span>]<\/sup><\/a> <\/p>\n

Chris Bateman, “Paying the Price for AIDS Denialism,” South African Medical Journal<\/em> 97 (10\/2007), pp. 912-914.
\n<\/span><\/p>\n<\/div>\n

\n

<\/a>[63<\/strong><\/span>]<\/sup><\/a> 
\nWorld Health Organization, “Home Care for Patients with COVID-19 Presenting with Mild Symptoms and Management of Their Contacts,” https:\/\/www.who.int\/publications\/i\/item\/home-care-for-patients-with-suspected-novel-coronavirus-(ncov)-infection-presenting-with-mild-symptoms-and-management-of-contacts<\/a> (last accessed on April 17, 2020).<\/p>\n

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

\n

<\/a>[64<\/strong><\/span>]<\/sup><\/a> 
\nThe Lancet, August 2020: “The COVID-19 Infodemic,” https:\/\/www.thelancet.com\/infection<\/a> (last accessed on September 1, 2020).<\/p>\n

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

\n

<\/a>[65<\/strong><\/span>]<\/sup><\/a> 
\nJohn Zarocostas, “How to Fight an Infodemic,” https:\/\/www.thelancet.com\/journals\/lancet\/article\/PIIS0140-6736(20)30461-X\/fulltext<\/a> (last accessed on September 1, 2020).
\n<\/span><\/p>\n<\/div>\n

\n

<\/a>[66<\/strong><\/span>]<\/sup><\/a> 
\nOkan Orkan, “The Importance of Early Childhood in Addressing Equity and Health Literacy Development in the Life-Course,” Public Health Panorama<\/em> 5 (2019), pp. 170-176.
\n<\/span><\/p>\n<\/div>\n

\n

<\/a>[67<\/strong><\/span>]<\/sup><\/a> 
\nNorman D Cameron and Harvey A Skinner, “e-Health Literacy: Essential Skills for Consumer Health in a Networked World,” Journal of Medical Internet Research<\/em> 8 (2006\/2), e9.
\n<\/span><\/p>\n<\/div>\n

\n

<\/a>[68<\/strong><\/span>]<\/sup><\/a> 
\nTetine Sentell et al., “Interdisciplinary Perspectives on Health Literacy Research Around the World: More Important Than Ever in a Time of COVID-19,” Internet Journal of Environmental Research and Public Health<\/em> 17 (9\/2020), p. 3010.
\n<\/span><\/p>\n<\/div>\n

 <\/p>\n

Mediji i zdravlje \u201eAn\u0111eo i vrag\u201c<\/span><\/strong><\/p>\n

 <\/p>\n

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

 <\/span><\/p>\n


\nSve medije preplavile su vijesti vezane za COVID-19 pandemiju. Kao nikada do sada javnosti su se obratili vrhunski znanstvenici. Uz pozitivne stavove javili su se i negativni. Informacije o zdravstvenim sustavima koji ne mogu dati odgovaraju\u0107i odgovor, veliki broj umrlih, nepostojanje cjepiva pobudili su niz ne\u017eeljenih odgovora, kao \u0161to je strah i posljedi\u010dni poreme\u0107aji. Lo\u0161e vijesti su se nizale. Pratile su ih teorije zavjere. Odre\u0111ene grupe na dru\u0161tvenim mre\u017eama krenule su za pronala\u017eenjem informacija koje \u017eele prihvatiti istinitima. <\/em><\/p>\n

      <\/span><\/p>\n


\nSmiju li mediji prezentirati o zdravlju bez provjera, smiju li propustiti \u201ela\u017ene vijesti\u201c u podru\u010dju bolesti i zdravlja, smiju li manipulirati informacijama?<\/em><\/p>\n

      <\/span><\/p>\n


\nNe bi smjeli?! No, kako bi minimalizirali negativne utjecaje, obostrana je odgovornost stru\u010dnjaka i medija u izno\u0161enju tema vezanih uz zdravlje, pra\u0107ena neizostavnom medijskom pismenosti krajnjih korisnika.<\/em><\/p>\n

 <\/p>\n

Klju\u010dne rije\u010di:<\/em><\/strong> mediji, zdravlje, pandemija, infodemija, COVID-19.<\/em><\/p>\n

 <\/span><\/p>\n

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

 <\/span><\/p>\n

\n\n\n\n
\"inmediasres\"<\/p>\n

\n  10(18)#4 2021<\/strong> <\/p>\n<\/td>\n

\n

\n\"Creative<\/a>
This journal is open access and this work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License.<\/strong><\/a><\/p>\n<\/td>\n

\n


\nDOI 10.46640\/imr.10.18.3<\/a>
\nUDK 070(497.5):614.44*Covid-19
\nPregledni \u010dlanak
\nReview article
\nPrimljeno: 21.12.2020.<\/strong><\/p>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n

 <\/p>\n

Mirela Holy<\/span><\/p>\n

VERN\u2019 University, Iblerov trg 10, Zagreb, Hrvatska
\nmirela.holy@vern.hr<\/p>\n

Media Framing of the Coronavirus in Croatia<\/span><\/strong><\/p>\n


\nPuni tekst: pdf (487 KB), English, Str. 2813 – 2828
\n<\/span><\/strong><\/a><\/p>\n

 <\/p>\n

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

 <\/span><\/p>\n

Media framing is a method through which the media frame news into familiar narratives which correspond to the unconscious layers of our psyche. The media tend to overemphasize certain aspects of events, all the while in a Procrustean fashion ignoring those aspects that do not fit into the selected narrative frame (Kunczik and Zipfel, 1998: 103). Media framing relies on storytelling, and theorists note that master narratives selected from myths, fairy tales and dreams, largely reinforce the manipulative effects of media framing (Kent, 2015). This paper examines how Croatian print media framed the news on the coronavirus in the period between the first introduction of social distancing measures (19 March 2020) and relaxation of the measures (27 April 2020). Preliminary research points to the use of the following master narratives: overcoming the monster, rags to riches, the quest, tragedy as punishment for egoism and arrogance, rebirth. In addition, prominent members of the National Crisis Headquarters were framed within the hero archetype. The use of these master narratives in media framing of the corona crisis during the so-called first wave of the epidemic, clearly indicates the intention of propaganda and manipulation.
\n <\/em><\/p>\n

 <\/p>\n

Key words:<\/em><\/strong> media framing, storytelling, master narrative, corona crisis, propaganda.<\/em><\/p>\n

 <\/p>\n

 <\/p>\n

1. INTRODUCTION<\/strong><\/p>\n

In 2020 the world was for the most part affected by the pandemic caused by a new virus in the coronavirus family, known officially as SARS-CoV-2 (COVID-19), shortened in everyday communication to COVID-19. Scientific research so far reveals that SARS-CoV-2 relates to a zoonosis, i.e. an infectious disease common to humans and certain animal species, that can be transferred from animals to humans and vice versa. Both domestic and wild animals may be sources for the spread of zoonoses. The phenomenon known as a “spillover event” is the transmission of a virus from one species of host to another, and it is believed that this transfer may have been the starting point for the new SARS-CoV-2 coronavirus.<\/a>[69<\/strong><\/span>]<\/sup><\/a> Scientists believe that the new virus is similar to coronaviruses present in some species of bats in the Rhinolophus family which act as possible natural reservoirs of infection. These bats are common in South China and all over Asia, in the Middle East, Africa and Europe. Bats are often viral reservoirs since they tend to gather in great numbers in one place to rest or hibernate. However, due to the different receptors the viruses use to enter cells, scientists note there is a possibility that before it “spilled over” to humans, the virus was transferred to bats through another intermediary, perhaps, it is supposed, through a wild animal traded on the Wuhan wet markets. This practice increases the risk of pandemics with health, social and economic effects on all the communities involved.<\/a>[70<\/strong><\/span>]<\/sup><\/a> The possibility that the source of the new virus is a bat, an animal which has quite negative cultural and religious connotations in the western cultural sphere (unlike the eastern sphere)<\/a>[71<\/strong><\/span>]<\/sup><\/a> has caused a media hysteria which spilled over to real life, that is, into the mass killing of bats. Given the fact that bats are quite useful animals, extremely important for the preservation of biodiversity (they help in the natural regeneration of tropical forests, pollinate a range of night blooming plants, control the number of insects active during the night and serve as indicators for the health of the environment), and that many bat species are included on the lists of endangered species,<\/a>[72<\/strong><\/span>]<\/sup><\/a> after a couple of months governments of numerous countries did react and launched awareness-raising campaigns with the aim of stopping various misconceptions about bats. Even before this pandemic that drastically changed people’s lives, bats were among the animals that were often hounded which is why the shifting of responsibility onto someone else through propaganda, in this case, onto another animal species, found fertile ground. This efficiently turned the attention away from the real problems related to this crisis, in other words, the systematic destruction of the environment perpetrated by humans. Bats were not the cause of this crisis, but rather the destruction of ecosystems by the human race. Natural ecosystems play a fundamental role in regulating the transmission and spread of infectious diseases such as zoonoses, which means they are vital in maintaining and nurturing life on Earth, including the life of the human species. Scientists are aware that important factors such as the loss of habitat, creation of artificial environments, wildlife trade and the destruction of biodiversity in general, contribute to the spread of viral diseases.<\/a>[73<\/strong><\/span>]<\/sup><\/a> People however, rarely like to change their habits and way of life, so it is much easier to put the responsibility on someone else. This is a very effective propaganda method of labelling<\/em> the enemy which aims to stimulate prejudice of the general public towards a group or individual, exploiting fear, hatred, contempt or any other negative feeling. In the labelling technique, the compliance of the public to a certain idea is implemented through exploiting the appeal of fear. The devastating effects of exploiting this propaganda technique are familiar from Nazi propaganda which identified the Jews as enemies and sources of all problems in 1930s Germany.<\/a>[74<\/strong><\/span>]<\/sup><\/a> This propaganda technique successfully turns the attention of the public away from important social problems and issues, so that those in charge do not have to deal with addressing them. Propagandists find it much easier to wipe out a whole species than to change the types of behaviour that led to the crisis. In addition to labelling bats as the main enemy, a quite common narrative in the media (new media in particular) during the first half of 2020 and the first wave of the pandemic, was the narrative of the “dirty Chinese” as enemies who would “eat anything that flies, crawls, walks, slithers or swims”, and this narrative was also sometimes communicated by Donald Trump, the U.S. president during this period<\/a>[75<\/strong><\/span>]<\/sup><\/a>. In the first wave of the pandemic as he failed to manage the crisis, he found it politically opportune to turn the attention of the American public away from the inadequacy of the administration to the “real culprit” \u2013 the Chinese enemy. <\/p>\n

However, labelling, also known as name-calling<\/em><\/a>[76<\/strong><\/span>]<\/sup><\/a>, is not the only propaganda method used in foreign and local media by representatives of the government in order to shift the attention of the public and use the crisis for gaining political points. A great number of propaganda techniques dating to the period before World War II has also been used, such as glittering generalities<\/em> through which individuals (for e.g., representatives of the National Crisis Headquarters) were linked to universal human values thus creating the framework for the acceptance and support for their statements without examination of the evidence. The so-called transfer<\/em> technique was also often used, in which positive attributes of some universal and national symbols are transferred to individuals, as well as testimonials<\/em>, where statements by individuals holding a position of authority in the public or even by innocent children, are purposefully shared with the public, in order to ensure the uncritical acceptance of all ideas, measures and attitudes by representatives of the Crisis Headquarters. The technique known as plain folks<\/em> was also used, a method in which the speaker tries to convince the audience that his\/her ideas are good because they are rooted in common sense, are self-explanatory, close to the common people, and the speaker is also one of the people. During the first wave of the corona crisis, the Crisis Headquarters and members of the Government made wide use of the card stacking<\/em> technique which included offering selective information that support the proposed measures and ideas. The bandwagon<\/em> technique was also used, manipulating the conformism of people who like to belong to socially accepted groups under the banner “everybody’s doing it!” thus convincing citizens to follow the Headquarters’ measures and hop on this “bandwagon”, so that the “parade” would not leave the station without them.<\/a>[77<\/strong><\/span>]<\/sup><\/a> Given the fact that media framing entails the creation of quite a selective interpretation frame for presenting very complex information and social phenomena, it is manipulative in itself and corresponds to propaganda intentions related to hidden, often ideological, interests. <\/p>\n

This paper deals with media framing of the coronavirus in Croatia, and the work consists of four parts: Introduction, The theory of media framing and propaganda, Analysis of media framing of the coronavirus in Croatia and finally, the Conclusion. Following the introductory section in which the subject matter is placed within a situational frame, the second part presents the media framing phenomenon and how it relates to propaganda. Given the fact that media framing largely relies on stories and storytelling, the first section also presents manipulation with so-called master myths in media framing and research results on media manipulation of the pandemic theme from other countries. The third part presents a case study of media framing of the coronavirus in Croatia using examples of master narratives used for presenting this subject in Croatian media. This paper explores the way in which Croatian print media have framed the news on the coronavirus in the period from first introducing social distancing measures (19 March 2020) to relaxing the measures (27 April 2020). The unit of analysis are thematically selected media articles which illustrate master narratives (overcoming the monster, rags to riches, the quest, tragedy as punishment for egoism and arrogance, rebirth, the hero archetype) used for media framing of the coronavirus. The articles have been analysed using the qualitative research method of narrative analysis according to the matrix created by Gillespie and Toynbee. The final part of the paper offers research conclusions and recommendations.<\/p>\n

 <\/strong><\/p>\n

2. THE THEORY OF MEDIA FRAMING AND PROPAGANDA<\/strong><\/p>\n

According to Sproule, propaganda “represents the work of large organizations or groups to win over the public for special interests through a massive orchestration of attractive conclusions packaged to conceal both their persuasive purpose and lack of sound supporting reasons”.<\/a>[78<\/strong><\/span>]<\/sup><\/a> Jowett and O’Donnell emphasize that the use of propaganda includes purposefulness, which is why it is related to control and considered to be an intentional effort to change or maintain the balance of power useful to the propagandist. In their view, the purposeful effort by propagandists is usually related to a clear institutional ideology and goal since the purpose of propaganda is to share a particular ideology with the public.<\/a>[79<\/strong><\/span>]<\/sup><\/a> The aim of using propaganda methods through mass media is the “systematic and conscious promotion of a set of ideas and actions developed by those advocating for such a doctrine and having use of it”.<\/a>[80<\/strong><\/span>]<\/sup><\/a> Although propaganda from opposing groups is perceived as negative and is easily identified as propaganda, the ideology of one’s own group is not perceived as either good or bad.<\/a>[81<\/strong><\/span>]<\/sup><\/a> Propagandists promote the manufacture of consent in the public through “appealing to feelings, using insecurities, capitalizing on the ambiguities of language and inverting the rules of logic”.<\/a>[82<\/strong><\/span>]<\/sup><\/a> Herman and Chomsky see a strong link between propaganda and media framing since the purpose of media is to serve the needs and interests of the elite which to a large extent benefits from policies related to neoliberal economy. According to Herman and Chomsky, the media fulfil this purpose precisely by framing the news.<\/a>[83<\/strong><\/span>]<\/sup><\/a> Car emphasizes the particular importance of how journalists select their information because “if the media do not report about it \u2013 it might as well not have happened”, and “what they do report about \u2013 continues to be retold and shared in relation to the media discourse which has imposed an appropriate perspective onto this event or issue, as well as the frame within which we as the general public should understand the event or issue, continue discussing it, or merely accept it as fact”, which happens, “regardless of whether this is relevant, verified or true”.<\/a>[84<\/strong><\/span>]<\/sup><\/a><\/p>\n

Tankard warns that the media frame may eliminate certain voices or weaken arguments because the media may frame some questions and phenomena in a way that is beneficial only to one side, without explicitly showing bias. According to Tankard, the process of defining rules of debate to a large extent supports the manufacture of consent for a chosen ideological position.<\/a>[85<\/strong><\/span>]<\/sup><\/a> Hackett noted that analysing media framing may reveal background interests which impact the way in which the media address a certain topic or phenomenon. Framing is a more sophisticated concept than the concept of media bias, it goes beyond the “for or against” approach or the distinction between positive and negative, as it enables much more complex emotional as well as cognitive responses by determining the horizon of a particular media debate. Media framing is an important instrument of propaganda because it can influence the media public, even to the point of completely turning public opinion by changing the media frame within which a certain phenomenon is presented.<\/a>[86<\/strong><\/span>]<\/sup><\/a> The theory of media framing approaches the media text through its interpretative frame as “the central idea that organizes news content by providing it with context” through shaping, editing and presenting news that consciously or unconsciously put information within a certain interpretation frame.<\/a>[87<\/strong><\/span>]<\/sup><\/a> According to media framing theory, the journalistic choice of news items uses an interpretation frame in order to select and process information, anchoring it in already memorized data\/experiences and in interpretations of new events on the basis of these categorized, organized and interpreted life experiences with additional meaning. Framing selects, processes and interprets in such a way that it emphasizes certain aspects of reality, while ignoring or neglecting other aspects. This process may happen consciously or unconsciously, and does not relate only to the way journalists choose the news, but also how they impact the public, since the public uses existing interpretation frames and develops new ones. In framing, journalists emphasize those aspects of a phenomenon that support the crucial building blocks of interpretation frames.<\/a>[88<\/strong><\/span>]<\/sup><\/a> Early developments of media framing theory were mainly influenced by Goffman’s metaphorical concept of frame as a part of the picture (strip<\/em>) which means narrowing down an event or phenomenon to one strip around which a framework can then be built, i.e., the dominant narrative which largely impacts the way in which the phenomenon is to be interpreted as a whole. This concept is followed by the concept of setting the tone<\/em> which guides the total impression of a phenomenon, while the third frame concept emphasizes the frame as the main idea around which the media narrative is built as a whole.<\/a>[89<\/strong><\/span>]<\/sup><\/a> Within media framing, Gamson and Modigliani developed the theory of media packaging. A media package can be recognized through key words and the use of phrases that point to a particular media frame. In addition to this approach, the media framing theory also developed the idea of framing as a multidimensional concept according to which a media frame is impacted by a whole range of factors including the journalist’s gender, the publication source, the choice of words in presenting opposing views etc.<\/a>[90<\/strong><\/span>]<\/sup><\/a> Shoemaker and Reese note that the dominant, elite and journalistic ideology may all influence how the news is framed. The dominant ideology is the one that takes for granted the majority worldview of a particular society. Elite ideology is the ideology of the ruling political elite and it usually corresponds to the dominant ideology. Shoemaker and Reese emphasize that elite ideology is the main factor in media framing. Journalistic ideology is related to media routine and values of professional journalism.<\/a>[91<\/strong><\/span>]<\/sup><\/a><\/p>\n

It should be noted that there is no agreement in communication theory on media framing theory\/theories. Some theorists do not see media framing theories as empirically confirmed<\/a>[92<\/strong><\/span>]<\/sup><\/a> but it is extremely difficult to implement principles of empirical evidence within social sciences in the same way they are implemented in natural and technical sciences. The media frame theory developed through observation and analyses of a corpus of media texts as well as through searching for certain correspondences and rules, that is, more or less stable patterns within existing media narratives. It should also be noted that according to some theorists, media frames are not eternal or universal, but change in line with changes in ideologies and value systems. Brosius and Eps for instance believe that new frameworks are used for extraordinary situations or new topics, thus replacing the old ones. This is particularly evident in reports on crises. After the initial information on a new crisis, the media pile up data on similar crises although this information needn’t have the same level of gravity or complexity. In this way the media influence how we perceive the gravity of the crisis even though reality and facts are largely different from the reality presented in the media.<\/a>[93<\/strong><\/span>]<\/sup><\/a><\/p>\n

Research in communication trends shows that storytelling is one of the most important skills for anyone working in communications professionally.<\/a>[94<\/strong><\/span>]<\/sup><\/a> Storytelling is defined as the normative, discursive and political process of creating a story, through which a problem or source of difficulties is articulated, as well as possible solutions and way of convincing the public to agree, unite and join the process of collective action.<\/a>[95<\/strong><\/span>]<\/sup><\/a> It entails creating a situation in a planned and selective manner so that the audience may be prepared for the future. This process takes into account the existence of multiple and potentially opposed perspectives of reality, depending on the different ambitions, interests and opinions of the general public. Storytelling is here then considered to be a promising tool in designing meaning and encouraging collective action towards a specific direction.<\/a>[96<\/strong><\/span>]<\/sup><\/a> Media framing relies on the skill of storytelling, and theorists like Goffmann,<\/a>[97<\/strong><\/span>]<\/sup><\/a> Tobias,<\/a>[98<\/strong><\/span>]<\/sup><\/a> Booker,<\/a>[99<\/strong><\/span>]<\/sup><\/a> Burke,<\/a>[100<\/strong><\/span>]<\/sup><\/a> Kent<\/a>[101<\/strong><\/span>]<\/sup><\/a> and Lule<\/a>[102<\/strong><\/span>]<\/sup><\/a> emphasize that master narratives (or master myths as they are called by some theorists), selected from myths, fairy tales and dreams, to a large extent strengthen the manipulative effects of media framing. Lule defines a master myth as a role model or pattern, the total invisible root of consciousness.<\/a>[103<\/strong><\/span>]<\/sup><\/a> According to Bordwell and Thompson, a narrative is any selection of causally linked events happening within a certain time and space.<\/a>[104<\/strong><\/span>]<\/sup><\/a> Media framing is therefore a technique through which the media frames the news into narratives that correspond to universally recognizable patterns at the deepest, unconscious levels of the psyche, which can influence how the public reacts, as can be evidenced by examples of Nazi, Soviet and other totalitarian propaganda, but also modern democratic propaganda. The manipulation of such narratives however, is not guaranteed or absolute. In spite of the growing domination of global media conglomerates in the modern global media ecosystem, which has been facilitated by the increasing deregulation of rules on media monopolies,<\/a>[105<\/strong><\/span>]<\/sup><\/a> media literacy of the public as well as the existence of different media interpretations and views in different media, to a large extent limits the propaganda effect of manipulating master narratives in media framing. The qualitative research method for analysing narratives by Gillespie and Toynbee includes the descriptive phase identifying parts of the narrative in order to examine the way in which the media text is organized, and the interpretative phase in which the meaning of narrative elements is interpreted. The focus is on analysing the ways of providing information (Information with the aim of garnering support; Positive appraisal of us; Negative appraisal of them; Emphasizing community\/common participation in the topic of the statement; Emphasizing a certain perspective and\/or concept of the statement (problem, solution, guilt etc.).<\/a>[106<\/strong><\/span>]<\/sup><\/a><\/p>\n

The corona crisis which has been the main theme of this year, definitely constitutes a large global crisis, and according to Brosius and Eps<\/a>[107<\/strong><\/span>]<\/sup><\/a>, it is precisely new extraordinary situations like these that use new media frames to change the old ones. Researchers of manipulative communication styles have meticulously analysed the way in which the topic of the corona crisis has been presented in the media, as well as the way in which it corresponds to previous media presentations of epidemics. For example, Ali Haif Abbas uses Van Dijk’s discourse analysis in his research to show how The New York Times<\/em> in the U.S. and the Global Times<\/em> in China have framed the news on the coronavirus pandemic for political and ideological purposes. The New York Times<\/em> focused on propaganda of the Chinese Communist Party, its inability to control the spread of the epidemic, weaknesses in controlling the virus and providing medical equipment as well as the totalitarian treatment of people and healthcare workers. The Chinese Global Times<\/em> also focused on negative stories relating to COVID-19 in the U.S., particularly the inability of the American administration led by President Trump in fighting the new virus.<\/a>[108<\/strong><\/span>]<\/sup><\/a> It is significant that neither of these media questioned the way in which the pandemic was managed within one’s own country which confirms the thesis that framing news is mainly influenced by ideology of the elite, which is usually in line with dominant ideology. Tiffany Karalis Noel is one of the rare researchers to focus on analysing the way in which American media have encouraged xenophobia through media framing of people of Asian descent during the global COVID-19 pandemic. She notes it is necessary to question the different aspects of intercultural communication regarding public health issues.<\/a>[109<\/strong><\/span>]<\/sup><\/a> This approach unfortunately is not the dominant model in narratives of research articles addressing the subject of media manipulation during the corona crisis, so it seems that variants of elite and dominant ideologies can be seen not only in articles for the general public but also in scientific articles dealing with this subject. <\/p>\n

Jacob for example researched how the COVID-19 pandemic damaged the image of China as an efficient one-party Communist state due to obfuscation and late reporting on the viral epidemic. He says that China failed to adjust its communication to new circumstances, i.e. it followed traditional interests of foreign affairs and security, focusing on its power struggle with the U.S. The author believes that the Chinese Communist Party reacted with such authoritarian and restrictive responses to the pandemic in order to confirm its legitimacy.<\/a>[110<\/strong><\/span>]<\/sup><\/a> At the same time, Jacob fails to notice the manipulative media communication on the pandemic shared by the U.S. administration. Similar conclusions are offered by Vanessa Molter and Renee DiResta who analysed English language posts on Facebook by Chinese state media regarding the coronavirus pandemic in order to gain insight into the way Chinese authorities communicate this topic to the rest of the world through using state media. They noticed these repeating frames: sharing positive stories and promoting responses to the pandemic by the Chinese Communist Party (CCP), rewriting recent history in a way beneficial for the CCP during the progress of the coronavirus pandemic and using targeted adverts for sharing intended messages. They concluded this was problematic propaganda content containing misinformation and conspiracy theories. Therefore they suggest social networks should not publish paid advertisements of such harmful content.<\/a>[111<\/strong><\/span>]<\/sup><\/a> It is a pity that this type of analysis has a clear ideological bias.<\/p>\n

Other researchers used a somewhat more objective analytical perspective to focus on communication on social networks, with particular focus on Twitter, since traditional media often report information precisely from this social network which has been confirmed as the most common source of fake news.<\/a>[112<\/strong><\/span>]<\/sup><\/a> They concluded that sharing misinformation on social media spreads faster than the spread of COVID-19 and that misinformation can have extremely harmful consequences for people’s health.<\/a>[113<\/strong><\/span>]<\/sup><\/a><\/p>\n

This short review of some scientific articles examining the manipulative media communication on the pandemic, reveals the existence of very selective, ideologically biased media frameworks not only in news articles, but also in scientific texts. The use of the analytical matrix suggested by Gillespie and Toynbee reveals all the crucial elements of manipulating master narratives within the framing process:<\/p>\n

    \n
  1. Providing information with the aim of gaining support; <\/span><\/li>\n
  2. Positive appraisal of us; <\/span><\/li>\n
  3. Negative appraisal of them; <\/span><\/li>\n
  4. Emphasizing community\/common participation in the pandemic theme; and <\/span><\/li>\n
  5. Emphasizing a certain perspective and\/or thematic concept (problem, solution, guilt etc.).<\/span><\/li>\n<\/ol>\n

     <\/p>\n

    3. ANALYSIS OF MEDIA FRAMING OF THE CORONAVIRUS IN CROATIA <\/strong><\/p>\n

    Ever since the beginning of the corona crisis, the media in Croatia have closely followed this topic. Most mainstream media in Croatia put it on their agenda (agenda setting<\/em>) and this already makes clear how largely they influenced what the citizens of Croatia should think about, or even in what manner.<\/a>[114<\/strong><\/span>]<\/sup><\/a> In terms of agenda setting i.e. the media agenda, this topic combines several characteristic agendas:<\/a>[115<\/strong><\/span>]<\/sup><\/a> the media, public and political agenda, and in the autumn wave of the pandemic and the increased communication on COVID-19 vaccines, a corporate agenda also came to the fore. This intermingling of interests by different stakeholders who hold the power to set the media agenda, make this topic particularly interesting for media analysis. However, agenda setting in the context of combined interests by different stakeholders who hold the power to set an agenda (the media, public interest, politics, corporations), merely provide the first manipulative layer in media presentation. Given the fact that this topic dominated the media agenda during the whole period since social distancing measures were introduced (19 March 2020) up to when they were relaxed (27 April 2020), and that it was strongly contextualized with the coming parliamentary elections, the way in which the media framed the topic in this period, points to their strong ambition to convince the citizens of Croatia how they should be thinking about this crisis, i.e. that the Government of Croatia and the National Crisis Headquarters appointed by the Government (hereinafter referred to as: Crisis Headquarters) are extremely successful in managing this extremely difficult crisis which makes Croatia one of the most successful countries in managing the pandemic \u2013 due to heroic efforts and capabilities of the Government and its satellite as represented by the Crisis Headquarters. From the beginning of the crisis, the Croatian Government was particularly aware of the fact that the way in which managing of the corona crisis is perceived in the public will be the crucial factor determining the winner of the parliamentary election. In March 2020, and without a public competition, the Government employed the company Media Val, a PR agency. In March this agency bought the domain Koronavirus.hr and started with the provision of its services to the Government. Asked by Faktograf, the only fact checking portal in Croatia, how this cooperation worth several hundred thousands kunas was actually organized, the Government stated: “The Ministry of Health organized the emergency establishment of the official website koronavirus.hr and related webpages and accounts on social media platforms \u2013 Facebook, Twitter, Instagram, YouTube, as well as corresponding topics on forum.hr, in order to provide regularly updated and correct information related to the COVID-19 epidemic, with the aim of protecting the lives and health of citizens of the Republic of Croatia and other persons as well as to provide them with timely information, which is considered to be among the security interests of the Republic of Croatia”.<\/a>[116<\/strong><\/span>]<\/sup><\/a> Given this extraordinary short response by the Government, it was impossible to conclude whether these services included sharing information based on which the media framed the Government during the lockdown period, and especially select members of the Crisis Headquarters by the mentioned agency, or whether this was a consequence of activities by the Government’s i.e. institutional public relations which also points to the use of state resources for party interests. However, the fact that these were created and not spontaneous narratives is clear from the great similarity of various content published in different media during this period. <\/p>\n

    In accordance with the thesis by Brosius and Eps that emergency situations use new frameworks which supplant the old ones, it should be noted that in the beginning of the corona crisis, the media in Croatia made comparisons to previous crises caused by viruses. The webpage telegram.hr for example explains in an article dated 20 April,<\/a>[117<\/strong><\/span>]<\/sup><\/a> why the world had to stop due to COVID-19, and not in the case of SARS, MERS or Ebola virus. The author of the article finds the explanation in epidemiological reasons because “SARS and MERS did not cause the same level of harm like COVID-19 as they do not spread so easily. SARS and MERS spread through much closer contact, among members of families or healthcare workers and their patients. Most importantly, those infected do not spread the disease while they don’t have the symptoms. After they are taken ill, people usually remain at home or are hospitalized which makes it harder for the virus to spread”. The author goes on to explain that although swine flu spreads easily, it is not as deadly, because in 2009 it killed more than half a million people and it is estimated that more than a billion people were infected by the end of 2010, while Ebola which is much deadlier than Covid-19, can be isolated more easily. According to Lule’s master myth matrix, this article frames the coronavirus within the flood narrative which in newspaper articles as a rule relates to large natural disaster events, dangers related to inexplicable and wild forces of nature faced with which man is often helpless. This narrative of the coronavirus was present in almost all media content during the lockdown period, the purpose of which was to convince the public that suspension of human rights guaranteed under the Constitution is justified, even though this was not the case in similar situations from previous crises. A new narrative was created which strongly took hold in the media reality even after the lockdown period, and according to this frame, human rights to the freedom of movement, socializing and work were less important than the necessary fight against an invisible enemy through which a change in ideology and value systems is created. During the lockdown period, media content often demanded that the public accept the narrative of a victimized hero. The "victim" adds a human element to the tragedy in most news items, and the victim master myth offers examples of bravery and heroics in directly facing death: plans, careers, dreams and lives shatter in an instant due to the virus as a force of nature, the message being that life should be lived alongside the constant presence of death. On 26 March 2020 in an article and segment “These are the heroes fighting the invisible enemy: You find it difficult to stay at home? Look at them and think again”<\/a>[118<\/strong><\/span>]<\/sup><\/a> RTL Television celebrates doctors, salesclerks, delivery workers and others who bravely work every day and endanger their own lives so that citizens for whom the epidemic has limited the right to move, socialize and work, would find life in isolation more pleasant. The victim narrative is in the frame. A similar framework is obvious in the messages: Be responsible, stay at home<\/em>, appealing to the public to accept the role of the victimized hero in order to overcome an invisible, powerful enemy. Media discourse perpetuates victory narratives like David vs. Goliath, or the common man against the unrelenting forces of nature, salvation, the fall and sacrifice that leads to victory and a painful transformation promising a new, better world. In opposition to the responsible heroes, the media space was in this period also filled with punishment narratives on irresponsible individuals who do not listen to epidemiologists due to their stupidity or arrogance. For example, an article on Net.hr published on 21 March 2020 under the title “Incredible arrogance: Man from the Virovitica area in self-isolation invited his friends and had a party, now he is facing a hefty fine”<\/a>[119<\/strong><\/span>]<\/sup><\/a> warns of an arrogant individual fined with 8000 HRK. In line with this narrative, the Croatian media also reported on the American basketball player who joked about the virus and was later infected,<\/a>[120<\/strong><\/span>]<\/sup><\/a> and an American youth who went to a corona party where he caught the virus and died a horrible death.<\/a>[121<\/strong><\/span>]<\/sup><\/a> Punishments vary from financial ones, to public shaming and deaths. At the same time, individuals from the Crisis Headquarters, primarily Davor Bo\u017einovi\u0107, Krunoslav Capak and Alemka Markoti\u0107, were transformed almost overnight into media heroes during the analysed period and the media worked hard to build their personality cults. Ranging from panegyrics to Alemka Markoti\u0107<\/a>[122<\/strong><\/span>]<\/sup><\/a> and Minister Vili Bero\u0161<\/a>[123<\/strong><\/span>]<\/sup><\/a> in lifestyle magazines such as Gloria, to media inflating the news on children drawing corona heroes,<\/a>[124<\/strong><\/span>]<\/sup><\/a> or their accessibility and everyday qualities,<\/a>[125<\/strong><\/span>]<\/sup><\/a> in addition to the constant tension of press conferences held every day, when these archetypal heroes present to the public their successful heroic fight against the powerful enemy. Their characteristics during the lockdown period were bravery, professionalism, wisdom, empathy, strictness, \u00a0a serious approach, unquestionable authority, and they were often compared to epidemiologists from other countries in order to stress their superiority in finding the most appropriate response to the crisis, which confirms the quest narrative.<\/p>\n

    Analysing the previously mentioned articles through using the analytical matrix suggested by Gillespie and Toynbee, all key elements for manipulating master narratives in the media framing process are visible here:<\/p>\n

      \n
    1. Providing information with the aim of gaining public consent for suspending fundamental constitutional rights (limiting freedom,<\/a>[126<\/strong><\/span>]<\/sup><\/a> freedom of movement,<\/a>[127<\/strong><\/span>]<\/sup><\/a> the right to public assembly,<\/a>[128<\/strong><\/span>]<\/sup><\/a> commerce freedoms,<\/a>[129<\/strong><\/span>]<\/sup><\/a> etc.) which is visible in media content explaining why the world needed to stand still for COVID-19;<\/span><\/li>\n
    2. Positive appraisal of us, the responsible, obedient, those aboard the acceptable train so skilfully managed by the Government of the Republic of Croatia and its lobbyists in the Crisis Headquarters which is visible in media content celebrating heroes in the war against the invisible enemy; <\/span><\/li>\n
    3. Negative appraisal of those not aboard the Government train and not obeying the prescribed epidemiological measures who then need to be punished with fines, public shaming, disease, and the worst among them, with death; <\/span><\/li>\n
    4. Emphasizing community\/shared participation in the pandemic theme visible through continued reiteration of messages “Be responsible, stay at home” appealing to the acceptance of the victimized hero role in order to together overcome the invisible, powerful enemy;<\/span><\/li>\n
    5. Emphasizing a certain perspective and\/or concept of the pandemic theme is visible in creating a whole new narrative that deeply took hold in the media reality even after the lockdown period, and according to this frame, human rights are not as important as the fight against the virus which paves the way to a change in ideology and value systems.<\/span><\/li>\n<\/ol>\n

       <\/p>\n

      IN CONCLUSION<\/strong><\/p>\n

      The presented analysis makes clear that in Croatia during the lockdown, media narratives were extremely influenced by elite ideology i.e. ideology of the ruling party, which had the consequence of creating very recognizable, mythical and even banal media frames. Research of media narratives in Croatia during the lockdown period points to an extremely frequent use of master narratives of the flood, overcoming the monster, the quest, tragedy as punishment for egoism and arrogance, rebirth, while members of the Crisis Headquarters were framed within the hero archetype. In terms of frequently used propaganda techniques, name calling was used against all of those who did not unquestioningly give consent to the suspension of fundamental human rights without constitutionally prescribed processes. These individuals were likened to anti-vaxxers and conspiracy theory believers. The glittering generality technique was also used, by which individuals such as Alemka Markoti\u0107, Vili Bero\u0161 and Krunoslav Capak were linked to universal virtues like responsibility, bravery, wisdom, empathy, firmness, which created the frame for the acceptance and approval of their statements without examining the evidence. The technique of transfer was also frequently used, whereby positive attributes of national symbols were transferred onto individuals, like for example the telling illustration of a “children’s” drawing for an imaginary 30 kuna note bearing the image of Alemka Markoti\u0107 and a whole range of testimonials by innocent children celebrating the COVID heroes Alemka Markoti\u0107 and Vili Bero\u0161, with the purpose of ensuring uncritical acceptance of all ideas, measures and views by representatives of the Crisis Headquarters.<\/a>[130<\/strong><\/span>]<\/sup><\/a> The technique known as plain folks was also used, which presented to the public the accessibility of COVID heroes and heroines who regardless of their numerous responsibilities found the time to respond to children who drew pictures of them. The Crisis Headquarters and the Government often used the card stacking technique and meticulously selected information that painted suggested measures in good light even when they had no epidemiological foundation such as the ones relating to the Catholic Church and veterans as important elective bodies for the Croatian Democratic Party. The conformity of the people was continuously manipulated when the bandwagon technique was used, which is obvious in the constant pleas for responsibility and community. All of this points to the conclusion that during the spring lockdown, communication was a planned activity by the Government aimed towards rallying the public for its particular political interests, that is, winning the parliamentary election, with the help of mass orchestration of attractively packaged media messages whose actual purpose and lack of real reasons for support were hidden under the cover of the global crisis. <\/p>\n

      Unfortunately, analysis of foreign media and scientific narratives also points to similar conclusions, that is, the nonexistence of a real critical approach which would be the necessary precondition for achieving citizen media literacy. Despite frequent messages that crisis is an opportunity, and that this global crisis might pave the way to establishing a better and just world, this ambition is not visible in media or scientific frameworks. The main features are old divisions, shifting responsibilities to others and unwillingness and inability to accept one’s responsibility as a species for the climate crisis we are facing and the degraded environment which are related to the current pandemic. It is still easier to label the enemy in bats, the Chinese people, or people who don’t think like us, than to take responsibility and work at solving the real issues, instead of the ones created through political interests.\u00a0 \u00a0<\/p>\n

      The worrying aspect is that the comparison of this crisis to previous ones reveals the ambition to establish a new, but not necessarily a better or more just ideological and value system. In this system it is not problematic to use media manipulation in order to manufacture consent for the suspension of fundamental human rights, by several individuals who have been purposefully framed as heroes in order to provide them with an almost godlike status. The global lockdown phenomenon can in this sense be defined as a very successful experiment of pacifying people through using media framing methods. \u00a0<\/p>\n

       <\/p>\n

      \n
      \n

      <\/a>[69<\/strong><\/span>]<\/sup><\/a> 
      \nBarney Jeffries, “The Loss of Nature and the Rise of Pandemics”,       https:\/\/d2ouvy59p0dg6k.cloudfront.net\/downloads\/the_loss_of_nature_and_rise_of_pandemics___protecting_human_and_planetary_health.pdf<\/a>; Accessed: 9 December 2020.
      \n<\/span><\/p>\n<\/div>\n

      \n

      <\/a>[70<\/strong><\/span>]<\/sup><\/a> 
      \nIbid.
      \n<\/span><\/p>\n<\/div>\n

      \n

      <\/a>[71<\/strong><\/span>]<\/sup><\/a> 
      \nJean Chevalier and Alain Gheerbrant, Rje\u010dnik simbola <\/em>(Dictionary of Symbols), Nakladni zavod Matice Hrvatske, Zagreb 1989, pp. 677-679.
      \n<\/span><\/p>\n<\/div>\n

      \n

      <\/a>[72<\/strong><\/span>]<\/sup><\/a> 
      \nState Institute for Nature Protection, Bats<\/em>,       http:\/\/www.haop.hr\/hr\/tematska-podrucja\/prirodne-vrijednosti-stanje-i-ocuvanje\/bioraznolikost\/sismisi<\/a>; Accessed: 9 December 2020.
      \n<\/span><\/p>\n<\/div>\n

      \n

      <\/a>[73<\/strong><\/span>]<\/sup><\/a> 
      \nBarney Jeffries, “The Loss of Nature and the Rise of Pandemics”.
      \n<\/span><\/p>\n<\/div>\n

      \n

      <\/a>[74<\/strong><\/span>]<\/sup><\/a> 
      \nGarth S. Jowett and Victoria O’Donnell, Propaganda and Persuasion, Fifth Edition<\/em>, SAGE, Los Angeles, London, New Delhi, Singapore, Washington DC 2012, p. 240.<\/p>\n

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

      \n

      <\/a>[75<\/strong><\/span>]<\/sup><\/a> 
      \nDonald Trump Tweets Describing Coronavirus As "A Very Bad ‘Gift’ From China"<\/em>,       https:\/\/www.ndtv.com\/world-news\/trump-tweets-describing-coronavirus-as-a-very-bad-gift-from-china-2236813<\/a>; Accessed: 9 December 2020.<\/p>\n

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

      \n

      <\/a>[76<\/strong><\/span>]<\/sup><\/a> 
      \nGarth S. Jowett and Victoria O’Donnell, Propaganda and Persuasion, Fifth Edition<\/em>, p. 237.
      \n<\/span><\/p>\n<\/div>\n

      \n

      <\/a>[77<\/strong><\/span>]<\/sup><\/a> 
      \nAlfred M. Lee and Elizabeth B. Lee, The fine art of propaganda<\/em>. International Society for General Semantics, San Francisco 1979.<\/p>\n

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

      \n

      <\/a>[78<\/strong><\/span>]<\/sup><\/a> 
      \nJ. Michael Sproule, Channels of Propaganda<\/em>. Edinfo, Bloomington 1994, p. 8
      \n<\/span><\/p>\n<\/div>\n

      \n

      <\/a>[79<\/strong><\/span>]<\/sup><\/a> 
      \nGarth S. Jowett and Victoria O’Donnell, Propaganda and Persuasion, Fifth Edition<\/em>, p. 3
      \n<\/span><\/p>\n<\/div>\n

      \n

      <\/a>[80<\/strong><\/span>]<\/sup><\/a> 
      \nEileen Gambrill and Amanda Reiman, “A Propaganda Index for Reviewing Problem Framing in Articles and Manuscripts: An Exploratory Study”, Plus One <\/em>6 (5\/2011), p. 7.
      \n<\/span><\/p>\n<\/div>\n

      \n

      <\/a>[81<\/strong><\/span>]<\/sup><\/a> 
      \nDeepa Kumar, “Media, War, and Propaganda: Strategies of Information Management during the 2003 Iraq War”, Communication and Critical\/Cultural Studies<\/em> 3 (1\/2012), pp. 48-69.
      \n<\/span><\/p>\n<\/div>\n

      \n

      <\/a>[82<\/strong><\/span>]<\/sup><\/a> 
      \nEileen Gambrill and Amanda Reiman, “A Propaganda Index for Reviewing Problem Framing in Articles and Manuscripts: An Exploratory Study”, p. 8
      \n<\/span><\/p>\n<\/div>\n

      \n

      <\/a>[83<\/strong><\/span>]<\/sup><\/a> 
      \nEdward Herman and Noam Chomsky, Manufacturing Consent: The Political Economy of the Mass Media<\/em>. Pantheon Books. New York 1988.
      \n<\/span><\/p>\n<\/div>\n

      \n

      <\/a>[84<\/strong><\/span>]<\/sup><\/a> 
      \nViktorija Car, Mi i oni kroz medijske nao\u010dale<\/em>. (Us and Them Through the Media Lens<\/em>) ACT Printlab. Zagreb-Belgrade-Sarajevo 2015, p. 7.
      \n<\/span><\/p>\n<\/div>\n

      \n

      <\/a>[85<\/strong><\/span>]<\/sup><\/a> 
      \nJames W. Tankard, “The Empirical Approach to the Study of Media Framing”, in: Stephen D. Reese, O. Gandy, and A. E. Grant, Framing Public Life: Perspectives on Media and Our Understanding of the Social World<\/em>, Routledge, New York 2001, p. 95.
      \n<\/span><\/p>\n<\/div>\n

      \n

      <\/a>[86<\/strong><\/span>]<\/sup><\/a> 
      \nIbid, p. 96.
      \n<\/span><\/p>\n<\/div>\n

      \n

      <\/a>[87<\/strong><\/span>]<\/sup><\/a> 
      \nViktorija Car, Mi i oni kroz medijske nao\u010dale<\/em>. ACT Printlab. Zagreb-Beograd-Sarajevo 2015, p. 7.
      \n<\/span><\/p>\n<\/div>\n

      \n

      <\/a>[88<\/strong><\/span>]<\/sup><\/a> 
      \nMichael Kunczik and Astrid Zipfel, Uvod u znanost o medijima i komunikologiju <\/em>(Introduction to Media Science and Communicology), Zaklada Friedrich Ebert, Zagreb 2006, pp. 147-149.
      \n<\/span><\/p>\n<\/div>\n

      \n

      <\/a>[89<\/strong><\/span>]<\/sup><\/a> 
      \nJames W. Tankard, “The Empirical Approach to the Study of Media Framing”, p. 98.<\/p>\n

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

      \n

      <\/a>[90<\/strong><\/span>]<\/sup><\/a> 
      \nIbid, p. 99.
      \n<\/span><\/p>\n<\/div>\n

      \n

      <\/a>[91<\/strong><\/span>]<\/sup><\/a> 
      \nPamela J. Shoemaker and Stephen D. Reese, S. Mediating the Message: Theories of Influences on Media Content<\/em>. Longman. New York 1996, p. 234.
      \n<\/span><\/p>\n<\/div>\n

      \n

      <\/a>[92<\/strong><\/span>]<\/sup><\/a> 
      \nMichael Kunczik and Astrid Zipfel, Uvod u znanost o medijima i komunikologiju<\/em>, Zaklada Friedrich Ebert, Zagreb 2006, pp. 147-148.<\/p>\n

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

      \n

      <\/a>[93<\/strong><\/span>]<\/sup><\/a> 
      \nHans-Bernd Brosius and Peter Eps, “Ver\u00e4ndern Schl\u00fcsselereignisse journalistische Selektionskriterien? Framing am Beispiel der Berichterstattung \u00fcber Anschl\u00e4ge gegen Ausl\u00e4nder und Asylanten”, in: Rundfunk und Fernsehen<\/em> (41\/1993), pp. 512-530.
      \n<\/span><\/p>\n<\/div>\n

      \n

      <\/a>[94<\/strong><\/span>]<\/sup><\/a> 
      \n“USC Annenberg’s 2017 Global Communications Report predicts convergence of marketing and public relations”,       https:\/\/annenberg.usc.edu\/research\/center-public-relations\/news\/usc-annenbergs-2017-global-communications-report-predicts<\/a>;\u00a0 Accessed: 20 December 2020.<\/p>\n

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

      \n

      <\/a>[95<\/strong><\/span>]<\/sup><\/a> 
      \nTeun A. Van Dijk, “Imagining future places: How designs co-constitute what is, and thus influence what will be”. Planning Theory<\/em> 10 (2\/2011), pp. 124\u2013143.<\/p>\n

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

      \n

      <\/a>[96<\/strong><\/span>]<\/sup><\/a> 
      \nStefan Hartman, Constanza Parra i Gert de Roo, “Framing strategic storytelling in the context of transition management to stimulate tourism destination development”, Tourism Management<\/em> 75 (2019), p. 90.<\/p>\n

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

      \n

      <\/a>[97<\/strong><\/span>]<\/sup><\/a> 
      \nErving Goffman, Frame Analysis: An Essay on the Organization of Experience, Northeastern University Press, Boston 1986.<\/p>\n

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

      \n

      <\/a>[98<\/strong><\/span>]<\/sup><\/a> 
      \nRonald Tobias, 20 Master Plots (And How to Build Them)<\/em>. Writer’s Digest Books, Cincinnati 1993.<\/p>\n

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

      \n

      <\/a>[99<\/strong><\/span>]<\/sup><\/a> 
      \nChristopher Booker, The Seven Basic Plots: Why We Tell Stories<\/em>, Continuum, London New York 2006.<\/p>\n

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

      \n

      <\/a>[100<\/strong><\/span>]<\/sup><\/a> 
      \nKenneth Burke, Counter-statement<\/em>. University of California Press. Berkeley 1968.
      \n<\/span><\/p>\n<\/div>\n

      \n

      <\/a>[101<\/strong><\/span>]<\/sup><\/a> 
      \nMichael L. Kent, The Power of Storytelling in Public Relations: Understanding the 20 Master Plots. Public Relations Review<\/em> 41 (2015), pp. 480\u2013489.
      \n<\/span><\/p>\n<\/div>\n

      \n

      <\/a>[102<\/strong><\/span>]<\/sup><\/a> 
      \nJack Lule, Daily News, Eternal Stories. The Mythological Role of Journalism<\/em>, The Guilford Press, New York 2001.
      \n<\/span><\/p>\n<\/div>\n

      \n

      <\/a>[103<\/strong><\/span>]<\/sup><\/a> 
      \nIbid.
      \n<\/span><\/p>\n<\/div>\n

      \n

      <\/a>[104<\/strong><\/span>]<\/sup><\/a> 
      \nDavid Bordwell and Kristin Thompson, Minding Movies: Observations on the Art, Craft, and Business of Filmmaking<\/em>, The University of Chicago Press, Chicago London 2011.
      \n<\/span><\/p>\n<\/div>\n

      \n

      <\/a>[105<\/strong><\/span>]<\/sup><\/a> 
      \nJoseph Turow, Mediji danas: Uvod u masovne komunikacije <\/em>(Media Today: Mass Communication in a Converging World), <\/em>Clio, Belgrade 2013, pp. 346-347.
      \n<\/span><\/p>\n<\/div>\n

      \n

      <\/a>[106<\/strong><\/span>]<\/sup><\/a> 
      \nMarie Gillespie and Jason Toynbee, Analysing media texts<\/em>, Open University Press \/ Open University, Maidenhead\u00a0 New York 2006.
      \n<\/span><\/p>\n<\/div>\n

      \n

      <\/a>[107<\/strong><\/span>]<\/sup><\/a> 
      \nHans-Bernd Brosius and Peter Eps, “Ver\u00e4ndern Schl\u00fcsselereignisse journalistische Selektionskriterien? Framing am Beispiel der Berichterstattung \u00fcber Anschl\u00e4ge gegen Ausl\u00e4nder und Asylanten”.
      \n<\/span><\/p>\n<\/div>\n

      \n

      <\/a>[108<\/strong><\/span>]<\/sup><\/a> 
      \nAli Haif Abbas, “Politicizing the Pandemic: A Schemata Analysis of COVID-19 News in Two Selected Newspapers”, International Journal for the Semiotics of Law – Revue internationale de S\u00e9miotique juridique<\/em>, 2020, DOI: 10.1007\/s11196-020-09745-2.
      \n<\/span><\/p>\n<\/div>\n

      \n

      <\/a>[109<\/strong><\/span>]<\/sup><\/a> 
      \nTiffany Karalis Noel, “Conflating culture with COVID-19: Xenophobic repercussions of a global pandemic”, Social Sciences & Humanities Open<\/em> 2 (2020),       https:\/\/doi.org\/10.1016\/j.ssaho.2020.100044<\/a>.
      \n<\/span><\/p>\n<\/div>\n

      \n

      <\/a>[110<\/strong><\/span>]<\/sup><\/a> 
      \nJabin T. Jacob, “‘To Tell China’s Story Well’: China’s International Messaging during the COVID-19 Pandemic”, China Report<\/em> 56, (3\/2020), pp. 374-392.
      \n<\/span><\/p>\n<\/div>\n

      \n

      <\/a>[111<\/strong><\/span>]<\/sup><\/a> 
      \nVanessa Molter and Renee DiResta, “Pandemics & Propaganda: How Chinese State Media Creates and Propagates CCP Coronavirus Narratives”, The Harvard Kennedy School Misinformation Review<\/em> 1 (1\/2020), Special Issue on Covid-19 and Misinformation.
      \n<\/span><\/p>\n<\/div>\n

      \n

      <\/a>[112<\/strong><\/span>]<\/sup><\/a> 
      \nRobinson Meyer, “The Grim Conclusions of the Largest-Ever Study of Fake News”, The Atlantic<\/em>,       https:\/\/www.theatlantic.com\/technology\/archive\/2018\/03\/largest-study-ever-fake-news-mit-twitter\/555104\/<\/a> Accessed: 20 December 2020.
      \n<\/span><\/p>\n<\/div>\n

      \n

      <\/a>[113<\/strong><\/span>]<\/sup><\/a> 
      \nZapan Barua, Sajib Barua, Salma Aktar, Najma Kabir and Mingze Li, “Effects of misinformation on COVID-19 individual responses and recommendations for resilience of disastrous consequences of misinformation”, Progress in Disaster Science<\/em> 8 (2020), pp. 100-119.
      \n Kris Hartley and Vu Minh Khuong, “Fighting fake news in the COVID-19 era: policy insights from an equilibrium model”, Policy Sciences <\/em>(2020),       https:\/\/doi.org\/10.1007\/s11077-020-09405-z<\/a>.
      \n<\/span><\/p>\n<\/div>\n

      \n

      <\/a>[114<\/strong><\/span>]<\/sup><\/a> 
      \nM. McCombs and D. Shaw, The agenda-setting function of the mass media, Public Opinion Quarterly<\/em> 36 (2\/1976), pp. 176-187.<\/p>\n

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

      \n

      <\/a>[115<\/strong><\/span>]<\/sup><\/a> 
      \nEverett M. Rogers and James W. Dearing, “Agenda-setting research: Where has it been, where is it going?”, Annals of the International Communication Association <\/em>11 (1\/1988), pp. 555\u2013594.<\/p>\n

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

      \n

      <\/a>[116<\/strong><\/span>]<\/sup><\/a> 
      \nAna Brakus, “Vlada skriva tko je odlu\u010dio zaobi\u0107i javnu nabavu i platiti PR agenciji pola milijuna kuna za stranicu Koronavirus.hr” (The Government is hiding who bypassed public procurement procedures and paid half a million kuna for the Koronavirus.hr webpage) ,       https:\/\/faktograf.hr\/2020\/05\/19\/media-val-vlada-koronavirus-stranica\/<\/a>; Accessed: 20 December 2020.
      \n<\/span><\/p>\n<\/div>\n

      \n

      <\/a>[117<\/strong><\/span>]<\/sup><\/a> 
      \nEva Benedik, “Za\u0161to je svijet morao stati zbog COVIDA-19, ali zbog SARS-a, MERS-a i Ebole nije?” (Why the world had to stand still for COVID-19, but not for SARS, MERS or Ebola?”),       https:\/\/www.telegram.hr\/zivot\/zasto-je-svijet-morao-stati-zbog-covida-19-ali-zbog-sars-a-mers-a-i-ebole-nije\/<\/a>; Accessed: 20 December 2020.<\/p>\n

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

      \n

      <\/a>[118<\/strong><\/span>]<\/sup><\/a> 
      \nDanka Derifaj, “Dok ste vi doma, oni rade za vas! Direkt donosi pri\u010du o herojima u doba koronavirusa” (While you stay in, they work for you! Direkt presents the story on heroes during the corona crisis),       https:\/\/www.rtl.hr\/vijesti-hr\/korona\/3671445\/dok-ste-vi-doma-oni-rade-za-vas-direkt-donosi-pricu-o-herojima-u-doba-koronavirusa\/<\/a>; Accessed: 20 December 2020.<\/p>\n

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

      \n

      <\/a>[119<\/strong><\/span>]<\/sup><\/a> 
      \n“Nevjerojatna bahatost: Mu\u0161karac s podru\u010dja Virovitice u samoizolaciji pozvao ekipu i napravio tulum, platit \u0107e masnu kaznu”,       https:\/\/net.hr\/danas\/crna-kronika\/nevjerojatna-bahatost-muskarac-s-podrucja-virovitice-u-samoizolaciji-pozvao-ekipu-i-napravio-tulum-platit-ce-masnu-kaznu\/<\/a>; Accessed: 20 December 2020.
      \n<\/span><\/p>\n<\/div>\n

      \n

      <\/a>[120<\/strong><\/span>]<\/sup><\/a> 
      \n“Prije dva dana sprdao se s koronavirusom, a sada je prvi zara\u017eeni ko\u0161arka\u0161 u NBA ligi” (Two days ago he joked about the coronavirus, now he is the first infected basketball player in the NBA League),       https:\/\/gol.dnevnik.hr\/clanak\/rubrika\/kosarka\/rudy-gobert-sprdao-se-s-koronavirusom-prije-dva-dana—597205.html<\/a>; Accessed: 20 December 2020.
      \n<\/span><\/p>\n<\/div>\n

      \n

      <\/a>[121<\/strong><\/span>]<\/sup><\/a> 
      \n“Mu\u0161karac oti\u0161ao na ‘korona party‘ kako bi dokazao da je virus prevara. Zarazio se i umro!” (Man goes to a ‘corona party’ to prove the virus is a hoax. He got infected and died!),       https:\/\/www.jutarnji.hr\/vijesti\/svijet\/muskarac-otisao-na-korona-party-kako-bi-dokazao-da-je-virus-prevara-zarazio-se-i-umro-15007927<\/a>; Accessed: 20 December 2020.
      \n<\/span><\/p>\n<\/div>\n

      \n

      <\/a>[122<\/strong><\/span>]<\/sup><\/a> 
      \n“Heroina nacije: prof. Alemka Markoti\u0107 otkriva kada \u0107e nam biti bolje: ‘vidim svjetlo na kraju tunela’”, (National heroine: Professor Alemka Markoti\u0107 reveals when things will get better: ‘I can see the light at the end of the tunnel’”)       https:\/\/www.gloria.hr\/gl\/magazin\/heroina-nacije-prof-alemka-markotic-otkriva-kada-ce-nam-biti-bolje-vidim-svjetlo-na-kraju-tunela-10184098<\/a>; Accessed: 20 December 2020.
      \n<\/span><\/p>\n<\/div>\n

      \n

      <\/a>[123<\/strong><\/span>]<\/sup><\/a> 
      \n“Ekskluzivno: supruga junaka nacije otkriva \u010dime ju je ministar osvojio i \u0161to najvi\u0161e kod njega voli” (Exclusive: wife of national hero reveals how the Minister swept her off her feet and what she loves most about him”),       https:\/\/www.gloria.hr\/gl\/magazin\/ekskluzivno-supruga-junaka-nacije-otkriva-cime-ju-je-ministar-osvojio-i-sto-najvise-kod-njega-voli-10106017<\/a>; Accessed: 20 December 2020.<\/p>\n

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

      \n

      <\/a>[124<\/strong><\/span>]<\/sup><\/a> 
      \nMartina Petrovi\u0107, “Djeca crte\u017eima pokazuju da su \u010dlanovi sto\u017eera njihovi junaci – Bero\u0161ev i Bo\u017einovi\u0107ev odgovor je nevjerojatno dirljiv” (Children draw members of the headquarters as their heroes and the touching response by Bero\u0161 and Bo\u017einovi\u0107),       https:\/\/miss7.24sata.hr\/lifestyle\/djeca-crtezima-pokazuju-da-su-clanovi-stozera-njihovi-junaci-berosev-i-bozinovicev-odgovor-je-nevjerojatno-dirljiv-29839<\/a>; Accessed: 20 December 2020.
      \n<\/span><\/p>\n<\/div>\n

      \n

      <\/a>[125<\/strong><\/span>]<\/sup><\/a> 
      \n“\u0160imun o pozivu ministra: ‘On jo\u0161 stigne i mene nazvati, sad je definitivno heroj’” (\u0160imun on the Minister’s invitation: He can still call me, he is definitely a hero now),       https:\/\/novosti.hr\/simun-o-pozivu-ministra-on-jos-stigne-i-mene-nazvati-sad-je-definitivno-heroj\/<\/a>; Accessed: 20 December 2020.<\/p>\n

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

      \n

      <\/a>[126<\/strong><\/span>]<\/sup><\/a> 
      \n The Constitution of the Republic of Croatia, Article 22: “No one shall be deprived of liberty, nor may such liberty be restricted, except when specified by law, upon which a court shall decide”,       https:\/\/www.sabor.hr\/en\/constitution-republic-croatia-consolidated-text<\/a>; Accessed: 13 May 2021. <\/p>\n

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

      \n

      <\/a>[127<\/strong><\/span>]<\/sup><\/a> 
      \nThe Constitution of the Republic of Croatia, Article 32: “Anyone lawfully within the territory of the Republic of Croatia shall enjoy freedom of movement and freedom to choose his\/her residence. All citizens of the Republic shall be entitled to leave the state territory at any time and permanently or temporarily settle abroad, and to return at any time. The right to movement within the territory of the Republic of Croatia and the right to depart may be exceptionally be curtailed by law, if necessary to protect the legal order, or the health, rights and liberties of others”,       https:\/\/www.sabor.hr\/en\/constitution-republic-croatia-consolidated-text<\/a>; Accessed: 13 May 2021.
      \n<\/span><\/p>\n<\/div>\n

      \n

      <\/a>[128<\/strong><\/span>]<\/sup><\/a> <\/p>\n

      The Constitution of the Republic of Croatia, Article 42: “Everyone shall be guaranteed the right to public assembly and peaceful protest, in compliance with law”, https:\/\/www.sabor.hr\/en\/constitution-republic-croatia-consolidated-text<\/a>; Accessed: 13 May 2021.
      \n<\/span><\/p>\n<\/div>\n

      \n

      <\/a>[129<\/strong><\/span>]<\/sup><\/a> 
      \nThe Constitution of the Republic of Croatia, Article 49: “Free enterprise and free markets shall form the foundation of the economic system of the Republic of Croatia”,       https:\/\/www.sabor.hr\/en\/constitution-republic-croatia-consolidated-text<\/a>; Accessed: 13 May 2021.
      \n<\/span><\/p>\n<\/div>\n

      \n

      <\/a>[130<\/strong><\/span>]<\/sup><\/a> 
      \n      https:\/\/miss7.24sata.hr\/lifestyle\/djeca-crtezima-pokazuju-da-su-clanovi-stozera-njihovi-junaci-berosev-i-bozinovicev-odgovor-je-nevjerojatno-dirljiv-29839<\/a>; Accessed: 20 December 2020.<\/p>\n

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

       <\/p>\n

      Medijsko uokvirivanje korona virusa u Hrvatskoj<\/span><\/strong><\/p>\n

       <\/p>\n

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

       <\/span><\/p>\n

      Medijsko uokvirivanje je tehnika kojom mediji uokviruju vijesti u prepoznatljive narative koji korespondiraju s nesvjesnim slojevima psihe. Mediji prenagla\u0161avaju odre\u0111ene aspekte doga\u0111aja dok, s druge strane, po metodi Prokrustove postelje ignoriraju one aspekte koji se ne uklapaju u odabrani narativ (Kunczik i Zipfel, 1998: 103). Medijsko uokvirivanje se oslanja na vje\u0161tinu pri\u010danja pri\u010da, odnosno storytelling, a teoreti\u010dari nagla\u0161avaju kako master narativi selektirani iz mitova, bajki i snova u velikoj mjeri osna\u017euju manipulativne u\u010dinke medijskog uokvirivanja (Kent, 2015). Rad istra\u017euje na koji su na\u010din hrvatski mediji uokvirivali vijesti o korona virusu u razdoblju od uvo\u0111enja mjera dru\u0161tvenog distanciranja (19.03.2020.) do popu\u0161tanja mjera (27.04.2020.). Preliminarno istra\u017eivanje upu\u0107uje na kori\u0161tenje sljede\u0107ih master narativa: pobjeda nad \u010dudovi\u0161tem, od siromaha do bogata\u0161a, potraga, tragedija kao kazna za egoizam i oholost, preporod, a istaknuti \u010dlanovi Nacionalnog sto\u017eera uokvireni su u arhetip heroja. Kori\u0161tenje ovih master narativa u medijskom uokvirivanju korona krize u tzv. prvom valu epidemije, ukazuje na jasnu propagandisti\u010dku, odnosno manipulativnu namjeru. <\/em><\/p>\n

       <\/p>\n

      Klju\u010dne rije\u010di:<\/em><\/strong> medijsko uokvirivanje, pri\u010danje pri\u010da, master narativ, korona kriza, propaganda.<\/em><\/p>\n

       <\/span><\/p>\n

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

       <\/span><\/p>\n

      \n\n\n\n
      \"inmediasres\"<\/p>\n

      \n  10(18)#5 2021<\/strong> <\/p>\n<\/td>\n

      		\n

      \n\"Creative<\/a>
      This journal is open access and this work is licensed under a       Creative Commons Attribution-NonCommercial 4.0 International License.<\/strong><\/a><\/p>\n<\/td>\n

      		\n


      \nDOI 10.46640\/imr.10.18.4<\/a>
      \nUDK 316.647.88-053.9:614.44*Covid-19
      \nPregledni \u010dlanak
      \nReview article
      \nPrimljeno: 19.01.2021.<\/strong><\/p>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

       <\/p>\n

       <\/p>\n

      Iris Jeron\u010di\u0107 Tomi\u0107 i Rosanda Muli\u0107<\/span><\/p>\n

      Medicinski fakultet Sveu\u010dili\u0161ta u Splitu, Hrvatska
      \niris.jeroncic@mefst.hr
      \nrosanda.mulic@mefst.hr<\/p>\n

      Ageism in the Age of Pandemic<\/span><\/strong><\/p>\n


      \nPuni tekst: pdf (385 KB), English, Str. 2347 – 2364
      \n<\/span><\/strong><\/a><\/p>\n

       <\/p>\n

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

       <\/span><\/p>\n

      Elderly persons, in addition to their health needs, also have a need for being socially perceived as persons and for considering aging as a normal life process. Throughout history, older people have been considered a social problem, resulting in a negative attitude towards the old age group. Ageism is a term denoting discrimination of a group of people because of their old age. Discrimination occurs because of the belief that aging causes negative changes that make a person less attractive, less intelligent and, most importantly, less productive. During a pandemic, the society\u2019s unethical actions towards this particularly vulnerabile group become evident. These include cruelties in the triage procedure in some EU countries, giving preference to those who have a better chance of survival, and the recurring impression among the younger populations that nothing significant has changed in their lives and that, accordingly, nothing should be changed in their habits and behaviour. <\/em><\/p>\n

       <\/p>\n

      Key words:<\/em><\/strong> pandemic, hatred, ageism, young people.<\/em><\/p>\n

       <\/p>\n

       <\/p>\n

      Introduction<\/strong><\/p>\n

      I was inspired to give a lecture on this topic by Ante Tomi\u0107’s column titled “Getting Old Ain’t for Sissies,” published on April 12, 2020 in Jutarnji list<\/em>.<\/p>\n

      “Who in their right mind would decide that a seventeen-year-old schoolgirl, a beautiful budding creature, should sing about an elderly woman sitting on a park bench and watching the children play, thinking about her life fading like the sun on the horizon? What did these frivolous young men and women really know about the torment of aging, about illness, fear and loneliness, about sagging skin, withered muscles, squeaky bones, and dentures on shelves?”<\/a>[131<\/strong><\/span>]<\/sup><\/a><\/p>\n

      During the current pandemic, when publishing data in the media about persons who have died of COVID, it is always emphasized how old the person was and whether he or she was suffering from chronic diseases. Nearly one-quarter of the tweets analyzed in a study had ageistic or potentially offensive content concerning the elderly.<\/a>[132<\/strong><\/span>]<\/sup><\/a> This constant repetition of the fact that the majority of deaths were elderly and people with chronic diseases has created an impression in one part of the younger population that nothing significant in their lives has changed. With the advent of summer and in search for familiar summertime patterns of behavior, the numbers of diseased and the epidemiological situation have changed significantly. Patients are no longer only “old”, “oncological”, or “chronic”. Generational differences and social changes caused by the spread of infectious diseases have long been the subject of writing. A good example is found in Giovanni Boccaccio’s Decameron<\/em>, when he describes the Florentine society during the Black Death of 1348: “Such fear filled the hearts of men and women… that a brother neglected his brother, a sister her brother… a wife her husband, and even… fathers and mothers avoided caring for their children.”<\/a>[133<\/strong><\/span>]<\/sup><\/a> Boccaccio’s advice is the following: protect yourself with stories. By fleeing the city, surrounding yourself with pleasant company, and telling stories for good mood, a mixture of social isolation and entertaining activities, you can survive the worst days of the epidemic. By advising people to avoid the cities, he thus pioneered what today’s public health experts call social isolation.<\/p>\n

      He also understood the importance of what we now call mental wellbeing, threatened not only by the feeling of isolation, but also by stigma. Stories cannot protect people from the virus, but they at least give them a chance when it comes to fighting the negative feelings created by the epidemics and quarantine. How much humanity have we retained through this time and do we recall the triage procedures in some EU countries and the decisions on who would be put on respirators? Community attitudes towards the elderly during a pandemic can be analyzed by focusing on three important issues: the lockdown of nursing homes, recommendations of staying at home indefinitely long despite being separated from the family and suffering from increased social exclusion, and denying access to respirators during the early days of the pandemic and the exponential growth of sick persons. From “benevolent” health advice on age sensitivity to ghettoizing the elderly in order to minimize risk, ageistic rhetoric has been dominant in pandemic control.<\/a>[134<\/strong><\/span>]<\/sup><\/a><\/p>\n

      We like to look for good qualities in ourselves, as well as for confirmation and gratitude in the eyes of others, and we often point out that a society is as strong as its weakest link. The World Health Organization emphasizes: “The true measure of any society is found in how it treats its most vulnerable members.” (WHO, 2019)<\/a>[135<\/strong><\/span>]<\/sup><\/a>.<\/p>\n

      Unfortunately, there are different examples as well. The state policies of Western societies often see the elderly as a burden rather than an integral part of the population, whose members must be equally valuable. The elderly are rarely sufficiently represented in the media and the administration to have a voice in decision-making. The media play a significant role in spreading ageistic stereotypes and negative attitudes towards the elderly, especially in times of crisis.<\/a>[136<\/strong><\/span>]<\/sup><\/a> \u00a0The COVID-19 pandemic has highlighted this exclusion and prejudice against them. The current crisis emphasizes the disturbing public speech about aging that calls into question the value of elderly lives and neglects their irreplaceable contribution to the society.<\/p>\n

      Based on the negative perception of age and aged persons, and the social attitudes towards them, we were interested in establishing how many young people without medical education could identify violence against elderly persons in their own environment.<\/p>\n

      An important dimension of the lives of older people, in addition to their health needs, is the social perception of them as persons and of aging. Throughout history, older people have been considered a social problem, resulting in a negative attitude towards the old age group. Ageism is a term denoting discrimination of a group of people because of their old age. Discrimination occurs because of the belief that aging causes negative changes that make a person less attractive, less intelligent and, most importantly, less productive. The term was coined by Maggie Kuhn, who fought discrimination against the elderly after the Vietnam War.<\/a>[137<\/strong><\/span>]<\/sup><\/a> In some societies, the prevalence of ageism has led to gerontophobia, i.e. fear of aging. Four factors have contributed to the development of a negative attitude towards aging. The first is the fear of death that comes with aging. Another is the emphasis on youth culture, especially in the media. The third factor is economic, and the fourth is the way in which age was initially researched in the scientific community. Most often, the respondents would be persons placed in care centers, where only a small part of the elderly population lived, moreover the part that was barely functional on its own. Ageism should be observed from two vantage points. One is that the elderly are a group within a population, and the other that this group is made up of people of different social, economic, racial, and gender characteristics, who contribute to an overall picture of a particular individual from an older population. Sexism within ageism should be mentioned as well. Elderly women have a far worse experience of aging in the society than men. They are more often marginalized by the community, often ridiculed in popular culture, and more likely to have trouble finding care towards the end of their lives. One of the ways to fight ageism is education, propaganda, and struggle against the spread of ageism in the media and the society.<\/p>\n

       <\/p>\n

      Our goal<\/strong><\/p>\n

      The aim has been to point out the unequality of elderly people in the society, with a special emphasis on the ability of young people to identify violence against the elderly, which is also increasingly covered by the media during the COVID pandemic.<\/p>\n

       <\/p>\n

      Sources and methods<\/strong><\/p>\n

      In this cross-sectional survey, we interviewed 102 young persons attending the first year of Health Studies at the University of Split with a questionnaire on identifying violence against the elderly in families within the framework of the Reference Centre of the Croatian Ministry of Health for Protection the Health of Elderly Persons. The questionnaire consisted of ten statements to which the respondents answered with “True” or “False”.<\/a>[138<\/strong><\/span>]<\/sup><\/a> The authors and source of the questionnaire were: doc. dr. sc. Silvia Rusac, Faculty of Law, Study Center for Social Work, Department of Social Gerontology, and Office for Public-Health Gerontology NZJZ “Dr. Andrija \u0160tampar” \u2013 Reference Centre of the Croatian Ministry of Health for Protection the Health of Elderly Persons: www.stampar.hr\/gerontologija<\/a>.<\/u><\/p>\n

       <\/p>\n

      Results<\/strong><\/p>\n

      In this study, differences in responses that are due to sociodemographic differences were not significant. All respondents were of the same age, with few men among them.<\/p>\n

      Table 1. The respondents’ answers to the questions of the Test for Identifying Domestic Violence against Elderly Persons<\/em>.<\/p>\n\n\n\n\n\n\n
      \n

      Age<\/p>\n<\/td>\n

      		\n

      <20<\/p>\n<\/td>\n

      		\n

      >20<\/p>\n<\/td>\n

      		\n

       <\/p>\n<\/td>\n<\/tr>\n

      \n

      \u00a0<\/p>\n<\/td>\n

      		\n

      100<\/p>\n<\/td>\n

      		\n

      0<\/p>\n<\/td>\n

      		\n

       <\/p>\n<\/td>\n<\/tr>\n

      \n

      Sex<\/p>\n<\/td>\n

      		\n

      M<\/p>\n<\/td>\n

      		\n

      F<\/p>\n<\/td>\n

      		\n

       <\/p>\n<\/td>\n<\/tr>\n

      \n

      \u00a0<\/p>\n<\/td>\n

      		\n

      13<\/p>\n<\/td>\n

      		\n

      87<\/p>\n<\/td>\n

      		\n

       <\/p>\n<\/td>\n<\/tr>\n

      \n

      Statement<\/p>\n<\/td>\n

      		\n

      False (F)<\/p>\n<\/td>\n

      		\n

      True (T)<\/p>\n<\/td>\n

      		\n

      Correct answer<\/p>\n<\/td>\n<\/tr>\n<\/table>\n

       <\/p>\n

      Question No.<\/p>\n

      1. Elderly persons are mostly abused by strangers.<\/p>\n

      2. Abuse of elderly persons occurs only in poorer social strata.<\/p>\n

      3. Elderly persons always despise their abusers and report abuse.<\/p>\n

      4. Violence against elderly persons is a serious social problem.<\/p>\n

      5. Older and younger people react similarly to abuse.<\/p>\n

      6. Children who abuse elderly parents were most likely abused themselves.<\/p>\n

      7. Models of prevention and intervention in cases of child abuse cannot be applied to cases of abuse of elderly persons.<\/p>\n

      8. Causing feelings of fear or restricting the freedom of movement or communication with third parties does not constitute violence against the elderly.<\/p>\n

      9. The number of abused elderly persons increases with the growing number of elderly persons in the society.<\/p>\n

      10. Caregivers may neglect care for the elderly due to excessive alcohol consumption.<\/p>\n

      Table 1 shows the ten statements to which the respondents were to give a correct answer by responding with “True” or “False”. The respondents offered the most correct answer to the statement “Abuse of elderly persons occurs only in poorer social strata,” where only one person gave an incorrect answer.<\/p>\n

       <\/p>\n

      Discussion<\/strong><\/p>\n

      From the results shown in Table 1, we see that most respondents showed good knowledge of the given problem. In this study, the respondents were students of Health Studies, so it is to be expected that we have obtained more promising data than we would have in the general population, as they have chosen a profession that requires empathy for others. Differences in relation to the respondents’ sex are not significant because the share of male respondents was small. Most of the wrong answers referred to violence against the elderly and its difference in relation to other forms of domestic violence. Distinguishing the specifics of domestic violence with regard to specific age groups is not yet sufficiently recognized in our society. Thus, when asked whether violence against elderly persons was a serious social problem, only three respondents gave the right answer. A large number of incorrect answers was also given to the questions regarding the identity of the persons who abuse the elderly, whether children who abused the elderly had themselves been abused by their parents or relatives, and whether measures and models applied to violence against children could also be applied in the prevention of violence against this social group.<\/p>\n

      Domestic violence is a set of behaviors aimed at controlling family members through the use of force, intimidation, and manipulation. Healthcare professionals can play a key role in the early detection and prevention of domestic violence, because they are the only professionals that all people come in contact with throughout their lives and can therefore create a confidential conversation environment. The victims tend to minimize and cover up domestic violence for fear that their safety will be further compromised if they confide in someone, because of shame they feel because of living in such a family, and because of the specific dynamics of violent relationships that makes the victim helpless and loyal to their abuser. It is a legal obligation of healthcare professionals to report domestic violence to the police and the state attorney’s office. This is in accordance with the ethical principles of the profession, because they need to identify the causes behind the patients’ problems even when they are of a non-medical nature. Through their intervention, healthcare professionals help the victim to avoid and reduce his or her exposure to violence, which helps reduce harmful health consequences and can save the victim’s life and health as domestic violence tends to recur and escalate.<\/a>[139<\/strong><\/span>]<\/sup><\/a><\/p>\n

      Socially, elderly persons also experience discrimination even in healthcare. Numerous studies have shown how healthcare professionals, such as nurses, physicians, and healthcare students, treat the elderly according to their personal attitudes toward aging and the elderly population.<\/p>\n

      Although research is heterogeneous, negative standpoints are generally associated with poorer healthcare for the elderly, which results in poorer treatment outcomes. Discrimination against the elderly is associated with treatment decisions. An example from England speaks of the treatment of breast cancer in younger and older women. Although breast cancer is more common in the elderly female population, doctors are less likely to recommend an early screening test for breast cancer to elderly women than to younger ones. Only a small number of physicians perform physical examination of breasts in elderly women. Also, elderly women are more likely to be recommended a more radical form of surgery as opposed to younger women, who are suggested less radical surgeries. Another form of discrimination against the elderly in the healthcare system is the way in which medical staff communicates with the elderly population. Older people are less involved in the treatment process. Medical staff shows less patience and respect towards them than towards the younger population. Communication is considered to be one of the factors contributing to the treatment outcome. Systematic research on health education programmes has shown that the efforts invested in combating discrimination against the elderly are insufficient and that gerontology is poorly promoted in education. Medical students have expressed the need for better education in geriatrics. In recent years, there has been a positive shift in solving this deficiency, and the education of healthcare staff in the field of gerontology is moving in the right direction.<\/a>[140<\/strong><\/span>]<\/sup><\/a> One of the most obvious examples of neglecting elderly lives is the inefficiency of the French state authorities to report data on the deaths of elderly persons in nursing homes. This fact can lead the public to conclude that their deaths are insignificant and expected.<\/a>[141<\/strong><\/span>]<\/sup><\/a><\/p>\n

      The pandemic was not taken seriously at first, either in France or elsewhere, and it was presented to the public as dangerous only for the elderly. This approach may partly explain the resistance to following public health guidelines. It has been found that younger adults who died from COVID-19 complications often generated lengthy and thorough media reports worldwide, while the deaths of thousands of elderly persons were simply counted and added, if at all documented.<\/p>\n

      Social and\/or cultural norms are responsible for a certain level of consensus, while the diversity of individual experiences significantly contributes to the diversity of attitudes towards the same object.<\/p>\n

      Attitudes towards an object can be shaped by behavioural or direct experience of an individual with the object of his or her attitude, but also indirectly, without behavioral experience. When it comes to a tangible, physical object, such an experience means manipulating that object or interacting with it. When the object of an attitude exists only in the person’s psychological world or social reality, then direct experience refers to all previous behaviours related to the object. At the other end of the continuum are attitudes shaped by information that is not related to the individual’s direct experience (e.g. information from books, newspaper articles, television, listening to the experiences of parents, friends, etc.). For an attitude thus formed, one says that it was shaped by indirect experience with the object of the attitude. When an attitude arises from such direct experience, there is a greater consistency between attitude and behaviour, greater sustainability of such an attitude over time, and its resistance to change, as compared to the attitude shaped by indirect experience with the object of the attitude.<\/p>\n

      The formation of attitudes begins with the birth of an individual and is based on a variety of experiences that are mutually reinforcing and result in a certain reaction in another, similar stimulating situation. Attitudes are a result of socialization and are acquired through social learning.<\/a>[142<\/strong><\/span>]<\/sup><\/a> In addition to knowledge, their development is influenced by three other factors: motivation and reinforcement, personality traits, and social environment. The motivation and reinforcement factor refers to the development of a reaction in which personal motives, based on personal experience, influence the features of the attitude to be developed. Personality traits are also partly conditioned by cognition, which in turn affects the features of the attitude that the person will eventually adopt.<\/a>[143<\/strong><\/span>]<\/sup><\/a><\/p>\n

      Social environment limits the learning of experiences to those to which we are exposed in that particular environment, and thus influences the shaping of attitudes. Taking an attitude depends on its instrumental value for achieving certain goals of the individual. We usually have a positive attitude towards objects that contribute to the satisfaction of our motives, and a negative attitude towards objects that hinder the achievement of our goals. One of the processes that can affect the shaping of attitudes is social comparison.<\/p>\n

      Social comparison is defined as a process in which other persons, i.e. their attitudes, abilities, and modes of reaction, become the basis for assessing personal insights, attitudes, abilities, emotions, and other states.<\/a>[144<\/strong><\/span>]<\/sup><\/a> According to L. Festinger’s theory of social comparison, there is a need to evaluate personal insights, attitudes, abilities, modes of behaving and experiencing, and to assess their correctness and suitability.<\/p>\n

      In the absence of information from the “objective reality”, a person will evaluate himself or herself by comparison with other people, whose behavior is the “social reality”. Social comparison can result in empathy, which is immersion in the mental state of another person and understanding that person’s position, such as suffering or being threatened, based on an experienced or imagined situation in which that person may be. Entering the mental framework of another person requires recognizing and identifying with the current feelings, thoughts, and reactions of the suffering person, and simultaneously understanding these reactions in terms of their importance, i.e. relevance for the future of that person.<\/a>[145<\/strong><\/span>]<\/sup><\/a><\/p>\n

      The sum of social attitudes towards the elderly outlines the level of humanity as well as care and awareness of one’s own future. A sustainable, humane society implies an awareness of the irreplaceability of each and every person involved in social life. In the first place, there is the idea of \u200b\u200bthe value of a person per se. Every human society is directed to some goal and uses certain means of living and acting to achieve it, which means that it has a structure and direction of action, while the real beginning, subject, and purpose of every form of human community is the person.<\/a>[146<\/strong><\/span>]<\/sup><\/a><\/p>\n

      This implies a community based on the principles of life, because a free person is driven by the knowledge in which life is the beginning, the goal, and the greatest value. If the community members recognize it as such, understanding it as the fundamental value and choosing it as the principle of the community’s existence, the person remains the beginning, content, and goal of the community, and thus the society.<\/p>\n

      For the future of a society, this is the basic level of awareness, which should be present among all its members, especially in those social groups whose task is to plan and make long-term development decisions. Integration and economic involvement of all members of the society is a strategic commitment, not just an individual exception.<\/p>\n

      “Getting old ain’t for sissies,” Bette Davis once said. You need to have the guts to do it even if you live in comfort and wealth, if someone loves you and takes care of you, and then imagine what a horror it is to lie abandoned, without anyone you can call your own, with the feeling of guilt for having taken a bed and a respirator that could have saved someone younger, while an esteemed MP explains on TV in the corner that it is not such a pity if you die. It is a horror worse than the corona virus: cruelty, selfishness, emptiness of hearts and minds, the defeat of civilization. If that doesn’t make you cry, you’d better cry for yourself, for your stupid, scared, and despicable existence that you, completely wrongly, call life.<\/a>[147<\/strong><\/span>]<\/sup><\/a><\/p>\n

       <\/p>\n

      \n
      \n

      <\/a>[131<\/strong><\/span>]<\/sup><\/a> 
      \nAnte Tomi\u0107, “Starenje nije za curice” [Getting old ain’t for sissies], https:\/\/www.jutarnji.hr\/naslovnica\/pise-ante-tomic-starenje-nije-za-curice-kakav-je-samo-uzas-lezati-napusten-s-krivnjom-da-ste-uzeli-postelju-i-respirator-nekom-mladem10196539 (last accessed on May 27, 2020).<\/p>\n

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

      \n

      <\/a>[132<\/strong><\/span>]<\/sup><\/a> 
      \nMaria Renee Jimenez, Carolina Gomez Moreno, and Enrique Soto-Perez-de-Celis, “Coronavirus, Ageism, and Twitter: An Evaluation of Tweets about Older Adults and COVID\u201019,” https:\/\/doi.org\/10.1111\/jgs.16508 (last accessed on August 20, 2019).<\/p>\n

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

      \n

      <\/a>[133<\/strong><\/span>]<\/sup><\/a> 
      \nRu\u0161ev Marija, “Giovanni Boccaccio, Dekameron, PPT,” 198.53.8 \u203a rivaon \u203a hrvatski \u203a Boccaccio_Dekameron (last access on June 20, 2020).
      \n<\/span><\/p>\n<\/div>\n

      \n

      <\/a>[134<\/strong><\/span>]<\/sup><\/a> 
      \nRusac Silvija, \u0160tambuk Ana and Veri\u0107 Jelena, “Dobna diskriminacija: iskustva starijih osoba” [Ageism: Experiences of elderly persons], Hrvatska revija za rehabilitacijska istra\u017eivanja<\/em> (49\/2013), pp. 96-105.<\/p>\n

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

      \n

      <\/a>[135<\/strong><\/span>]<\/sup><\/a> 
      \nRenato Mati\u0107, “Odnos hrvatskoga dru\u0161tva prema starijim osobama: Ispit humanosti i vizije budu\u0107nosti” [Attitudes of the Croatian society towards elderly persons: A test of humanity and a vision of the future], https:\/\/doi.org\/10.31823\/d.26.4.5 \u2022 UDK: 314.8-953.9:17(497.5) (last accessed on August 20, 2020).<\/p>\n

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

      \n

      <\/a>[136<\/strong><\/span>]<\/sup><\/a> 
      \nFraser Sarah, Lagace Martine, Bongue Bienvenu, et al., “Ageism and COVID-19: What Does Our Society’s Response Say about Us?” Age and Ageing<\/em> (49\/2020), pp. 692-695.
      \n<\/span><\/p>\n<\/div>\n

      \n

      <\/a>[137<\/strong><\/span>]<\/sup><\/a> 
      \nFormosa Marvin, “Exposing Ageism,” BOLD (12\/2000), pp. 15-23.<\/p>\n

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

      \n

      <\/a>[138<\/strong><\/span>]<\/sup><\/a> 
      \nSilvia Rusac, “Nasilje nad starijim osobama u obitelji na podru\u010dju grada Zagreba” [Domestic violence against elderly persons in the Zagreb area], Ljetopis socijalnog rada (16\/2009), pp. 573-594.<\/p>\n

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

      \n

      <\/a>[139<\/strong><\/span>]<\/sup><\/a> 
      \nDean Ajdukovi\u0107 and Marina Ajdukovi\u0107, “Nasilje u obitelji: \u0161to zdravstveni djelatnici mogu u\u010diniti” [Domestic violence: What healthcare workers can do], Medicina fluminensis (46\/2010), pp. 292-299.<\/p>\n

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

      \n

      <\/a>[140<\/strong><\/span>]<\/sup><\/a> 
      \nWyman Mary, Shiovitz\u2013Ezra Sharon, and Bengel Juergen, “Ageism in the Health Care System: Providers, Patients, and Systems,” https:\/\/www.researchgate.net\/publication\/325289340_Ageism_in_the_Health_Care_System_Providers_Patient_ and_Systems (last accessed on August 20, 2020).<\/p>\n

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

      \n

      <\/a>[141<\/strong><\/span>]<\/sup><\/a> 
      \nS. Fraser, M. Lagace, and B. Bongue, “Ageism and COVID-19,” pp. 692-695.
      \n<\/span><\/p>\n<\/div>\n

      \n

      <\/a>[142<\/strong><\/span>]<\/sup><\/a> 
      \nJeron\u010di\u0107 Tomi\u0107 Iris, “Stigma \u2013 mitovi i predrasude depresivnog poreme\u0107aja \u2013 uloga videa kao medija u psihoedukaciji (Boli me \u2013 video za promociju mentalnog zdravlja)” [Stigma: Myths and prejudices of depressive disorder \u2013 The role of video as a medium in psychoeducation (It hurts \u2013 A video for fostering mental health)], https:\/\/hrcak.srce.hr\/index.php?show=toc&id_broj=15082 (last accessed on May 28, 2020).<\/p>\n

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

      \n

      <\/a>[143<\/strong><\/span>]<\/sup><\/a> 
      \nPetz Boris, Psihologijski rje\u010dnik [A dictionary of psychology], Prosvjeta, Zagreb 1992.<\/p>\n

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

      \n

      <\/a>[144<\/strong><\/span>]<\/sup><\/a> 
      \nKolesari\u0107 Vladimir, Krizmani\u0107 Marija, and Petz Boris, Uvod u psihologiju \u2013 suvremena, znanstvena i primijenjena psihologija [Introduction to psychology: Contemporary, scientific, and applied psychology], Grafi\u010dki zavod Hrvatske, Zagreb 1991, pp. 175-213.<\/p>\n

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

      \n

      <\/a>[145<\/strong><\/span>]<\/sup><\/a> 
      \nB. Petz, Psihologijski rje\u010dnik, 1992.<\/p>\n

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

      \n

      <\/a>[146<\/strong><\/span>]<\/sup><\/a> 
      \nR. Mati\u0107, “Odnos hrvatskoga dru\u0161tva prema starijim osobama.”<\/p>\n

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

      \n

      <\/a>[147<\/strong><\/span>]<\/sup><\/a> 
      \nA. Tomi\u0107, “Starenje nije za curice.”<\/p>\n

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

       <\/p>\n

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

      Ajdukovi\u0107 Dean and Ajdukovi\u0107 Marina, “Nasilje u obitelji: \u0161to zdravstveni djelatnici mogu u\u010diniti,” Medicina fluminensis (46\/2010), pp. 292-299.<\/p>\n

      Formosa Marvin, “Exposing Ageism,” BOLD (12\/2000), pp. 15-23.<\/p>\n

      Fraser Sarah, Lagac\u00e9, Bienvenu Bongu\u00e9 Martine, Ndeye Ndatt\u00e9, Guyot, Lauren Bechard Jessica, Garcia Linda, and Taler Vanessa, “Ageism and COVID-19: what does our society’s response say about us?” Age and Ageing (49\/2020), pp. 692-695.<\/p>\n

      Jeron\u010di\u0107 Tomi\u0107 Iris, “Stigma \u2013 mitovi i predrasude depresivnog poreme\u0107aja \u2013 uloga videa kao medija u psihoedukaciji (Boli me \u2013 video za promociju mentalnog zdravlja), https:\/\/hrcak.srce.hr\/index.php?show=toc&id_broj=15082 (last accessed on May 28, 2020).<\/p>\n

      Kolesari\u0107 Vladimir, Krizmani\u0107 Marija, and Petz Boris, Uvod u psihologiju \u2013 suvremena, znanstvena i primijenjena psihologija, Grafi\u010dki zavod Hrvatske, Zagreb 1991, pp. 175-213.<\/p>\n

      Mati\u0107 Renato, “Odnos hrvatskoga dru\u0161tva prema starijim osobama: Ispit humanosti i vizije budu\u0107nosti,” https:\/\/doi.org\/10.31823\/d.26.4.5 \u2022 UDK: 314.8-953.9:17(497.5) (last accessed on August 20, 2020).<\/p>\n

      Petz Boris, Psihologijski rje\u010dnik, Prosvjeta, Zagreb 1992.<\/p>\n

      Renee Jimenez Maria, Gomez Moreno Carolina, and Soto-Perez-de-Celis Enrique, “Coronavirus, Ageism, and Twitter: An Evaluation of Tweets about Older Adults and COVID19,” https:\/\/doi.org\/10.1111\/jgs.16508 (last accessed on August 20, 2020).<\/p>\n

      Rusac Silvia, “Nasilje nad starijim osobama u obitelji na podru\u010dju grada Zagreba,” Ljetopis socijalnog rada (16\/2009), pp. 573-594.<\/p>\n

      Rusac Silvija, \u0160tambuk Ana, and Veri\u0107 Jelena, “Dobna diskriminacija: iskustva starijih osoba,” Hrvatska revija za rehabilitacijska istra\u017eivanja (49\/2013), pp. 96-105.<\/p>\n

      Ru\u0161ev Marija, “Giovanni Boccaccio, Dekameron, PPT,” 198.53.8 \u203a rivaon \u203a hrvatski \u203a Boccaccio_Dekameron (last accessed on June 20, 2020).<\/p>\n

      Tomi\u0107 Ante, “Starenje nije za curice,” https:\/\/www.jutarnji.hr\/naslovnica\/pise-ante-tomic-starenje-nije-za-curice-kakav-je-samo-uzas-lezati-napusten-s-krivnjom-da-ste-uzeli-postelju-i-respirator-nekom-mladem-10196539 (last accessed on May 27, 2020).<\/p>\n

      Wyman Mary, Shiovitz\u2013Ezra Sharon, and Bengel Juergen, “Ageism in the Health Care System: Providers, Patients, and Systems,” https:\/\/www.researchgate.net\/publication\/325289340_Ageism_in_the_Health_Care_System_ Providers_Patients_and_Systems (last accessed on August 20, 2020).<\/p>\n

       <\/p>\n

      Staromr\u0161tvo u doba pandemije<\/span><\/strong><\/p>\n

       <\/p>\n

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

       <\/span><\/p>\n

      Stariji ljudi, osim zdravstvenih potreba, imaju i potrebu za dru\u0161tvenom percepcijom njih kao osoba i starenja kao normalnog \u017eivotnog procesa. Kroz povijest, starije osobe su se smatrale socijalnim problemom i razvilo se negativno stajali\u0161te prema starijoj dobnoj skupini Ageism je pojam koji ozna\u010dava diskriminaciju odre\u0111ene skupine ljudi zbog njihove starije dobi. Do diskriminacije dolazi zbog uvjerenja kako starenjem dolazi do negativnih promjena koje \u010dovjeka \u010dine manje atraktivnim, manje inteligentnim i, najbitnije, manje produktivnim. Za vrijeme pandemije o\u010dituju se neeti\u010dki postupci dru\u0161tva prema ovoj posebno ugro\u017eenoj skupini. Od onih po\u010detnih okrutnosti u trija\u017enom postupku prema velikom broju bolesnika u nekim europskim dru\u0161tvima da se prednost dodijeli onom koji ima ve\u0107u \u0161ansu za pre\u017eivljavanjem do svakodnevno ponavljanje \u010dinjenice kako je ve\u0107ina umrlih starije \u017eivotne dobi i osoba s nekom kroni\u010dnom bole\u0161\u0107u u jednog dijela mla\u0111e populacije stvorilo se dojam kako se njima ni\u0161ta zna\u010dajno u \u017eivotu ne mijenja u dana\u0161nje vrijeme te da sukladno re\u010denom ne treba mijenjati ni\u0161ta u svojim navikama i pona\u0161anju.<\/em><\/p>\n

       <\/p>\n

      Klju\u010dne rije\u010di:<\/em><\/strong> pandemija, staromr\u0161tvo ili ageism, mladi ljudi.<\/em><\/p>\n

       <\/span><\/p>\n

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

       <\/span><\/p>\n

      \n\n\n\n
      \"inmediasres\"<\/p>\n

      \n  10(18)#6 2021<\/strong> <\/p>\n<\/td>\n

      		\n

      \n\"Creative<\/a>
      This journal is open access and this work is licensed under a       Creative Commons Attribution-NonCommercial 4.0 International License.<\/strong><\/a><\/p>\n<\/td>\n

      		\n


      \nDOI 10.46640\/imr.10.18.5<\/a>
      \nUDK 37:614.44\u201c20\u201c
      \nIzvorni \u010dlanak
      \nOriginal scientific paper
      \nPrimljeno: 10.12.2020.<\/strong><\/p>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

       <\/p>\n

       <\/p>\n

      Hrvoje Juri\u0107<\/span><\/p>\n

      Filozofski fakultet Sveu\u010dili\u0161ta u Zagrebu, Hrvatska<\/p>\n

      School for a Hollow Life or The Pedagogical Poem 2.0<\/span><\/strong><\/p>\n


      \nPuni tekst: pdf (457 KB), English, Str. 2841 – 2855
      \n<\/span><\/strong><\/a><\/p>\n

       <\/p>\n

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

       <\/span><\/p>\n

      In addition to medical and public health issues, the 2020 coronavirus pandemic raised some serious philosophical, (bio)ethical, social, political and legal questions that are essentially not new, although they appear under a new light. Among them is also the issue of education, because the coronavirus pandemic has accentuated the digitalisation and alienation trends in the field of education, urging us to consider not only the problems of education during the pandemic, but also the systemic problems in education, science and knowledge in the era of technoscience and neoliberal economy and politics.<\/em><\/p>\n

       <\/p>\n

      Key words:<\/em><\/strong> pandemic, corona, education, digitization, alienation, technoscience.<\/em><\/p>\n

       <\/p>\n

       <\/p>\n

      As is the case with the field of labour, the field of education has also been strongly hit by the coronavirus pandemic. As it the case in the field of labour, including the economic and political context of labour, workers’ rights and workers’ struggle, the problems in the field of education are not new and are systemic. The crisis caused by the pandemic has only made them more explicit and more pronounced. Both in the field of labour and in the field of education, form has continued to overpower content and the system has continued to overpower people, the same as in this set-up, the interests of the powerful overpower the interest of the oppressed and personal interests overpower the general good. In the field of labour as in the field of education, old hierarchies, discriminations, exploitations, automatisations, bureaucratisations and alienations did not disappear, but have been upgraded by digitalisation, leading us to the dystopia of a dehumanised world, seemingly closer and more unavoidable today than ever before because today resistance to new and essentially negative trends is weaker than ever.<\/p>\n

      The similarities between the field of labour and the field of education are not random because labour and education are connected in their essence. Moreover, they are closely intertwined, especially in capitalist systems. This is why we can notice negative trends from the field of labour, both the old and the new, in the field of education, and vice versa. I will discuss two trends here: first alienation<\/em>, which is not new, and its new driving force \u2013 digitalisation<\/em>.<\/p>\n

      A classic and to date, the most in-depth discussion on alienation (estrangement) is to be found in Karl Marx’s Economic & Philosophic Manuscripts of 1844<\/em>, more precisely in the chapter Estranged labour.<\/a>[148<\/strong><\/span>]<\/sup><\/a> We can tackle the issue of alienation in education simply by reading Marx’s deliberations on estranged labour so as to replace the word labour<\/em> with the word education<\/em>, replace the word worker<\/em> (producer) with the word student<\/em>, the word production<\/em> with the word learning<\/em> and the word product<\/em> (product of labour) with the word knowledge<\/em>. Let us then see how this modified Marx would read:<\/p>\n

      ‘The student becomes all the poorer the more wealth he produces, the more his learning increases in power and size. The student becomes an ever-cheaper commodity the more commodities he creates. [\u2026] Education produces not only commodities; and the student as a commodity<\/em>, and this at the same rate at which it produces commodities in general. This fact expresses merely that the object which education produces, its product, confronts it as something alien<\/em>, as a power independent<\/em> of the producer. The product of education is education which has been embodied in an object, which has become material: it is the objectification<\/em> of education. The realization [Verwirklichung<\/em>] of education is its objectification. Under these economic conditions this realization of education appears as loss of realization<\/em> (Entwirklichung<\/em>) for the students; objectification as loss of the object and bondage to it<\/em>; appropriation as estrangement<\/em>, as alienation<\/em>. [\u2026]<\/p>\n

      Indeed, education itself becomes an object which the student can obtain only with the greatest effort and with the most irregular interruptions. So much does the appropriation of the object appear as estrangement that the more objects the student produces the less he can possess and the more he falls under the sway of his product, capital. All these consequences are implied in the statement that the student is related to the product of his education, knowledge,<\/em> as to an alien<\/em> object. For on this premise it is clear that the more the student spends himself, the more powerful becomes the alien world of objects which he creates over and against himself, the poorer he himself, his inner world, becomes, the less belongs to him as his own. [\u2026] The student puts his life into the object; but now his life no longer belongs to him but to the object. Hence, the greater this activity, the more the student lacks objects. Whatever the product of his education, knowledge is, he is not. Therefore, the greater this product, knowledge, the less is he himself. The alienation<\/em> of the student in his product, knowledge, means not only that his education becomes an object, an external existence, but that it exists outside <\/em>him, independently, as something alien<\/em> to him, and that it becomes a power on its own<\/em> confronting him. It means that the life which he has conferred on the object confronts him as something hostile and alien. [\u2026]<\/p>\n

      Education produces beauty, but for the student, stupidity, cretinism. The direct relationship of education to its products, knowledge, is the relationship of the student to the objects of his learning<\/em>. The relationship of the man of means to the objects of learning and to learning itself is only a consequence<\/em> of this first relationship \u2013 and confirms it. [\u2026] <\/p>\n

      But the estrangement is manifested not only in the result but in the act of learning<\/em>, within the learning activity<\/em>, itself. How could the student come to face the product of his activity as a stranger, were it not that in the very act of learning he was estranging himself from himself? Knowledge is after all but the summary <\/em>of the activity, of learning. If then knowledge is alienation, learning itself must be active alienation, the alienation of activity, the activity of alienation. In the estrangement of the object of learning is merely summarized the estrangement, the alienation, in the activity of education itself. What, then, constitutes the alienation of education? First, the fact that education is external<\/em> to the student, i.e., it does not belong to his intrinsic nature; that in his education, therefore, he does not affirm himself but denies himself, does not feel content but unhappy, does not develop freely his physical and mental energy but mortifies his body and ruins his mind. The student therefore only feels himself outside education, and in education feels outside himself. He feels at home when he is not learning, and when he is learning he does not feel at home. His education is therefore not voluntary, but coerced; it is forced education<\/em>. It is therefore not the satisfaction of a need; it is merely a means<\/em> to satisfy needs external to it. Its alien character emerges clearly in the fact that as soon as no physical or other compulsion exists, education is shunned like the plague. External education, education in which man alienates himself, is an education of self-sacrifice, of mortification. Lastly, the external character of education for the student appears in the fact that it is not his own, but someone else’s, that it does not belong to him, that in it he belongs, not to himself, but to another. [\u2026]<\/p>\n

      We have considered the act of estranging practical human activity, education, in two of its aspects. (1) The relation of the student to the product of education<\/em>, knowledge<\/em>, as an alien object exercising power over him. [\u2026] (2) The relation of education to the act of learning<\/em> within the education process<\/em>. This relation is the relation of the student to his own activity as an alien activity not belonging to him; [\u2026]. [\u2026]<\/p>\n

      In estranging from man (1) nature, and (2) himself, his own active functions, his life activity, estranged education estranges the species<\/em> from man. It changes for him the life of the species<\/em> into a means of individual life. First it estranges the life of the species and individual life, and secondly it makes individual life in its abstract form the purpose of the life of the species, likewise in its abstract and estranged form. [\u2026] Life itself appears only as a means to life. [\u2026]<\/p>\n

      Estranged education turns thus: (3) Man’s species-being<\/em>, both nature and his spiritual species-property, into a being alien to him<\/em>, into a means<\/em> of his individual existence<\/em>. It estranges from man his own body, as well as external nature and his spiritual aspect, his human aspect. (4) An immediate consequence of the fact that man is estranged from the product of his education, knowledge, from his life activity, from his species-being, is the estrangement of man from man<\/em>. When man confronts himself, he confronts the other<\/em> man. What applies to a man’s relation to his education, to the product of his education, to his knowledge and to himself, also holds of a man’s relation to the other man, and to the other man’s education and object of education. [\u2026] Hence within the relationship of estranged education each man views the other in accordance with the standard and the relationship in which he finds himself as a student. [\u2026]<\/p>\n

      If knowledge is alien to me, if it confronts me as an alien power, to whom, then, does it belong? If my own activity does not belong to me, if it is an extorted activity, to whom, then does it belong?’<\/p>\n

      It is with this Marx’s question, to which any one of us, with Marx’s help or without it, could find the answers, that I end this long, transposing quotation. Why at all did I endeavour such a translation of Marx’s deliberations on labour<\/em> to the language of education <\/em>and why do I force the reader to read Marx’s passages interchangeably, as they were originally written and as they might be understood? The first answer is: because of the key word, which is alienation<\/em>, an occurrence found equally often both in labour and in education. The second answer is: because alienation in education, as we may conclude by reading the ‘translated Marx’, progresses rapidly in the era of digitalisation, while digitalisation progresses rapidly in the era of a pandemic. <\/p>\n

      The total reorganisation of life in the era of a pandemic may also be viewed as a laboratory examination of alienation, in education and elsewhere: alienation from own activity, alienation from products of own labour, alienation from other people and alienation from oneself. What is, in the context of such alienation, the role of students in education? What is the relationship of students towards their own education, towards learning and knowledge, towards themselves? What are the relationships among students as living beings and persons like? And what are the relationships between students and teachers as living beings and persons (not to mention the alienation and self-alienation of teachers, which is a separate issue, although the context is the same) like? \u2013 All this became secondary. Efficiency and effectiveness are sought after at all costs and regardless of everything that should actually result from education. <\/p>\n

      This is known or at least felt by all those who were in the spring of 2020 thrust into the black box of the so-called distance learning or online-classes: teachers at schools and universities, parents who watched their children be de-educated (deformed), while being educated (formed), without being able to do anything about it, and last but not least, students in schools and at universities who are more than ever engaged in their education and reap less results than ever from it. If the first, the second and the third group knows it, i.e., if all of them became aware of this, then they can voice criticism, although there is still not much they can change. If they are not even aware of it, as is the case for most, then their unconscious insight is rummaging through their consciousness and, in the words of Sigmund Freud, ‘it comes to discontent, displeasure for which other motives are sought’<\/a>[149<\/strong><\/span>]<\/sup><\/a>. Which is a Freudian introduction to neurosis.<\/p>\n

      Nevertheless, it would be na\u00efve to think that it was the pandemic that led to this. A long process of ‘modernisation’ of education in the form of ‘informatisation’ and ‘digitalisation’ of teaching and learning lies in the roots of this phenomenon, and this is in turn based on the never overpowered model of repressive and manipulative education, for which digitalisation represents only a new means to an old end.<\/p>\n

      The instrumentalisation of education by the ruling elites and structures, in accordance with their ideology is not new. Ever since it became clear that public (mass and compulsory) education is a much more effective means of ideological indoctrination, manipulation and oppression than restrictive education, that is, the education of upper, wealthier and more powerful social classes as paired with keeping the lover, poorer and disempowered social classes uneducated \u2013 a sophistication of education methods has been undertaken, without forgetting about the objectives, purposes and values of education that have been continuously reinterpreted to serve the maintenance and advancement of the ruling regimes. Automatisation, informatisation and digitalisation of education only bring the old educational malice to a higher level and make it less noticeable, thus weakening resistance. This is not only because manipulative elements are becoming ever harder to notice but also because the system remembered in time to make use of human weakness for its benefits, be it ignorance (because knowledge, as we can clearly see today, need not necessarily be the result of education and schooling), laziness or shyness.<\/a>[150<\/strong><\/span>]<\/sup><\/a><\/p>\n

      The reorientation of education towards outcomes, outputs and impacts (all ‘key’ and ‘buzz’ words) only confirms the theory by the Brazilian educator, Paulo Freire, on the ‘banking concept’ in contemporary education as an instrument of disempowerment and oppression.<\/a>[151<\/strong><\/span>]<\/sup><\/a><\/p>\n

      Sociological and pedagogical criticism of the ‘banking concept’ of education is undoubtedly useful, but deeper layers are at play here, that only deeper philosophical analysis may tackle. In other words, a phenomenology of technicised education is necessary. but without essential questions into the nature of education and the nature of the technique we are not going to reach the core of the problem. A discussion on this topic would lead me to far astray from the points I would like to stress here. Nevertheless, I would like this, if only exemplary, to be mentioned in this review. In this context, I find illustrative a passage from the book The Technical Society<\/em> by a French thinker Jacques Ellul: <\/strong><\/p>\n

      \u00a0‘The milieu into which a technique penetrates becomes completely, and often at a stroke, a technical milieu. If a desired result is stipulated, there is no choice possible between technical means and nontechnical means based on imagination, individual qualities, or tradition. Nothing can compete with the technical means. The choice is made a priori. It is not in the power of the individual or of the group to decide to follow some method other than the technical. The individual is in a dilemma: either he decides to safeguard his freedom of choice, chooses to use traditional, personal, moral, or empirical means, thereby entering into competition with a power against which there is no efficacious defense and before which he must suffer defeat; or he decides to accept technical necessity, in which case he will himself be the victor, but only by submitting irreparably to technical slavery. In effect he has no freedom of choice.’<\/a>[152<\/strong><\/span>]<\/sup><\/a><\/p>\n

      The unwilling or disillusioned participants of the educational process in the era of digitalisation and during a pandemic should have their minds tickled at least a little, but even if this does happen, the question is: what to do with these realisations? What kind of ‘pedagogical poem’ (after discussing and dissecting the socialist Pedagogical poem<\/em> by Anton Semyonovich Makarenko<\/a>[153<\/strong><\/span>]<\/sup><\/a> and other pedagogical theories and practices, from anarchist to capitalists, for example from William Godwin to Benjamin Bloom) could be written in these digital and pandemic times? I still have not determined its kind, but I know it should be written because there are still no comprehensive deliberations regarding the recent educational situation, with answers to old and unsolved problems which have been digitally and pandemically distorted these days. Although now, in accordance with the spirit of the times, they are not called problems. Other, more endearing terms are employed, such as ‘challenges.<\/p>\n

      We fought problems called ‘challenges’ even before the pandemic, so we should not cover them in a pile of new problems. We should rather try to unearth both piles and review them together at one glance. My reference here is, of course, to the Croatian ‘comprehensive curricular reform’ and its avantgarde, the experimental programme called School for Life [\u0160kola za \u017eivot<\/em>], which promises that students will ‘learn how to think critically and how to solve problems and not just cram facts’, that is, that ‘each student will get his or her own tablet to learn and thus prepare for the digital era’.<\/a>[154<\/strong><\/span>]<\/sup><\/a> Whether and (how exactly) ‘critical thinking’ will be reconciled with the ‘use of a tablet’ and ‘navigating the digital world’ remains completely unclear, especially if we read these statements parallelly with warnings, such as those by Ellul, and especially when, in accordance with the pandemic and police measures, the entire teaching and learning process has overnight become virtual. <\/p>\n

      The answer to the ‘challenges’ of the pandemic digitalisation should at the same time be the answer to the problem of digitalisation in general, and thus to problems in education in general. Some thoughts, written down ad hoc<\/em>, might help: <\/p>\n

      \u2013 The tabletisation of education through tablets (computers) is equally as dangerous as the tabletisation of children through psychotropic drugs (as used increasingly more often in the ‘developed world’ as a shortcut to treating misunderstood psycho-emotional and psycho-social problems, such as ADHD). Oftentimes, tablets (as in computers) are the cause of the problem that is tried to be solved by tablets (as in pills).<\/p>\n

      \u2013 Digitalisation (in education and in general) does not contribute to acceleration or simplification, in line with the slogan used every time new technical and digital tools and procedures are introduced. Truth be told, it does contribute to acceleration, but not to simplification, because acceleration, which is entangled, without necessary reflection, in all of the old issues, even if in fact it aims to solve them, only causes additional and all the more difficult complications to be eliminated later. If digitalisation simplifies anything, then it simplifies, bordering on banality and stupidity, reflection and criticism.<\/p>\n

      \u2013 The key failure of the recent educational reform in Croatia is that it relies on ‘informatisation’ or ‘digitalisation’ as its core element, while the key problem of the pandemic reorganisation of the school system in Croatia is that digitalisation of teaching and learning is embraced uncritically and superficially, as if it had no implications on teaching and learning.<\/p>\n

      Against the backdrop of such (lack of) deliberation and (lack of) criticism, one should carefully monitor, both at school and at home, the devastating impact of digitalisation on the minds of children and youth. Should special attention be drawn to this? Obviously, it should, because the deconstruction of the mind (ratio, identity, autonomy, freedom, etc.) under the influence of information and communication technology is noticed even in those who spent most of their lives without the information and communication devices now available, let alone those who never came to know life outside the ruling matrix.<\/p>\n

      Therefore, in the field of education, we should strive to save as much of children’s souls and as many of children’s souls from the virtual techno-Moloch, rather than plugging the last remaining cracks in the wall that keeps the children from reaching to digitally unmediated world with gadgets. The world in which love and hate, acceptance and unacceptance, gentleness and cruelty and other important traits of humanity live a different life from that lived among cold and calculated bits. <\/p>\n

      This advice could have counted with understanding and acceptance until recently, while informatisation\/digitalisation was only one of the options (although preferred) for ‘modernising’ and ‘reforming’ education. Now, in the middle of the coronavirus pandemic, it seems that this advice has no foothold in anything from the ‘real world’, that it is completely ‘unrealistic’ because: if there is no ‘distance learning’ and ‘digital education’, then there will be no classes or education at all! <\/p>\n

      However, I still think that we should not fall for arguments that apply in 2020, but perhaps will no longer apply in 2021 or 2121. Moreover, I think that no flaws that we found in education and education systems in the pre-pandemic and the pre-digital era should be disregarded under the pandemisation and digitalisation pressures, because these are, as I tried to show, only symptoms of very old maladies which will continue to plague us for a long time to come. <\/p>\n

      If we address problems on this primary level, by giving them a historic dimension and removing the euphoria that currently surrounds them from the equation, we will see that both the ‘pandemisation’ and the ‘digitalisation’ of education stem from what has been well-established much earlier. Specifically, education in a certain social, political and economic system is always the education for that system. What a system is, is reflected in education, while education helps to maintain the system such as it is. Bluntly speaking, education today, regardless of standard rhetorical euphemisms, is merely a reproduction of an oppressive society in the form of school. Ideological, curricular and, finally, financial underscoring of the importance of STEM<\/a>[155<\/strong><\/span>]<\/sup><\/a> at the expense of humanistic and social sciences is not only promoting a certain vision of science and education. It also shows only a certain vision of society, which is, as it seems, more dystopic than utopic because it is mechanistic and technical, devoid of wider social and deeper humanistic reflection. <\/p>\n

      Nevertheless, this is the situation, this is the hand that has been dealt to us and that we must play. Do we have an ace to pull out of our sleeve? Probably not much else than analysis and criticism, whose meaning and dignity we have to defend from the hegemonistic attacks of the system. Sometimes this means invoking ‘common sense’, because even ‘common sense’ tells us that the system is cheating at this game, that the cards are fixed. For instance, there is the earlier mentioned ‘School for Life’ which will, as it is being promised, finally meet the needs and interests of students through, for example, tabletisation. Some (more superficial) critics of this educational reform have complained that this is cosying up to children who are already completely digitalised because it attempts to make education more fun and more memorable, but not better. This type of criticism misses an important point: it is not the case of cosying up to autonomous children’s wants and needs, but a case of deceptive cosying up to children’s wants and needs manufactured by those who now promise to fulfil them. The key manipulation is hidden in the fact that methods of discipline and control are now presented in the form of something children like and that goes in their favour, as if children themselves chose or created this manipulative system they have been planted into, as is often deducted from their capability to quickly master technical procedures and skilfully use technical gadgets.<\/a>[156<\/strong><\/span>]<\/sup><\/a> Information and telecommunication technologies (cunningly programmed to create addiction) and mass media (cunningly programmed to anesthetise and stupefy) are a much more efficient means of control and manipulation than military or police repression, as was understood long before the internet, mobile phones or social media.<\/p>\n

      Since this medialised, virtual world, the world of information and communication still does not meet all human wants and needs, human life still cannot, luckily, be reduced to direct inputs and outputs, so the ‘School for Life’, which aims to reduce education to inputs and outputs and reproduce this medialised virtual world in the field of education, is not a school for life but rather a school for a hollow life. As one, but an important one, segment of manipulation with life \u2013 in which, in Marx’s words ‘Life itself appears only as a means to life.’<\/a>[157<\/strong><\/span>]<\/sup><\/a> \u2013 ‘School for Life’ is in its essence contrary to life, antibiological. And, if freedom is written in the essence of the human, and if liberation is written in the essence of human activity, then this ‘school for a hollow life’ also serves to enslave, no matter how happy the slaves are to participate. <\/p>\n

      In short, Croatian reformist ‘School for Life” and all other schools for a hollow life offered at today’s market of pedagogical and political ideas get further and further removed from life, unless human life is irretrievably made equal to controlled execution of functions in complex technical systems. Being removed from life also means being removed from the purpose and the sense of education, upbringing and knowledge, of which today we get to read only in the works of critically and radically minded theorist \u2013 not in various documents of educational politicians, which serve as an unsatisfactory compensation for deep and far-reaching contemplation of education, while we find less and less meaningful contributions to such deliberations in pedagogical, psychological, sociological and philosophical tractates dedicated to education, because they mostly recycle and thus confirm that what has already gained prevalence in the social and historical as well as in economic and political sense.<\/p>\n

      If we only focus on the fate of knowledge in contemporary education, we witness an accelerated reduction of the term knowledge<\/em> to the term information<\/em>, which is extended to the reduction of the term information<\/em> to the term data<\/em>. The volume and the greatness of human knowledge \u2013 as a historic project in which each man, without exception, participated \u2013 has been ironically reduced to ‘big data’, collected and processed by machines. <\/p>\n

      Knowledge is further and further away, and wisdom \u2013 as lived knowledge and as the purpose of knowledge in the entirety of a fulfilled human life, both individual and joint \u2013 has already become a completely archaic idea. This process is also not new. But, while until a few decades ago it brewed beneath the surface, chipping away at the roots of thousand years-old trees, it is now happening on the surface, where heavy machinery is felling weakened trees. <\/p>\n

      Thomas Stearns Eliot, in Choruses from ‘The Rock’<\/em>,<\/a>[158<\/strong><\/span>]<\/sup><\/a> in verses that are more than ninety years old already vailed: <\/p>\n

      O world of spring and autumn, birth and dying!<\/em>
      \n The endless cycle of idea and action,<\/em>
      \n Endless invention, endless experiment,<\/em>
      \n Brings knowledge of motion, but not of stillness;<\/em>
      \n Knowledge of speech, but not of silence;<\/em>
      \n Knowledge of words, and ignorance of the Word.<\/em>
      \n All our knowledge brings us nearer to our ignorance,<\/em>
      \n All our ignorance brings us nearer to death,<\/em>
      \n But nearness to death no nearer to God.<\/em>
      \n Where is the Life we have lost in living?<\/em>
      \n Where is the wisdom we have lost in knowledge?<\/em>
      \n Where is the knowledge we have lost in information?<\/em><\/p>\n

      However, far from it that reducing wisdom to knowledge, knowledge to information and information to data is not ‘useful’. Of course, it is useful (if it were not, it would not be done systematically), but the question is: to whom? I would like to repeat Marx’s question that can be applied here as well: ‘If my own activity does not belong to me, if it is an extorted activity, to whom, then does it belong?’<\/a>[159<\/strong><\/span>]<\/sup><\/a><\/p>\n

      Knowledge has always been manipulated; it has always been both the subject and the means of manipulation. The same goes for information, while in the case of data, there are virtually no obstacles to manipulation. Those that are economically, politically and socially the most powerful manipulate the most and most successfully, and the primary ground for manipulation is education, that is, the system of education. Various authors in various fields wrote about the usurping and manipulation of education by the ruling classes and associated structures and ideologies \u2013 which was always combined with the (re)defining of the term knowledge and its purposes \u2013 among them were also those of the anarchist persuasion.<\/a>[160<\/strong><\/span>]<\/sup><\/a><\/p>\n

      So, in addition to internal restrictions of knowledge \u2013 which I previously mentioned, and for which I used T. S. Eliot \u2013 also important are the external restrictions of knowledge, that I underlined as well, and that the American poet William Carlos Williams wandered about in his legendary poem Paterson<\/em>:<\/a>[161<\/strong><\/span>]<\/sup><\/a><\/p>\n

      Who restricts knowledge? Some say <\/em>
      \n it is the decay of the middle class <\/em>
      \n making an impossible moat between the high <\/em>
      \n and the low where <\/em>
      \n the life once flourished \u2026 knowledge <\/em>
      \n of the avenues of information \u2014 <\/em>
      \n So that we do not know (in time) <\/em>
      \n where the stasis lodges* And if it is not <\/em>
      \n the knowledgeable idiots, the university, <\/em>
      \n they at least are the non-purveyors <\/em>
      \n should be devising means <\/em>
      \n to leap the gap. Inlets? The outward <\/em>
      \n masks of the special interests <\/em>
      \n that perpetuate the stasis and make it <\/em>
      \n profitable. <\/em><\/p>\n

      They block the release <\/em>
      \n that should cleanse and assume <\/em>
      \n prerogatives as a private recompense. <\/em>
      \n Others are also at fault because <\/em>
      \n they do nothing.<\/em><\/p>\n

      But what could be done? If we speak about education, the first answer is \u2013 a reform of the education system. If we are unhappy with the situation in education and if we find the existing model, organisation and the effects of education unacceptable, we should design and try to implement or at least support reform. This was, as it seems, also claimed by the Spanish anarchist and pedagogist Francisco Ferrer when he said that the method of ‘changing school’:<\/p>\n

      ‘[\u2026] offers great advantages, and is in harmony with the evolutionary conception which men of science regard as the only effective way of attaining the end. They are right in theory, as we fully admit. It is evident that the progress of psychology and physiology must lead to important changes in educational methods; that the teachers, being now in a better position to understand the child, will make their teaching more in conformity with natural laws. I further grant that this evolution will proceed in the direction of greater liberty, as I am convinced that violence is the method of ignorance, and that the educator who is really worthy of the name will gain everything by spontaneity; he will know the child’s needs, and will be able to promote its development by giving it the greatest possible satisfaction’<\/a>[162<\/strong><\/span>]<\/sup><\/a>.<\/p>\n

      However, Ferrer immediately voices his doubt in the reformist endeavours, thus really rejecting them as an option:<\/p>\n

      ‘In point of fact, however, I do not think that those who are working for the regeneration of humanity have much to hope from this side. Rulers have always taken care to control the education of the people; they know better than any that their power is based entirely on the school, and they therefore insist on retaining their monopoly of it.’<\/a>[163<\/strong><\/span>]<\/sup><\/a><\/p>\n

      And he is right. All those who have participated in educational reforms \u2013 and only a few of us who work in the system could afford the luxury of not collaborating in reform processes \u2013 know how little can be changed and how many frustrations arise out of every attempt at change.<\/p>\n

      So since those in power ‘organised the school in accord with the new scientific ideas in such a way that nothing should endanger their supremacy’, ‘the hope of reformers has been void because the organisation of the school, instead of serving an ideal purpose, has become one of the most powerful instruments of servitude in the hands of the ruling class. The teachers are merely conscious or unconscious organs of their will, and have been trained on their principles. (…) ‘Education’ means in practice domination or domestication.’<\/a>[164<\/strong><\/span>]<\/sup><\/a><\/p>\n

      As a result, there is no other way for radical pedagogist but to found \u2013 new schools ‘in which principles may be directly applied in the service of that ideal which is formed by all who reject the conventions, the cruelty, the trickery, and the untruth which enter into the bases of modern society.’<\/a>[165<\/strong><\/span>]<\/sup><\/a><\/p>\n

      However, since ‘education’ has, step by step, been made equal with ‘schooling’, and schooling became entangled in social life to such an extent that it has become as necessary for survival as breading and eating, today it is even hard to imagine the possibility of a socially efficient education outside the system and outside institutionalised education. In Ferrer’s era, when state repression was much more explicit than today, the possibility for this, was paradoxically, much greater because society was not as ‘schooled’ as today, so the request for ‘deschooling’ of society could appear only decades later.<\/a>[166<\/strong><\/span>]<\/sup><\/a><\/p>\n

      Ferrer and other 19th century anarchists managed to create autonomous educational enclaves outside the system, which were not only against the system but were really undermining it. That is why they could go frontally against the system of public and compulsory education that serves to uphold and advance an oppressive social and political system. Radical, free-thinking educational theorists of the second half of the 20th and the beginning of the 21st century (e.g. Paulo Freire, Colin Ward, Noam Chomsky an Joel Spring) are mostly academically established, so they have been corrupted from the very start, untrustworthy to a degree, and in the end inefficient, while the projects of ‘alternative’ or ‘free schools’, such as Summerhill, were in one way or another incorporated in the system and, what is even worse, they were private schools attended only by students whose parents could afford them. <\/p>\n

      What then is the alternative? An unsatisfactory but accurate answer would be: acting in small, almost invisible liberated territories within the system, i.e., subversions undertaken with a slim hope that they will lead to more substantial changes. However, in neither of the cases as well as in the existing, extremely unfavourable circumstances, may great objectives be forgotten, although we know that they will not be attained, either soon or easily. Ferrer knew how to express such grand objectives concisely and simply: <\/p>\n

      ‘We do not hesitate to say that we want men who will continue unceasingly to develop; men who are capable of constantly destroying and renewing their surroundings and renewing themselves; men whose intellectual independence is their supreme power, which they will yield to none; men always disposed for things that are better, eager for the triumph of new ideas, anxious to crowd many lives into the one life they have.’<\/a>[167<\/strong><\/span>]<\/sup><\/a><\/p>\n

      Can this be achieved within the ruling system, regardless of whether we describe it in the narrow sense, as a capitalist system, or in the broad sense, as a technical system? The answer has, in a sense, already been given. It is quite simple and almost surely accurate: no way!<\/em><\/a>[168<\/strong><\/span>]<\/sup><\/a> It is much harder to provide an answer to the question whether we even still have the capacity to act outside this system, the capacity that is not deeply infected by the maladies of the system? This paradox was also pointed out by Jacques Ellul when he said: <\/p>\n

      ‘There is no place for an individual today unless he is a technician. No social group is able to resist the pressures of the environment unless it utilizes technique. To be in possession of the lightning thrust of technique is a matter of life or death for individuals and groups alike; no power on earth can withstand its pressures.’<\/a>[169<\/strong><\/span>]<\/sup><\/a><\/p>\n

      What we can do and how<\/em> \u2013 remains unanswered here. However, being satisfied by asking a question, even without finding an answer, need not necessarily be a sign of defeat, especially if circumstances are such that even asking question has become scarcer and scarcer. All in all, if sudden exaltation about anything transcends into euphoria and quiets or eliminates criticism, it is our duty to fuel scepticism. If digitalisation (pre-pandemic or pandemic) is a trend praised from all sides with diminishing resistance, if digitalisation is considered an ‘ultimate solution’ for many of our educational issues, and often even a ‘magic wand’ which will make certain problems disappear, we must remember Jean-Jacques Rousseau and his work Emile, or On Education<\/em>, where he provided advice as helpful today as it was in 1762: <\/p>\n

      ‘Reverse the usual practice and you will almost always do right.’<\/a>[170<\/strong><\/span>]<\/sup><\/a><\/p>\n

       <\/p>\n

      \n
      \n

      <\/a>[148<\/strong><\/span>]<\/sup><\/a> 
      \nMarx, Karl, Ekonomsko-filozofski rukopisi iz 1844 <\/em>[Economic & Philosophic Manuscripts of 1844<\/em>], in: Marx, Karl and Engels, Friedrich, Rani radovi <\/em>[Early works<\/em>], Zagreb: Naprijed, 1989, pp. 187\u2013343, chapter: Otu\u0111eni rad, pp. 244\u2013258, (citiation in English from:       https:\/\/www.marxists.org\/archive\/marx\/works\/1844\/manuscripts\/preface.htm<\/a>).<\/p>\n

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

      \n

      <\/a>[149<\/strong><\/span>]<\/sup><\/a> 
      \nFreud, Sigmund: Nelagodnost u kulturi [The Discomfort in Culture]<\/em>, in: Freud, Sigmund: Iz kulture i umetnosti [From Culture and Art]<\/em>, translated by \u0110or\u0111e Bogi\u0107evi\u0107, Novi Sad: Matica srpska, 1984, p. 346.
      \n<\/span><\/p>\n<\/div>\n

      \n

      <\/a>[150<\/strong><\/span>]<\/sup><\/a> 
      \nFor instance, it is only when ‘distance learning’ was no longer just one of the teaching methods and a matter of choice, that I realised that among my fellow colleagues and teachers there were some who like this ‘virtualisation’ because the ‘classic method’, ‘the face-to-face’, is too strenuous and they do not enjoy it, be it due to laziness or certain psycho-emotional aversion from social contacts. So, it could be said that they are not only the advocates of ‘distance learning’ (teaching\/learning from a distance), but that they are advocates of ‘distanced learning’ (distanced and thus alienated teaching\/learning), thereby repressing the obvious negative implications of this model of teaching\/learning.<\/p>\n

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

      \n

      <\/a>[151<\/strong><\/span>]<\/sup><\/a> 
      \nCf. Freire, Paulo, Pedagogija obespravljenih<\/em> [Pedagogy of the Oppressed<\/em>], translated by Sanja Bingula, Zagreb: ODRAZ, 2002, (citation in English from:       https:\/\/envs.ucsc.edu\/internships\/internship-readings\/freire-pedagogy-of-the-oppressed.pdf<\/a>).<\/p>\n

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

      \n

      <\/a>[152<\/strong><\/span>]<\/sup><\/a> 
      \nEllul, Jacques, Tehnika ili Ulog veka [The Technological Society]<\/em>, translated by Nenad iz Erevona, Beograd: Anarhija\/Blok 45, Bratstvo iz Erevona, 2010, pp. 101\u2013102, (citation in English from:       https:\/\/ia803209.us.archive.org\/2\/items\/JacquesEllulTheTechnologicalSociety\/Jacques%20Ellul%20-%20The%20Technological%20Society.pdf<\/a>).<\/p>\n

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

      \n

      <\/a>[153<\/strong><\/span>]<\/sup><\/a> 
      \nMakarenko, Anton Semjonovi\u010d, Pedago\u0161ka poema [The Pedagogial Poem]<\/em>, Beograd: Zavod za izdavanje ud\u017ebenika SR Srbije, 1965. <\/p>\n

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

      \n

      <\/a>[154<\/strong><\/span>]<\/sup><\/a> 
      \nCf. promotional video \u0160kola za \u017eivot<\/em> at:       https:\/\/skolazazivot.hr\/promotivni-video-skola-za-zivot\/<\/a>.<\/p>\n

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

      \n

      <\/a>[155<\/strong><\/span>]<\/sup><\/a> 
      \nSTEM = science, technology, engineering, mathematics.<\/p>\n

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

      \n

      <\/a>[156<\/strong><\/span>]<\/sup><\/a> 
      \nInteresting in this context and even very relevant today is an article by the German theologist, teacher and ‘the father of European bioethics’, Fritz Jahr, Children and technology<\/em>, from 1933, in which Jahr contemplates ‘two characteristics of today’s youth’, ‘one is the propensity for technology and a gift for it’ (Jahr Fritz, Dijete i tehnika<\/em> [Children and technology<\/em>], in: Rin\u010di\u0107, Iva and Muzur, Amir, Fritz Jahr i ra\u0111anje europske bioetike <\/em>[Fritz Jahr and the Emergence of European Bioethics<\/em>], Zagreb: Pergamena, 2012, p. 239). Jahr examines this in the context of the then technological wonder, a camera, while in the context of recent gadgets his conclusions seem even more true. He states: ‘It is most significant that children do not see these things as miraculous at all. [\u2026] The young use the advantages of apparatus without knowledge of its technical or biological assumptions. [\u2026] When all this is cleared, one comes to realise that the young are in extreme danger of the greatest superficiality in technical matters and, in my opinion, one might say that not only a few succumb to this danger. [\u2026]. Simply stated: the change in the relationship between children and adults as a result of their seemingly independently acquired greater technical knowledge seems, in my opinion, wrong, as well as educational measures (or neglect thereof) that are based on this misconception.’ (Ibid., pp. 240\u2013241).<\/p>\n

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

      \n

      <\/a>[157<\/strong><\/span>]<\/sup><\/a> 
      \nK. Marx, Ekonomsko-filozofski rukopisi iz 1844 <\/em>[Economic & Philosophic Manuscripts of 1844<\/em>], p. 251, (citation in English from:       https:\/\/www.marxists.org\/archive\/marx\/works\/1844\/manuscripts\/preface.htm<\/a>).<\/p>\n

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

      \n

      <\/a>[158<\/strong><\/span>]<\/sup><\/a> 
      \nEliot, Thomas Stearns, Choruses from ‘The Rock’<\/em>, in: Eliot, Thomas Stearns, Collected Poems 1909\u20131962<\/em>, New York: Harcourt, Brace & World Inc., 1963, p. 147. (citation in English from:       https:\/\/www.arak29.am\/PDF_PPT\/6-Literature\/Eliot\/Chtherock_eng.pdf<\/a>).<\/p>\n

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

      \n

      <\/a>[159<\/strong><\/span>]<\/sup><\/a> 
      \nMarx, Karl, Ekonomsko-filozofski rukopisi iz 1844<\/em> [Economic & Philosophic Manuscripts of 1844<\/em>], p. 258, (citation in English from:       https:\/\/www.marxists.org\/archive\/marx\/works\/1844\/manuscripts\/preface.htm<\/a>).<\/p>\n

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

      \n

      <\/a>[160<\/strong><\/span>]<\/sup><\/a> 
      \nA provisional list includes contemporary authors such as Paul Goodman, Paulo Freire, Colin Ward, Ivan Illich, Noam Chomsky, Joel Spring and Judith Suissa, then authors from the 19th and the first half of the 20th century, such as Mikhail Bakunin, Peter Kropotkin, Leo Tolstoy, Francisco Ferrer and Emma Goldmann, but also older (e.g. Jean-Jacques Rousseau, William Godwin, Mary Wollstonecraft and Max Stirner), whose criticism of educational models and systems, with a certain degree of recontextualization, are relevant even today. For a relevant concise overview of the anarchist and\/or libertarian approach to the problem of education cf. Kranjec, Jelena and Juri\u0107, Hrvoje, Anarhija u \u0161koli <\/em>[Anarchy at school<\/em>], Ispod plo\u010dnika<\/em>,No. 7, Year 3 (2009), April\/May 2009, pp. 5\u201310; also in: Juri\u0107, Hrvoje, Isku\u0161enja humanizma <\/em>[Temptatons of humanism<\/em>], Zagreb: Hrvatsko filozofsko dru\u0161tvo, 2018, pp. 139\u2013156. <\/p>\n

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

      \n

      <\/a>[161<\/strong><\/span>]<\/sup><\/a> 
      \nWilliams,William Carlos, Paterson<\/em>, Harmondsworth: Penguin Books, 1983, p. 34. (citation in English from:       http:\/\/www.patersonproject.com\/Paterson-Poem.html<\/a>).<\/p>\n

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

      \n

      <\/a>[162<\/strong><\/span>]<\/sup><\/a> 
      \nFerrer, Francisco, Moderna \u0161kola: poreklo i ideali<\/em> [The Origin and Ideals of the Modern School<\/em>], <\/em>translated by Bratislav Sre\u0107kovi\u0107 and Milenko Sre\u0107kovi\u0107, Beograd: Centar za liberterske studije [Center for Libertarian Studies (CLS)], 2010, p. 65, (citation in English from:       https:\/\/theanarchistlibrary.org\/library\/francisco-ferrer-the-origin-and-ideals-of-the-modern-school<\/a>).<\/p>\n

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

      \n

      <\/a>[163<\/strong><\/span>]<\/sup><\/a> 
      \nIbid., pp. 65\u201366.<\/p>\n

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

      \n

      <\/a>[164<\/strong><\/span>]<\/sup><\/a> 
      \nIbid., pp. 69\u201370.<\/p>\n

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

      \n

      <\/a>[165<\/strong><\/span>]<\/sup><\/a> 
      \nIbid., p. 65 \u2013 Ferrer did it too, by establishing Modern school [Escuela moderna] in 1901 in Barcelona and in several others Spanish cities. He paid for his free spirit with his life: he was sentenced to death and executed in 1907 and his schools were closed. However, schools modelled after Ferrer’s Modern school were establish elsewhere as well, for example in the USA, thanks to anarchists such as Emma Goldman and Alexander Berkman.
      \n<\/span><\/p>\n<\/div>\n

      \n

      <\/a>[166<\/strong><\/span>]<\/sup><\/a> 
      \nHere I refer to analyses and criticism by Ivan Illich, expressed in the book Deschooling Society <\/em>from 1971 \u2013 cf. Ivan Illich, Dole \u0161kole<\/em>, Beograd: Duga, 1972.
      \n<\/span><\/p>\n<\/div>\n

      \n

      <\/a>[167<\/strong><\/span>]<\/sup><\/a> 
      \nFerrer, Francisco, Moderna \u0161kola<\/em> [The Origin and Ideals of the Modern School]<\/em>, pp. 72\u201373, (citation in English from:       https:\/\/theanarchistlibrary.org\/library\/francisco-ferrer-the-origin-and-ideals-of-the-modern-school<\/a>).
      \n<\/span><\/p>\n<\/div>\n

      \n

      <\/a>[168<\/strong><\/span>]<\/sup><\/a> 
      \nFerrer says that the ruling elites ‘have resolved to use education for their purposes, and they will take advantage of every improvement of it’, because ‘there is question only of imposing ready-made ideas on it [the child], of preventing it [the child] from ever thinking otherwise than is required for the maintenance of existing social institutions \u2014 of making it, in a word, an individual rigorously adapted to the social mechanism.’ \u2013 Ibid., p. 71.
      \n<\/span><\/p>\n<\/div>\n

      \n

      <\/a>[169<\/strong><\/span>]<\/sup><\/a> 
      \nEllul, Jacques: Tehnika ili Ulog veka <\/em>[The Technological Society]<\/em>, p. 102, (citation in English from:       https:\/\/ia803209.us.archive.org\/2\/items\/JacquesEllulTheTechnologicalSociety\/Jacques%20Ellul%20-%20The%20Technological%20Society.pdf<\/a>).
      \n<\/span><\/p>\n<\/div>\n

      \n

      <\/a>[170<\/strong><\/span>]<\/sup><\/a> 
      \nRousseau, Jean-Jacques Rousseau, Emile or On Education<\/em>, translated by Allan Bloom, New York: Basic Books, 1979, p. 94 (source of translation into English:       https:\/\/oll.libertyfund.org\/title\/rousseau-emile-or-education<\/a>).
      \n<\/span><\/p>\n<\/div>\n

       <\/p>\n

      \u0160kola za \u017eivotarenje ili Pedago\u0161ka poema 2.0<\/span><\/strong><\/p>\n

       <\/p>\n

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

       <\/span><\/p>\n

      Uz medicinska i javnozdravstvena pitanja, pandemija koronavirusa 2020. godine izazvala je neka ozbiljna filozofijska, (bio)eti\u010dka, socijalna, politi\u010dka i pravna pitanja koja nisu u bitnome nova, premda se pojavljuju u novome svjetlu. Me\u0111u njima su i pitanja obrazovanja jer je pandemija koronavirusa potencirala trendove digitalizacije i alijenacije u sferi obrazovanja, \u0161to nas upu\u0107uje ne samo na razmatranje problematike obrazovanja u doba pandemije nego i sistemskih problema obrazovanja, znanosti i znanja u epohi tehnoznanosti te neoliberalne ekonomije i politike.<\/em><\/p>\n

       <\/p>\n

      Klju\u010dne rije\u010di:<\/em><\/strong> pandemija, korona, obrazovanje, digitalizacija, alijenacija, tehnoznanost.<\/em><\/p>\n

       <\/span><\/p>\n

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

       <\/span><\/p>\n

      \n\n\n\n
      \"inmediasres\"<\/p>\n

      \n  10(18)#7 2021<\/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


      \nDOI 10.46640\/imr.10.18.6<\/a>
      \nUDK 13-048.38:614.44*Covid-19
      \nPrethodno priop\u0107enje
      \nPreliminary communication
      \nPrimljeno: 23.01.2021.<\/strong><\/p>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

       <\/p>\n

       <\/p>\n

      Fulvio \u0160uran<\/span><\/p>\n

      Sveu\u010dili\u0161te Jurja Dobrile u Puli, Hrvatska<\/p>\n

      fsuran@unipu.hr<\/p>\n

      Koronavirus – kraj jedne epohe? Za filozofski preporod.<\/span><\/strong><\/p>\n


      \nPuni tekst: pdf (507 KB), Hrvatski, Str. 2857 – 2870
      \n<\/span><\/strong><\/a><\/p>\n

       <\/p>\n

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

       <\/span><\/p>\n

      Virusi koji prate \u010dovje\u010danstvo od njegove pojave na planeti djeluju prema uzrocima svojstvenim zakonima biologije, a ne posredstvom natprirodnih logika ili skrivenih svrha, i ne poznaju granice. To zna\u010di da nema nikakve, vi\u0161e ili manje pogubne, sklonosti ili idiosinkrazije, proizvedene onim osnovnim strastima koje Spinoza identificira kao pokreta\u010d (lo\u0161e) politike: strah i nada. Rasvjetljivanje motiva i su\u0161tine ovih strasti trebao bi biti glavni cilj dijaloga i filozofsko-znanstvenoga rasu\u0111ivanja u suvremenome globalnom dru\u0161tvu koje se definira kao stvarno otvoreno i demokratsko. Stoga \u0107e se ovdje poku\u0161ati odgovoriti na osnovno pitanje: sada, kada su mahniti \u017eivotni ritmovi na koje smo navikli izblijedjeli, ho\u0107emo li mo\u0107i dobro iskoristiti stanku razmi\u0161ljanja koja nam je dana? Odnosno, ho\u0107emo li uspjeti biti evolucijski inteligentniji od koronavirusa?<\/em><\/p>\n

       <\/p>\n

      Klju\u010dne rije\u010di:<\/em><\/strong> koronavirus, pandemija, Spinoza, socijalni darvinizam, globalizacija.<\/em><\/p>\n

       <\/p>\n

       <\/p>\n

      U<\/em><\/strong>vod<\/em><\/strong><\/p>\n

      Pandemija je dio ljudske povijesti. Virusi neizbje\u017eno prate \u010dovjeka i to od svoga pojavljivanja na planetu. Logi\u010dno je stoga u vrijeme koronavirusa zapitati se kakve posljedice nosi sa sobom ova pandemija. I to ne samo na zdravlje, na ekonomiju, na okoli\u0161 ili na socijalnu psihologiju ve\u0107 uistinu i na samu filozofiju – jer mi danas djelujemo u vremenu interneta, i posredstvom Forex Exchangea<\/em>, pa \u010dak i kriptovalute. Kao djeca 21. stolje\u0107a i pripadnici hiper-tehnolo\u0161ke civilizacije razlo\u017eno je pitati se kakvu se tipologiju bolesti moglo o\u010dekivali. Obi\u010dnu kugu zasigurno ne. Ili ne samo. Tom vremenu vi\u0161e prili\u010de raznorazne teorije zavjere.<\/p>\n

      Naime, totalna kontrola ljudskoga \u017eivota posredstvom medija i‘nanotehnologija’, bez da je \u010dovjek toga svjestan, kod obi\u010dnoga \u010dovjeka izvor je panike da se u njega posredstvom, za\u0161to ne, i cjepiva unese bilo \u0161to ga mo\u017ee kontrolirati i uni\u0161titi. Dovode\u0107i \u010dovje\u010danstvo do neke vrste kompletne zombizacije \u2013 kao \u0161to dobro prikazuje ameri\u010dki apokalipti\u010dni akcijski horor film iz 2013., S<\/em><\/strong>vjetski rat Z <\/em><\/strong>(World War Z<\/em>) re\u017eisera Marca Forstera<\/a>[171<\/strong><\/span>]<\/sup><\/a>.<\/p>\n

      Nitko nije mogao zamisliti, iako je bilo dovoljno imati na umu \u010dinjenicu da unutar postoje\u0107e bio-dru\u0161tvene kompleksnosti, diversifikacije i globalnosti virus(i) koji \u0107e se prije ili poslije pojaviti, kao \u0161to je to, na primjer, COVID-19, imat \u0107e jednaku postojanost kao i lukavi Pacific Trash Vortex<\/em>: neizmjerni konglomerat plastike koji, daleko od toga da bude hrpa sme\u0107a, ima sve osobine podmukle ka\u0161e nevidljive \u010dak i od satelita, s obzirom na to da ‘lebdi’ na samoj povr\u0161ini mora i, ba\u0161 kao i deklarirani \u00a0virus, pokazuje promjenjivu, nestabilnu, mutogenu, kripti\u010dnu konzistenciju<\/a>[172<\/strong><\/span>]<\/sup><\/a>.<\/p>\n

       <\/em><\/strong><\/p>\n

      No<\/em><\/strong>, to nije sve.<\/em><\/strong><\/p>\n

      Spomenuta nezamislivost ne\u010dega naizgled apokalipti\u010dkoga, kao suvremena pandemijska kriza, u o\u010dima \u010dovjeka svakodnevnice, dovelo je i do ro\u0111enja i \u0161irenja teorija zavjere koje povezuju koronavirus i 5G.<\/p>\n

      Sve zapo\u010dinje krajem sije\u010dnja 2020. suludim glasinama \u010dije je \u0161irenje rezultat pandemijskoga zato\u010denja vi\u0161e od 3 milijarde ljudi \u0161irom svijeta, \u0161to nije moglo izbje\u0107i zavjereni\u010dku po\u0161ast<\/a>[173<\/strong><\/span>]<\/sup><\/a>. Svoju pojavu, povezanu s tra\u017eenjem krivca, svoj prvi trag nalazi u regionalnome izdanju belgijskih virtualnih novina Het Laatste Nieuws <\/em>koji sadr\u017eava naizgled bezazleni intervju s lije\u010dnikom op\u0107e prakse sa sjedi\u0161tem u belgijskome gradu Putteu, lije\u010dnikom Krisom Van Kerckhovenom, koji je \u017eelio upozoriti na zdravstvene rizike prouzro\u010dene 5G-om, iako ne znanstveno potkrijepljene. Upitan o novonastaloj pandemiji u Wuhanu i aktivaciji antena 5G, lije\u010dnik je s oprezom izjavio “Nisam provjeravao \u010dinjenice”, dodaju\u0107i “Mo\u017eda postoji poveznica s vijestima.”<\/a>[174<\/strong><\/span>]<\/sup><\/a> Dakle, samo obi\u010dno nesmotreno glasno razmi\u0161ljanje. Ni vi\u0161e ni manje.<\/p>\n

      Me\u0111utim, iako je taj, za mene bezazleni, \u010dlanak nakon nekoliko sati povu\u010den s mre\u017ee, a urednik Het Laatste Nieuwsa<\/em><\/a>[175<\/strong><\/span>]<\/sup><\/a> se ispri\u010dao zbog objavljivanja ovih neutemeljenih iskaza, to nije sprije\u010dilo procvat teorija zavjere na internetu.<\/p>\n

      Priliku objektivizacije iskaza, njegovo o\u010ditovanje u\u010dinile su nekoliko nizozemske anti 5G skupina, kada je ono pre\u0161lo na engleski teritoriji sli\u010dne skupine uhvatile su se \u010dlanka kako bi pro\u0161irile po\u010detnu sumnju na uzro\u010dno- posljedi\u010dnu vezu izme\u0111u 5G i koronavirusa. Trenutak je to kada je infodemija mutirala promijeniv\u0161i svoj smjer. Odjednom se 5G-u deklarativno pripisuje da pospje\u0161uje \u0161irenju koronavirusa i to slabljenjem imunolo\u0161koga sustava. Dakle, 5G izaziva simptome sli\u010dne onima koronavirusa, ergo<\/em>: virus su stvorili ljudi uspostavom stanice 5G u Wuhanu, a totalno zatvaranje regije samo je dokaz skrivanja \u010dinjenica, tj. instaliranja antena, jer taj virus u super-tehnolo\u0161ko doba ne mo\u017ee imati svoj prirodni izvor, te je u svemu tomu uklju\u010dena i zaklada Bill Gates, a mogli bi biti i iluminati ili neko tre\u0107i. To je dovelo do toga da se 30. sije\u010dnja 2020. pokrene i krajnje desni\u010darsko orijentirana ameri\u010dka zavjera InfoWars<\/em>, koja 5G neposredno povezuje s epidemijom. Odmah potom jo\u0161 jedna zavjereni\u010dka internetska stranica, ZeroHedge, <\/em>govori o koronavirusu kao umjetno stvorenom biolo\u0161kom oru\u017eju. Od sredine velja\u010de 2020. te se teorije zavjere postupno po\u010dinju probijati i na dru\u0161tvenim mre\u017eama, po\u010dev\u0161i od Facebooka<\/em>, s nekoliko stotina tisu\u0107a pretplatnika. Ekshalacija svoj vrhunac dosti\u017ee u trenutku kada se videozapisi pojavljuju na YouTubeu <\/em>i njegovi ‘korisnici’ po\u010dinju pani\u010dariti, \u0161to je dovelo do toga da se infodemija mre\u017eno pro\u0161iri u beskraj.<\/p>\n

      O\u010dito je da COVID-19, kao i budu\u0107e pandemije ali i infovirusi koji, kao prate\u0107i paraziti, \u010dekaju njihovo pojavljivanje da bi se na njih nadovezali, prisiljava da se redizajnira i na\u010din poimanja prostora u svim varijacijama toga izraza: kako realnoga tako i virtualnoga jer pred ovim raslojenim, trodimenzionalnim, sveobuhvatnim scenarijima, sam pojam ‘globalni’ poprima osobine nesretnoga eufemizma.<\/p>\n

      Uz to treba re\u0107i da, naro\u010dito unutar medijskoga konteksta, ovaj virus suvremenomu \u010dovjeku zapadne garniture postavlja jedno jednostavno i temeljno (filozofsko) pitanje: poti\u010de da se vi\u0161e nego ikada do danas zapitamo je li u vremenu hipertehnologije jo\u0161 potrebno filozofsko kriti\u010dko promi\u0161ljanje stvarnosti. Ako da, je li i u tom novope\u010denom virtualnom prostoru mogu\u0107e izgraditi jedno adekvatno mjesto koji \u0107e imati sve osobine ‘lete\u0107ega’ filozofskog trga \u2013 filozofske agore \u2013 oblikovane u vidu polazne to\u010dke za kriti\u010dko promi\u0161ljanje, u vidu rasprave i razmi\u0161ljanja o sebi, o drugima i o svijetu? Jesu li ponu\u0111ene koncepcije razmi\u0161ljanja brojnih filozofa, od Heraklita, Platona do Spinoze, i od N\u0101g\u0101rjune<\/a>[176<\/strong><\/span>]<\/sup><\/a> do Kanta i Hegela, samo prividna ili posjeduju i neko dublje zna\u010denje, neki smisao za koji se dosad nije toliko marilo, ali je naveliko potrebno danas da bi odr\u017eali svoju ljudskost?<\/p>\n

       <\/em><\/strong><\/p>\n

      U<\/em><\/strong>pit: kako prebroditi ovu krizu (u realnome i infodemijskome obliku).<\/em><\/strong><\/p>\n

      Zasigurno ne samo obuzdaju\u0107i i eventualno dokraj\u010duju\u0107i pandemiju ve\u0107 i pove\u0107avaju\u0107i svijest o tome kako se pona\u0161ati da bi se izbjegle sli\u010dne pandemije i infodemije, ako ne i gore, situacije. To neminovno vodi do, za \u010dovjeka va\u017eno, pitanje: vodi li ‘o\u010dekivana pobjeda’ nad virusom i nad njegovim ‘parazitima’ \u010dovjeka do novoga prosvjetljenja ili do povratka u normalnost? Radi se naime o upitu koji je izvor mnogih filozofskih flashmoba <\/em>koji bi, svojom ‘nepredvidljivo\u0161\u0107u’, poput zen koana<\/em>, trebali \u010dovjeka poticati da iskoristi taj vakuum normalnosti kako bi sebi posvetio neka (zaboravljena ili zata\u0161kana) razmi\u0161ljanja<\/a>[177<\/strong><\/span>]<\/sup><\/a>.<\/p>\n

      Kao na primjer: je li problem samo u virusima koji nesmetano i slobodno haraju svijetom od prije ljudskoga postojanja ili i u shva\u0107anjima i pona\u0161anjima nas ‘s<\/em>apiensa<\/em>’ koji zemlju ve\u0107 podu\u017ee vrijeme pretvaramo iz \u017eivotne okoline u no\u0107nu moru za sve ve\u0107i broj \u017eivih bi\u0107a, i to po\u010dev\u0161i naravno od onih najslabijih i najsiroma\u0161nijih, bili oni ljudska bi\u0107a ili \u017eivotinje?<\/p>\n

      Razumno je pomisliti da \u0107e na ta i sli\u010dna razmi\u0161ljanja svatko od nas odgovoriti na filozofski, eti\u010dko-politi\u010dki, religiozni na\u010din, tj. na na\u010din koji njemu najvi\u0161e odgovara. Ali, zasigurno i ovi filozofski flashmobovi <\/em>imaju zada\u0107u da uz svoju dru\u0161tvenu komponentu poti\u010du svakoga od nas, osobno i gra\u0111anski, pobolj\u0161ati i svoj odnos sa sobom, s drugima i sa svijetom uop\u0107e. I, mo\u017eda, u tome pronala\u017eenju samoga sebe, u dodirivanju vlastite izvornosti, mnogi bi \u010dak mogli do\u0107i i do najzanimljivijega otkri\u0107a, koje je najprisnije povezano s izvornom filozofijom, kao potrage za znanjem-mudro\u0161\u0107u kojoj \u010dovjek, kao svjesno bi\u0107e neminovno i legitimno te\u017ei: otkri\u0107e da postoji prirodna stvarnost \u2013 izvorno phyisis <\/em>(gr\u010dki) kao cjelina svega \u0161to jest od koje smo i mi, posljedi\u010dno toga dio, sa svojim pojedina\u010dnim naracijama i s cijelom povije\u0161\u0107u na\u0161e vrste. To\u010dnije mi, kao ljudska bi\u0107a, samo smo dio, ‘mali dio’ svega, kao \u0161to nas je uostalom i Spinoza svojevremeno upozorio; a ne vlasnici, vladari, grabe\u017eljivci i tako dalje. Dakle, flashmob <\/em>kao svojevrsni ‘carpe diem’ <\/em>djece 21. stolje\u0107a.<\/p>\n

      Dakle, kao opomena da se izbjegnu one odluke koje pripadaju onim pred- pandemijskim koncepcijama i pona\u0161anjima koja su \u010dovjeka doveli do ove kriti\u010dne situacije. Da bismo dostigli to (novo) stanje svijesti, \u010dak nam i neki skromni filozofski flashmob <\/em>mo\u017ee donekle pomo\u0107i kako bismo izi\u0161li pobolj\u0161ani i spremni suo\u010diti se sa sobom i s izazovima hipertehnolo\u0161ke sveobuhvatnosti. To je mogu\u0107e samo njeguju\u0107i onu svijest koju filozofija od svojega za\u010de\u0107a nosi u sebi: da je ljudsko bi\u0107e dio, mali dio, prirode i ako se na to ‘zaboravi’, priroda \u0107e to potvrditi svom \u017eestinom svojega pojavljivanja. Pokazuju\u0107i svu svoju ravnodu\u0161nost prema ljudskoj sudbini i ljudskome dobru i zlu; svu svoju nadljudsku i neljudsku snagu, kako u beskrajno malom, tako i u beskrajno velikom: u obliku virusa, potresa, zaga\u0111ene vode i zraka, kao dezertifikacija, izumiranje vrsta, ekolo\u0161ke krize, koju nije pretjerano definirati epohalno. Ali, i, za\u0161to ne, mo\u017ee se pojaviti, uz uporabu medija kao produ\u017eetak o\u010diju i kao prilika, ali samo ako se, kao \u0161to nas upozorava Heraklit, prestaje „raditi i govoriti kao oni koji spavaju“<\/a>[178<\/strong><\/span>]<\/sup><\/a> i shvati da imamo samo „jedan i zajedni\u010dki svijet“<\/a>[179<\/strong><\/span>]<\/sup><\/a>, koji, ako ljudsko bi\u0107e \u017eeli opstati kao takav, ‘tjera’ da se on pobolj\u0161a. Za \u0161tovatelje prirode, za izvorne filozofe i, mogli bismo dodati za postpandemijskoga \u010dovjeka, Herodot upotrebljava ove rije\u010di: „Bla\u017een onaj koji je dostigao znanje iz ove istrage. Taj ne nanosi ni patnju svojim sugra\u0111anima ni nepravedne postupke, ve\u0107 istra\u017euje vje\u010dni poredak besmrtne prirode i pita: s kojom je svrhom nastao, na koji na\u010din, kada? Takav nikad ne postaje \u017ertvom zlih misli i djela od kojih bi se trebao sramiti“.<\/a>[180<\/strong><\/span>]<\/sup><\/a> Sli\u010dnu pohvalu, autenti\u010dnomu filozofskom istra\u017eivanju, nalazi se i kod znanstvenika i popularizatora Davida Quammena koji godinama upozorava na rizik od prelaska virusa s jedne vrste na drugu, i koji, na pitanje mo\u017ee li se koronavirus definirati kao osveta prirode nad \u010dovjekom, odgovara: “Ne vjerujem u metaforu ‘osvete prirode’ koja te\u017ei personificirati Prirodu kao mudrog entiteta, sa svojom svrhom i voljom. Nisam toliko romanti\u010dan. Zami\u0161ljam prirodu onako kako ju je zami\u0161ljao Darwin. […] Ono \u0161to drugi vide kao osvetu prirode, ja bih opisao ovako: slo\u017eeni ekosustavi u sebi ugo\u0161\u0107uju \u017eivotinje, biljke, gljive, bakterije i druge stani\u010dne organizme; i svi ti stani\u010dni organizmi ugo\u0161\u0107uju viruse. Ako se odlu\u010dimo kompromitirati ih, to \u010dinimo na vlastiti rizik“.<\/a>[181<\/strong><\/span>]<\/sup><\/a> No, ve\u0107 Horacije napominje da se ne bismo trebali iznenaditi drasti\u010dnim ‘povratcima’ majke prirode: „Naturam expellas furca, tamen usque recurret“.<\/a>[182<\/strong><\/span>]<\/sup><\/a> To jo\u0161 vi\u0161e vrijedi danas kada posjedujemo i znanstveno znanje koje samo budale mogu podcijeniti i prete\u017eito iskoristiti u ratnim i potro\u0161a\u010dkim svrhama. Spoznaja te jednostavne istine trebao bi biti pokreta\u010d filozofskih flashmoba<\/em>. Dr\u017ee\u0107i pritom na umu da nije namjera ovih razmatranja izdati duh spontane pokretljivosti i otvorenosti koji uvijek animiraju svaki autenti\u010dni flashmob <\/em>koji je itekako va\u017ean za one koji, naro\u010dito ispred aktualne pandemije, osje\u0107aju te\u017einu i \u0161arm obrazovne otpornosti, i to neovisno o bilo kojoj znanstvenoj naredbi.<\/p>\n

       <\/em><\/strong><\/p>\n

      Postojati nije \u017eivjeti: \u017eivot kao svetost<\/em><\/strong><\/p>\n

      Mogao bi to biti novi svjetovni ‘prag’ svetoga, koji ne bi bilo mogu\u0107e neka\u017enjeno kr\u0161iti zbog svojih dalekose\u017enih posljedica. Radi se dakle o situaciji koja od \u010dovjeka tra\u017ei da realno (ponovno) po\u010dinje po\u0161tivati ono \u0161to stvarno vrijedi, kako u fiziolo\u0161kome, tako i egzistencijalnome smislu. To, filozofskim rje\u010dnikom, zna\u010di nazvati stvari pravim imenom, svjesni da nije vi\u0161e egzistencijalno korisno zamjenjivati odnos \u010dovjeka naspram odnosa \u010dovjeka \u2013 \u017eivotinje \u2013 biljke \u2013 okoli\u0161a, pribjegavaju\u0107i shizoidnim apstrakcijama koje tehnokratsko-ekonomska paradigma name\u0107e kao ponuda, i koja se nalazi u osnovi tautolo\u0161koga konzumerizma koji ne poznaje kraj. Trebao bi to biti ‘alarm’ koji u vrijeme pandemije dobiva aktualnost, kao na primjer, da je ljudski odnos vis-\u00e0-vis <\/em>nezamjenjiv tehnologijom komunikacije na daljinu. To nikako ne zna\u010di da ova potonja, kao pomo\u0107ni alat prvoj, u vidu Agor\u00e0 <\/em>diskusije, u kriznim situacijama poput ove, nije korisna. Treba, me\u0111utim, uvijek imati na umu da ono nikako ne dopu\u0161ta istovrsnu izmjenu energije: meso, tijelo, dah, izrazi lica, miris, prisutnost, prisutnost, prisutnost, i to naro\u010dito kod djece. Zato treba, ako se zala\u017eemo u tome da \u0107emo, kada cijela ova pandemijska situacija zavr\u0161i, svi imati jo\u0161 jedan razlog da poku\u0161amo ne sli\u010diti uobi\u010dajenim zombijima s tijelom u prostoru, bilo to kod ku\u0107e, u razredu ili negdje drugdje, a du\u0161u, posredstvom o\u010diju zalijepljenima za pametne telefone itd., zarobljenu u neku konstruiranu dimenziju, ve\u0107 i medijsku dimenziju prilagoditi razvoju i promicanju ljudskosti. No, da bismo razvili \u00a0druga\u010diji oblik svijesti ili obnovili izgubljenu, potisnutu ‘izvornu’ svijest, va\u017eno je preoblikovati svoja stajali\u0161ta posredstvom filozofskoga promi\u0161ljanja svega. To u\u010di filozofska praksa koja svojim kriti\u010dkim mi\u0161ljenjem ne skamenjuje stvarnost unutar predimenzioniranoga prostora ve\u0107 sna\u017eno zna zalupiti vrata u lice, i stoga je u\u010dinkovitija od dosadnoga kvantificiranoga, ud\u017ebeni\u010dkoga i mre\u017enoga ili on line znanja koji se koncentrira na tehniku a ne na onoga koji djeluje. Naime, \u0161okantnost doga\u0111aja obrnuto je proporcionalna tome koliko je netko, pojedina\u010dno i grupno, spreman na usredoto\u010deno promatranje stvarnosti. Nestabilnost, provizornost jesu konstitutivne \u010dinjenice stvari kakve jesu. Trebalo bi to biti upozorenje pripravnosti da se ne uzima zdravo za gotovo uvjerenje da je znanost svemogu\u0107a i da mo\u017ee rije\u0161iti bilo koji problem, u vidu onoga \u0161to je svima medijski dostupno ovdje i sada, da bi se vratili na kvalitativno oboga\u0107uju\u0107e relacijske mogu\u0107nosti koje nam \u017eivot svakodnevno pru\u017ea a da mi toga nismo svjesni i koje \u010dovjeka \u010dine i odr\u017eavaju kao \u010dovjeka.<\/p>\n

      Trebamo li dodatne dokaze? Vjerojatno da. Naime, svaka neiskori\u0161tena prilika izgubljena je prilika. Uhvatiti sretan trenutak, kair\u00f2s, da se izrazimo filozofskim \u017eargonom, umjetnost je, vi\u0161e nego li umije\u0107e, koja bi se trebala podu\u010davati u \u0161kolama svih razina u vidu neke nove realno-virtualne agore.<\/p>\n

       <\/p>\n

      U<\/em><\/strong>va\u017eavanje va\u017enih filozofskih termina<\/em><\/strong><\/p>\n

      Relacijske mogu\u0107nosti transponirane, na Platonov na\u010din, iz ontolo\u0161ke u politi\u010dko-antropolo\u0161ku sferu prevode se i u neke pojmove kojima se svakodnevno koristimo, ali \u010diji se smisao postupno zaboravilo deklinirati na efektivno-egzistencijalnoj razini. Tu se naro\u010dito misli o filozofskome poimanju zajednice i solidarnosti, koje, budu\u0107i da smo se navikli mjeriti sve u individualisti\u010dki i autoreferencijalni na\u010din, eksperimentiramo na paradoksalan na\u010din. <\/p>\n

      Zajednica za kojom se, posredstvom nostalgi\u010dne i prevrnute uporabe dru\u0161tvenih mre\u017ea, \u010dezne i \u017eali, kao da se radi o ne\u010demu \u0161to pripada pro\u0161losti i \u0161to se pretvara u ‘imunitet’. A solidarnost se pretvara u odr\u017eavanju distance, u preuzimanju odgovornosti prema drugome, \u010dije lice, maskirano, u najavi svijesti o opasnosti od zaraze izra\u017eava krajnje simpateti\u010dno razmatranje prema nama. Na taj se na\u010din i strah pretvara u empatiju. Naime, u lice Drugoga odra\u017eavam sebe, \u0161to mi omogu\u0107ava razumijevanje i drugih strahota, i drugih bje\u017eanja prema sigurnosnoj imunizaciji: od rata, od bijede, od o\u010daja, \u0161to svakome po\u010dinje biti spoznatljivo. Najednom, i to kroz iluzorne zidove moje ‘imunizacije’, koji su \u010darolijom postali porozni, s virusom provaljuje i okus ljudske stvarnosti desetaka, stotina milijuna bli\u017enjih; a iskustvo koje iz toga proizlazi je kao gledanje u zrcalo, koji odra\u017eava ono \u0161to se do ju\u010der nije htjelo vidjeti: da se barijere podignute kako bi nas za\u0161titile od vanjskih neprijatelja, stvarnih ili pretpostavljenih, lako pretvaraju u zidove na\u0161ega zatvora, u \u010detiri zida na\u0161e ku\u0107e, koji nas vi\u0161e ne \u0161tite: oni se naziru. \u0160to vodi do ekshalacije me\u0111ugrani\u010dnoga straha od nacionalnoga druga\u010dijeg: Talijana, Slovenca, Austrijanca itd. i obrnuto.<\/p>\n

      S druge strane, sli\u010dno tomu, nakon prekida \u010darolije, nakon trideset godina individualno-privatne opijenosti, virus nas u\u010di vrijednosti javne i virtualne trgovine misli (agor\u00e0<\/em>). \u010ciji se prostor \u2013 koji je postao sve su\u017eeniji napretkom nebodera, trgova\u010dkih centara, grabe\u017eljivih sajmova i marginaliziran bubnjem medija \u2013 iznenada, postaje glavni adut mnogih tematika \u2013 kao bolnica, \u0161kola, civilna za\u0161tita, javne slu\u017ebe \u2013 pokazuju\u0107i se sve u\u017ei, ograni\u010deniji i vje\u010dno na rubu ponora.<\/p>\n

      Virus je tako\u0111er na sebe preuzeo i metafori\u010dki zadatak da sru\u0161i neoliberalne dogme o ‘privatizaciji pod svaku cijenu<\/em>’, o ‘u\u0161tedi na javnim ra\u010dunima’ <\/em>na \u0161kole, na zdravstvu i na znanstvenim istra\u017eivanjima; za koje su nas u proteklih tridesetak godina uvjeravali da od toga ima korist gospodarstvo zemlje, i posljedi\u010dno svi mi! I to neovisno od \u010dinjenice da je zbog toga, zbog takve socijalne politike, dolazilo do neizbje\u017enoga neodarvinisti\u010dkoga krvarenja ljudskosti u rasulu, poga\u0111aju\u0107i najslabije i bespomo\u0107ne, kao i uvijek: Nihil novi sub sole.<\/em><\/a>[183<\/strong><\/span>]<\/sup><\/a><\/p>\n

      Svatko tko je imao nesre\u0107u da potrebuje hitnu pomo\u0107 javne bolnice proteklih godina zna dobro da sustav je ve\u0107 tada bio u kolapsu. Ipak, u ovim se satima opire i to ne zahvaljuju\u0107i sustavu ve\u0107 odgovornim gra\u0111anima koji ponizno obavljaju svoju du\u017enost i puno vi\u0161e od toga. Radi se o istima koji svakoga dana prolaze neopa\u017eeno ili, jo\u0161 gore, sakupljaju uvrede razo\u010daranih i bijesnih korisnika. Radi se o ljudima koji ljudskost nose u sebi, jer, nadovezuju\u0107i se na Spinozinu misao: „za to tra\u017ei se vje\u0161tina i budnost. Jer su ljudi promjenjivi (rijetki su, uistinu, oni koji \u017eive prema onome \u0161to razum propisuje), a opet uglavnom su zavidni i skloni vi\u0161e osveti nego milosti.“<\/a>[184<\/strong><\/span>]<\/sup><\/a><\/p>\n

       <\/p>\n

      Zaklju\u010dno\u2026<\/em><\/strong><\/p>\n

      \u2026 postavljam (si) nekoliko upita koja ve\u0107ini mogu donekle i izgledati retori\u010dkim jer (ta) ve\u0107ina smatra da ve\u0107ina, kojoj se obra\u0107am, ne\u0107e dose\u0107i tu to\u010dku razmi\u0161ljanja, ili \u0107e zaklju\u010diti, po tko zna koji put, da je bavljenje filozofijom beskorisno ili itd. Usprkos tom iskazanom pesimizmu, nadam se da se ipak mogu pokazati od zna\u010dajne va\u017enosti i zbog toga ih \u017eelim postaviti sebi, tj. vama.<\/p>\n

      Ho\u0107e li ova pandemija, sa svojim puzaju\u0107im nihilizmom konzumerizma, jednom zauvijek pokazati da su granice, po\u010dev\u0161i od me\u0111udr\u017eavnih granica (mislim tu naro\u010dito na EU), razli\u010dite etni\u010dke pripadnosti, mentaliteti, socijalni statusi; B<\/em>itcoin <\/em>i burzovni indeks, samo apstrakcija, prikaz instrumentalno odre\u0111en eti\u010dkim pona\u0161anjem i prazan izgovor politika, vlada i kapitala a ne prirodno neizbje\u017ena \u010dinjeni\u010dnost? Da zna\u010dajan dio ne samo ljudske ve\u0107 i \u017eivotinjske kao i, za\u0161to ne, biljne patnje ovisi o nepoznavanju na\u0161ih primarnih osje\u0107aja, o lo\u0161oj brizi o sebi, o zlouporabi na\u0161e inteligencije?<\/p>\n

      Da se na\u010delo ‘jedan je svijet je, jedno je \u010dovje\u010danstvo’ <\/em>ne mo\u017ee primjenjivati samo na promet robe i kapitala (globalizacija) ili na \u0161irenje koronavirusa (pandemija) ve\u0107 i na empatiju, solidarnost i odgovornost?<\/p>\n

      Sada kada je freneti\u010dni ritam \u017eivota na koji smo navikli izblijedio, kada nas promet ili trgova\u010dki centri vi\u0161e ne sputavaju i ograni\u010davaju, kada se pozadinska buka smanjila a gradski smog prorijedio, ho\u0107emo li znati dobro iskoristiti ovu dodijeljenu pauzu za kvalitetnije razmi\u0161ljanje o smislu \u017eivota? Ho\u0107emo li iskoristiti priliku da nau\u010dimo \u017eivjeti ovo novo, izvorno, poimanje vremena, seriozno dovode\u0107i u pitanje sve na\u0161e egzistencijalne prioritete?<\/p>\n

      Izazov s kojim se suo\u010davamo je globalan, a koronavirus je samo vrh ledene sante na\u0161e pro\u0161losti i pogled na ono \u0161to nas o\u010dekuje u budu\u0107nosti. Da bi se izbjegao brodolom, bilo bi hitno zapo\u010deti me\u0111ugeneracijsko, me\u0111uljudsko i me\u0111uvrsno savezni\u0161tvo: neka vrsta nevi\u0111enoga oblika eti\u010dkoga ekumenizma. Ho\u0107emo li mi suvremenici uspjeti biti ‘evolucijski’ inteligentniji od koronavirusa: RNA paket okru\u017een proteinskom kapsulom veli\u010dine deset milijunskih dijelova metra, ali s biolo\u0161kom inteligencijom od tri milijarde godina ili ne \u2013 pitanje je to?<\/p>\n

       <\/em><\/strong><\/p>\n

      Zadatak kao odgovor: prebroditi krizu i pobolj\u0161ati sebe: za novi gn\u014dthi<\/em><\/strong> saut\u00f3n \/ temet nosce.<\/em><\/strong><\/p>\n

      Svako ljudsko bi\u0107e bilo kojega dru\u0161tva, dru\u0161tvene grupacije i razdoblja, od samoga je djetinjstva podvrgnut procesima opona\u0161anja. Da bi po\u010dela upoznavati svijet, djeca, prema prirodnom zakonu (imprinting<\/em><\/a>[185<\/strong><\/span>]<\/sup><\/a>) prvo opona\u0161aju svoje roditelje; po\u010dinju razmi\u0161ljati pamte\u0107i ime neke stvari memoriziraju\u0107i njezine osobine; da bi naknadno pre\u0161li na sljede\u0107e stanje, to jest na sje\u0107anje razmi\u0161ljaju\u0107i. Radi se tu o prvim pristupima s vanjskim svijetom koje svi imaju od rane dobi. Ti pristupi, kao \u0161to i sama definicija imprintinga <\/em>kazuje, naveliko utje\u010du na velik dio na\u0161ega \u017eivota. Tu zapo\u010dinje mo\u017eda i najte\u017ei put s kojim se homo sapiens <\/em>suo\u010dava: upoznavanje ne (samo) okolnog okru\u017eenja ve\u0107 onoga \u0161to nesvjesno i svjesno gradi u sebi.<\/p>\n

      Na ru\u0161evinama drevnih Apolonovih hramova pisalo je ‘<\/strong>Gn\u014dthi seaut\u00f3n’ (‘upoznaj sebe’)<\/a>[186<\/strong><\/span>]<\/sup><\/a>. Me\u0111utim, taj vid spoznaje iziskuje jedan relevantni skok kvalitete jer tra\u017ei da se prestane opona\u0161ati, kao \u0161to je to bilo u ranoj dobi, da bi se postalo ono \u0161to zapravo svako ljudsko bi\u0107e jest u svojoj izvornosti i posebnosti. Kao \u0161to smo naveli, ne radi se o lakoj zada\u0107i koja se, izme\u0111u ostaloga, nalazi u osnovi ra\u0111anja filozofije kao svjesnoga promi\u0161ljanja svijeta i sebe u svijetu.<\/p>\n

      Pripisivati istinu nekomu drugomu i slijediti ga nedvojbeno je lako i sigurno, ali i neodgovoran postupak nasuprot neprestanome razmi\u0161ljanju o sebi i koji odgovara Descartesovu: Cogito ergo sum. <\/em>Zada\u0107a koja postaje jo\u0161 odgovornija kada je posrijedi odgovoran dru\u0161tveni anga\u017eman koji je implicitan samoj politici i kojoj Platon pripisuje atribute slu\u0161kinje filozofije.<\/p>\n

      Protiv standardizacije kojoj je suvremeni \u010dovjek, naro\u010dito zapadne garniture, podlo\u017ean, protiv nedostatka alternativa, protiv politike koja se sve vi\u0161e otu\u0111uje od naroda i od filozofije, postati ono \u0161to zapravo jesmo, jest ono \u0161to ekonomistu nedostaje u dru\u0161tvu koje se sve vi\u0161e zala\u017ee u mahanju tu\u0111ih politika, raznoraznih praznih politika, srame\u0107i se, ili gore, pla\u0161e\u0107i se svojih misli i to, u ve\u0107ini slu\u010dajeva, skrive\u0107i se pod maskom indiferentnosti, ne provode\u0107i nikad autenti\u010dnu viziju stvarnosti ili vlastito razmi\u0161ljanje.<\/p>\n

      Sr\u017e svih filozofskih inicijativa, a to zna\u010di i onih koje stoje iza svakoga fleshmoba<\/em>, mora potje\u010di iz gn\u014dthi seaut\u00f3n <\/em>(\u03b3\u03bd\u1ff6\u03b8\u03b9 \u03c3\u03b5\u03b1\u03c5\u03c4\u03cc\u03bd). Naime, to je ono \u0161to bi suvremeni filozofski fleshmobi <\/em>trebali iskazati onima koji se dokumentiraju o aktualnim pitanjima, kao \u0161to su: Tko smo? Odakle dolazimo? Kuda idemo? Jer, kao \u0161to smatra njema\u010dki filozof Martin Seel, profesor na frankfurtskome sveu\u010dili\u0161tu, „Filozofija je razmi\u0161ljanje i razumijevanje o nama samima i o takvom svijetu, bez kojega mi kao ljudi ili kao suvremenici odre\u0111ene kulture i povijesnih prilika, ne mo\u017eemo.”<\/a>[187<\/strong><\/span>]<\/sup><\/a><\/p>\n

      U gr\u010dkome gradu Delfi u anti\u010dko doba nalazio se Apolonov hram na \u010dijim je ulazu sa svake strane bila po jedna mudra re\u010denica. Prva je glasila: ‘Upoznaj samoga sebe’, a druga: ‘Ni\u010deg previ\u0161e’. Za obja\u0161njenje su bile nadle\u017ene delfske Sibile, proro\u010dice posve\u0107ene bogu Apolonu. To su i upozorenja koja se nalaze i u temelju izvorne Heraklitove filozofije, \u010dije je promi\u0161ljanje rezultat uranjanja i upoznavanja samoga sebe, dakle udaljavanja od prija\u0161nje spoznaje, \u0161to je istovjetno sa Sokratovim ‘znam da ni\u0161ta ne znam’ kao temelj upoznavanja sebe. To je za Rimljane bilo ‘nosce te ipsum’<\/em>. Izmijenjeni oblik istoga na\u010dela nalazimo i u kr\u0161\u0107anstvu, i to je kod svetoga Augustina u pojmu ‘quaerere Deum’<\/em>, to jest tra\u017eiti Boga u sebi. U moderna vremena jednaka se razmi\u0161ljanja mogu na\u0107i i kod Hermanna Hessea.<\/a>[188<\/strong><\/span>]<\/sup><\/a><\/p>\n

      Pojmovi koje bi filozofski fleshmob <\/em>trebao ‘prikazati’ gra\u0111aninu odnose se na to da se ne smije misliti da nam put daje neki izborno izabrani politi\u010dar. Ne radi se tu o stvaranju neke nove politi\u010dke koalicije ili stranke ve\u0107 o shva\u0107anju da se put mo\u017ee prona\u0107i ako se shvati da je svatko od nas put. Da se shvati ovu Jungovu misao „Razmi\u0161ljati je te\u0161ko, zato ljudi i prosu\u0111uju. Zbog toga ve\u0107ina ljudi prosu\u0111uje. Za razmi\u0161ljanje je potrebno vrijeme, pa oni koji ve\u0107 razmi\u0161ljaju ba\u0161 zato ne mogu kontinuirano izra\u017eavati predrasude”<\/a>[189<\/strong><\/span>]<\/sup><\/a>. Naime, u fleshmob<\/em>, pa \u010dak ni u onome filozofskome, ne tra\u017ei se nekakav sud ve\u0107 (spontano) razmi\u0161ljanje, umjesto unaprijed preusmjerenoga kritiziranja druga\u010dijega pristupa; filozofski fleshmob <\/em>ne tra\u017ei raspravu o tome ‘kako biti dobar \u010dovjek’, jer, kako nas u\u010di Marko Aurelije: ‘Budi dobar \u010dovjek, ne raspravljaj o tome kako biti dobar \u010dovjek.’ Dok \u0107e Schopenauer govoriti da svatko od nas tro\u0161i \u00be svojega \u017eivota poku\u0161avaju\u0107i biti netko drugi, a u filozofsko-politi\u010dkome smislu poku\u0161ava opona\u0161ati razmi\u0161ljanje ovoga ili onoga za kojega se misli da je u pravu, da posjeduje istinu.<\/p>\n

      Po\u010detna je, dakle, zada\u0107a svakoga od nas postati svjestan vlastite nesigurnosti u vidu stanja konstantne budnosti ili sumnje. I to po\u010dev\u0161i od vlastitih uvjerenja. Naime, za filozofiju razmatranje, promi\u0161ljanje, istra\u017eivanje (skepsis <\/em>= sumnja) ili „Cogito ergo sum<\/em>“ \u2013 „mislim dakle jesam“ predstavlja temelj, osnovicu probu\u0111enoga pojedinca koji je, gledaju\u0107i oko sebe, postigao sposobnost djelovanja u svijetu nesigurnih vrijednosti. A da bi se to postiglo, potrebno je stvoriti vlastitu filozofiju \u017eivota koja se prvenstveno mora pridr\u017eavati ovoga imperativa „\u010dini da moja rije\u010d za mene bude zakon“. \u0160to opet zna\u010di „biti budan je sve“. Naime, va\u017eno je biti uvijek pa\u017eljiv i oprezan.<\/a>[190<\/strong><\/span>]<\/sup><\/a><\/p>\n

      Najve\u0107a vrijednost koju \u010dovjek, kao svjesno bi\u0107e prakse, zasigurno posjeduje nije i ne smije postati kopiranje drugih ve\u0107 taj (vra\u017eji) gn\u014dthi seaut\u00f3n<\/em>, kao stanje budnosti koji se ostvaruje u neprestanome poku\u0161aju upoznavanja sebe prije bilo koje odluke koja ne obuhva\u0107a samo pojedinca ve\u0107 i \u0161ire dru\u0161tveno okru\u017eenje u kojemu se djeluje, i to po\u010dev\u0161i od onoga, za neke ‘bezazlenoga’, kri\u017ea ili kruga kojega stavljamo na glasa\u010dki listi\u0107 prije negoli ga uguramo u glasa\u010dku kutiju.<\/p>\n

      U uvjerenju da dopustiti si nekoliko minuta na dan za reaktiviranje na\u0161ega filozofskoga promi\u0161ljanja, neovisno da li posredstvom medija ili klasi\u010dne meditacije, ako budno upotrijebljen, zasigurno nije dezerterstvo od ve\u0107ine uspavanih. A jo\u0161 manje ozna\u010duje \u017eelju za kontroverze koje dijele ili za uzaludne prazne spekulacije.<\/p>\n

      I dobro znaju\u0107i da kvaliteta \u010ditanja i medijske mogu\u0107nosti za neophodne pojedina\u010dne i kolektivne uvide zasigurno ne\u0107e nedostajati, poziv je to da se eksplicitno postavi reflektiraju\u0107a komponenta koja animira ve\u0107inu flashmobova <\/em>protiv ove pandemije. To nas podsje\u0107a da upravo iz aktualne, planetarne ‘hitnosti povijesti’, kako bi se izrazio K. L\u00f6with<\/a>[191<\/strong><\/span>]<\/sup><\/a>, moramo uvje\u017ebati sebe kako reagirati, imaju\u0107i na umu i svrhu \u017eivljenja a ne samo materijalnu korist, pobolj\u0161avaju\u0107i sebe i sve komponente dru\u0161tva.<\/p>\n

      Zar nije to poruka mudrosti i otpornosti za koju su filozofi u kona\u010dnici zadu\u017eeni da, svojim primjerom otvorenoga i kriti\u010dnoga mi\u0161ljenja, prenesu \u010ditavo ovo vrijeme? Ju\u010der na javnim trgovima, a danas, za\u0161to ne, na virtualnim AGORAMA i posredstvom filozofskih flashmobova<\/em>.<\/p>\n

      Nije li mogu\u0107e da u poku\u0161aju pobolj\u0161anja sebe i svijeta, na svjetlost izvire i najistaknutije i najcjenjenije zna\u010denje svakoga poticaja u tra\u017eenju boljega razumijevanja stvari, prilike i ograni\u010denja, koja nas se ti\u010du kao ljudi i kao privremenih stanovnika\/gra\u0111ana ovoga krhkog planeta?<\/p>\n

      U svakome se nalazi iskra, koju je Prometej probudio, da se bude svjesniji i nikad zaboravljiv: iako to sadr\u017eava i bolne trenutke na koje treba gledati kao poticaj rasta. Da bismo to shvatili, trebali bismo prihvatiti japansko geslo ‘neke pute pobje\u0111uje\u0161, sve druge pute u\u010di\u0161’.<\/p>\n

       <\/p>\n

      \n
      \n

      <\/a>[171<\/strong><\/span>]<\/sup><\/a> 
      \nO filmu: „Svjetski rat Z (2013) = World War Z“,       http:\/\/www.moj-film.hr\/film\/info\/world-war-z\/<\/a> Pristup: 17.09.2020.
      \n<\/span><\/p>\n<\/div>\n

      \n

      <\/a>[172<\/strong><\/span>]<\/sup><\/a> 
      \nCaptain Charles Moore, „Discoverer of the Great Pacific Garbage Patch“. In an article for Natural History magazine in 2003. In National Geographic Society,       https:\/\/www.nationalgeographic.org\/encyclopedia\/great-pacific-garbage-patch\/<\/a> Pristup: 17.9.2020.
      \n<\/span><\/p>\n<\/div>\n

      \n

      <\/a>[173<\/strong><\/span>]<\/sup><\/a> 
      \nVe\u0107 u velja\u010di Svjetska zdravstvena organizacija (WHO) objasnila je da se borba protiv ove po\u0161asti mora voditi frontalno i protiv Fake News – La\u017enih vijesti. Sylvie Briand, direktorica te svjetske organizacije, za globalnu spremnost na zarazni rizik tom je prigodom istaknula da (citiram): “Uz epidemiju bolesti, postoji i ono \u0161to nazivamo “infodemijom”: \u0161irenje, cirkulacija glasina i la\u017enih informacija.”<\/em> Izraz, “infodemija”, koji je od tada je 27. o\u017eujka 2020. prihvatio i Antonio Guterres, glavni tajnik Ujedinjenih naroda, pozivaju\u0107i se na La\u017ene vijesti o globalnoj krizi s koronavirusom.
      \nBenjamin Terrasson, „5G et coronavirus : propagation d’un infod\u00e9mi“,       https:\/\/siecledigital.fr\/2020\/04\/17\/5g-et-coronavirus-propagation-dune-infodemie\/<\/a> Preuzeto: 17.07.2020.
      \n<\/span><\/p>\n<\/div>\n

      \n

      <\/a>[174<\/strong><\/span>]<\/sup><\/a> 
      \nJames Temperton, „How the 5G coronavirus conspiracy theory tore through the Internet“. In: WIRED Consulting,       https:\/\/www.wired.co.uk\/article\/5g-coronavirus-conspiracy-theory<\/a> Pristup: 17. 9. 2020.<\/p>\n

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

      \n

      <\/a>[175<\/strong><\/span>]<\/sup><\/a> 
      \nZa podrobnije informacije vidi: Het Laatste Nieuws,       https:\/\/en.wikipedia.org\/wiki\/Het_Laatste_Nieuws<\/a> Pristup: 17.09.2020.<\/p>\n

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

      \n

      <\/a>[176<\/strong><\/span>]<\/sup><\/a> 
      \nNagarjuna, budisti\u010dki filozof koji je \u017eivio u Ju\u017enoj Indiji pribli\u017eno u II. st. pr. n. e., bez sumnje je najutjecajniji i najprou\u010davaniji filozof mahayana<\/em> budizma (veliki prijenosnik; pro\u0161irila se sjeverozapadnom Indijom, sredi\u0161njom Azijom, Tibetom, Kinom, Japanom itd. Karakteristika mahayane je ideal bodhisattvi<\/em>, samilosnih prosvijetljenih bi\u0107a koja iz milosr\u0111a poma\u017eu \u010dovje\u010danstvu na te\u0161kom putu spoznaje svoje istinske prirode). Nagarjuna je osniva\u010d \u0161kole madhyamika (Srednjega puta). Prou\u010davatelji njegove filozofije nailaze na nedoumice i razli\u010dita tuma\u010denja njegova u\u010denja \u010dak i unutar budisti\u010dke tradicije. Prigovori koje \u010desto upu\u0107uju njegovoj madhyamiki<\/em> ostavljaju dojam da je ona potpuno negativna, nihilisti\u010dna, skepti\u010dna.
      \nDonald S. Lopez, „Nagarjuna, Buddhist philosopher<\/em>“. In: Encyclop\u00e6dia Britannica. English language reference work – Philosophy & Religion,       https:\/\/www.britannica.com\/biography\/Nagarjuna<\/a> Pristup: 17.07.2020.
      \n<\/span><\/p>\n<\/div>\n

      \n

      <\/a>[177<\/strong><\/span>]<\/sup><\/a> 
      \nOrlando Franceschelli, „VIRUS, madre natura e stoltezza umana: che significa vincere la guerra contro l’attuale pandemia? Per un flashmob filosofico.“ In: Centro per la Filosofia Italiana,       http:\/\/www.centroperlafilosofiaitaliana.it\/2020\/03\/18\/orlando-franceschelli-virus-madre-natura-e-stoltezza-umana-che-significa-vincere-la-guerra-contro-lattuale-pandemia-per-un-flashmob-filosofico\/<\/a> Pristup: 17.07.2020.<\/p>\n

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

      \n

      <\/a>[178<\/strong><\/span>]<\/sup><\/a> 
      \n„Non bisogna agire e parlare come dormenti“<\/em> (frammento 73). Giuseppe Genna, Eraclito: frammenti,       https:\/\/giugenna.com\/2011\/08\/28\/eraclito-frammenti\/<\/a> Pristup: 17.09.2020.
      \n Na hrvatskom glasi (Fr. 73). „Ne valja raditi ni govoriti onako kao oni, koji spavaju. Jer i u tom stanju mislimo, da radimo i govorimo.“<\/em> Preuzeto iz Skripte: dr. Niko Majnari\u0107 (Preveo i objasnio), Heraklit, svjedo\u010danstva i fragmenti, <\/em>Filozofski fakultet Zagreb, 1972., str. 40.
      \n<\/span><\/p>\n<\/div>\n

      \n

      <\/a>[179<\/strong><\/span>]<\/sup><\/a> 
      \n„Unico e comune \u00e8 il mondo per coloro che sono desti“<\/em>. (frammento 89) Ibid, Pristup: 17.09.2020.
      \n Na hrvatskom glasi: „Budni imaju jedan jedini i zajedni\u010dki svijet, a oni, koji spavaju, okre\u0107u se svaki k svome vlastitome“<\/em>. Ibid, str. 41.
      \n<\/span><\/p>\n<\/div>\n

      \n

      <\/a>[180<\/strong><\/span>]<\/sup><\/a> 
      \n\u1f44\u03bb\u03b2\u03b9\u03bf\u03c2 \u1f45\u03c3\u03c4\u03b9\u03c2 \u03c4\u1fc6\u03c2 \u1f31\u03c3\u03c4\u03bf\u03c1\u03af\u03b1\u03c2
      \n\u1f14\u03c3\u03c7\u03b5 \u03bc\u03ac\u03b8\u03b7\u03c3\u03b9\u03bd
      \n\u03bc\u03ae\u03c4\u03b5 \u03c0\u03bf\u03bb\u03b9\u03c4\u1ff6\u03bd \u1f10\u03c0\u1f76 \u03c0\u03b7\u03bc\u03bf\u03c3\u03cd\u03bd\u03b7
      \n\u03bc\u03ae\u03c4’\u03b5\u1f30\u03c2 \u1f00\u03b4\u03af\u03ba\u03bf\u03c5\u03c2 \u03c0\u03c1\u03ac\u03be\u03b5\u03b9\u03c2 \u1f41\u03c1\u03bc\u1ff6\u03bd,
      \n\u1f00\u03bb\u03bb’\u1f00\u03b8\u03b1\u03bd\u03ac\u03c4\u03bf\u03c5 \u03ba\u03b1\u03b8\u03bf\u03c1\u1ff6\u03bd \u03c6\u03cd\u03c3\u03b5\u03c9\u03c2
      \n\u03ba\u03cc\u03c3\u03bc\u03bf\u03bd \u1f00\u03b3\u03ae\u03c1\u03c9\u03bd, \u03c0\u1fc7 \u03c4\u03b5 \u03c3\u03c5\u03bd\u03ad\u03c3\u03c4\u03b7
      \n\u03ba\u03b1\u1f76 \u1f45\u03c0\u1fc3 \u03ba\u03b1\u1f76 \u1f45\u03c0\u03c9\u03c2,
      \n\u03c4\u03bf\u1fd6\u03c2 \u03b4\u1f72 \u03c4\u03bf\u03b9\u03bf\u03cd\u03c4\u03bf\u03b9\u03c2 \u03bf\u1f50\u03b4\u03ad\u03c0\u03bf\u03c4’\u03b1\u1f30\u03c3\u03c7\u03c1\u1ff6\u03bd
      \n\u1f14\u03c1\u03b3\u03c9\u03bd \u03bc\u03b5\u03bb\u03ad\u03b4\u03b7\u03bc\u03b1 \u03c0\u03c1\u03bf\u03c3\u03af\u03b6\u03b5\u03b9.
      \n<\/span><\/p>\n<\/div>\n

      \n

      <\/a>[181<\/strong><\/span>]<\/sup><\/a> 
      \nDan Drollette Jr, „How it feels to predict a pandemic: Interview with David Quammen, author of Spillover“. In: Bulletin of the Atomic Scientists 75 years and counting,       https:\/\/thebulletin.org\/2020\/06\/how-it-feels-to-predict-a-pandemic-interview-with-david-quammen-author-of-spillover\/<\/a> Pristup: 17.07.2020.
      \n<\/span><\/p>\n<\/div>\n

      \n

      <\/a>[182<\/strong><\/span>]<\/sup><\/a> 
      \nQuinto Orazio Flacco, „Epistole I, 10, 24“. In: Tutte le opere, Sansoni Editore, Firenze 1988., str. 448. „Ako prirodu istera\u0161 vilama, ona \u0107e se opet vratiti“<\/em>. Vidi: Horacije, „Citati i izreke“,       https:\/\/edukacija.rs\/izreke-i-citati\/horacije<\/a>. Pristup: 17.09.2020.
      \n<\/span><\/p>\n<\/div>\n

      \n

      <\/a>[183<\/strong><\/span>]<\/sup><\/a> 
      \n„Nihil (nil) novi sub sole“<\/em> [ni:’hil no’vi: ~ so:’le] (lat.). „Ni\u010dega novoga pod suncem“<\/em> je izreka koja se navodi kada se doga\u0111aji predvidljivo ponavljaju. Potje\u010de iz biblijske knjige Propovjednik<\/em>, a pripisuje se kralju Salamunu. In: Hrvatska enciklopedija, mre\u017eno izdanje<\/em>. Leksikografski zavod Miroslav Krle\u017ea, 2020.       http:\/\/www.enciklopedija.hr\/Natuknica.aspx?ID=43747<\/a> Pristup: 23.09.2020.
      \n<\/span><\/p>\n<\/div>\n

      \n

      <\/a>[184<\/strong><\/span>]<\/sup><\/a> 
      \nSpinoza, „Etica. Parte IV. Appendice con commento“. (Etika, Dio IV, Dodatak). In: Scorribande Filosofiche,       https:\/\/francescodipalo.wordpress.com\/2019\/08\/17\/spinoza-etica-parte-iv-appendice-con-commento\/<\/a> Pristup: 17.09.2020.
      \n<\/span><\/p>\n<\/div>\n

      \n

      <\/a>[185<\/strong><\/span>]<\/sup><\/a> 
      \nImprinting [impri’nti\u014b] (engl. utiskivanje), vrsta u\u010denja koje je mogu\u0107e tijekom vremenski ograni\u010denoga, tzv. kriti\u010dnog ili osjetljivoga razdoblja u ranoj fazi \u017eivota \u017eivotinje, a o\u010dituje se u reakciji slije\u0111enja u mlade \u017eivotinje, koja slijedi prvi pomi\u010dni objekt ili \u017eivo bi\u0107e (naj\u010de\u0161\u0107e majku) \u0161to ga je ugledala nakon ro\u0111enja. Reakcija nije podlo\u017ena promjenama i trajno utje\u010de na socijalno pona\u0161anje \u017eivotinja. Najizra\u017eenija je u ptica, osobito u gusaka i pataka. Termin je u etologiju uveo K. Lorenz. In: Hrvatska enciklopedija, mre\u017eno izdanje. Leksikografski zavod Miroslav Krle\u017ea, 2020.       http:\/\/www.enciklopedija.hr\/Natuknica.aspx?ID=27226<\/a> Pristup:22.09.2020.
      \n<\/span><\/p>\n<\/div>\n

      \n

      <\/a>[186<\/strong><\/span>]<\/sup><\/a> 
      \nValerio Malvezzi, „Conosci te stesso“. In: L’evoluzione della Radio,       https:\/\/www.radioradio.it\/2020\/09\/conosci-te-stesso-%E2%96%BA-la-riflessione-del-prof-malvezzi-che-tutti-dovrebbero-ascoltare\/<\/a> Pristup: 20.11.2020.
      \n<\/span><\/p>\n<\/div>\n

      \n

      <\/a>[187<\/strong><\/span>]<\/sup><\/a> 
      \nAlf Haubitz; Marina Martinovi\u0107, „Tko smo? Odakle dolazimo? Kuda idemo?“. In: Panorama,       https:\/\/www.dw.com\/bs\/tko-smo-odakle-dolazimo-kuda-idemo\/a-4906743<\/a> Pristup: 17.07.2020.
      \n<\/span><\/p>\n<\/div>\n

      \n

      <\/a>[188<\/strong><\/span>]<\/sup><\/a> 
      \nHermann Hesse, Il Mio credo<\/em>, Rizzoli, Milano 2009.
      \n<\/span><\/p>\n<\/div>\n

      \n

      <\/a>[189<\/strong><\/span>]<\/sup><\/a> 
      \nSerena Di Sisto, „Carl Gustav Jung: ‘Pensare \u00e8 difficile. Per questo la maggior parte della gente giudica’“,       https:\/\/oggigiorno.com\/carl-gustav-jung-pensare-e-difficile-per-questo-la-maggior-parte-della-gente-giudica\/<\/a> Pristup:21.09.2020.<\/p>\n

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

      \n

      <\/a>[190<\/strong><\/span>]<\/sup><\/a> 
      \nF. \u0160uran, Etica della professione docente<\/em>, Universit\u00e0 degli studi “Juraj Dobrila” di Pola, Pula-Pola 2015.
      \n<\/span><\/p>\n<\/div>\n

      \n

      <\/a>[191<\/strong><\/span>]<\/sup><\/a> 
      \nK. L\u00f6with, Significato e fine della storia: i presupposti teologici della filosofia della storia<\/em>, Net, Milano 2004.
      \n<\/span><\/p>\n<\/div>\n

       <\/p>\n

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

      Francesco Cerato, „Euripide, Fr. 910 Nauck“. In: Studia Humanitatis \u2013 \u03c0\u03b1\u03b9\u03b4\u03b5\u03af\u03b1, https:\/\/studiahumanitatispaideia.wordpress.com\/2013\/03\/03\/euripide-fr-910- nauck\/<\/a> Pristup: 17.09.2020.<\/p>\n

      Serena Di Sisto, „Carl Gustav Jung: ‘Pensare \u00e8 difficile. Per questo la maggior parte della gente giudica’“,<\/strong> https:\/\/oggigiorno.com\/carl-gustav-jung-pensare-e-difficile- per-questo-la-maggior-parte-della-gente-giudica\/<\/a> <\/strong>Pristup:21.09.2020.<\/p>\n

      Dan Drollette Jr, „How it feels to predict a pandemic: Interview with David Quammen, author of Spillover“. In: Bulletin of the Atomic Scientists 75 years and counting, https:\/\/thebulletin.org\/2020\/06\/how-it-feels-to-predict-a-pandemic-interview-with- david-quammen-author-of-spillover\/<\/a> Pristup: 17.07.2020.<\/p>\n

      Orlando Franceschelli, „VIRUS, madre natura e stoltezza umana: che significa vincere la guerra contro l’attuale pandemia? Per un flashmob filosofico.“ In: Centro per la Filosofia Italiana , http:\/\/www.centroperlafilosofiaitaliana.it\/2020\/03\/18\/orlando- franceschelli-virus-madre-natura-e-stoltezza-umana-che-significa-vincere-la-guerra- contro-lattuale-pandemia-per-un-flashmob-filosofico\/<\/a> Pristup: 17.7.2020.<\/p>\n

      Giuseppe Genna, Eraclito: frammenti, https:\/\/giugenna.com\/2011\/08\/28\/eraclito- frammenti\/<\/a>Pristup: 17.09.2020.<\/p>\n

      Alf Haubitz; Marina Martinovi\u0107, „Tko smo? Odakle dolazimo? Kuda idemo?“. In: Panorama, https:\/\/www.dw.com\/bs\/tko-smo-odakle-dolazimo-kuda-idemo\/a-4906743<\/a> Pristup: 17.07.2020.<\/p>\n

      Hermann Hesse, Il Mio credo<\/em>, Rizzoli, Milano 2009.<\/p>\n

      Het Laatste Nieuws, https:\/\/en.wikipedia.org\/wiki\/Het_Laatste_Nieuws<\/a> Pristup: 17.09.2020.<\/p>\n

      Horacije, „Citati i izreke“, https:\/\/edukacija.rs\/izreke-i-citati\/horacije<\/a>.Pristup: 17.09.2020.<\/p>\n

      Hrvatska enciklopedija, mre\u017eno izdanje. Leksikografski zavod Miroslav Krle\u017ea, 2020. http:\/\/www.enciklopedija.hr\/Natuknica.aspx?ID=27226<\/a> Pristup:22.09.2020.<\/p>\n

      Donald S. Lopez, „Nagarjuna, Buddhist philosopher“<\/em>. In: Encyclop\u00e6dia Britannica. English language reference work – Philosophy & Religion, https:\/\/www.britannica.com\/biography\/Nagarjuna<\/a> Pristup: 17.07. 2020.<\/p>\n

      K. L\u00f6with, Significato e fine della storia: i presupposti teologici della filosofia della storia, Net, Milano 2004.<\/p>\n

      Niko Majnari\u0107, Heraklit, svjedo\u010danstva i fragmenti<\/em>, Filozofski fakultet Zagreb, 1972., str. 40.<\/p>\n

      Valerio Malvezzi, „Conosci te stesso“. In: L’evoluzione della Radio, https:\/\/www.radioradio.it\/2020\/09\/conosci-te-stesso-%E2%96%BA-la-riflessione-del- prof-malvezzi-che-tutti-dovrebbero-ascoltare\/<\/a> Pristup: 20.11.2020.<\/p>\n

      Captain Charles Moore, „Discoverer of the Great Pacific Garbage Patch“. In an article for Natural History magazine in 2003. In National Geographic Society, https:\/\/www.nationalgeographic.org\/encyclopedia\/great-pacific-garbage-patch\/<\/a> Pristup: 17.9.2020.<\/p>\n

      Quinto Orazio Flacco, „Epistole I, 10, 24“. In: Tutte le opere, Sansoni Editore, Firenze 1988., str. 448.<\/p>\n

      Baruch Spinoza, „Etica. Parte IV. Appendice con commento“. In: Scorribande Filosofiche , https:\/\/francescodipalo.wordpress.com\/2019\/08\/17\/spinoza-etica-parte- iv-appendice-con-commento\/<\/a> Pristup: 17.09.2020.<\/p>\n

      Baruch Spinoza, Ethica more geometrico demonstrata. Testo latino a fronte, Bompiani, Milano 2007.<\/p>\n

      „Svjetski rat Z (2013) = World War Z“, http:\/\/www.moj-film.hr\/film\/info\/world-war-z\/<\/a> Pristup: 17.09.2020.<\/p>\n

      F. \u0160uran, Etica della professione docente<\/em>, Universit\u00e0 degli studi “Juraj Dobrila” di Pola, Pula-Pola 2015.<\/p>\n

      James Temperton, „How the 5G coronavirus conspiracy theory tore through the Internet“. In: WIRED Consulting, https:\/\/www.wired.co.uk\/article\/5g-coronavirus- conspiracy-theory<\/a> Pristup: 17. 9. 2020.<\/p>\n

      Benjamin Terrasson, „5G et coronavirus : propagation d’un infod\u00e9mi“, https:\/\/siecledigital.fr\/2020\/04\/17\/5g-et-coronavirus-propagation-dune-infodemie\/<\/a> Preuzeto: 17.7. 2020.<\/p>\n

       <\/p>\n

      Coronavirus, the end of an Age? For a Philosophical Flash Mob.<\/span><\/strong><\/p>\n

       <\/p>\n

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

       <\/span><\/p>\n

      The viruses that have accompanied humanity since its appearance on the planet act according to causes stemming from the laws of biology, not acording to supernatural logic nor for further purposes, and they know no boundaries. For this reason, they present no preferences or idiosyncrasies of any sort, more or less pernicious, produced by those basic passions that Spinoza identifies as the engine of (bad) politics: fear and hope. Shedding light on the motives and the essence of these passions should be the primary objective of dialogue and philosophical-scientific reasoning in a global society that defines itself as truly open and democratic. So here we will try to answer a basic question: Now that the frenetic rhythms of life we are used to have weakened, will we know how to make good use of the pause for reflection that is granted to us? That is, will we be more evolutionarily intelligent than coronavirus?<\/em><\/p>\n

       <\/p>\n

      Key words:<\/em><\/strong> coronavirus, pandemic, Spinoza, social Darwinism, globalization.<\/em><\/p>\n

       <\/span><\/p>\n

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

       <\/span><\/p>\n

      \n\n\n\n
      \"inmediasres\"<\/p>\n

      \n  10(18)#8 2021<\/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


      \nDOI 10.46640\/imr.10.18.7<\/a>
      \nUDK 37-021.131:316.77
      \nIzvorni \u010dlanak
      \nOriginal scientific paper
      \nPrimljeno: 10.01.2021.<\/strong><\/p>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

       <\/p>\n

       <\/p>\n

      Fahira Fejzi\u0107-\u010cengi\u0107 i Halima Sofrad\u017eija<\/span><\/p>\n

      Fakultet politi\u010dkih nauka, Sveu\u010dili\u0161te u Sarajevu, Bosna i Hercegovina<\/p>\n

      fahira.fejzic.cengic@gmail.com<\/p>\n

      Fakultet politi\u010dkih nauka, Odsjek sociologije, Sveu\u010dili\u0161te u Sarajevu, Bosna i Hercegovina<\/p>\n

      halima.sofradzija@fpn.unsa.ba<\/p>\n

      Hipermedijska sfera i virtualne u\u010dionice<\/span><\/strong><\/p>\n


      \nPuni tekst: pdf (650 KB), Hrvatski, Str. 2871 – 2882
      \n<\/span><\/strong><\/a><\/p>\n

       <\/p>\n

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

       <\/span><\/p>\n

      U hipermedijskom dru\u0161tvu najprepoznatljiviji medij je – tehnologija. Nove tehnologije i nepovratna digitalizacija dru\u0161tva dovode do sve ve\u0107e posredovanosti unutar svih dru\u0161tvenih odnosa. U kulturi stvarne virtualnosti upravo je tehnologija omogu\u0107ila postojanje virtualnih u\u010dionica (ili u\u010dionica bez zidova kako primje\u0107uje Giddens), isposredovanost u prijenosu znanja tehnologijom, digitalne platforme kao mjesto susretanja, napokon, i postojanje elektronskih univerziteta. Inovativne tehnologije ve\u0107 su uvelike utjecale i na obrazovne procese, \u0161to govori o jednom druga\u010dijem isku\u0161avanju prijenosa znanja i samog obrazovanja. Obrazovanje je djelovanje, proces i rezultat; pa se postavlja pitanje koje promjene unose nove tehnologije koje odnose neposrednost, u situaciji kada je online komunikacija, posredovana komunikacija – jedina komunikacija. Prve konture ovoga teksta i poticaj za promisljanje dao je esej Giorgija Agambena Rekvijem za studente (2020) koji se pojavio u jeku pandemije, opominju\u0107i tekst koji ukazuje na neke nove procese ne samo u obrazovanju, nego u ukupnom dru\u0161tvu na\u0161eg doba.<\/em><\/p>\n

       <\/p>\n

      Klju\u010dne rije\u010di:<\/em><\/strong> tehnologija, hipermedijsko dru\u0161tvo, mediji, obrazovanje, znanje, virtualne u\u010dionice.<\/em><\/p>\n

       <\/p>\n

       <\/p>\n

      U multiverzumu medija, kao u svojevrsnom najza\u010dudnijem nestvarno\/stvarnom kaleidoskopu, sveprisutni mediji su oni koji stvaraju novo okru\u017eje \u017eivota, hipermedijsko okru\u017eje. Potpuno smo uronjeni u hipermedijsku sferu, gdje se na sasvim specifi\u010dan na\u010din prepoznaje okru\u017eje unutar kojeg<\/em> se gleda, spoznaje, komunicira, djeluje, izvode razne tehni\u010dke operacije, jer naprosto kako ukazuje Galovi\u0107, “jedva da danas ima i\u010deg zna\u010dajnog \u0161to nije posredovano medijima, \u0161to nije njima zahva\u0107eno, u njima obra\u0111eno (prera\u0111eno) i ‘realizirano’, kroz njih emitirano, intervenirano u ‘realitet’” (Galovi\u0107, 2017:323). U okviru podnaslova Znanstvena vizualizacija<\/em>, isti autor \u0107e govoriti o tehni\u010dkoj okolini, koja ujedno postupno postaje jedino okru\u017eje ljudskog \u017eivota i u dru\u0161tvenoj svakodnevnici, “ono tehni\u010dko ve\u0107 odavno nije oru\u0111e ili sredstvo \u2013 kao \u0161to mediji nisu neutralni posrednici, \u2013 postalo je okolinom u koju je ljudstvo uronjeno, u kojoj spoznaje, tehni\u010dki operira, ‘\u017eivi’” (Galovi\u0107, 2017:325). Upravo ova uronjenost u svijet tehnosfere, gdje je ukupno dru\u0161tvo do\u0161lo u \u010dvrsti zagrljaj tehnike i tehnologije, govori o tome da se suvremeni \u010dovjek na\u0161ao u jednom druga\u010dijem isku\u0161avanju svijeta kakvo ne poznaju prethodne epohe. \u017divimo u hipermedijskom dru\u0161tvu gdje je najprepoznatljiviji medij \u2013 tehnologija. Tehnologija je medij u doslovnom smislu; upravo je ona omogu\u0107ila internet kao najprepoznatljiviji komunikacijski medij \u010diji je utjecaj na dru\u0161tvo nemjerljiv i koji stvara “novu komunikacijsku okolinu” gdje se sva podru\u010dja dru\u0161tvenosti i dru\u0161tvenog \u017eivota mijenjaju na specifi\u010dan na\u010din njegovom svepro\u017eimaju\u0107om primjenom. Manuel Castells suvremenu kulturu naziva kulturom stvarne virtualnosti<\/em><\/a>[192<\/strong><\/span>]<\/sup><\/a> unutar koje danas postoje i virtualni posjeti muzejima, virtualne turisti\u010dke ture, virtualne u\u010dionice. Naime, tehnologija je ve\u0107 u u\u010dionicama, govori se o “revoluciji u u\u010dionici” i nepovratnom ulasku “virtualne stvarnosti u u\u010dionice bez zidova” (Giddens, 2003:512). Nema sumnje da je pandemija intenzivirala uspostavljanje online nastave i virtualnih u\u010dionica tamo gdje ih donedavno nije bilo. <\/p>\n

      Kako je pandemija neobi\u010dnog virusa corona covid 19 posve iznenada obavila svijet, tako se preko no\u0107i ostvarilo jedno proro\u010danstvo\/izjava nad tekstom koji je prije godinu dana naslovljen “Do\u0107i \u0107e dan i svijet \u0107e se preokrenuti”, promi\u0161ljaju\u0107i perspektive mogu\u0107ih komunikacijskih trendova kao dru\u0161tveno-tehni\u010dkih koji se nadvijaju nad \u017eivotom \u010dovjeka koji je jo\u0161 uvijek realan, \u017eiv, i postoje\u0107i subjekt svekolikih dru\u0161tvenih procesa,, na tragu\u00a0 stavova Ortege y Gasseta da je samo “ljudski \u017eivot uistinu rijetka zbilja o kojoj ponajprije valja kazati da jest temeljnom zbiljom utoliko se sve druge zbilje odnose na njega” i da ovaj samorazumljivi pojam \u017eivota postaje upitan.<\/a>[193<\/strong><\/span>]<\/sup><\/a> Ortega je svjestan da, kako sam to definira, mi\u0161ljenje o tehnici nastaje u suo\u010denju s njezinim opasnostima. Kako moderna tehnologija izjedna\u010duje prostor i vrijeme, svodi svijet na fabrikaciju proizvoda, \u010dovjeka na samofabrikaciju a savr\u0161ena figura tog dehumaniziranog svijeta postaje in\u017eenjer.<\/a>[194<\/strong><\/span>]<\/sup><\/a><\/p>\n

       <\/em><\/strong><\/p>\n

      Kraj univerziteta kakvi postoje oko tisu\u0107u godina<\/em><\/strong><\/p>\n

      Tehnizacija i tehnopolizacija svijeta odavno traje. Ne\u0161to kra\u0107e je prisutna tehnizacija i tehnopolizacija svijesti no sve oko nas, ako se izuzmu marketin\u0161ke kampanje, mogu\u0107e prijevare i trikovi mednad\u017eera ove sfere djelatnosti, ukazuje na zahuktali pritisak korporacija i njihova kapitala koji se bave novim tehnologijama, medijskim aplikacijama kako bi njihovi snovi i zamisli iza\u0161li na svjetlo dana. Inovativne tehnologije ve\u0107 su uvelike utjecale na obrazovne procese, kako ukazuje Anthony Giddens, koji cijelo jedno poglavlje u svojoj obimnoj Sociologiji (Giddens, 2003:512) <\/em>posve\u0107uje pitanju <\/em>obrazovanja, dodiruju\u0107i veliki broj klju\u010dnih tema. Sjajni talijanski filozof Giorgio Agamben<\/strong> u tekstu Rekvijem za studente \u2013 iskustvo koje je trajalo gotovo deset stolje\u0107a zauvijek se gasi<\/em><\/a>[195<\/strong><\/span>]<\/sup><\/a> dobro primje\u0107uje kako pa\u017eljiviji promatra\u010di ve\u0107 uvi\u0111aju, da je tzv. Pandemija iskori\u0161tena kao dobar povod za sveobuhvatnu difuziju i \u0161irenje digitalne tehnologije koja se poslu\u0161no provodi u djelo. Naime, ovaj filozof je posve svjestan da \u0107e obrazovanje biti otrgnuto iz neposrednosti, nestat \u0107e susreta u\u010ditelja i u\u010denika, profesora i studenta i izokrenuti se u posredovanu, tehniciziranu i zatvorenu formu. Sna\u017enim zaklju\u010dkom u pomalo rezigniranom tekstu kojim u stvari najavljuje nestanak univerziteta kao mjesta \u017eivota, dru\u017eenja, govora, razgovora i prijateljevanja me\u0111u mladima i starijima, konstatira kako je to nemjerljiva \u0161teta te zaklju\u010duje: “Profesori koji en masse<\/em> pristaju na pot\u010dinjavanje novoj diktaturi telematike i prihvataju da predavanja dr\u017ee isklju\u010divo online nimalo se ne razlikuju od univerzitetskih profesora koji su 1931. godine potvr\u0111ivali odanost fa\u0161isti\u010dkom re\u017eimu. Kao i onda, mo\u017eda \u0107e samo 15 od hiljadu njih odbiti da to u\u010dini, ali imena onih koji odbiju ostat \u0107e upisana uz imena nastavnika koji se nisu poklonili fa\u0161izmu”. Potrebno je samo redefiniranje kategorije znanja, nastave, obrazovanja, re\u0107i \u0107e Agamben, i neko novo okupljanje oko znanja, “jer jedino na takvim mjestima rije\u010d pro\u0161losti mo\u017ee pre\u017eivjeti navalu tehnolo\u0161kog barbarstva i jedino bi se tu mogla roditi neka nova kultura \u2013 ako je to jo\u0161 mogu\u0107e”.<\/a>[196<\/strong><\/span>]<\/sup><\/a> No, nije li nama ova tzv. pandemija ve\u0107 op\u0107im pristankom jedinki, gra\u0111ana, da su svi potencijalno zara\u017eeni pokazala kako su ljudi s velikom lako\u0107om prihvatili ukidanje svog dotada\u0161njeg na\u010dina \u017eivota. “Odba\u010dene su veze, prijateljstva, ljubavi, rad, pa \u010dak su i vjerske zajednice i politi\u010dka ubje\u0111enja zgasnula.”<\/a>[197<\/strong><\/span>]<\/sup><\/a> Za Agambena moderne religijske se institucije nisu u stanju nositi s ljudskom potrebom vjerovanja, i stoga je mjesto religije zauzela znanost, zbog \u010dega on znanost naziva religijom na\u0161eg doba. “Dakle”, nastavlja ovaj filozof, “znanost kao i svaka religija proizvodi praznovjerice i strah, ili se bar mo\u017ee koristiti za njihovo \u0161irenje…Nikada nismo prisustvovali ovakvom spektaklu,”<\/a>[198<\/strong><\/span>]<\/sup><\/a> pri tome misle\u0107i na razila\u017eenja znanstvenika o pitanjima corone i vjerodostojnosti pandemije, postupaka lije\u010denja i zadnjih nakana, zaklju\u010div\u0161i neizmjerno to\u010dno: “Kao da ljudi vi\u0161e ni u \u0161ta ne vjeruju \u2013 osim u golu biolo\u0161ku egzistenciju koja se mora sa\u010duvati po svaku cijenu. Ali na temelju straha od gubitka golog \u017eivota ne mo\u017ee se graditi ni\u0161ta osim tiranije”, \u010dudovi\u0161nog Levijatana s isukanim ma\u010dem.<\/a>[199<\/strong><\/span>]<\/sup><\/a><\/p>\n

      Na pres konferenciji u New Yorku ovim povodom korporacijski moguli su se o\u010ditovali: “Mi smo spremni, sasvim smo posve\u0107eni”,izjavio<\/a> <\/u>je njujor\u0161ki guverner. “Shva\u0107amo ne samo da je promjena neodlo\u017ena, ve\u0107 i da ju mo\u017eemo okrenuti u na\u0161u korist ako je sprovedemo na pravi na\u010din”. Biv\u0161i Googlov izvr\u0161ni direktor Erick Schmidt je izjavio: “Na\u0161i prioriteti su fokusiranje na telemedicinu, u\u010denje na daljinu i \u0161irokopojasni internet\u2026 Moramo tra\u017eiti rje\u0161enja koja se mogu primijeniti sada, ubrzati se, moramo koristiti tehnologiju da bismo stvari u\u010dinili boljima”. O ovome pi\u0161e Naomi Klein, u tekstu objavljenom u The Guardianu<\/em>. “Dvije sedmice poslije objavljivanja \u010dlanka opisao<\/a> je privremene programe za \u0161kolovanje od ku\u0107e, koje su nastavnici i u\u010denici bili primorani da skrpe tokom teku\u0107eg vanrednog stanja javnog zdravlja, kao ‘masivni eksperiment u u\u010denju na daljinu’.U toku istog video poziva u organizaciji Ekonomskog kluba New Yorka, u kome je pozivao na reforme u obrazovanju, Schmidt je tako\u0111er pozvao na sli\u010dnu reformu u zdravstvu, na vi\u0161e 5G mre\u017ee, vi\u0161e digitalne trgovine, kao i na ostale stvari s postoje\u0107eg spiska \u017eelja. Sve to u ime borbe protiv virusa”.<\/a>[200<\/strong><\/span>]<\/sup><\/a><\/p>\n

      Samo dan ranije, njihov suradnik Cuomo je objavio<\/a> partnerstvo s Fondacijom Billa i Melinde Gates, u svrhu razvoja “pametnijeg edukativnog Sistema”. Nazivaju\u0107i Gatesa vizionarom, Cuomo je dodao da je pandemija stvorila’„trenutak u istoriji kada zaista mo\u017eemo da primijenimo i unaprijedimo [Gejtsove] ideje [\u2026] \u010demu sve ove zgrade, sve ove u\u010dionice, kada imamo ovu tehnologiju na raspolaganju?” <\/em>zapitao se, naizgled retori\u010dki. Autorica Naomi Klein koja je na doktrinu \u0161oka kojom se koristi neka krizna situacija za uvo\u0111enje \u0161okantnih rje\u0161enja u dru\u0161tvenom bi\u0107u ukazivala ve\u0107 skoro pa decenijama, kroz nekoliko knjiga poput ‘No logo’, ‘Doktrina \u0161oka’, ‘Prozori i ograde’, ovaj put je novi pristup ubrzane i bezmalo nasilne digitalizacije nazvala “Screen New Deal“.<\/em><\/p>\n

      Anuja Sonalker, izvr\u0161na direktorica Steer Techa<\/a>, kompanije iz Marylanda koja se bavi prodajom tehnologija za samostalno parkiranje, ukratko je objasnila novi pristup. \u00abRaste zagrijanost za tehnologiju bez ljudi i kontakata“, izjavila<\/a> je. „Ljudska bi\u0107a su biolo\u0161ka opasnost, strojevi to nisu\u00bb. Da kojim slu\u010dajem svijet nije posve izgubio razum i um, ovakva bi se izjava mogla nazvati ne samo totalitarnom, ve\u0107 i fa\u0161isti\u010dkom i genocidnom. No, u poreme\u0107enim okolnostima gotovo da je prihva\u0107ena kao zabavna metafora.<\/a>[201<\/strong><\/span>]<\/sup><\/a> Kako bi kazao filozof Ali\u0107 \u00abtajna hijerarhijske tajne ba\u0161 je u tome da se jedno govori a drugo \u010dini, tako da je oko nas nastalo dru\u0161tvo u kojemu ljudi \u010dak i ako znaju i vide \u0161ta je istina a \u0161ta la\u017e prihva\u0107aju stvari onako kako se od njih tra\u017ei da vide, misle, oblikuju, jer svakoj hijerarhiji trebaju smjerni ljudi\u00bb.<\/a>[202<\/strong><\/span>]<\/sup><\/a><\/p>\n

       <\/p>\n

      Life on the Screen<\/strong><\/a>[203<\/strong><\/span>]<\/sup><\/a><\/p>\n

      Gdje smo u Bosni stigli sa svim ovim procesima i projektima? Jo\u0161 bolje, kamo idemo? Kojeg korporativnog ma\u0111ioni\u010dara najradije slu\u0161amo i da li i\u0161ta propitujemo i prilago\u0111avamo vlastitoj sredini, iskustvima, kulturi i prilikama ili smo ve\u0107 usko\u010dili u novi „Screen New Deal“.<\/em> Tehnopol zapravo preuzima ulogu modernog ma\u0111ioni\u010dara, kao svaki ma\u0111ioni\u010dar dobro upravlja svojim magijskim sredstvom, a ovdje je to neosporno tehnologija. Mi\u0161ljenja smo da je u ove opasne projekte po\u017eeljno \u0161to vi\u0161e zakasniti, toliko su opasni i totalitarni. No, kako nas nau\u010dava Noam Chomsky, upravo su akademci i intelektualne elite prvi stroj koji pristaje na\u00a0 projekte koji se odnose na kontrole ljudskih misli. Virtualni prostor u kojem se ostvaruje interakcija, nova je komunikacijska sredina, novi dru\u0161tevni ambijent virtualne zajednice ili kako ve\u0107, \u0161to je iskustvo druga\u010dije od svakog dosada\u0161njeg iskustva komunikacije. Tehnologija nepovratno transformira obrazovni sistem \u2013 e-platfroma, elektronski dnevnici, pametne plo\u010de, pametni zidovi, virtualne u\u010dionice. Online nastava na specifi\u010dan na\u010din redefinira obrazovanje unutar ekrani\u010dke kulture, gdje na\u0161 \u017eivot neosporno obilja\u017eava EKRAN; ovdje se nastava odr\u017eava preko ekrana. <\/p>\n

       <\/p>\n

      E<\/em><\/strong>kran i ekrani\u010dka kultura, \u0161to je to?<\/em><\/strong><\/p>\n

      No, prije toga rije\u010d-dvije o fenomenu ekrana kao takvog. \u0160ta je to ekran? Ekran je novomedijsko i novodobno otkri\u0107e koje posljednjih 80-tak godina zauzima sve va\u017eniju ulogu u \u017eivotu pojedinca. Ekran prinosi alijenaciju, otu\u0111enje, jer se nalazi izme\u0111u \u017eivih ljudi, njihovih lica i o\u010diju. Ekran stvara tzv. cyber dru\u0161tvo<\/em> ili dru\u0161tvo okru\u017eeno bezbrojnim posredni\u010dkim ekranima izme\u0111u ljudi. Na\u0161e moderno dru\u0161tvo se mo\u017ee nazvati dru\u0161tvom ekrana.<\/em> Ekran u tom dru\u0161tvu po\u010dinje bivati stvarni \u017eivot vi\u0161e od uistinu stvarnog \u017eivota. Uz pomo\u0107 ekrana \u010dovjek postaje djelomi\u010dna ma\u0161ina. Ekran je neizbje\u017ean u na\u0161emu vremenu ali ne treba smetnuti s uma da sa sobom nosi nestabilnost i na poseban na\u010din pasivizira svijet. Naj\u0161ire mase ljudi, mladi, tinejd\u017eeri ne znaju dovoljno o posljedicama upotrebe ekrana. Sam oblik pravokutnika je specifi\u010dna povr\u0161ina. Ima na sebi neiskori\u0161tenog prostora, jer je ljudsko vidno polje horizontalno. A pravoukutnik prikazuje vi\u0161e informacija no \u0161to je vidni horizontalni prostor. Dok \u010ditamo i pi\u0161emo mi koristimo vid ili \u010dulo vida kao svoj biolo\u0161ki ili prirodni horizontalni potencijal. Zato \u0161to je ekran vi\u0161e od horizontalnog potencijala prirodnog oka, on svakako pogoduje tome da ponudi iluzionisti\u010dki svijet,<\/em> dakle onaj nepostoje\u0107i svijet koji nije proizi\u0161ao iz na\u0161e ma\u0161te i intuicije. U prirodu horizontalnog potencijala oka i \u010dula vida nasilno ulazi iluzionisti\u010dki svijet koji tra\u017ei brzo djelovanje, brze pokrete zjenice i brzo mijenjanje smjera kretanja vida.<\/p>\n

       <\/p>\n

      \n

      \"\"<\/p>\n

      Pravokutni oblik prijema informacije \u2013 ekran prima previ\u0161e sadr\u017eaja<\/em><\/p>\n<\/div>\n

       <\/p>\n

      \n

      \"\"<\/p>\n

      Kru\u017eni oblik ima neiskori\u0161ten prostor<\/em><\/p>\n<\/div>\n

       <\/p>\n

      \n

      \"\"<\/p>\n

      Na\u0161e vidno polje je linearno <\/em><\/p>\n<\/div>\n

       <\/p>\n

      Koje su posljedice ove novosti? Najprije da korisnici ekrana, ljudi i djeca sve vi\u0161e \u017eive u slikama a ne u rije\u010dima i jeziku, i to u slikama koje su stvorili o sebi samima i o drugim ljudima, te kako bi to kazao Jorg Scheller <\/strong>postaju povr\u0161niji. Generalno je poznato da ekran \u0161teti dopaminskom sistemu u mozgu. Pobjeda u videoigricama na primjer djeluje na mozak kao i opojna droga. Moderna djeca prvo u\u010de kako koristiti modernu tehnologiju pa tek potom u\u010de govoriti, svezati pertle i sli\u010dno. Od previ\u0161e ekrana u na\u0161im vidnim poljima pojavljuje se sindrom ‘suhih o\u010diju’, one se dogode zbog previ\u0161e upotrebe ekrana. Poznato je da se kod mnogo gledanja u ekran do 60% manje trep\u0107e nego u drugim izvanekranskim prilikama. Previ\u0161e ekrana smanjuje koncentraciju, dovodi do glavobolje, bola u vratu i ki\u010dmi, osjetljivosti vida na svjetlost op\u0107enito. Ekrani\u010dki mediji su tako stvorili globalno selo<\/em>, a u selu se gleda jedan globalni ekran<\/em> i dodatno stvara potreba za slikom. Tu su \u017eive slike doga\u0111aja<\/em> u realnom vremenu. Ve\u0107 je Rudolf Arnheim imao strah da \u0107e \u010dovjek postati usamljeni pustinjak<\/em> koji se poslije te\u0161kog rada dru\u017ei s televizorom ili mobitelom kao najprisnijim prijateljima. U ekrani\u010dkoj kulturi uronjen, moderni \u010dovjek postaje medij ili novi medij koji samo gleda i slu\u0161a druge bez vlastitog u\u010de\u0161\u0107a. Sam digitalni ekran kao najnoviji medij nudi milijun boja, visoku rezoluciju i mi postajemo dru\u0161tvo tog ekrana. Ovaj ekran je objedinio svih pet \u010dula, postao je otvoreni prozor u samog \u010dovjeka. Komunikacija je ostala bez dodira, bez stvarnog ljudskog susreta i kontakta, za \u010dim \u017eude najbogatiji vlasnici korporacija u svijetu, kako se navodi na po\u010detku ove analize. San o totalnom telenadzoru<\/em> i kontroli svakoga<\/em> ih omamljuje, ophrvava i \u010dini se, san im se pomalo ispunjava. Sve svoje slobodno vrijeme moderna djeca i ve\u0107ina odraslih daju ekranu. On nosi nestabilnost i pasivizira svijet. David Riesmanova teorija o usamljenoj gomili<\/em> se bjelodano ostvaruje u realnom \u017eivotu. Ogromni milijunski gradovi, bez imalo otpora, nastanjeni su usamljenim gomilama u zatvorenim neboderima.<\/a>[204<\/strong><\/span>]<\/sup><\/a><\/p>\n

       <\/p>\n

      Prakti\u010dna iskustva<\/strong><\/p>\n

      Dok je trajala pandemija autorice teksta su izvodile online nastavu i u tom poeriodu su provele istra\u017eivanje stavova, razmi\u0161ljanja i spoznaja studenata o ovakvom obliku nastave na vi\u0161e studijskih grupa. Nema sumnje da su se rezultati koje smo dobili s nekoliko odsjeka fakulteta dru\u0161tvenih nauka zapravo poklapali sa bitnim postavkama Agambenovog eseja ve\u0107 citiranog na prvim stranicama ovog teksta. \u0160to donosi nastava online? U odgovorima studenata \u010desto se pominjala rije\u010d nelagoda. <\/em>Studenti su ponavljali da su imali nelagodu ho\u0107e li se konektirati, ho\u0107e li znati biti prohodni u sistemu, ho\u0107e li se sna\u0107i, ho\u0107e li ne\u0161to u tehnologiji zakazati, te se to sve iskazivalo kao izrazit oblik nelagode naspram tehnike. Nelagode svih vrsta je bilo sa svake strane, i profesorske i studentske.<\/a>[205<\/strong><\/span>]<\/sup><\/a><\/p>\n

      Obi\u010dna statisti\u010dka analiza studentskih odgovora pokazuje da je njih preko 90 posto imalo prigovore na online nastavu te da preferiraju offline nastavu, posebno ispite. Ali kvalitativna analiza njihovih odgovora je daleko sna\u017eniji dio ove ankete i zaslu\u017euje citiranje:, “nedostajala mi je socijalizacija, dru\u017eenje op\u0107enito, ali je bilo pozitivno \u0161to sam dobila restart du\u0161e i tijela”, \u2026”\u017eivot u doba korone bio je ote\u017ean za sve nas, svakodnevne informacije su jako utjecale na nas, ali smo neke poslove zbog prebrzog tempa uspjeli obaviti”, \u2026”nisam bila ni svjesna neke jurnjave u \u017eivotu prije ove pandemije”, ..”nedostajala mi je socijalizacija, prijatelji, online to ne mo\u017ee zamijeniti, ali je manje obaveza vani donijelo vi\u0161e porodice za sve”, \u2026”\u017eivot u doba korone mi se nije dopao, nemogu\u0107nost socijalne konekcije, ali nakon mjesec dana primje\u0107ujem da mi jako neodstaju prijatelji, dru\u017eenje, odlazak na posao, fakultet, sve ono \u0161to sam prije mogla slobodno raditi sada mi je uskra\u0107eno”,\u2026”mislim da nas je ova situacija nau\u010dila da vi\u0161e cijenimo \u017eivot, zdaravlje, porodicu, bliske prijatelje, da vi\u0161e cijenimo prirodu i u\u017eivamo u njoj ne zaga\u0111uju\u0107i je, me\u0111utim nedostaju mi prijatelji i online komunikacija ne mo\u017ee zamijeniti razgovore u\u017eivo”, \u2026”nedostajala mi je socijalizacija in live s prijateljima, online to ne mo\u017ee zamijeniti”,\u2026”nedavno sam \u010dula jednu re\u010denicu koja me zaista navela na razmi\u0161ljanje o cijeloj ovoj situaciji a re\u010denica glasi: ‘Lak\u0161e je stvoriti strah kod ljudi nego izgraditi zid’.\u2026,\u2026”svaka dramati\u010dna pojava u svakodnevici je izazov, tako je i s ovom situacijom. \u010covjek je socijalno bi\u0107e, treba mu kontakt s drugim ljudima te izolacija svakako te\u0161ko pada. Motivacija mi je bila slabija, osje\u0107ala sam se usamljenije”, \u2026”nije mi se nimalo dopalo, ipak je dru\u017eenje s ljudima mnogo bolje od izolacije”,\u2026”najkra\u0107e re\u010deno bilo mi je nikako. Slobodno kretanje, dru\u017eenje sve mi je nedostajalo I sve je nekako izgubljeno. Ostala nam je samo forma dru\u017eenja preko dru\u0161tvenih mre\u017ea, a to je ipak nedovoljno”,\u2026”s prijateljima sam dnevno komunicirala online \u0161to je bilo dobro, a moja kreativna strana je patila, jer me zarobilo kao pticu u kavezu\u2026 \u010dovjeku treba sloboda kretanja, da motivacija sama od sebe utihne”, “nedostajale su mi moje svakodnevne obaveze i pravi fakultet”. <\/p>\n

      Kad su u pitanju odgovori oko online nastave odgovori su gotovo isti kod svih: “nedostatak ove forme je nedostatak prakti\u010dnog rada i susreti u\u017eivo sa profesorima i kolegama koji svakako moraju prona\u0107i svoje mjesto u svakoj formi studiranja”,\u2026”za studente koji su svoje obrazovanje sticali tradicionalnim putem, ovakav vid u\u010denja je ne\u0161to novo i mislim da je nastava u u\u010dionici puno kvalitetnija”, \u2026”forma u\u010denja preko interneta ima svojih u\u010dinaka, ali pra\u0107enje nastave u\u017eivo i razgovor s profesorima i rad na fakultetu ima svoj daleko ve\u0107i i bitniji utjecaj na sve student”, \u2026”imamo sve na jednom mjestu, gradivo je tu, ali nedostaje diskusije i razgovora”,\u2026”zagovornik sam \u017eivog razgovora, razmjene mi\u0161ljenja, nadam se vra\u0107anju standardnom odvijanju \u017eivotnih procesa, jer neki se administrativni procesi nastave za \u010dim \u017eude najbogatiji vlasnici korporacija u svijetu mogu odvijati online, kao prijava za biro, na posao, porezna prijava, ali nastava ne, radujemo se povratku prirodi da se dekontaminiramo od masovne upotrebe tehnologije, zatvorenog prostora i infodemije”,\u2026”definitivno bih radije slu\u0161ala nastavu u\u017eivo, u u\u010dionici, jer nekad ne\u0161to niste shvatili, nema razgovora s profesorima, razmjene mi\u0161ljenja, dijeljenja iskustava, kako neko re\u010de, \u017eiva rije\u010d profesora je nezamjenjiva”,\u2026”online nastava nam je dala priliku za u\u010denje, ali treba ovo znati shvatiti jer mi se s ovim prvi put susre\u0107emo i to na ovako dug period. Mislim da svi studenti mnogo ozbiljnije shva\u0107aju odlazak na predavanje u u\u010dionicu u odnosu na ovo online jer kad se ka\u017ee da je ne\u0161to online omladinu to vi\u0161e asocira na zabavu, relaksaciju i tome sli\u010dno, ve\u0107a je posve\u0107enost i ve\u0107a je pa\u017enja studenata i \u0161kolaraca kad se nastava odvija \u017eivim putem”,\u2026”veliki nedostatak je interakcija, lak\u0161e mi je zapamtiti predavanja ukoliko pratim pokrete, gestikulaciju i mimiku profesora”,\u2026”cijelo vrijeme studiranja mi smo u\u010dili od profesora i to ne mislim samo na gradivo, ve\u0107 generalno gledali smo kako se oni pona\u0161aju od ulaska u kabinet, pozdrava do njihovog dress codea i sl.” <\/p>\n

      Upravo neki od odogovora studenata upu\u0107uju na ovaj bitan element o kojem je govorio Hentig u svom eseju \u0160to je obrazovanje<\/em>: “Jedna jedina gesta nekog drugog, dakle, u ovom slu\u010daju predava\u010da, u\u010ditelja, profesora pohranjena u \u010dovjekovoj du\u0161i, mo\u017ee ga za cijeli \u017eivot ispuniti i promijeniti, utisnuti se u njegovu povijest kao ljudskog bi\u0107a. Ukoliko je to spoznavanje \u017eeljeno nazivamo ga obrazovanjem”.<\/a>[206<\/strong><\/span>]<\/sup><\/a> Kvalitetno obrazovanje ozna\u010dava dugotrajan posve\u0107en proces i dobar rezultat. Ovaj autor s razlogom postavlja dva temeljna pitanja u oblasti obrazovanja \u2013 koje zada\u0107e ima obrazovna ustanova i koje alternative za to postoje. <\/p>\n

      Dijalog koji se ostvaruje face to face<\/em> je nezamjenjiv, to potvr\u0111uju odgovori ispitanika: “ne podr\u017eavam online nastavu”, “niti jedno predavanje me nije dojmilo kao u u\u010dionici. Mogu\u0107nost vo\u0111enja dijaloga sa profesorom, savladavanje materije licem u lice nikako se ne mo\u017ee uporediti sa opcijom izvo\u0111enja nastave putem platforme e nastava”,\u2026”mislim da sve ovo treba nadoknaditi jer znanje koje se stekne u klupama je neizbrisivo u odnosu na online u\u010denje”,\u2026”suludo mi je da se putem ove aplikacije rade ispiti, prevelik je pritisak\u2026velika mi je \u017eelja da se \u0161to prije vratimo u klupe i nastavimo s u\u010denjem tamo gdje smo stali”,\u2026”vjerujem da nam je svima draga nastava u u\u010dionici”,\u2026”pomalo je neadekvatna ova nastava i vrsta u\u010denja jer sam netko tko u\u010di direktno postavljaju\u0107i pitanja profesorima u toku nastave, preferiram nastavu u u\u010dionici”,\u2026”ne moram se opredijeliti, mogu obje varijante”,\u2026”ku\u0107u ne do\u017eivljavam kao prostor za rad”,\u2026”sve se svelo na gledanje ekrana bez emocija, \u2026uklju\u010den ekran i mikrofon ne mogu zamijeniti profesora u stvarnosti,\u2026nijedna dru\u0161tvena mre\u017ea ne mo\u017ee zamijeniti kontakt licem u lice i nijedan tehni\u010dki alat nije dovoljno dobar da zamijeni ljudski konktakt”, \u2026”primijetila sam da je kod mojih kolega opala motivacija za u\u010denje, studiranje”,\u2026”u toj virtualnosti (virtualnoj u\u010dionici i online nastavi) ljudi ne postoje u svojoj autenti\u010dnosti, ni predava\u010di, profesori niti studenti \u2013 na ekranu su samo ispisana imena prisutnih u virtualnoj u\u010dionici, bez osobnosti, vidljivosti\u2026obrazovni sistem se sveo na slike i vizualne sadr\u017eaje, a \u010dovjek postaje vizualno spremi\u0161te iz kojeg ne proistje\u010de duboko znanje ni promi\u0161ljanje”\u2026 <\/p>\n

      Na kraju ovog dijela da zaklju\u010dimo ponovno se vra\u0107aju\u0107i Agambenu koji ka\u017ee da je ovo iskustvo posredovanja u obrazovanju donijelo poni\u0161tavanje i gubitak pogleda koji je unutar ove posredovanosti zarobljen unutar sablasnog ekrana. U teleprisutnosti, u tehnosocijalnosti, u tehnokulturi, posredovani ekranom, svatko sa svoje strane ostaju otu\u0111eni ljudi. \u0160to bi autor Pai\u0107 rekao sve je druga\u010dije u toj drugoj sinteti\u010dkoj prirodi. Uslijed redefiniranja obrazovanja u ovakvim specifi\u010dnim okolnostima, teleprisutnosti, posredovanosti tehnologijom i ekranima, treba uvesti kao nu\u017eno novo pojmovlje, nove termine i sklopove, naprosto jer je prepoznatljivo, I vi\u0161e od toga, treba naglasiti da su ljudi ovdje ponajmanje subjekti neke izvorne interakcije, a ponajvi\u0161e umre\u017eeni objekti. To sve skupa ustvari ukazuje na pojavu jedne nove normalnosti za koju se postavlja pitanje jesmo li dovoljno za nju pripravni, i kao \u0161to vidimo, odgovori studenata sugeriraju upravo suprotno. Kako bi u svojoj poznatoj knjizi Novi svjetski poredak<\/em> rekao Henry Kissinger podsje\u0107aju\u0107i nas na stihove T. S. Eliota koji se neko\u0107 pitao: “Gdje je znanje koje se izgubilo u informacijama”?<\/a>[207<\/strong><\/span>]<\/sup><\/a> Da bi informacija uistinu bila korisna i da bi se pretvorila u pravo znanje, mora biti smje\u0161tena u \u0161iri kontekst iskustva, jer stjecanje znanja iz knjiga neosporno nudi iskustvo druga\u010dije od interneta. Internet se fokusira samo na podru\u010dje informacija.<\/a>[208<\/strong><\/span>]<\/sup><\/a> Tra\u017eilice se uspijevaju sve br\u017ee nositi sa sve slo\u017eenijim pitanjima, ipak, prezasi\u0107enost informacijama mogla bi, paradoksalno, mogla bi omesti stjecanje znanja. A mudrost kao zgusnuto znanje mogla bi odgurnuti \u010dak i dalje nego \u0161to je bila prije. <\/p>\n

       <\/p>\n

      \n
      \n

      <\/a>[192<\/strong><\/span>]<\/sup><\/a> 
      \nCastells o kulturi stvarne virtualnosti<\/em> govori u nekoliko svojih djela; u Usponu umre\u017eenog dru\u0161tva<\/em> tome posve\u0107uje cijelo poglavlje (Castells, 2000:356), kao \u0161to \u0107e o tome govoriti i u Internet Galaksiji<\/em> (2003).<\/p>\n

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

      \n

      <\/a>[193<\/strong><\/span>]<\/sup><\/a> 
      \nPogledati \u0161ire u pododjeljku Tehnika I du\u0161a: izazovi pred mi\u0161ljenjem<\/em>, autora \u017darka Pai\u0107a u tre\u0107em tomu obimnog djela ‘Tehnosfera III’ (2029) Izdava\u010d Sandof Mizantrop, Zagreb.
      \n<\/span><\/p>\n<\/div>\n

      \n

      <\/a>[194<\/strong><\/span>]<\/sup><\/a> 
      \nIbidem, str. 166, u nastavku Ortega ka\u017ee da in\u017eenjeri ne misle, ali I to mi\u0161ljenje koje bi moglo biti alternativa in\u017eenjerstvu kao apsolutnoj konstrukciji svijeta iz duha stroja nema vi\u0161e svoje tragi\u010dne figure otpora poput gr\u010dkih ekscentri\u010dnih filozofa, srednjevjekovnih mistika, hidalga i bodhisattvi. Sveta ravnodu\u0161nost Don Kihota ostaje tek pobunom subjekta unutar vlastita dvorca opsjena’ (str. 70).<\/p>\n

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

      \n

      <\/a>[195<\/strong><\/span>]<\/sup><\/a> 
      \nTBT portal je tekst objavio 27. svibnju 2020 godine na online platformama a poslije su ga prenijeli i drugi portali poput buka.ba, pescanik.net i postao je vrlo dostupan,       https:\/\/pescanik.net\/rekvijem-za-studente\/<\/a>pristupljeno 1. lipnja 2020.<\/p>\n

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

      \n

      <\/a>[196<\/strong><\/span>]<\/sup><\/a> 
      \n      https:\/\/pescanik.net\/rekvijem-za-studente\/<\/a> pristupljeno 2. lipnja 2020. godine u 18. sati.<\/p>\n

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

      \n

      <\/a>[197<\/strong><\/span>]<\/sup><\/a> 
      \nZa trenutak su svi prestali slaviti kinesku novu godinu, uskrs, vaskrs, ali najza\u010dudnije je reagirala islamska vlast u Saudijskoj Arabaiji zabraniv\u0161i tavvaf, obilazak oko Kabe u Mekki, koji nije prekinut u posljednjih tisu\u0107u godina, barem ne odlukom vlasti…\u010dak i kad druge d\u017eamije u istoj zemlji profunkcioiniraju, mekkanske i medinske ostaju zatvorene, \u0161to je uistinu presedan \u010dije konsekvence \u0107e tek do\u0107i na uvid\u2026<\/p>\n

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

      \n

      <\/a>[198<\/strong><\/span>]<\/sup><\/a> 
      \nTekst objavljen na portalu Autonomies, 06. aprila 2020. godine.<\/p>\n

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

      \n

      <\/a>[199<\/strong><\/span>]<\/sup><\/a> 
      \n      https:\/\/pescanik.net\/rekvijem-za-studente\/<\/a> ibidem; zanimljivi podaci o ovoj temi su primjerice I ovi: Da, milijarderi iz svijeta novih tehnologija uve\u0107ali su svoja golema bogatstva. Osniva\u010d Amazona<\/em> Jeff Bezos<\/strong> je zaradio 34,6 milijardi, osniva\u010d Facebooka <\/em>Mark Zuckerber<\/strong> je zaradio 25 milijardi dolara, Bill Gates<\/strong> i Elon Musk<\/strong> po 36 milijardi dolara, prema izvoru \u2013 https:\/\/buka.com\/novosti\/procurili-prvi-podaci-ko-se-najvise-obogatio.tokom.pandemije-bogatasi-zaradili.434.mi<\/a><\/p>\n

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

      \n

      <\/a>[200<\/strong><\/span>]<\/sup><\/a> 
      \nibidem
      \n<\/span><\/p>\n<\/div>\n

      \n

      <\/a>[201<\/strong><\/span>]<\/sup><\/a> 
      \nU ovakvoj budu\u0107nosti na\u0161i domovi prestati \u0107e biti prije svega osobni prostor, a posredstvom brze digitalne mre\u017ee na\u0161e \u0161kole, na\u0161e doktorske kancelarije, na\u0161e teretane i, ako tako dr\u017eava odlu\u010di, postati \u0107e na\u0161i zatvori. Naravno, za mnoge od nas ti isti domovi su ve\u0107 bili pretvoreni u danono\u0107na radna mjesta i igraonice \u010dak i prije pandemije, a cvjetale su i mjere nadgledanog ku\u0107nog pritvora. Me\u0111utim, u budu\u0107nosti koja se hitno name\u0107e, svi ovi trendovi \u0107e se ubrzati do maksimuma.
      \n<\/span><\/p>\n<\/div>\n

      \n

      <\/a>[202<\/strong><\/span>]<\/sup><\/a> 
      \nPogledati \u0161ire u knjizi Seada Ali\u0107a \u00abMasovna proizvodnja narcizma\u00bb, Zagreb 2019., Sveu\u010dili\u0161re Sjever I CFM Zagreb na strani 15 i dalje.
      \n<\/span><\/p>\n<\/div>\n

      \n

      <\/a>[203<\/strong><\/span>]<\/sup><\/a> 
      \nOvaj poznati I toliko citirani naslov autorice Sherry Turkle,’ Identity in the Age of the Internet, Alone together: Why We Expect more from technology and less from each other’,\u00a0 New York, Basic, Books, 2011. \u2013 postaje sve jasniji mla\u0111im generacijama koliko se mijenja \u017eivot koji se premje\u0161ta na ekran.
      \n<\/span><\/p>\n<\/div>\n

      \n

      <\/a>[204<\/strong><\/span>]<\/sup><\/a> 
      \nEkran je po\u010deo kao knjiga, kao slikarstvo, potom nastavio kao fotografija, film, televizijia i danas mobitel. Kniiga je sama za sebe revolucija kao i alfabet ili pismo i nova je era ljudskoga roda. Kada je Vincent van Gogh naslikao 1889. godine ‘Zvjezdanu no\u0107’ sliku ja razigrao kao ekranski oblik. Takva mu je slika omogu\u0107ila beskraj prela\u017eenja pogledom. Zato je proslavljena. Na fotografiji je stvarnost zato\u010dena i zaustavljena. McLuhan je fotografiju smatrao vizualnim izvje\u0161tajem bez sintakse. Film kao prvi audioviziualni medij prvi stvara opti\u010dku iluziju. <\/em>Monta\u017ea postaje klju\u010dna tehnologija te iluzije. To je psihi\u010dki \u0161ok<\/em> kako je zapisao Walter Benjamin. No, tek s ovim telenadziru\u0107im sveprisutnim globalnim digitalnim ekranom<\/em> svuda oko nas, ekran postaje subjekt a \u010dovjek postaje objekt novodigitalnoga svijeta. Ovim digi ekranom sve manjim i tanjim ostvaruje se posvema\u0161nja totalna praksa nadzora nad svakom osobom na Planeti. Stoga je u pravu Yuval Noah Harrari kad konstatira da je korona virus prekretnica za nadzor ljudi..Pi\u0161e: “Znamo da vlade i korporacije godinama razvijaju sposobnosti, tehni\u010dke alate da prate sve \u0161to radimo. To im daje uvida u na\u0161e politi\u010dke poglede, na\u0161e pereference \u010dak i na\u0161e li\u010dnosti. Ali kad nam nadzor u\u0111e pod ko\u017eu, mo\u017ee biti upotrijebljen za mnoge druge svrhe. Mo\u017eda vas TV promatra, a biometrijska narukvica na va\u0161em zglobu mjeri vam temperaturu, krvni pritisak, puls\u2026mogu znati i kako se osje\u0107ate, \u0161ta vas ljuti, \u0161ta vas nasmijava, da li se sla\u017eete ili ne\u2026       http:\/\/balkans.aljazeera.net\/vijesti\/korona-virus-prekretnica-za-nadzor-ljudi<\/a>, pristup, 04.06.2020.
      \n<\/span><\/p>\n<\/div>\n

      \n

      <\/a>[205<\/strong><\/span>]<\/sup><\/a> 
      \nTada smo na predmetima Medijska kultura, Filozofija medija i Sociologija medija napravili anketu s pedeset tri studenta komunikologije i sociologije. Njihovi odgovori su nastajali u toku tog procesa i oslikali su nam svu dubinu problema, zamke koja se krije iza svega oko naprasnog zagovaranja boljitka, tj. online nastave svuda i stalno, npr. \u010dak i kad pandemija ne postoji \u0111aci i studenti su u izolaciji, van u\u010dionica\u00a0 van univerziteta, kao na primjer krajem svibnja i po\u010detkom lipnja 2020. godine u BiH.
      \n<\/span><\/p>\n<\/div>\n

      \n

      <\/a>[206<\/strong><\/span>]<\/sup><\/a> 
      \nHartmut von Hentig, \u0160to je obrazovanje<\/em>, Educa, Zagreb, 2008. Pogledati \u0161ire: “Danas bi morali poduzeti sustavne napore za ovladavanje svijetom ekrana, uvesti pedagogiju slika koja \u0107e nas u\u010diniti doraslim bujici slika”, str. 26.
      \n<\/span><\/p>\n<\/div>\n

      \n

      <\/a>[207<\/strong><\/span>]<\/sup><\/a> 
      \n‘Gdje je znanje koje smo izgubili u \u017eivljenju
      \n Gdje je mudrost koju smo izgubili u znanju
      \n Gdje je znanje koje smo izgubili u informacijama, ‘ (T. S. Eliot, Stijena<\/em>), str. 302 u knjizi H. Kissingera Svjetski poredak<\/em> u dijelu knjige koji nosi podnaslov Tehnologija, ravnote\u017ea i ljudska svijest<\/em>, \u0160kolska knjiga, Zagreb 2015.
      \n<\/span><\/p>\n<\/div>\n

      \n

      <\/a>[208<\/strong><\/span>]<\/sup><\/a> 
      \nVidjeti \u0161ire u istoj knjizi i istom podnaslovu po\u010dev od str. 304. pa nadalje.
      \n<\/span><\/p>\n<\/div>\n

       <\/p>\n

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

      Ali\u0107, Sead: Masovna proizvodnja narcizma<\/em>, Sveu\u010dili\u0161te Sjever i CFM, Koprivnica i Zagreb 2019.<\/p>\n

      Fejzi\u0107, Fahira: Medijska globalizacija svijeta<\/em>, Promocult, Sarajevo 2004.<\/p>\n

      Fejzi\u0107 \u010cengi\u0107, Fahira: Kao ribe u vodi, Ka filozofiji medija<\/em>, Dobra knjiga, Sarajevo 2018.<\/p>\n

      Galovi\u0107, Milan: Rastanak od \u010dovjeka \u2013 mizantropija znanosti i pad u tehni\u010dki bezdan<\/em>, Demetra, Zagreb 2017.<\/p>\n

      Giddens, Anthony: Sociologija,<\/em> Ekonomski fakultet, Beograd 2003.<\/p>\n

      Hentig von, Hartmut:, \u0160to je obrazovanje<\/em>, Educa, Zagreb 2008.<\/p>\n

      Kissinger Henry: Svjetski poredak<\/em>, \u0160kolska knjiga, Zagreb, 2015.<\/p>\n

      Liessman, Konrad Paul: Teorija neobrazovanosti \u2013 Zablude dru\u0161tva znanja,<\/em> Naklada Jesenski i Turk, Zagreb 2008.<\/p>\n

      Pai\u0107, \u017darko, Tehnosfera I, II i III<\/em>, Sandorf\/Mizantrop, Zagreb 2018.<\/p>\n

      Sofrad\u017eija, Halima: Hiperpolitika i savremeno dru\u0161tvo \u2013 proces tehniziranja svijeta<\/em>, Dobra knjiga, Sarajevo 2015.<\/p>\n

      Turkle Sherry, Alone together: Why We Expect more from Technology and less from each other<\/em>, Basic Books, New York 2011<\/p>\n

      Vertov\u0161ek, Nenad: Umjetnost medijske manipulacije \u2013 ljepota iluzije je u umu promatra\u010da<\/em>, In Medias Res, CFM, Vol2, br 3 (296-308), Zagreb 2013.<\/p>\n

      http:\/\/balkans.aljazeera.net\/vijesti\/korona-virus-prekretnica-za-nadzor-ljudi<\/a><\/p>\n

      https:\/\/www.preporod.info\/bs\/article\/16185\/sta-poslije-vanrednog-stanja<\/a><\/p>\n

       <\/p>\n

      Hypermedia Sphere and Virtual Classrooms<\/span><\/strong><\/p>\n

       <\/p>\n

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

       <\/span><\/p>\n

      The most recognizable media in hypermedia society is \u2013 technology. New technologies and irreversible digitalization of society lead to greater mediation within all social relations. In culture of real virtuality it is technology that made possible the existence of virtual classrooms (or classrooms without walls, as Giddens notices), intermediation through technology in knowledge transfer, digital platforms as meeting points, and finally, existence of electronic universities. Innovative technologies have already immensely influenced education processes, which imply different trials of knowledge transfer and the education itself. Education is action, process and result; a question therefore arises about types of changes brought by new technologies that take away directness, in the situation where online communication, which is mediated communication, is the only choice. First contours of this paper and impulses for the reflection were drawn from essay of Giorgio Agamben Requiem for the Students (2020) that appeared in the peak of pandemic, a warning text pointing out some new processes not only in education, but in the whole society of our time.<\/em><\/p>\n

       <\/p>\n

      Key words:<\/em><\/strong> technology, hypermedia society, media, education, knowledge, virtual classrooms.<\/em><\/p>\n

       <\/span><\/p>\n

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

       <\/span><\/p>\n

      \n\n\n\n
      \"inmediasres\"<\/p>\n

      \n  10(18)#9 2021<\/strong> <\/p>\n<\/td>\n

      		\n

      \n\"Creative<\/a>
      This journal is open access and this work is licensed under a       Creative Commons Attribution-NonCommercial 4.0 International License.<\/strong><\/a><\/p>\n<\/td>\n

      		\n


      \nDOI 10.46640\/imr.10.18.8<\/a>
      \nUDK 502.1-047.22:316.774
      \nIzvorni \u010dlanak
      \nOriginal scientific paper
      \nPrimljeno: 15.12.2020.<\/strong><\/p>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

       <\/p>\n

       <\/p>\n

      Mirko Jakovljevi\u0107<\/span><\/p>\n

      Visoka \u0161kola za komunikaciju, Beograd, Srbija
      \nKola\u0161in, Crna Gora<\/p>\n

      mirko.jakovljevic@viskom.ac.rs<\/p>\n

      Ecology and Media<\/span><\/strong><\/p>\n


      \nPuni tekst: pdf (304 KB), English, Str. 2883 – 2893
      \n<\/span><\/strong><\/a><\/p>\n

       <\/p>\n

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

       <\/span><\/p>\n

      The Sustainable Development Goals (SDGs) are a set of global goals targeting all levels: from a planetary biosphere to a local community. The aim is to end poverty, protect the planet and ensure that all people can enjoy peace and prosperity, now and in the future. The beginning of the Twenty-first century and the last fifteen years of the twentieth century have been the awakening of human consciousness when it comes to ecology and environmental protection. The man of the digital age is slowly becoming aware that a new society is a life-organization characterized by the use of modern technologies and overuse of natural resources and, in some places, already devastated and degraded environments. The modern economy survives on the use of living and inanimate natural resources. Natural resources such as air, water, soil are polluted and some animal species are exterminated in this period. For this reason, it is of great importance to force producing and broadcasting numerous environmental shows on local, regional and global media. Going deeper into the issue, we have to see that the problem should be addressed more and more, reinforcing at the same time the ethics of all people on the planet, which would lead to the adoption of binding norms that would affect people\u2019s behavior when it comes to ecology and environmental protection . The media is playing a key role in this issue. A part of the discussion on the concept of conservation, including the main scientific and ethical points of view, is presented in this paper, highlighting the environmental, socio-ecological and ethical aspects behind the comprehensive concept of industry and economy. This paper is about the idea of being the appeal on media regarding the urgent need for socio-environmental ethical personal engagement and collective actions.<\/em><\/p>\n

       <\/p>\n

      Key words:<\/em><\/strong> ecology, media, environment, ethics, sustainable development.<\/em><\/p>\n

       <\/p>\n

       <\/p>\n

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

      Awareness of the interconnectedness of the natural and social environment in the human environment, as well as knowledge about the causes of disturbance and pollution, as well as the impact of their pollution on humans is essential. In building society’s relationship to environmental problems, although man’s relationship to nature is mediated by the political system, an important place belongs to environmental consciousness (Markovic, 2001: 14). The media is a very important agent that contributes to the activation of individuals and groups in environmental actions, to the proper functioning, in accordance with the acquired environmental knowledge and established environmental values. Media actions can be preventive, in terms of informing the recipients of the pollutants, the situation in the local, regional and global ecological environment, dangers of environmental pollution and damage to natural balance. It is the action of the media that is directly related to socially (un) acceptable environmental behavior. There are hardly any professional papers, or a small number of them, which play the role of the media in the development of awareness for the protection of human environment and the environment. <\/p>\n

       <\/em><\/strong><\/p>\n

      Social values \u200b\u200band environmental awareness <\/em><\/strong><\/p>\n

      The environment, the natural environment, and their protection and preservation are integral parts of every Constitution of a country. The impression is that the media has received insufficient attention. The value system of what is desirable, worthy of respect, less valuable, or irrelevant, right or wrong, is built through the process of socialization that every human individual goes through, no matter what time or space of the planet he lives. The value system consists of a set of general beliefs, opinions and attitudes and contains the three most important components: cognitive (value as conception), affective (value as something desirable) and connotative (value as a selection criterion for what is considered important to a community, group , environment …). (M. Jakovljevic, 2015: 34) The transfer of ecological values \u200b\u200bto a particular social community could be called ecological orientation (Cifri\u0107, \u010culig: 1987: 22-23). This view of the value component, as an integral part of environmental awareness, adopted through the mass media, is of particular importance for this work. It explains the specific behaviors of individuals and groups regarding preventative environmental protection against potential sources of environmental threats, in addressing local, regional and global environmental crises, but also in everyday work at the workplace and in the environment. Environmental problems can and must be addressed as cultural or civilization problems. (M.Jakovljevic, 2015: 36) <\/p>\n

       <\/em><\/strong><\/p>\n

      The Impact of Media on Environmental Behavior <\/em><\/strong><\/p>\n

      Human behavior is in accordance with the adopted environmental values, and on the basis of knowledge that has about the environment and its importance for the individual, narrower and wider community, contributes to environmental protection , raising the quality of life. Opposite behavior is also due to an underdeveloped environmental awareness: that it is endangering the environment by irresponsible actions, classifying those people who contribute to larger and smaller scale environmental crises. Media play a special role and has importance in times of ecological crises, major natural disasters, earthquakes, floods, etc. when it is timely, accurate and meaningful broadcasting of messages of invaluable importance. When it comes to the role of the media in the development of environmental awareness, the media has, among other things, the role of a mobilizer, but also a catalyst for certain social processes regarding the environmental situation. The media must, by encouraging citizens to think critically about the ecological environment, actively participate in its evaluation, critically evaluate the degree of threat to the environment and the potential threats to their environment. In particular, the media should allow for "public debate" by confronting opinions on specific and potential environmental problems. (M. Jakovljevic, 2015: 40-41) With such editorial policy and program orientation, the media can influence the political representatives of the community in the field of environmental protection. If media has in its programs specialized broadcast dedicated to the conservation and protection of the environment, the media becomes at the same time a communication channel through which they can pressure potential or actual polluters, or corporations that destroy or exploit natural resources, especially non-renewable energy sources, or destroy wildlife. Change is possible only if one changes his consciousness and his beliefs, and brings the practice into harmony with the "reality" he wants to experience. If we want cleaner cities, we must make sure their cleanliness, in particular, contribute to our behavior, stemming from our conviction (Prodanovi\u0107, 1987: 396). Or, as Hans Jonas thinks and says, "Act so that the effects of your actions are not devastating to the future possibility of your life" (Jonas, 1990: 193). <\/p>\n

       <\/em><\/strong><\/p>\n

      Results of the research <\/em><\/strong><\/p>\n

      In order to determine the impact of mass media on the environmental awareness of the population of Montenegro, with the aim of preserving and protecting the environment, research was conducted during which the results were identified, indicating a multi-layered relationship and interactions between the media and recipients of information. The survey was conducted by means of a questionnaire, by random sampling method, on a sample of 100 respondents, 20 from 5 cities in Montenegro. The survey was conducted during January and February 2020, and the respondents answered 8 questions by submitting one of the offered answers, or giving grades from 1 to 5. The gender structure of the respondents is as follows: 54% male, 46% female. <\/p>\n

      The age stratification of the respondents is as follows: 18 to 27 years: 60%, 27 to 55 years: 32%, over 55 years: 8%. <\/p>\n

      Educational structure-status of respondents: SE- 55%, HSE: 5%, HSS: 40%. Respondents live in the following cities: Berane, Bijelo Polje, Pljevlja, Niksic, Bar. <\/p>\n

      The cities with specific characteristics of potential sources of environmental threats are covered equally. These pollutants can be thermal power plants, but also high concentrations of cars, high levels of exhaust gases, unbearable noise, and other negativities that accompany urban life. During the research, the general impression was that the current ecological situation is significantly better due to the fact that many factories, pollutants, do not work due to problems, therefore do not pollute, not because a certain environmental strategy has been undertaken. <\/p>\n

      Table 1: How do you evaluate the environmental situation in your area? <\/p>\n\n\n\n\n\n\n\n\n
      \n

      Answer<\/p>\n<\/td>\n

      		\n

      Number of respondents<\/p>\n<\/td>\n

      		\n

      Percentage<\/p>\n<\/td>\n<\/tr>\n

      \n

      Extremely poor<\/p>\n<\/td>\n

      		\n

      31<\/p>\n<\/td>\n

      		\n

      31<\/p>\n<\/td>\n<\/tr>\n

      \n

      Poor<\/p>\n<\/td>\n

      		\n

      36<\/p>\n<\/td>\n

      		\n

      36<\/p>\n<\/td>\n<\/tr>\n

      \n

      Satisfactory<\/p>\n<\/td>\n

      		\n

      16<\/p>\n<\/td>\n

      		\n

      16<\/p>\n<\/td>\n<\/tr>\n

      \n

      Good<\/p>\n<\/td>\n

      		\n

      17<\/p>\n<\/td>\n

      		\n

      17<\/p>\n<\/td>\n<\/tr>\n

      \n

      Extremely good<\/p>\n<\/td>\n

      		\n

      –<\/p>\n<\/td>\n

      		\n

      –<\/p>\n<\/td>\n<\/tr>\n

      \n

      Total<\/p>\n<\/td>\n

      		\n

      100<\/p>\n<\/td>\n

      		\n

      100<\/p>\n<\/td>\n<\/tr>\n<\/table>\n

       <\/p>\n

      As shown by the results in Table 1, citizens have a very high degree of criticality about the state of the environment in urban areas,where they live. As many as 67% of respondents rated the environmental situation in their environment as bad and extremely bad. 33% consider the condition to be satisfactory and good. <\/p>\n

      Table 2: With which media do you most inform yourself about the state of the environment and environmental issues in your environment, country and world? <\/p>\n\n\n\n\n\n\n\n
      \n

      Answer<\/p>\n<\/td>\n

      		\n

      Number of respondents<\/p>\n<\/td>\n

      		\n

      Percentage<\/p>\n<\/td>\n<\/tr>\n

      \n

      TV<\/p>\n<\/td>\n

      		\n

      42<\/p>\n<\/td>\n

      		\n

      42<\/p>\n<\/td>\n<\/tr>\n

      \n

      Newspapers<\/p>\n<\/td>\n

      		\n

      19<\/p>\n<\/td>\n

      		\n

      19<\/p>\n<\/td>\n<\/tr>\n

      \n

      Radio<\/p>\n<\/td>\n

      		\n

      8<\/p>\n<\/td>\n

      		\n

      8<\/p>\n<\/td>\n<\/tr>\n

      \n

      Internet<\/p>\n<\/td>\n

      		\n

      31<\/p>\n<\/td>\n

      		\n

      31<\/p>\n<\/td>\n<\/tr>\n

      \n

      Ukupno<\/p>\n<\/td>\n

      		\n

      100<\/p>\n<\/td>\n

      		\n

      100<\/p>\n<\/td>\n<\/tr>\n<\/table>\n

       <\/p>\n

      Television in Montenegro still holds high primacy (42%) (see Table 2). Expectations that the Internet would be by far the most significant mean of informing by which residents of Montenegrin cities were informed about environmental issues had not been materialized. Of these, 31% said they were mostly informed about the environmental situation in their environment via Internet. Radio as a medium had lost its significance as only 8% of respondents cited this medium as a source of environmental information. Such a low level of trust in radio shows not only the deterioration of the central radio stations in smaller environments, but also the poor listening of local radio stations, which do not profile themselves as a medium to be trusted by citizens because, more than others, they will adequately report on local problems, could label pollutants, or encourage local actions to improve the environment. There is also a decrease in readership, as can be seen in the fact that the number of citizens who trust the print media is only 19 percent. <\/p>\n

      Table 3: Your assessment of media coverage on environmental status and problems? <\/p>\n\n\n\n\n\n\n\n\n
      \n

      Answer<\/p>\n<\/td>\n

      		\n

      Number of respondents<\/p>\n<\/td>\n

      		\n

      Percentage<\/p>\n<\/td>\n<\/tr>\n

      \n

      Extremely poor<\/p>\n<\/td>\n

      		\n

      62<\/p>\n<\/td>\n

      		\n

      62<\/p>\n<\/td>\n<\/tr>\n

      \n

      Poor<\/p>\n<\/td>\n

      		\n

      16<\/p>\n<\/td>\n

      		\n

      16<\/p>\n<\/td>\n<\/tr>\n

      \n

      Satisfactory<\/p>\n<\/td>\n

      		\n

      13<\/p>\n<\/td>\n

      		\n

      13<\/p>\n<\/td>\n<\/tr>\n

      \n

      Good<\/p>\n<\/td>\n

      		\n

      9<\/p>\n<\/td>\n

      		\n

      9<\/p>\n<\/td>\n<\/tr>\n

      \n

      Extremely good<\/p>\n<\/td>\n

      		\n

      –<\/p>\n<\/td>\n

      		\n

      –<\/p>\n<\/td>\n<\/tr>\n

      \n

      Total<\/p>\n<\/td>\n

      		\n

      100<\/p>\n<\/td>\n

      		\n

      100<\/p>\n<\/td>\n<\/tr>\n<\/table>\n

       <\/p>\n

      As citizens have shown a high degree of environmental criticality (Table 1) Similarly, the results of Table 3 indicate the high criticality of citizens towards the mass media, where 62% rated the media reports on environmental status and problems as negative. From this self-image, the media could draw a conclusion in the form of taking action and in the sense of opening an interactive communication channel in which citizens would suggest topics for making media contributions, opening channels for citizens to report on their own issues about environmental issues, initiating a public debate, during which environmental officials and environmental experts would be responsible for environmental issues and plans of the environment, not only to journalists, but also to readers, listeners or \u00a0viewers. <\/p>\n

      Table 4: How much does the media help you learn about environmental issues? <\/p>\n\n\n\n\n\n\n\n\n
      \n

      Answer<\/p>\n<\/td>\n

      		\n

      Number of respondents<\/p>\n<\/td>\n

      		\n

      Percentage<\/p>\n<\/td>\n<\/tr>\n

      \n

      1 Extremely poor<\/p>\n<\/td>\n

      		\n

      43<\/p>\n<\/td>\n

      		\n

      43<\/p>\n<\/td>\n<\/tr>\n

      \n

      2 Poor<\/p>\n<\/td>\n

      		\n

      45<\/p>\n<\/td>\n

      		\n

      45<\/p>\n<\/td>\n<\/tr>\n

      \n

      3 Satisfactory<\/p>\n<\/td>\n

      		\n

      5<\/p>\n<\/td>\n

      		\n

      5<\/p>\n<\/td>\n<\/tr>\n

      \n

      4 Good<\/p>\n<\/td>\n

      		\n

      2<\/p>\n<\/td>\n

      		\n

      2<\/p>\n<\/td>\n<\/tr>\n

      \n

      5 Extremely good<\/p>\n<\/td>\n

      		\n

      5<\/p>\n<\/td>\n

      		\n

      5<\/p>\n<\/td>\n<\/tr>\n

      \n

      Total<\/p>\n<\/td>\n

      		\n

      100<\/p>\n<\/td>\n

      		\n

      100<\/p>\n<\/td>\n<\/tr>\n<\/table>\n

       <\/p>\n

      Citizens with a high dose of criticism rate of media content on environmental issues. Table 4 shows that with the lowest score of 43%, they assess how much the media helps them learn about environmental issues. Most gave a satisfactory, good, very good and excellent grade. The results show the importance of the media in educating citizens, as the media, despite their poor assessment of the quality of their content on media issues, continue to be labeled as helping citizens to find out about environmental issues to the highest degree. <\/p>\n

      Table 5: Which areas of environmental protection are you most interested in? <\/p>\n

      The citizens of five Montenegrin cities are most concerned with air pollution. This was expected because the city of Pljevlja where the biggest problem was air pollution was covered by the survey (32%). They are almost equally interested in food protection (2%) and water protection (25%).<\/p>\n\n\n\n\n\n\n\n\n\n
      \n

      Respondents’ answers<\/p>\n<\/td>\n

      		\n

      Number<\/p>\n<\/td>\n

      		\n

      Percentage<\/p>\n<\/td>\n<\/tr>\n

      \n

      food safety<\/p>\n<\/td>\n

      		\n

      22<\/p>\n<\/td>\n

      		\n

      22<\/p>\n<\/td>\n<\/tr>\n

      \n

      Water safety<\/p>\n<\/td>\n

      		\n

      25<\/p>\n<\/td>\n

      		\n

      25<\/p>\n<\/td>\n<\/tr>\n

      \n

      Air pollution<\/p>\n<\/td>\n

      		\n

      32<\/p>\n<\/td>\n

      		\n

      32<\/p>\n<\/td>\n<\/tr>\n

      \n

      Forest protection<\/p>\n<\/td>\n

      		\n

      8<\/p>\n<\/td>\n

      		\n

      8<\/p>\n<\/td>\n<\/tr>\n

      \n

      Animal protection<\/p>\n<\/td>\n

      		\n

      3<\/p>\n<\/td>\n

      		\n

      3<\/p>\n<\/td>\n<\/tr>\n

      \n

      Other areas<\/p>\n<\/td>\n

      		\n

      10<\/p>\n<\/td>\n

      		\n

      10<\/p>\n<\/td>\n<\/tr>\n

      \n

      Total<\/p>\n<\/td>\n

      		\n

      100<\/p>\n<\/td>\n

      		\n

      100<\/p>\n<\/td>\n<\/tr>\n<\/table>\n

       <\/p>\n

      Table 6: To what extent are environmental issues from your immediate environment represented in the local media? <\/p>\n\n\n\n\n\n\n\n\n
      \n

      Answer<\/p>\n<\/td>\n

      		\n

      Number of respondents<\/p>\n<\/td>\n

      		\n

      Percentage<\/p>\n<\/td>\n<\/tr>\n

      \n

      Extremely poor<\/p>\n<\/td>\n

      		\n

      66<\/p>\n<\/td>\n

      		\n

      66<\/p>\n<\/td>\n<\/tr>\n

      \n

      Poor<\/p>\n<\/td>\n

      		\n

      23<\/p>\n<\/td>\n

      		\n

      23<\/p>\n<\/td>\n<\/tr>\n

      \n

      Satisfactory<\/p>\n<\/td>\n

      		\n

      6<\/p>\n<\/td>\n

      		\n

      6<\/p>\n<\/td>\n<\/tr>\n

      \n

      Good<\/p>\n<\/td>\n

      		\n

      5<\/p>\n<\/td>\n

      		\n

      5<\/p>\n<\/td>\n<\/tr>\n

      \n

      Extremely good<\/p>\n<\/td>\n

      		\n

       <\/p>\n<\/td>\n

      		\n

       <\/p>\n<\/td>\n<\/tr>\n

      \n

      Total<\/p>\n<\/td>\n

      		\n

      100<\/p>\n<\/td>\n

      		\n

      100<\/p>\n<\/td>\n<\/tr>\n<\/table>\n

       <\/p>\n

      The poor state of the vast majority of local media is reflected in the results in Table 6, where as many as 66 respondents rated the lowest environmental representation of environmental issues in local media. If there are areas whose media coverage each local media can build trust with the recipients of messages in a short time, then those are environmental problems. The problems of the local media when it comes to environmental issues are twofold: on the one hand, the lack of specialist journalists who would handle such content with the required level of professionalism, and on the other hand, the local media are largely powerless to resist the pressure of local power centers. . <\/p>\n

      Table 7: Evaluate how much the media has an impact on the formation of citizens’ opinions on environmental issues in their area and beyond? <\/p>\n\n\n\n\n\n\n\n\n
      \n

      Answer<\/p>\n<\/td>\n

      		\n

      Number of respondents<\/p>\n<\/td>\n

      		\n

      Percentage<\/p>\n<\/td>\n<\/tr>\n

      \n

      1 (not affected at all)<\/p>\n<\/td>\n

      		\n

      59<\/p>\n<\/td>\n

      		\n

      59<\/p>\n<\/td>\n<\/tr>\n

      \n

      2 (not sufficiently affected)<\/p>\n<\/td>\n

      		\n

      19<\/p>\n<\/td>\n

      		\n

      19<\/p>\n<\/td>\n<\/tr>\n

      \n

      3 (influenced)<\/p>\n<\/td>\n

      		\n

      17<\/p>\n<\/td>\n

      		\n

      17<\/p>\n<\/td>\n<\/tr>\n

      \n

      4 (highly influenced)<\/p>\n<\/td>\n

      		\n

      5<\/p>\n<\/td>\n

      		\n

      5<\/p>\n<\/td>\n<\/tr>\n

      \n

      5 (highly influenced)<\/p>\n<\/td>\n

      		\n

       <\/p>\n<\/td>\n

      		\n

       <\/p>\n<\/td>\n<\/tr>\n

      \n

      Total<\/p>\n<\/td>\n

      		\n

      100<\/p>\n<\/td>\n

      		\n

      100<\/p>\n<\/td>\n<\/tr>\n<\/table>\n

       <\/p>\n

      Citizens are not satisfied with media coverage of environmental issues in their environments, and therefore have high expectations of the media when it comes to influencing the formation of citizens’ opinions on environmental issues in the immediate and wider environment (Table 7). 59% think that the media does not affect the citizens’ awareness, 19% think that they are not influential enough, while 5% of the respondents think that they are very influential, and 17% think that they have an influence. Too, the results also point to untapped potentials arising from the educational and informational function of the media when it comes to environmental topics. <\/p>\n

      Table 8: Evaluate how much the media can influence the Government, competent ministries, agencies, inspections and other state bodies to protect citizens from existing and potential polluters, or to protect the environment? <\/p>\n\n\n\n\n\n\n\n\n
      \n

      Answer<\/p>\n<\/td>\n

      		\n

      Number of respondents<\/p>\n<\/td>\n

      		\n

      Percentage<\/p>\n<\/td>\n<\/tr>\n

      \n

      1 (not affected at all)<\/p>\n<\/td>\n

      		\n

      10<\/p>\n<\/td>\n

      		\n

      10<\/p>\n<\/td>\n<\/tr>\n

      \n

      2 (not sufficiently affected)<\/p>\n<\/td>\n

      		\n

      18<\/p>\n<\/td>\n

      		\n

      18<\/p>\n<\/td>\n<\/tr>\n

      \n

      3 (influenced)<\/p>\n<\/td>\n

      		\n

      31<\/p>\n<\/td>\n

      		\n

      31<\/p>\n<\/td>\n<\/tr>\n

      \n

      4 (highly influenced)<\/p>\n<\/td>\n

      		\n

      34<\/p>\n<\/td>\n

      		\n

      34<\/p>\n<\/td>\n<\/tr>\n

      \n

      5 (highly influenced)<\/p>\n<\/td>\n

      		\n

      7<\/p>\n<\/td>\n

      		\n

      7<\/p>\n<\/td>\n<\/tr>\n

      \n

      Total<\/p>\n<\/td>\n

      		\n

      100<\/p>\n<\/td>\n

      		\n

      100<\/p>\n<\/td>\n<\/tr>\n<\/table>\n

       <\/p>\n

      Citizens believe that the media can influence the Government, ministries, agencies, inspections and other state bodies to protect them from potential pollutants, ie to protect the environment (Table 8). The society is divided on this point. 31% think the media can influence, 41% think that they are very influential and have the highest influence on government bodies, 10% think that they have no influence at all, and 28% of respondents say that the government and ministries are not sufficiently or completely unaffected by the media. The table shows that the power of the media when it comes to influencing the Government and its ministries is 72%. Citizens believe that the media can influence the Government and ministries, and other state bodies, to address the protection of the environment and the protection of citizens from existing and potential polluters.<\/p>\n

       <\/em><\/strong><\/p>\n

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

      Humanity needs a highly developed awareness of the need for greater alignment between human creative activities in advancing social development and the need to preserve and enhance nature during such development. (Berberovic, Hanjalic, Saric, 1984: 295). Building environmental awareness is closely linked to increasing the impact of the media on the public. For these reasons, a person already living in a kind of "new media order" is advised to acquire a fundamental knowledge of so-called media literacy in order to obtain a more complete picture of the discourse in which the contemporary man is, a clearer definition of his attitude towards the media, but also according to environmental problems and challenges. The media should create the conditions for building a better world than the one in which we face the daily increase of environmental threats. Of all the pollution, the most serious is the pollution of human consciousness. In building and developing environmental awareness, the most important fact is contained in the need to find out the details of the environment. Some of the tendencies in the media sphere have been observed, which distance the media from their basic functions, but serve for new monopolizations, manipulations aimed at imposing the value attitudes of power centers that have a monopoly on capital. The results obtained through a survey of 100 respondents from five cities in Montenegro clearly indicate that citizens are highly critical towards the \u00a0environment, but they are also critical when assessing the quality of media coverage of environmental issues. Citizens place high demands on the media, which, according to this research, does not give adequate treatment to environmental problems. They are especially critical \u00a0towards the local media, who are not adequately fulfilling their function when timely and meaningful reporting on local environmental issues is needed. The mass media significantly influence not only the formation of environmental awareness, but by shaping awareness, activating the educational function, they provide the recipients with the necessary information and value propositions on environmental issues, on the basis of which they make decisions about specific behavior. The media need to be aware of environmental issues in a timely manner, to report on them substantively, to reflect different opinions and attitudes, but also to initiate and assist the implementation of actions in the field of environmental protection. Environmental protection is a common goal of all participants in social processes. <\/p>\n

       <\/p>\n

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

      Jameton A, Pierce J. (2001): Environment and health: 8. Sustainable health care and emerging ethical responsibilities. CMAJ. 2001 Feb 6; 164 (3): 365-9. <\/p>\n

      Julesz, M. (2011): Environmental health and social ecology. Orv Hetil. 2011 Dec 4; 152 (49): 1962-4. <\/p>\n

      Morton S, Pencheon D, Bickler G. (2019): The sustainable development goals provide an important framework for addressing dangerous climate change and achieving wider public health benefits. Public Health. 2019 Sep; 174: 65-68. Epub 2019 July 15 <\/p>\n

      Morton, S., Pencheon, D., Squires, N. (2017): Sustainable Development Goals (SDGs), and their implementation: A national global framework for health, development and equity needs a systems approach at every level . Br Med Bull. 2017 Dec 1; 124 (1): 81-90. doi: 10.1093 \/ bmb \/ ldx031. <\/p>\n

      Markovic, D. \u017d. (2001). Social ecology. Nis: Enlightenment; Belgrade: Contemporary Administration; <\/p>\n

      Cifri\u0107, I., \u010culig, B. (1987). Youth environmental awareness. Zagreb: Center for Social Affairs; <\/p>\n

      Henslin. JM (2005). Sociology. Boston \/ New \/ York \/ San Francisco <\/p>\n

      Prodanovi\u0107, Tomislav (1987). The role of science and education in the development of environmental awareness. University of today, Belgrade. <\/p>\n

      Jonas, H. (1990). The principle of responsibility – an attempt at an ethics for technological civilization. Sarajevo: Veselin Masle\u0161a; <\/p>\n

      Berberovic, LJ., LJ. Hanjali\u0107, K., \u0160ari\u0107, T. (1984). University and environmental challenge. Proceedings of the 32nd Session of the International Seminar "University Today", Dubrovnik;<\/p>\n

      Jakovljevic, M. (2015) The Impact of Mass Media on the Development of Ecological Awareness, Bijelo Polje, Pegaz <\/p>\n

      Palevic, M., Spalevic, V., Skataric, G., Milisavljevic, B., Spalevic, Z., Rapajic B., Jovanovic, L. J.. (2019): Environmental responsibility of Member States of the European Union and Candidate countries. Journal of Environmental Protection and Ecology, 19 (2): 886-895. <\/p>\n

      Sestras, P., Bondrea, M., Cetean, H., Salagean, T., Bilasco, S., Nas, S., Spalevic, V., Fountas, S., Cimpeanu, S (2018): Ameliorative, Ecological and Landscape Roles of F\u0103get Forest, Cluj-Napoca, Romania, and Possibilities of Avoiding Risks Based on the GIS Landslide Susceptibility Map. Notulae Botanicae Horti Cluj-Napoca Agrobotanics: 46 (1): 292-300. <\/p>\n

      Spalevic, V., Lakicevic, M., Radanovic, D., Billi, P., Barovic, G., Vujacic, D., Sestras, P., Khaledi Darvishan, A. (2017): Ecological-Economic (Eco- Eco) modeling in the river basins of the Mountainous regions: Impact of land cover changes on sediment yield in the Velicka River in Montenegro. Notulae Botanicae Horti Cluj-Napoca Agrobotanics: 45 (2): 602-610. Impact of land cover changes on sediment yield in Velicka Rijeka in Montenegro. <\/p>\n

       <\/p>\n

      Ekologija i mediji<\/span><\/strong><\/p>\n

       <\/p>\n

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

       <\/span><\/p>\n

      Po\u010detak novog tisu\u0107lje\u0107a i prethodnih petnaest godina karakterizira, svjedoci smo, bu\u0111enje ljudske svijesti kada je rije\u010d o ekologiji i za\u0161titi okoli\u0161a. \u010covjek koji pre\u017eivi u doba digitalnih tehnologija polako razvija svijest da je potrebna nova organizacija dru\u0161tva i \u017eivota u vremenu optere\u0107enom modernim tehnologijama i pretjeranom upotrebom prirodnih resursa, a na nekim mjestima i ve\u0107 devastiranom i degradiranom okoli\u0161u. Suvremeno gospodarstvo pre\u017eivljava od upotrebe \u017eivih i ne\u017eivih prirodnih resursa. Do\u0161lo je do zaga\u0111enja zraka, vode, zemlje, izumiranja \u017eivotinjskih vrsta. Iz tog su se razloga \u010disto ekolo\u0161ki problemi rje\u0161avali proizvodnjom i emitiranjem niza ekolo\u0161kih programa na lokalnim, regionalnim i globalnim medijima. Ulaze\u0107i dublje u problem, moramo vidjeti da se problem mora rije\u0161iti prevladavanjem ekonomskih imperativa, istodobno, ja\u010danjem etike svih ljudi na planetu, \u0161to bi dovelo do usvajanja obvezuju\u0107ih normi koje bi utjecale na ljudsko pona\u0161anje kada se radi o ekologiji i za\u0161titi okoli\u0161a. Mediji u tome moraju igrati klju\u010dnu ulogu.<\/em><\/p>\n

       <\/p>\n

      Klju\u010dne rije\u010di:<\/em><\/strong> ekologija, mediji, okoli\u0161, etika, odr\u017eivi razvoj.<\/em><\/p>\n

       <\/span><\/p>\n

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

       <\/span><\/p>\n

      \n\n\n\n
      \"inmediasres\"<\/p>\n

      \n  10(18)#10 2021<\/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


      \nDOI 10.46640\/imr.10.18.9<\/a>
      \nUDK 792.01:004
      \nPregledni \u010dlanak
      \nReview article
      \nPrimljeno: 17.12.2021.<\/strong><\/p>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

       <\/p>\n

       <\/p>\n

      Leo Katunari\u0107<\/span><\/p>\n

      SMaxArtFest Zagreb<\/p>\n

      doktorand na Filozofskom fakultetu Sveu\u010dili\u0161ta Zagreb, Hrvatska<\/p>\n

      LeokadeLe@gmail.com<\/p>\n

      Virtualizacija \u017eive umjetni\u010dke izvedbe u post \u2013 Covid-19 kulturi<\/span><\/strong><\/p>\n


      \nPuni tekst: pdf (453 KB), Hrvatski, Str. 2895 – 2913
      \n<\/span><\/strong><\/a><\/p>\n

       <\/p>\n

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

       <\/span><\/p>\n

      Digitalna kultura realizira samu sebe dru\u0161tvenim skokovima, a ne samo pra\u0107enjem ritma linearnog toka razvoja tehnologije. Promjena globalne kulturne paradigme prihva\u0107a se trenutno i bez rezervi, kako u slu\u010dajevima prva dva skoka (y2k milenijski bug i web 2. 0), tako i tre\u0107em, post \u2013 Covid-19. Komunikacija u\u017eivo, kao i drugi uobi\u010dajeni aspekti ljudske izvedbe u\u017eivo, postaje virtualizirana. Proces se razvija i odr\u017eava pomo\u0107u obrazaca tradicionalne umjetni\u010dke izvedbe u\u017eivo, a poznatih iz dramaturgije kazali\u0161ta i performansa. Takvi obrasci ugra\u0111eni su u tehnologiju digitalne komunikacije otprije. Pozicija ljudskog izvo\u0111a\u010dkog tijela u novim okolnostima postaje predmet zanimanja strojne civilizacije. Bitka ljudi za odr\u017eavanjem identiteta vodi se izvedbom i u post \u2013 Covid-19 diskursu, sli\u010dno bitkama koje se povijesno vode s nad-sustavima mo\u0107i.<\/em><\/p>\n

       <\/p>\n

      Klju\u010dne rije\u010di:<\/em><\/strong> digitalna kultura, virtualizacija, komunikacija, umjetni\u010dka izvedba, Covid-19.<\/em><\/p>\n

       <\/p>\n

       <\/p>\n

      1. PARODOS<\/strong><\/p>\n

      Po\u010detak svake kazali\u0161ne predstave, jo\u0161 od anti\u010dkih vremena, i\u0161\u010dekuje se pogledom u prazninu tamnog prolaza, tunela ili pozornice, koji se prote\u017ee iz realnosti gledatelja u realnost drugoga ili realnost iza<\/em>. Kada se u tom prolazu pojavi ne\u0161to, to trenutno mijenja realnost, zapo\u010dinje konstituiranje novog su\u010delja zajedni\u010dke realnosti svih sudionika. Izvo\u0111enje gr\u010dke anti\u010dke tragedije zapo\u010delo bi naglo, zborom koji bi u trenutku nahrupio kroz tamu i ti\u0161inu prolaza koji povezuje skenu i prostore iza pozornice. Sve do danas pravilo je isto, onaj tko uspije prvi razbiti tamu i ti\u0161inu prolaza, koji proglasi sebe parodosom, pobjednik je. Jer jednom kada zapo\u010dne, konstituiranje nove realnosti odvija se bez premi\u0161ljanja – nemilosrdno. Doba digitalne kulture staro jedva pola stolje\u0107a, sagradilo je brojne manje prolaze i manje pozornice za svoja poigravanja s realitetima i linearnostima vremena. Zato ne \u010dudi nespremnost kojom su i tehnolo\u0161ka i ljudska civilizacija odgovorile na nagli prodor novog tijela kroz ve\u0107 pomalo zaboravljen i zapu\u0161ten globalni parodos. Iz neke druge realnosti iza, pojavio se izvo\u0111a\u010d koji je sva svjetla pozornice trenutno usmjerio na sebe. Odavno ne\u0161to ili netko nije imao tako vjernu globalnu publiku kao \u0161to je ima virus covid19. Prethodilo mu je globalno okupljanje jo\u0161 2000. kada je cijeli svijet strepio zbog prijetnje ra\u010dunalnog milenijskog bug-a y2k<\/em><\/a>[209<\/strong><\/span>]<\/sup><\/a>, <\/em>ra\u010dunalne pogre\u0161ke koja se \u0161irila logikom virusa. Prije toga, globalna pozornica uspostavljena je namjerno i kontrolirano 1969., direktnim televizijskim prijenosom misije Apolo 11. Svako od tih globalnih izvo\u0111enja promovirao je novi odnos tehnologije i organskih atributa ljudske civilizacije. Tehnologija je svakim takvim doga\u0111anjem nehotice razotkrivala svoju pravu poziciju privremeno izlaze\u0107i iz skrivene pozadine u kojoj je do tada potiho djelovala. Ljudska realnost je na takva razotkrivanja tehnologije redovito reagirala progla\u0161avanjem nove stvarnosti u kojoj se ljudsko tijelo uspje\u0161no integrira u zajedni\u010dka su\u010delja. Kiborzi, podatkovna tijela, grinderi, virtualna tijela, digitalni predstavnici, tijela virtualne realnosti, kao i mnogi drugi oblici suradnje i sraza strojnog i ljudskog kao da uspje\u0161no kro\u010de prema budu\u0107nosti koju Haraway opisuje kao prepoznavanje novog doba tentakularnih bi\u0107a, onih koji \u0161ire svoje stvarne i metafori\u010dne pipke, \u017eivih i ne\u017eivih bi\u0107a koji su istovremeno tjelesni, ali istovremeno i mre\u017eni: „pauci, prstolika bi\u0107a poput ljudi i rakuna (…) Tentakulari su isto tako i mre\u017ee i umre\u017eavanja, IT bi\u0107a, u oblacima i izvan njih\u2026“ (Haraway, 2016:32). Usprkos javno proklamiranoj suradnji ljudskih i strojnih tijela u kreiranju zajedni\u010dkih izvo\u0111a\u010dkih su\u010delja, realnost je me\u0111usobno nepovjerenje. Tijela zadr\u017eavaju distancu jedni od drugih. Iako ljudsko tijelo eksperimentira s razli\u010ditim stupnjevima integracije sa strojnim tijelom to nikada ne vodi stvarnoj promjeni po\u010detnih pozicija. Strojno tijelo rado predaje svoja svojstva ljudskoj kulturi na upotrebu, ali svoj pravi potencijal kao da skriva za neko drugo doba u kojem \u0107e mo\u0107i dominirati. 2019. pojavljuje se i me\u0111utijelo<\/em>, ono koje nije ni organsko ni strojno, a ima obilje\u017eja jednog i drugog. Tijelo virusa covid19 neo\u010dekivano lako se kre\u0107e prostorima tjelesnih su\u010delja. Osvajaju\u0107i ljudsko tijelo virus ugro\u017eava i tijelo stroja. Degradiranjem tijela na mehaniku, virus uni\u0161tava sve ono \u0161to je i ljudska i strojna civilizacija postigla na podru\u010dju samosvijesti. Drugim rije\u010dima, virus se kre\u0107e po proteinskim nakupinama koje su sastavljene principom strojnog djelovanja; maleni rnk <\/em>automati \u010ditaju dnk<\/em> kodove i tako savijaju proteine u tijela. Virus savr\u0161eno funkcionira obrascem stroja, mogli bismo re\u0107i kako njegov cilj nije bezumno samo-umna\u017eanje ve\u0107 ograni\u010davanje funkcija sustava na osnovne funkcije stroja. Takav nedostatak ambicije, izli\u0161nost kompleksnih izvo\u0111a\u010dkih su\u010delja i potpuno odsustvo \u017eudnje prema nedosti\u017enom ili fikcionalnom, i ljudsku i strojnu kulturu ostavlja bez su\u010delja u kojemu se mogu nadmetati i u kojem jednom mogu pobijediti. Baudrillard u Virusnom gostoprimstvu<\/em> pi\u0161e: „Svatko od nas je sudbina drugog, i bez sumnje je tajna sudbina svakoga od nas da uni\u0161ti (ili zavede) drugog, ne vrlinom kletve ili nekim drugim smrtnim nagonom, nego vrlinom na\u0161ih vlastitih \u017eivotnih opredjeljenja.“ (Baudrillard, 1993:161). Ljudska tijela pobjegla su od virusa kako bi sa\u010duvala svoja \u017eivotna opredjeljenja, svoje jedino oru\u0111e u bitki protiv drugoga. Digitalna strojna civilizacija ponudila je ljudima sebe kao uto\u010di\u0161te, a zato da ne izgubi svojeg drugoga. Digitalna su\u010delja postala su izvo\u0111a\u010dka su\u010delja ljudskih tijela. Dogodio se jo\u0161 jedan od skokova u kojima je tehnologija prisiljena razotkriti svoju poziciju, a na \u0161to ljudi obi\u010dno reagiraju progla\u0161avanjem nove kulture. Covid19 nova kultura stvorena je tako naglo i bez pripreme da se ljudska tijela doimaju osvaja\u010dima koji preplavljuju \u010disto\u0107u digitalnih krajolika. Strojna tijela poku\u0161avaju odr\u017eati kontrolu nad svojim su\u010deljem tako da ljude prikazuju kao izvo\u0111a\u010de ili stanovnike malih ekranskih kutijica. U takvim ekranskim kutijicama sva kompleksnost mogu\u0107nosti ljudske izvedbe svedena je na jednostavnost groteske. Kao da, bar za sada, izostaje o\u010dekivana integracija u jedinstveno tijelo, zajedni\u010dko izvedbeno su\u010delje. Nedostaje obrat, sli\u010dan onome o kojem pi\u0161e Fischer-Lichte kada opisuje performativni obrat \u0161ezdesetih godina dvadesetog stolje\u0107a, kulturni skok nakon kojega je svima samorazumljivo da je tijelo i izvo\u0111a\u010d i pozornica (Fischer-Lichte, 2009:27). U covid19 krizi, i ljudsko i strojno zadr\u017eava svoje partikularne interese, iako su prisiljeni me\u0111usobno sura\u0111ivati. Ono \u0161to ih je na to prisililo, a to je prije svega kretanje virusa kao novog gospodara realnosti, analiziraju kao mogu\u0107i izvor novih strategija u me\u0111usobnom nadmetanju. Virus ne te\u017ei isprepletanju kako bi stvorio zajedni\u010dko novo tijelo s doma\u0107inom, novo su\u010delje ili novu realnost. Virus se samo kre\u0107e uskom stazom \u017eudnje ostvarenja vlastite poetike. Taj put ozna\u010den je u koordinatama virusne ovojnice, organskog zida koji \u0161titi unutra\u0161njost virusa od bilo kakvog doticaja s okolinom. Bilo kakva druga\u010dija realnost od one koju virus nosi u sebi sprije\u010dena je zidom ovojnice. Ali taj zid nije stati\u010dan, taj zid vibrira po\u017eudom za spajanjem s drugim, taj zid se kre\u0107e, spaja, obavija i prodire. Cilj tako uskogrudnog djelovanja je zapravo veli\u010danstven. Virus pro\u017eivljava apoteozu vlastitog identiteta utiskivanjem u drugoga, uzdi\u017ee se u vlastito nebesko stanje mirno\u0107e kona\u010dnim ostvarenjem predavanja sebe drugome. A tog drugoga prepoznaje tek kada je postao on sam, kada mo\u017ee promatrati samog sebe kao jedinu realnost.<\/p>\n

      U prologu za dramu Messina<\/em>, Schiller pi\u0161e kako nam je svima poznato da je gr\u010dka tragedija proiza\u0161la iz uvo\u0111enja kora, a kojega mo\u017eemo promatrati kao „\u017eivi zid kojeg tragedija iscrtava oko same sebe kako bi se potpuno zatvorila od svijeta realnosti, i kako bi odr\u017eavala za samu sebe svoje idealno tlo, svoju poetsku slobodu“ (Schiller, 2015). Ditirampski kor gr\u010dke anti\u010dke tragedije po\u010detak je izvedbene ovojnice kojom ljudsko tijelo okru\u017euje sebe u sljede\u0107im tisu\u0107lje\u0107ima umjetni\u010dkog i svakodnevnog izvo\u0111enja. Izvedbena ovojnica, bila kazali\u0161na ili ritualna, vibrira u fuziji s publikom. Protuberance jezika, gesti, grimasa, emocija, efekata, prodiru u tijelo doma\u0107ina\/gledatelja, a kako bi stvorile ina\u010dicu samih sebe. Takvo stvaranje i odr\u017eavanje terena za razvoj vlastite poetike, usprkos okolnoj realnosti, jedna je od osnovnih paradigmi i digitalne tehnologije od samih po\u010detaka njezinog razvoja. Umjesto mirnog, linearnog napredovanja, digitalna kultura razvija se skokovima, a koji su odraz stalnog rata izme\u0111u starih sredi\u0161ta mo\u0107i i kontra-kultura. Drugim rije\u010dima, strojno i ljudsko tijelo su u stalnom ratu za dominaciju nad su\u010deljem, ratu kojeg obje strane javno predstavljaju me\u0111usobnom suradnjom u potrazi za kona\u010dnim zajedni\u0161tvom. <\/p>\n

       <\/p>\n

      2. SKOKOVI<\/strong><\/p>\n

      Hakirajmo svoju vlastitu realnost<\/em>, poruka je s naslovnice magazina Mondo 2000<\/em>, promotora New Edge<\/em> pokreta u kalifornijskoj Silicijskog dolini<\/em> sedamdesetih godina dvadesetog stolje\u0107a. Bio je to jedan od brojnih kontra-kulturnih pokreta koji su zagovarali trend osobnih ra\u010dunala nasuprot centraliziranim ra\u010dunalnim konglomeratima vojno industrijskog kompleksa i dr\u017eavnog sustava. Entuzijasti okupljeni oko \u010dasopisa Katalog cijele zemlje<\/em> (engl. Whole Earth Catallogue)<\/em> promovirali su kontra-kulturni duh opiru\u0107i se visokoj tehnologiji skupih i dr\u017eavno ili korporacijski kontroliranih ure\u0111aja, svojim ure\u0111ajima kreiranim u gara\u017eama i studentskim sobicama, a pristupa\u010dnim i jeftinim dijelovima. Kultura osobnih ra\u010dunala, a koju je najvi\u0161e promovirao pretplatnik i sljedbenik \u010dasopisa Whole Earth Catallogue<\/em>, osniva\u010d tvrtke Apple<\/em>, Steve Jobs, promovira trend razmjene ideja i informacija izme\u0111u individualaca, a nasuprot tiranskim tendencijama sustava kontroliranog prikupljanja i distribuiranja informacija. Razlika u konceptima digitalne kulture vidljivija je u vremenima krize, kakva je i covid19 kriza. Redovita reakcija na krizu je poku\u0161aj kontroliranja informacija i sredi\u0161nje izdavanje uputa, \u010demu se opire kontra-kulturna paradigma. Potonja pak, kulturom osobnih ra\u010dunala, sprje\u010dava posvema\u0161nji pad sustava i tako onemogu\u0107uje tiraniju sredi\u0161nje kontrole informacija. Osim toga, kontra-kulturni osje\u0107aj ugra\u0111en u digitalnu tehnologiju potje\u010de i od interesa za duhovno, za povezivanje s prirodom i unutarnjim sebstvom, tendencijama koje prepoznajemo pod nazivom New Age.<\/em> Timothy Leary u svojoj knjizi Kaos i Sajberkultura<\/em> pi\u0161e kako neki od „… atributa rije\u010di ‘duhovno’; mitsko, \u010darobno, eteri\u010dno, netjelesno, nematerijalno, nematerijalno, bestjelesno, idealno, platonski tako\u0111er definiraju ‘elektroni\u010dko digitalno’“ (Leary u Zanderberger, 2010:162). U trenutku svojeg prisilnog i previ\u0161e naglog „useljavanja“ u digitalno su\u010delje, a zbog krize tjelesnog prouzrokovane covid19 krizom, ljudi nimalo ne oklijevaju proglasiti sajberprostor<\/em> svojom zemljom. Zabijaju\u0107i zastavu svoje realnosti u pijesak novoosvojenog digitalnog kopna, progla\u0161avaju se vlasnicima i upraviteljima novih kolonija u kojima mogu djelovati prema svojim kriterijima i otprije usvojenim obrascima. U tome im poma\u017eu saveznici otprije ugra\u0111eni u konstituciju sajbersvijeta<\/em>; izvo\u0111a\u010dka narav su\u010delja, kultura mre\u017ee individualnih \u010dvori\u0161ta, ra\u010dunala kao osobna svojina ljudskog individualca, kontra-kulturna tradicija koja permanentno proizvodi kulturu visoke napetosti, kao i su\u010delje bestjelesnog koje je poteklo iz ljudskog interesa za nematerijalno samoostvarenje.<\/p>\n

       <\/p>\n

      2.1. Apoteoza tehnologijom<\/strong><\/p>\n

      Strojevi su aktivno sudjelovali u bitki izme\u0111u dviju ljudskih koncepcija razvoja tehnologije, visoke tehnologije kontrolirane iz sredi\u0161ta i, s druge strane, kulture osobnih ra\u010dunala. Ono \u0161to strojevi jo\u0161 uvijek ne mogu pojmiti jest to da kriteriji u takvoj jednoj bitki nije funkcionalnost jednog su\u010delja nad drugim, iskoristivost na\u010dina upotrebe tehnologije ili zadovoljavanje potreba ve\u0107ine. Kriteriji su izvo\u0111a\u010dka vje\u0161tina, i to ne, ili ne samo, uspje\u0161nost izvo\u0111enja mekenzijevskog tipa<\/a>[210<\/strong><\/span>]<\/sup><\/a>, ve\u0107 bli\u017ee onome \u0161to poznajemo kao dramaturgiju umjetni\u010dke izvedbe. Primjer za to je, ve\u0107 ranije spomenuti, ameri\u010dki visokotehnolo\u0161ki projekt Apollo<\/a>[211<\/strong><\/span>]<\/sup><\/a>. Politi\u010dkim globalnim nadmetanjem motivirana utrka u naoru\u017eanju akumulira dovoljno znanja i sredstava koji tu utrku uspje\u0161no prebacuju u polje javne izvedbe. Ujedinjuju\u0107i sve dostupne centralizirano kontrolirane tehnologije svojeg razdoblja, dr\u017eavno koordinirana izvedba predo\u010duje se svojoj publici, a koju \u010dine svi ljudi planete uklju\u010deni u direktan televizijski prijenos. Spektakl prvog leta i spu\u0161tanja \u010dovjeka na Mjesec realizira se dramaturgijom demonstracije mogu\u0107nosti i prednosti visoke tehnologije nad tehnologijom osobnih kontra-kulturnih strojeva. Poruka izvedbe glasi kako samo ujedinjeni posti\u017eemo tisu\u0107ljetni ljudski san, primjerice osvajamo drugu planetu. Porezni obveznici pla\u0107aju doprinos koji se koncentrira u kontroliranim dr\u017eavnim fondovima, a mudrim odlukama rukovodstvo ga usmjerava u realizaciju veli\u010danstvenih projekata. Mogu\u0107nost globalnog televizijskog prijenosa u\u017eivo, trenutni pogled svakog Zemljanina u dubinu svemira ili na povr\u0161inu druge planete, raketna tehnologija razvijana stotinama godina omogu\u0107uje ljudima da ostvare san samostalnog putovanja u nebo. To je sve kontrolirano ra\u010dunalima, ali ra\u010dunalima kao alatom i uslu\u017enim pomaga\u010dem, a takva ra\u010dunala kontrolira sredi\u0161nja vlast. Ostvaren je jedan od prvih globalnih skokova, ako ne i prvi, u kojima je tehnologija demonstrirala svoju prisutnost i time postojanje dramaturgije pozadine. Evolucijski razvoj u linearnom vremenu kojega je \u010dovje\u010danstvo rob stotinama tisu\u0107a godina kao da je postao nepotreban u doba ljudske mogu\u0107nosti skokovitog djelovanja pomo\u0107u tehnologije koju sam kreira. <\/p>\n

      U toj prvoj globalnoj demonstraciji postojanja tehnolo\u0161kog su\u010delja kojemu ni nebo nije granica, zajedni\u010dko su\u010delje ljudskog i tehnolo\u0161kog \u00a0ostvaruje se tek u izvedbi, putem drugih su\u010delja kao \u0161to su vizualni ekrani ili radio komunikacija. Glavnu ulogu u ovom spektaklu ne igra privilegirani glavni glumac – tehnologija, nego ne\u0161to drugo, a oko \u010dega publika mo\u017ee obaviti svoje emocije identifikacije i sa\u017ealjenja – ljudsko tijelo. Futuristi\u010dki san o pretvaranju neba u pozornicu tehnologijom jest dostignut, ali to ne bi bilo mogu\u0107e da sredi\u0161te ove izvedbe nije ljudsko tijelo.. Golo ljudsko tijelo se okru\u017euje ovojnicama, ditirampskim zidovima tehnologije. Kao \u0161to se tragedija okru\u017eila zidom kora da se za\u0161titi od realnosti, tako se i ljudsko tijelo astronauta ovilo tehnologijom da se izolira od realnosti koja te\u017ei da ga usisa, usmrti i uni\u0161ti. Tijelo izvodi zahvaljuju\u0107i dinami\u010dnim zidovima kojima je okru\u017eeno: skafanderom, opnom rakete, dramaturgijom tehnologije u pokretu, emocijama koje su proizvedene re\u017eijom direktnog tv prijenosa, iskonskoj pri\u010di ljudskog junaka koji prodire kroz neprijateljski nepoznati teritorij koji je ovdje ultimativna opasnost, vakuum. Ljudsko tijelo, a ne raketa koja ga okru\u017euje, ono je \u0161to se uzdi\u017ee plamenom u nebesku apoteozu. Tehnologija putuje u susret bogovima, ali taj je put omogu\u0107en dramaturgijom izvedbe ljudskog izvo\u0111a\u010da. Tako je razvijena tehnologija omogu\u0107ena izvanrednim naporom cijele ljudske zajednice. Da bi se taj napor materijalizirao potrebno ga je cijelo vrijeme odr\u017eavati aktivnim. Junaci u sjajnim bijelim oklopima i spu\u0161tenim vizirima ne putuju sami prema tajnom znanju bogova. Direktnim televizijskim prijenosom cijelo \u010dovje\u010danstvo putuje s njima, te postaje su-dionikom nebeske tajne. \u017divo tijelo junaka mora biti vra\u0107eno na Zemlju, me\u0111u zajednicu iz koje je poteklo, a zajedno s tim tijelom vra\u0107aju se i svi drugi virtualni putnici. Umjesto slave visokoj tehnologiji i njezinim vrhovnim sve\u0107enicima – upraviteljima fondova cijele zajednice, funkcionalnim se pokazuje sudioni\u0161tvo cijelog \u010dovje\u010danstva u nekoj vrsti izvedbe monomita o \u010demu pi\u0161e Campbell: „.avantura junaka normalno slijedi obrazac\u2026 odvajanje od svijeta, ulazak u neki izvor mo\u0107i, povratak oboga\u0107enog \u017eivota“ (Campbell, 2004:33). Ljudsko tijelo, a ne raketa, mora biti vra\u0107eno na Zemlju kako bi se odvila globalna katarza. Ne mo\u017ee poput ruske kujice Laike biti ostavljeno u vakuumu i \u017ertvovano na oltaru uspona visoke tehnologije. Taj se uspon gradi i odr\u017eava interesom \u010dovjeka za izvedbu pitanja o svojoj vlastitoj svrsi, a na koje odgovor nije autonomija tehnologije i anihilacija ljudskosti. Zato dana\u0161nji prodor ljudi u digitalno su\u010delje strojevi ne mogu promatrati kao invaziju barbara, jer nijedna strana nije dovoljno razvijena da mo\u017ee jednostrano nametnuti vlastitu isklju\u010divu poetiku. <\/p>\n

      Sljede\u0107i skok tehnologije iz pozadine na globalnu pozornicu nedvojbeno je bio problem milenijskog y2k bug-a<\/em>, a koji se prigodno dogodio 2000. Strojevi su bili prisiljeni pokazati svoju trenutnu poziciju izlaskom iz pozadine u kojoj su desetlje\u0107ima tiho obavljali svoje radnje. Globalna panika zbog mogu\u0107nosti uru\u0161avanja sustava suvremene civilizacije nastaje otkrivanjem izvorne pogre\u0161ke u najranijim programskim kodovima. Datumske sekvence novog milenija strojevi nisu bili nau\u010deni prepoznavati. Ve\u0107ina ljudi nije do tada bila svjesna koliko su duboko ra\u010dunala i digitalna tehnologija integrirani u dru\u0161tvo, a to im je otkriveno izvedbom pogre\u0161ke. Dogodio se coup de theatre<\/em>, onaj trenutak koji sve prethodne kauzalnosti osvjetljava u novom kontekstu i sve stavlja u novi poredak. Nije se dogodio „kraj svijeta“ (Gere, 2008:209) u fizi\u010dkom smislu, ali je izazvao kraj svijeta u kulturnom smislu. Gere pi\u0161e kako se ipak dogodila apokalipsa: „Bila je to apokalipsa u drugom smislu, apo-kalyptein, otkrivenje ili otkrivanje onoga \u0161to je prije bilo skriveno. Kao munja nad zamra\u010denom scenom, ona je u\u010dinila nevidljivim ono \u0161to je dosad bilo nejasno; gotovo potpunu transformaciju svijeta digitalnom tehnologijom. Te\u0161ko je shvatiti punu mjeru te transformacije, koja se, barem u razvijenu svijetu, mo\u017ee promatrati u gotovo svakom aspektu moderna \u017eivota. Ve\u0107ina oblika masovnih medija, televizije, snimljene glazbe, filma, proizvodi se i sve vi\u0161e distribuira digitalno. Ti se mediji po\u010dinju sjedinjavati s digitalnim oblicima, kao \u0161to su internet, World Wide Web i videoigre, kako bi proizveli besprijekoran digitalni medijski prostor“ (Gere, 2008: 13). Dvadeset godina poslije milenijskog y2k bug-a<\/em> mo\u017ee nam se \u010diniti kako digitalno su\u010delje u potpunosti dominira dru\u0161tvom i ljudskom kulturom. Ipak, ne smijemo zaboraviti kako su originalnu krizu milenijskog bug-a<\/em> rije\u0161ili posebni „super junaci“ \u2013 ljudski izvo\u0111a\u010di u ulogama programera ra\u010dunalnog koda i hakera. Globalna publika napeto je promatrala pozornicu na kojoj se odigravala izvedba rata za spas ljudske civilizacije. Vitezovi digitalnog doba ispravili su „grijeh ra\u010dunala“ i divlje tehno-zmajeve<\/em> vratili u su\u010delja slu\u017eenja \u010dovje\u010danstvu. Digitalna kultura, proiza\u0161la iz krize y2k <\/em>konstituirana je, dakle, i strojnim i ljudskim atributima. To dokazuje i pojava web 2.0<\/em> paradigme. Po\u010detkom 2005. objavljena je pobjeda koncepta mre\u017ene dru\u0161tvenosti, participacije, distribucije informacija digitalnom mre\u017eom bez sredi\u0161nje kontrole i individualne kreativnosti, a koji se od tada naziva web 2.0.<\/em> Za ve\u0107inu globalne publike ova objava do\u0161la je kao iznena\u0111enje jer nisu ni znali da se u pozadini odvija bitka izme\u0111u razli\u010ditih koncepata upotrebe digitalne komunikacijske mre\u017ee. Korisnicima se dvostruka komunikacija, trenutan pristup informacijama i sloboda kori\u0161tenja digitalnih mre\u017ea \u010dinila kao samorazumljiva osobina digitalne kulture. Malo tko je razmi\u0161ljao o tome kako je digitalna mre\u017ena komunikacija mo\u017eda prva situacija u povijesti ljudskog dru\u0161tva u kojoj informacija nije distribuirana i kontrolirana iz jednog sredi\u0161ta. Napu\u0161tanje takvog vi\u0161estoljetnog mehanizma nije se moglo dogoditi dobrovoljno, nego je moralo biti pobjeda u te\u0161koj, ve\u0107ini nevidljivoj bitki. Za ljude, izvedba, umjetni\u010dka ili svakodnevna, nije popri\u0161te nadmetanja u funkcionalnosti ili te\u017enja za pobjedom boljeg izvo\u0111a\u010da, ve\u0107 ona sadr\u017ei i mno\u017einu nepoznatih, za funkcionalnost su\u010delja nepotrebnih i suvi\u0161nih elemenata. Mo\u017eda je stroj zato popustio u ratu za dominacijom i pristao na ljudske individualne slobode i kreativnosti u mre\u017ei. Dugo godina smatralo se kako ta ste\u010dena sloboda ljudi u kori\u0161tenju digitalne tehnologije ne mo\u017ee biti ni\u010dim ugro\u017eena, jer obje strane mirno koegzistiraju i razvijaju se. Tu idilu mogla bi poremetiti samo pojava neke u\u017easne katastrofe koja bi istovremeno ugrozila i strojeve i ljude, a \u0161to se, do 2019., doimalo nemogu\u0107im scenarijem.<\/p>\n

       <\/p>\n

      2.2. Mrtvo \/ \u017divo su\u010delje<\/strong><\/p>\n

      Novi igra\u010d na globalnoj pozornici predstavlja se imenom ljudske godine u kojoj se pojavio, 2019. Nije ni stroj ni \u010dovjek, nije ni mrtav ni \u017eiv. Njegov cilj je jasan, on \u017eeli osvojiti pozornicu samo za sebe. On ne pregovara nego prodire i to svojom jednostavnom izvedbom. Virus ne \u017eudi za dominacijom nad su\u010deljem, on \u017eudi za pretvaranjem su\u010delja u samog sebe. Virus je i izvo\u0111a\u010d i pozornica. Schnitzler pi\u0161e, navodi Baudrillard, kako virusu ili mikrobu ljudsko tijelo predstavlja njegov pejza\u017e, njegov svijet koji se polagano uni\u0161tava njihovim razvojem, te kako „iz to\u010dke gledi\u0161ta nekog vi\u0161eg organizma, \u010dovje\u010danstvo samo jest bolest; kako postojanje \u010dovje\u010danstva posjeduje taj vi\u0161i organizam kao preduvjet, kao osnovni element, kao zna\u010denje, i kako mi zauvijek nastojimo \u2013 zapravo smo obavezni \u2013 uni\u0161titi ga razvijaju\u0107i se (\u2026) mo\u017eda nam je dopu\u0161tena pretpostavka (\u2026) interpretirati povijest \u010dovje\u010danstva kao vje\u010dnu borbu protiv bo\u017eanskog koje, usprkos svojemu opiranju, biva polako i iz nu\u017enosti uni\u0161teno od strane ljudskog. U nastavku mo\u017eemo spekulirati kako taj transcendiraju\u0107i princip, koji nama izgleda \u2013 ili kojeg slutimo \u2013 bo\u017eanskim, sam transcendiran drugim, jo\u0161 vi\u0161im, principom, i tako u vje\u010dnost“ (Baudrillard, 1993: 162). Ovaj virus, covid19, ima mo\u017eda najte\u017ei zadatak u povijesti virusa. Njegova pozornica nije samo jedna, nego, najmanje, dvije. Osim ljudskog tijela tu je i digitalno su\u010delje, pozornica u kojoj su ljudi potra\u017eili uto\u010di\u0161te. Digitalna su\u010delja svojim tvorcima kao izgubljenoj djeci. nude tehno kraljevstvo<\/em>. Omogu\u0107uju im trenuta\u010dan prijelaz iz fizi\u010dke u digitalnu realnost, spasenje. Uobi\u010dajene ljudske koordinate prostora i pravci vremena suspendirani su i zamijenjeni kretanjem po svim osima i dimenzijama, a to su staze kojima virus iz organskog svijeta ne mo\u017ee uspje\u0161no napredovati.<\/p>\n

      Ljudi su naglo virtualizirali ve\u0107inu svojih aktivnosti, a\u00a0 kako bi sprije\u010dili kolaps civilizacije, ali u toj virtualizaciji koriste naslje\u0111e kontra kulture otprije ugra\u0111eno u sustav. Takvo naslje\u0111e osigurava slobodnu razmjenu informacija i preispitivanje odluka raznih sredi\u0161njica koje ishitreno izvode svoju autoritativnost poku\u0161avaju\u0107i iskoristiti krizu. I opet se razotkrivaju pozicije tehnologije u odnosu na ljudsko tijelo i njegovu izvedbu. Ljudsko tijelo postalo je izvo\u0111a\u010d samog sebe u digitalnom su\u010delju. Dakle, ne radi se o odranije provjerenom i uvje\u017ebanom predstavljanju preko digitalnih posrednika, primjerice avatara ili chatbotsa. Tijelo, lice, ruke, glas i drugi dijelovi tradicionalnog ljudskog izvo\u0111a\u010dkog aparata se snimaju, digitaliziraju i prikazuju u odre\u0111enim kontekstima koje sam izvo\u0111a\u010d ne mo\u017ee do kraja kontrolirati. Ljudski izvo\u0111a\u010d promatra samog sebe kao \u0161to je do nedavno promatrao sebe kroz digitalnog predstavnika, avatara. Su\u010delje koje nas takvima prikazuje nije vi\u0161e ni su\u010delje izvedbe u\u017eivo, umjetni\u010dka ili dru\u0161tvena pozornica, niti je su\u010delje ekrana izvedbe ne\u017eivih izvo\u0111a\u010da. <\/p>\n

      Ro\u0111eno je Mrtvo \/ \u017divo su\u010delje. Takvo su\u010delje stalno izvodi dvostruko, koriste\u0107i dramaturgiju \u017eivog i dramaturgiju ne\u017eivog izvo\u0111enja. Primjerice, ljudski izvo\u0111a\u010d u Mrtvo \/ \u017divo su\u010delje unosi sebe samog na na\u010din igranja uloge na realnoj pozornici u\u017eivo, svjestan da tako stvara izvo\u0111a\u010dki entitet koji vi\u0161e ne mo\u017ee sam kontrolirati. Strojna komponenta Mrtvo \/ \u017divog su\u010delja s lako\u0107om obavlja dodijeljeni mu zadatak egzekucije tra\u017eenih parametara kako bi ljudsko izvo\u0111enje u digitalnom su\u010delju bilo efikasno. Istovremeno, stroj djeluje i izvan okvira takve, uslu\u017ene djelatnosti, i izvodi po algoritmu vlastite \u017eudnje – pretvaranje ljudskog izvo\u0111a\u010da u bazu podataka. Ljudski izvo\u0111a\u010d u covid19 krizi predaje svoje tijelo izvedbom stroju iako je upoznat sa strojnim na\u010dinom djelovanja. Primjerice, suradnja tvrtki Facebook i Cambridge Analytica<\/a>[212<\/strong><\/span>]<\/sup><\/a> razotkrila je na\u010din na koje suvremeni centri politi\u010dke mo\u0107i koriste ljudsku izvedbu, i uop\u0107e prisutnost na digitalnoj mre\u017ei, kako bi ljude sveli na objekt koji se sastoji od nekoliko info to\u010daka. Takvi objekti slu\u017ee dalje kao baza podataka za kreiranje povratnih kampanja prema ljudima kako bi im se promijenio stav prije glasanja za neku politi\u010dku opciju. Zanimljivo kako su takve kampanje bile uspje\u0161ne samo ako bi bile kreativne, fikcionalne intervencije koje koriste narative svima poznatih obrazaca usvojenih u djetinjstvu ili u dru\u0161tvenoj stvarnosti kojom smo okru\u017eeni.<\/p>\n

      Dvostrukost kao narav Mrtvo \/ \u017divog su\u010delja o\u010dituje se u mnogim aspektima njegovog kori\u0161tenja, pa \u010dak i skepsi koju mnogi ljudi izra\u017eavaju prema njegovoj korisnosti. Za vrijeme prve covid19 krize, u prolje\u0107e 2020., talijanski katoli\u010dki sve\u0107enik Longo, frustriran zabranom odr\u017eavanja misnog slavlja u\u017eivo, poku\u0161ao je svoj pametni telefon iskoristiti kao pomagalo kojim \u0107e snimati samog sebe kako vodi misu. Tako bi vjernici na svojim ekranima mogli direktno pratiti misu. Bizarna radnja sve\u0107enika u sve\u010danoj odori kako sam za sebe dr\u017ei misu u praznoj crkvi, pretvorena je u grotesku kada je stroj samoinicijativno primijenio dramaturgiju izvedbe otprije ugra\u0111enu u sebe te aplicirao razli\u010dite zabavne filtere na sve\u0107enikovo lice. Tako su vjernici mogli vidjeti veliku \u017eabu, \u017euto nasmije\u0161eno lice ili zmaja kako ozbiljno predvode misno slavlje (Ridler 2020). Pristup tehnologiji kao pomaga\u010du u ostvarenju na\u0161ih \u017eudnji uvijek razotkriva dvostruku narav su\u010delja, a koje se posve razotkrilo u Mrtvo \/ \u017divom su\u010delju. Ishii Hiroshi s ameri\u010dkog M.I.T.-a, ka\u017ee kako mi ljudi danas imamo dvostruko dr\u017eavljanstvo jer tijelima smo u fizi\u010dkoj realnosti a umovima u digitalnoj (Hiroshi, 2019 :13min.). Na mjestu njihova susreta, koje je poput mjesta susreta mora i kopna, nastaju kompleksne tvorevine. Nisu samo oboga\u0107ivanja ljudskog izvo\u0111enja u digitalnom su\u010delju takve kompleksne tvorevine, nego su i materijalizacija predstavnika digitalne realnosti u fizi\u010dkoj realnosti. Primjerice, japanska pop zvijezda s publikom od nekoliko miliona obo\u017eavatelja, Hatsune Miku zapravo je ra\u010dunalno generiran hologram, a koji je i slu\u017ebeno u braku s jednim ljudskim bi\u0107em. Drugi je primjer antropomorfni robot Sophie kojoj je jedna dr\u017eava slu\u017ebeno dodijelila dr\u017eavljanstvo. Mrtvo \/ \u017divo su\u010delje prote\u017ee se po svim osima svih realnosti. Grinderi, ljudska bi\u0107a koja u svoja tijela ugra\u0111uju razli\u010dita tehnolo\u0161ka pomagala, \u010dipove, rasvjetu ili kemijskim supstancama privremeno zadobivaju mo\u0107i tehnolo\u0161kog su\u010delja (poznat je primjer grindera koji dobivaju privremeni no\u0107i vid ukapavanjem odre\u0111enih supstanci), poku\u0161avaju izna\u0107i put kojim bi ljudsko tijelo direktno ulazilo u stroj. Takav put podrazumijeva toleranciju na dvostrukost, na poigravanje s vlastitim identitetom i izvo\u0111enje drugih identiteta kao svojeg.<\/p>\n

      Najve\u0107i otpor virtualizaciji, alterniranju izvo\u0111a\u010dkog identiteta, u covid19 prvoj krizi dolazi iz krugova ljudske izvo\u0111a\u010dke umjetnosti, kazali\u0161ta, opera, plesne umjetnosti i drugih. Isti\u010de se nezamjenjivost fizi\u010dkog tijela u izvedbi i osiroma\u0161ivanje ljudskog izvo\u0111a\u010dkog registra u njemu neprirodnom su\u010delju. To je samo rezultat dugogodi\u0161nje nespremnosti tradicionalne izvo\u0111a\u010dke umjetnosti da novu digitalnu tehnologiju prihvati kao ne\u0161to vi\u0161e od uobi\u010dajene inkorporacije novih medija u tradicionalnu strukturu predstava i drugih izvo\u0111enja, tj. multimedijalno oboga\u0107ivanje postoje\u0107ih obrazaca. Stolje\u0107e nakon Piscatorovog kori\u0161tenja novih medija za atrakciju publike, kazali\u0161ta i druge tradicionalne izvo\u0111a\u010dke umjetnosti ne znaju kako se obratiti svojim novim publikama. Najvi\u0161e im ote\u017eava realnost publika ra\u0161trkanih, ne samo prostorno nego i vremenski, po digitalnom su\u010delju. Problem jedinstva mjesta i radnje kojim se kazali\u0161te bavilo stolje\u0107ima na pozornici kao da je sada eksplodirao u svim pravcima. I umjesto da iskoristi tu eksploziju za osvjetljavanje tame novog izvo\u0111a\u010dkog su\u010delja, suvremena kazali\u0161ta na covid19 krizu odgovaraju bizarnim radnjama, primjerice kori\u0161tenjem postoje\u0107ih mre\u017enih kanala, poput YouTube, za prikazivanje starih arhivskih snimaka svojih predstava. Cijeli sustav financiranja i organizacije tradicionalnih umjetnosti koje ovise o ljudskom izvo\u0111a\u010du doveden je u pitanje. Umjesto brze prilagodbe izvo\u0111a\u010dke pozornice digitalnom su\u010delju, kori\u0161tenju mogu\u0107nosti mre\u017ene komunikacije za pribli\u017eavanje izvo\u0111a\u010da publici i obrnuto, namjernog razotkrivanja kreativnog procesa, fragmentiranja predstava u dramatur\u0161ki neovisne cjeline i sl., tradicionalna kazali\u0161ta nude javne iskaze zaprepa\u0161tenosti situacijom u kojoj ljudski izvo\u0111a\u010d vi\u0161e ne mo\u017ee biti sredi\u0161te svake izvedbe.<\/p>\n

       <\/p>\n

      3. SIMULCAST<\/strong><\/p>\n

      Tako \u010dlanovi ansambla Metropolitan Opere u New Yorku izjavljuju kako ni\u0161ta ne mo\u017ee zamijeniti izvedbu u\u017eivo ili pjeva\u010dev glas koji se \u010duje u gledali\u0161tu prisutnom u istom prostoru i vremenu izvedbe (Gelb, 2020), iako ta ku\u0107a ve\u0107 godinama uspje\u0161no producira funkcionalno su\u010delje zajedni\u010dke izvedbe \u017eivog i ne\u017eivog, Simulcast<\/em>. U osnovi je to direktni prijenos premijerne operne predstave na pozornici Metropolitan ku\u0107e u New Yorku, namijenjen prikazivanju publici \u0161irom planete, a koja se nalazi u kino dvoranama opremljenim digitalnom tehnologijom. Predstavu na taj na\u010din mo\u017ee pratiti i bilo tko tko ima pristup su\u010delju preko drugih ekrana, primjerice ra\u010dunala, telefona i sl. Takvu predstavu, kao paralelno su\u010delje na svojim ekranima, mo\u017ee pratiti i publika koja sjedi u gledali\u0161tu u\u017eivo. Predstava koja se odvija na pozornici u\u017eivo razlikuje se i dramatur\u0161ki od iste predstave koja se prikazuje u digitalnom su\u010delju. Publika digitalnog su\u010delja mo\u017ee vidjeti vi\u0161e detalja, mo\u017ee mijenjati planove izvedbe, jasnije \u010duti ton i sl. Publika digitalnog su\u010delja suo\u010dena je i s promjenom u na\u010dinu percepcije predstave. Naime, kamera ru\u0161i tradicionalno odricanje od nevjerovanja tako \u0161to prikazuje izvo\u0111a\u010de kako se presvla\u010de u kostim, \u0161minkaju, intervjuira ih neposredno nakon izlaska s pozornice. U pauzama predstave, publika ima priliku i vidjeti razgovore s dirigentom, redateljem i izvo\u0111a\u010dima. Publika digitalnog su\u010delja mo\u017ee odabrati i dodatnu vrstu izvo\u0111a\u010dkog ekrana jer ima i pristup digitalnoj mre\u017ei. Tako mo\u017ee pro\u010ditati podatke o predstavi i izvo\u0111a\u010dima, mo\u017ee pogledati snimku neke ranije predstave kako bi usporedila izvedbe, a mo\u017ee se i prebaciti na neku sasvim drugu aktivnost. Ve\u0107ina publike nalazi se u razli\u010ditim vremenskim zonama, prostorima i grupama, ali cijeli mehanizam izvedbe svejedno funkcionira. Cijela ta dvostrukost izvedbe, vi\u0161estrukost su\u010delja i kaos izvo\u0111a\u010dkog vremena i prostora izaziva svojevrsni o\u010daj kod izvo\u0111a\u010da u\u017eivo. Oni su naviknuti na dramaturgiju postupnog gra\u0111enja predstave, razvijanje do vrhunaca izvedbe u suglasju sa publikom u\u017eivo i njihovim reakcijama, optimizaciju pozornice kako bi iluzija bila besprijekorna i sl. Tako uskogrudan pristup izvedbi je zapravo protivan i samoj ideji izvedbe, ali i iskustvu izvedbe koje postoji izvan posljednja dva stolje\u0107a zapadnog kulturnog kruga. Azijska kazali\u0161ta jo\u0161 uvijek \u010duvaju princip fragmentacije izvedbe i ra\u0161trkanosti publike (Kulenovi\u0107, 1983:223), a koji je normalno funkcionirao i u europskim kazali\u0161tima do kraja osamnaestog stolje\u0107a. Publika bi prestajala ogovarati, me\u0111usobno glasno pri\u010dati, jesti ili pjevati tek kada bi se izvo\u0111a\u010d na pozornici pribli\u017eio nekom op\u0107epoznatom i od svih i\u0161\u010dekivanom mjestu. Izvo\u0111a\u010d je bio spreman na takvu razli\u010ditost u realnostima izvedbenih stanja, pa je i svoju izvedbu prilago\u0111avao trenutnim okolnostima, a ne okolnosti izvedbi.<\/p>\n

      Nasljednici glumaca i izvo\u0111a\u010da koji svoju izvedbu u\u017eivo prilago\u0111avaju dramaturgijama razli\u010ditih su\u010delja odavno nastupaju pred ljudskim publikama ra\u0161trkanim po razli\u010ditim prostorima i vremenima. Primjerice, mre\u017ena platforma Twitch<\/em> istovremeno na jedinstvenom ekranu prikazuje igranje ra\u010dunalnih igara, prikazuje ekranom u ekranu samog igra\u010da u\u017eivo, prikazuje i ekran razgovora u kojem se vidi izmjena tekstualnih komentara korisnika, a \u010desto uklju\u010duje i audio komentare korisnika, razgovor u\u017eivo s igra\u010dem, kao i kakofoniju sveop\u0107eg navijanja korisnika. Pojedini igra\u010di imaju i po nekoliko milijuna pratitelja, a \u010desto direktno sudjeluje na stotine tisu\u0107a korisnika. Takva izvedba nije samo hibrid razli\u010ditih spektakala, od sportskih igara do kazali\u0161ta, nego je i posve funkcionalno izvedbeno su\u010delje sastavljeno od \u00a0razli\u010ditih vremena i prostora izvedbe. Drugi primjer jesu virtualna kazali\u0161ta u perzistentnom digitalnom svijetu, Drugi \u017divot<\/em> (engl. Second life<\/em>). Umjesto blijede imitacije kazali\u0161ta iz fizi\u010dke realnosti i kori\u0161tenja avatara za recitiranje Shakespeara, sajberperformeri Eva Mattes i Franco Mattes<\/a>[213<\/strong><\/span>]<\/sup><\/a> kreiraju predstave znaju\u0107i kako njihova publika ne mora biti fizi\u010dki prisutna, \u010dak ni kao digitalni predstavnik, niti da mora opstojati u jedinstvenom vremenu, pa tako i njihova izvedba ne mora koristiti linearno izvedbeno vrijeme. Digitalno izvedbeno su\u010delje kao da se nalazi izme\u0111u dvije radikalne opcije; anemi\u010dne simulacije tradicionalnog kazali\u0161ta ili stvaranja izvedbenih formi koje ne trebaju tijelo glumca. <\/p>\n

       <\/p>\n

      4. IZVEDBENI KONTINUUM<\/strong><\/p>\n

      Dramaturgijom kontinuuma mogli bismo nazvati registar alata kojima uspijevamo locirati sva izvedbena su\u010delja koja konstituiraju cjelinu neke suvremene digitalne izvedbe. Kako izvedbena cjelina u digitalnom okru\u017eenju ne mora imati precizno odre\u0111en po\u010detak ili kraj nego se mo\u017ee nastavljati unedogled i u razli\u010ditim oblicima, tako je radije nazivamo izvedbenim kontinuumom<\/em>. U takvom izvedbenom kontinuumu obi\u010dno prepoznajemo elemente tradicionalne dramaturgije, primjerice tekstualni predlo\u017eak ili redateljsku mre\u017eu izvedbe u\u017eivo, ali i elemente nove dramaturgije masovnih medija ili dramaturgije digitalnog izvedbenog su\u010delja. Izvedbeni kontinuum se dakle, sastoji od mikro-dramaturgija izvedbenih fragmenata. Posebna vrsta dramaturgije, dramaturgija pozadine, nazvana po uzoru na izvedbeni kontinuum u srednjovjekovnim mansionskim crkvenim prikazanjima, usmjerava sve fragmente kao objekte u jedinstvenu cjelinu. Takva cjelina bli\u017ea je ra\u010dunalnoj bazi podataka nego tekstualnom predlo\u0161ku koji se inscenira nekim oblikom naracije. Baza podataka mo\u017ee se uvijek iznova usmjeriti u novom \u017eeljenom pravcu bez ograni\u010denja hijerarhijske strukture naracije. Manovich pi\u0161e kako „ovi medijski umjetnici jo\u0161 moraju nau\u010diti kako bazu podataka i narativ sljubiti u novu formu“ (Manovich, 2002:18). Nova dramaturgija digitalne umjetni\u010dke izvedbe, ili izvedbenog kontinuuma, sve ulazne podatke, tekst, izvedbu, publiku, ekrane i dr. tretira kao obrasce izvedbenog pona\u0161anja, te ih kombinira u izvedbene forme. Digitalna izvedba raste na bazama podataka i njihovom eruptiranju i orbitiranju.<\/p>\n

      Drugi konstitutivni element suvremenih digitalnih umjetni\u010dkih izvedbi je ljudska izvedba u\u017eivo prevedena na jezik baze podataka. Izvo\u0111a\u010d u\u017eivo koristi registar izra\u017eaja svojeg tijela, lica, glasa, maske, kostima, scenografije i dr. kako bi predo\u010dio odre\u0111eni sadr\u017eaj u odre\u0111enom emotivnom okru\u017eenju. U digitalnoj izvedbi ljudski izvo\u0111a\u010d svjesno predaje registar svoje izvedbe u\u017eivo kameri. Jo\u0161 Benjamin pi\u0161e kako se izvo\u0111a\u010d ispred kamere osje\u0107a kao \u010dovjek pred zrcalom ali je njegov odraz odvojiv, prenosiv i daje se na uporabu i kontrolu nevidljivoj publici, djeluje svojom osobom, ali je li\u0161en aure jer ne postoji kopija aure bez ovdje i sada (Beker, 1986:339). U covid19 krizi svaki \u010dovjek je automatski postao izvo\u0111a\u010d u digitalnom izvedbenom okru\u017eenju. Sada ljudski izvo\u0111a\u010d ne predaje svoju izvedbu kameri kao odraz koji je odvojiv i kojega mo\u017ee kontrolirati nevidljiva publika, nego svoj izvedbeni odraz predaje kameri kao izvedbenom oru\u0111u naslije\u0111ene mo\u0107i. Mould pi\u0161e kako „mo\u0107 koja je utkana, naslije\u0111ena u kameri ili komadi\u0107u scenografije mo\u017ee biti jednako toliko mo\u0107na ili nasljedno mo\u0107na (engl. power-inherent) kao verbalne ili gestualne upute od redatelja (koje same ne bi bile mogu\u0107e bez neljudskih aktanata, poimeni\u010dno: kamere, videomonitora, megafona pa \u010dak i redateljeve stolice). Ako slijedimo Latoura, svaka akcija u produkciji medija koja je iznesena ljudskim izvo\u0111a\u010dem (redateljem, gaferom, monta\u017eerom) zavr\u0161ava u akciji neljudskog (pokreta kamere, sheme svjetla, digitalizaciji snimke).“ (Mould, 2009:204). Kamera je 2019. prisutna posvuda, na ra\u010dunalima i pametnim telefonima, i djeluje kao skener<\/em>, a ne vi\u0161e kao mehani\u010dko oko – produ\u017eetak ljudskog oka. Skenirani odraz ljudskog izvo\u0111a\u010da automatski se pretvara u impersonalne podatke, \u010dvori\u0161ta mre\u017ee koja se gradi u su\u010delju. Publika koja svojim interesom ili ne-interesom kontrolira izvedbeni odraz vi\u0161e nije televizijska ili kino publika, okupljena na jednom mjestu ili u jednom vremenu i oko zajedni\u010dkog izvo\u0111enja. Publiku digitalne izvedbe su\u010delje priziva samo i, nerijetko, konstituira samo. Publika izvedbu percipira posredno kao kodificirani proces. Ljudska izvedba u takvoj konstelaciji pokazuje sklonost shematizaciji, Artaudovim hijeroglifima tijela ili Meyerholdovim biomehani\u010dkim pozicijama, a koje se \u010dine vi\u0161e kompatibilne s digitalnim izvedbenim su\u010deljem nego \u0161to bi to mogao biti ekspresivni tjelesni gr\u010d kao kod Grotowskog. Diskurs izvo\u0111a\u010dkog tijela u\u017eivo kao da je u\u0161ao u sivu zonu. S jedne strane kodificiran je ritualnim, dru\u0161tvenim ili umjetni\u010dkim obrascima, a s druge strane opire se shematizaciji, odbija biti kodom u algoritmu mehani\u010dkog izvedbenog sustava. U nastupaju\u0107em periodu uzbudljivog otkrivanja novih mogu\u0107nosti umjetni\u010dke izvedbe u srazu ljudskog i strojnog ne smije se zaboraviti kako su upravo ljudski izvo\u0111a\u010di uspjeli transcendirati vrijeme i prostor, kao u performansima trajanja Marine Abramovi\u0107 ili Tehching Hsieh-a. <\/p>\n

       <\/p>\n

      5. POPRI\u0160TE RATA<\/strong><\/p>\n

      Svjesni pretvaranja svojeg izvo\u0111a\u010dkog tijela u odraz kojeg stroj skenira i razla\u017ee u baze podataka, glumci tradicionalnog kazali\u0161ta namjerno izazivaju bitku s izvo\u0111a\u010dkim su\u010deljem stroja, a kao subverzivni \u010din prema novom su\u010delju. Ameri\u010dko kazali\u0161te Popri\u0161te rata<\/em> (Theatre of war<\/a>[214<\/strong><\/span>]<\/sup><\/a>) poznato je po kazali\u0161nim predstavama ratne i poratne tematike. Iako to kazali\u0161te djeluje kao tradicionalna izvo\u0111a\u010dka forma: glumac-pozornica-publika, vrlo \u010desto u svoje izvedbe uklju\u010duje i elemente participativne izvedbe. Primjerice, nakon izvedbe u\u017eivo redovite su diskusije s publikom. U covid19 krizi u prvoj polovici 2020. to kazali\u0161te izvodi Sofoklovog Kralja Edipa. Ta izvedba postavljena je kao tradicionalna gluma\u010dka predstava u\u017eivo, ali je izvedena na digitalnoj mre\u017enoj platformi Zoom<\/a>[215<\/strong><\/span>]<\/sup><\/a>. Kazali\u0161ni glumci pokrenuli su ovu izvedbu kao svojevrsnu bitku sa strojnim su\u010deljem, a u cilju dokazivanja kako je mogu\u0107 funkcionalni kazali\u0161ni do\u017eivljaj i u uvjetima neprisutnosti izvo\u0111a\u010da i publike u\u017eivo. Isti\u010dem kako se ovdje namjerno opisuje izvo\u0111enje tradicionalne kazali\u0161ne predstave nastale prema klasi\u010dnom predlo\u0161ku starogr\u010dke tragedije, a ne eksperimentalni izvo\u0111a\u010dki \u010din kojemu za cilj nije izazivanje kazali\u0161ne katarze, kao u slu\u010daju hibridnih digitalnih izvedbi u podru\u010dju suvremene umjetnosti. Cilj je bio dokazati da je mogu\u0107e kazali\u0161te koje ne mo\u017ee postojati ni bez digitalnog su\u010delja niti bez gluma\u010dkog tijela u \u017eivoj izvedbi. Zadatak glumaca je pomno izgra\u0111ivanje kazali\u0161ne emocije i izazivanje katarze kod gledatelja, a bez znanja koliko ih ljudi gleda, tko ih gleda i da li njihova izvedba tehni\u010dki uop\u0107e funkcionira u odre\u0111enom trenutku. Glumci izvo\u0111enjem u\u017eivo ostavljaju tragove, a te tragove \u010ditaju drugi, strojevi ili ljudi. Na\u010din izvo\u0111enja mora biti takav da ne dopusti dominaciju interpretacije tragova po volji stroja ili nevidljive ljudske publike, ve\u0107 da interpretacija bude u skladu s dramatur\u0161kom namjerom izvo\u0111a\u010da. Radnja ove izvedbe je svojevrsno „osvajanje pozornice“ kako Fergusson tuma\u010di ono \u0161to rade Pirandellovi likovi u „\u0160est lica tra\u017ee autora,“ jer tu pozornicu svaki lik \u017eeli preuzeti i pretvoriti je u su\u010delje za svoj vlastiti „racionalizirani mit koji jest ili \u0107e biti njegovo pravo bi\u0107e\u2026 Pirandello vidi sam ljudski \u017eivot kao ne\u0161to teatralno. \u0160to te\u017ei tragi\u010dnoj epifaniji i mo\u017ee sa samo kroz nju ostvariti“, a to otvara mogu\u0107nost za izvrtanje konvencije modernog realizma koja tra\u017ei pretvaranje kako pozornica nije pozornica nego primjerice salon, pa se tako sada mo\u017ee pretvarati da salon nije realan, „nego je pozornica koja sadr\u017ei mnoge ‘realnosti’“ (Fergusson, 1972:187). Glumci ameri\u010dkog kazali\u0161ta Popri\u0161te rata nisu zajedno u fizi\u010dkom prostoru jedinstvene pozornice nego svaki od njih izvodi na svojoj vlastitoj pozornici, a koja je njihova vlastita ku\u0107a. Umjesto scenografije vidi se kuhinja, radni stol, hodnik, dnevna soba i sl. Na ekranu ra\u010dunala ili televizora gledatelj vidi izvedbu u\u017eivo glumca koji je u svojem vlastitom kazali\u0161tu \u2013 ekranu. Ponekad su ti ekrani svi zajedno na su\u010delju, a ponekad samo jedan ili dva, ovisno o dinamici izvedbe koju odre\u0111uje nevidljivi dramaturg \/ redatelj. Za tog skrivenog koordinatora pretpostavljamo da je \u010dovjek, ljudski operater su\u010delja koji izvodi u\u017eivo. Istovremeno smo svjesni da monta\u017eu ritma izmjenom broja vidljivih ekrana mo\u017ee izvoditi i stroj. Glumci namjerno svoja nena\u0161minkana i nemaskirana lica primi\u010du bli\u017ee kameri, a kako bi tako zauzeli ve\u0107i dio svojeg ekrana \/ pozornice. Likovi koje glumci igraju ozna\u010deni su i tekstualnim obavijestima na ekranu svakog od njih. Glumci gledaju ravno u kameru, a \u0161to se na skupnom ekranu izvedbe interpretira kao da svi gledaju ravno ispred sebe. Komuniciraju jedni s drugima tako da i dalje gledaju ravno, umjesto da koriste usmjeren pogled u ekran lika kojem se obra\u0107aju. Tako su kreirali zajedni\u010dku pozornicu u umu gledatelja.<\/p>\n

      Glumci u ovom „Zoom Edipu“, koriste tradicionalni registar izvedbe u\u017eivo, izgovaraju tekst u razli\u010ditom ritmu i tempu, balansiraju emocijama, koriste grimase i geste kao obrasce, dominiraju izvedbenim su\u010deljem kada je red na njih da govore. Iako ova izvedba ne koristi nijedan o\u010dekivani scenski efekt, nema glazbe ili audio efekata, nema maske, \u0161minke ili kostima, nema posebnog osvjetljenja i sl., ona ipak uspijeva stvoriti emotivni naboj kod publike koja izvedbu prati preko ekrana. Sam obrazac izvedbe, digitalno su\u010delje, pozicije glumaca u malim ekranima koje sugeriraju panopti\u010dki prostor nad-kontrole (Foucault, 1995:200), a sve to kombinirano s promi\u0161ljenom gluma\u010dkom interpretacijom, stvara atmosferu visoke napetosti. Visoka napetost je preludij za magijsko o\u010daranje kakvo je vjerojatno postizao i anti\u010dki glumac pomo\u0107u svojih „ekrana“: karakterne maske, podignutih \u010dizama i iznenadnih pojava strojnih bogova. Sraz tehnologije, dramaturgije, re\u017eije i ljudskog izvo\u0111enja u ovoj je izvedbi toliko balansiran da je izvedbena maska sam ekran u kojem je glum\u010devo lice integrirano. Svako dodavanje, primjerice derivata anti\u010dke maske, dovelo bi do ote\u017eavanja izvedbe asocijacijom na pretjerana maske \u2013 filtere kakve upotrebljavaju aplikacije digitalnog su\u010delja SnapChat<\/em> ili Instagram<\/em>. Pozornica je izra\u0111ena od elektronske statike iscrtane u obliku ekrana, ali je i dinami\u010dna jer se ti ekrani stalno izmjenjuju u brojnosti i dominaciji. Upravo izmjenom broja prozora na ekranu posti\u017ee se rudimentarna scenska napetost. Primjerice, od ekspresivnog Edipovog govora u jednom ekranu, prizor se \u0161iri na vi\u0161e ekrana iz kojih govore Tiresija, Zbor, Kreont. Sva\u0111u koja se tako ra\u0111a zaustavlja Jokasta. Ona je za nas gledatelje prisutna kao nijemi lik koji otprije promatra radnju iz svojeg ekrana. Zbog takve pripreme gledatelji spremno prihva\u0107aju identifikaciju s Jokastom kada ona progovori. Radi se o promi\u0161ljenom dramatur\u0161kom postupku. Ali dramaturgija funkcionira i kod digitalnog su\u010delja. Primjerice svi glumci \/ likovi gledaju u prazno, ispred sebe. Gledatelj to do\u017eivljava kao pogled u njega. On taj pogled kanalizira i usmjerava u novo su\u010delje koje povezuje sve poglede. Pogled lika te\u010de kroz gledateljevu pozornicu uma nazad prema drugom liku ispred gledatelja. <\/p>\n

      Sofoklo svima poznat mit o Edipu koji je nehotice ubio vlastitog oca, spasio grad Tebu od Sfinge pa sam postao kraljem, te o\u017eenio vlastitu majku i s njom dobio djecu, zapo\u010dinje usred epidemije koja ubija grad. Edip \u017eeli opet pobijediti ne-ljudskog neprijatelja. Usprkos savjetu onoga koji je povezan s drugim realnostima, Tiresije, da se ne trudi previ\u0161e oko toga, on uporno analizira tragove. Tako postepeno gubi zidove kojima je bio okru\u017een i oslobo\u0111en od realnosti istine. A ta, istinita realnost, uni\u0161tava onoga koji je spozna. Digitalno izvo\u0111a\u010dko su\u010delje danas, u covid19 krizi, kao da ljudima savjetuje da se ne trude \u010ditati tragove virusa, ve\u0107 da se prepuste novoj realnosti. Uostalom, tehnologija se ve\u0107 u samim po\u010decima pokazala kao uspje\u0161no lje\u010dili\u0161te ljudi. Bolesnici s fobijama suo\u010davani su s posebno generiranom grafi\u010dkim su\u010deljima ra\u010dunala animiranima na na\u010din da pacijenta vode suo\u010denju sa strahom i potencijalnom izlje\u010denju. Novija istra\u017eivanja i izvedbu anti\u010dke tragedije povezuju sa medicinskim tretmanima, osobito lije\u010denjem oboljelih od ratnih trauma. Arheolo\u0161ka istra\u017eivanja nedvosmisleno ukazuju na povezanost starogr\u010dkih kazali\u0161ta s ritualnim i medicinskim diskursom. Kazali\u0161ta su hodnicima povezana s hramovima Asklepijusu, bogu medicine, a koji su bili i lje\u010dili\u0161ta. Katarza kojom je Aristotel opisivao utjecaj tragedija na publiku mo\u017eda je primarno imala medicinsku ili religioznu konotaciju, pi\u0161e Batuman (Batuman, 4:2020). U izvedbi Kralja Edipa kazali\u0161ta Popri\u0161te Rata<\/em> kori\u0161tena je tradicionalna dramaturgija kontrole razvoja interpretacije kako bi do\u0161lo do zajedni\u010dkog osje\u0107aja katarze, a svaka intervencija gledatelja koju omogu\u0107uje digitalna tehnologija onemogu\u0107ena je unaprijed. Primjerice, u telekonferencijskim aplikacijama poput Zooma korisnik mo\u017ee proizvoljno birati koji \u0107e ekran \/ ekrani biti vidljivi na su\u010delju, koliko \u0107e dugo trajati pojedini ekran, mo\u017ee mijenjati pozadinu kao scenografiju, dodavati razli\u010dite filtere i maske i sl. Onemogu\u0107avanjem takve diversifikacije pa\u017enje autori projekta Kralj Edip omogu\u0107ili su postizanje klasi\u010dne kazali\u0161ne katarze oboga\u0107ene i katarzama interakcije stroja i \u010dovjeka. Ipak, nije te\u0161ko zamisliti budu\u0107e digitalne izvedbe koje zadr\u017eavaju tradicionalna obilje\u017eja kazali\u0161ne interpretacija, ali u kojima je publika aktivno uklju\u010dena razli\u010ditim mogu\u0107nostima intervencije u izvedbu. Takvo proizvoljno mijenjanje fokusa, pogleda, pravca i sl. dovelo bi do razlaganja jedinstvenog osje\u0107aja katarze u podru\u010dja u kojima je ona do sada bila nezamisliva. Primjerice podru\u010dje odgo\u0111enog, odsutnog, bezvremenskog ili \u010dak uporabnog u fizi\u010dkoj realnosti. Arhive ljudske izvedbe koja je uspje\u0161no pretvorena u objekt analize mo\u017eda bi mogle biti nadopunjene i arhivama privremenih i nestabilnih procesa poput izvedbe kazali\u0161ne katarze pomo\u0107u podataka u bazama. <\/p>\n

       <\/p>\n

      6. \u010cOVJEK JE STROJU \u010cOVJEK<\/strong><\/p>\n

      Covid19 kriza pove\u0107ala je potra\u017enju za digitalnim kanalima komunikacije koji omogu\u0107uju simulaciju izvedbe ljudskog tijela. Razli\u010diti telekonferencijski kanali omogu\u0107uju istovremenu komunikaciju stotina korisnika u\u017eivo i to licem ili cijelim tijelom. Ljudski korisnik takvih kanala pona\u0161a se kao da izvodi na pozornici, bez obzira \u0161to se radi o poslovnoj, neumjetni\u010dkoj komunikaciji. Korisnik svjesno ili nesvjesno, ali prema otprije usvojenom obrascu, ure\u0111uje okoli\u0161 koji \u0107e se emitirati kao njegova pozadina i tako ga pretvara u scenografiju (takvu scenografiju mogu\u0107e je i kreirati elektronskom simulacijom), namje\u0161ta posebnu rasvjetu, pazi na ozvu\u010denje, pa\u017eljivo bira odje\u0107u, ure\u0111uje svoje lice, priprema mali scenarij onoga \u0161to \u0107e govoriti, razmi\u0161lja o boji glasa i dinamici nastupa. Takve postupke jasno prepoznajemo kao dramatur\u0161ke procese iz stanja umjetni\u010dke izvedbe u\u017eivo. Korisnik digitalnog su\u010delja mo\u017ee koristiti i brojne dramatur\u0161ke i re\u017eijske alate koji su mu na raspolaganju u digitalnim bazama podataka, primjerice maske i filtere kojima mo\u017ee jasnije pokazati svoj karakter drugima. Takve maske i filteri korisnicima su ponu\u0111eni i kao standardni set za predstavljanje na dru\u0161tvenim mre\u017eama poput Facebooka <\/em>ili SnapChata.<\/em> Ljudski korisnik digitalnog su\u010delja naviknut je na stvaranje ubrzane osobne predstave pomo\u0107u instant dramatur\u0161kih alata. \u010cak se i tekstualna komunikacija aplikacijama pametnih telefona instant ozna\u010diva\u010dima pretvara u kompleksan izvedbeni \u010din, predstavu. Primjerice, korisnici \u010desto u tekstove ubacuju vizuale poput emotikona<\/em>, stvaraju sami oznake za emotivna stanja pomo\u0107u slova i interpunkcije raspore\u0111ene u simulaciju lica ili tekstualnim skra\u0107enicama jasno odre\u0111uju emotivno stanje koje \u017eele komunicirati. U covid19 krizi digitalna su\u010delja koriste se sve vi\u0161e kao pozornice za izvedbu u\u017eivo ljudi. Ali umjesto da ljudsko lice, ili \u010dak cijelo tijelo koje izvodi na ekranu osigura jasniju predod\u017ebu o emocijama i informacijama koje se \u017eele komunicirati, \u010desto dolazi do zagu\u0161enja i krivog ili nepo\u017eeljnog tuma\u010denja izvedbe. Taj problem je sve izra\u017eeniji na neumjetni\u010dkim izvedbenim su\u010deljima, a gdje se zahtjeva poslovna to\u010dnost prenesene informacije i izvedbe. Zato je sve izra\u017eenija tendencija uvo\u0111enja mikro-dramatur\u0161kih postupaka, a kojima se ljudskoj izvedbi u elektronskom ekranu dodaje tekst, zapravo tekstualna skra\u0107enica. Primjerice, u desnom gornjem uglu ekrana pojavljuju se slovna oznaka „\/ s“ koja ozna\u010davaju da ljudska izvedba u ekranu izvodi sarkazam, „\/ j“ ozna\u010dava \u0161alu (engl. joke), „\/ th“ prijetnju (engl. threat) itd. Marcus ih naziva indikatorima tona<\/em>, a podrijetlo im je u medicinskim poku\u0161ajima da se jasnijim ozna\u010divanjem pomogne disleksi\u010dnim, autisti\u010dnim i drugim osobama s te\u0161ko\u0107ama u to\u010dnom prepoznavanju i odre\u0111ivanju emotivnog stanja sugovornika (Marcus, 2020). Ovim na\u010dinom i stroj mo\u017ee to\u010dnije analizirati ljudska emotivna stanja, te pomo\u0107u umjetne inteligencije u\u010diti kako da ih (zlo) upotrijebi. Stroj tako iskazana ljudska emotivna stanja arhivira u svoje baze podataka, sli\u010dno kako se arhiviraju cijeli sklopovi ljudskih kretnji i izvo\u0111enja emocija. Primjerice, voditeljica laboratorija za eksperimentalnu muzeologiju pri EPFL<\/a>[216<\/strong><\/span>]<\/sup><\/a> u \u0160vicarskoj, Sarah Kenderine, predvodi projekt prikupljanja skenova cijelog tijela izvo\u0111a\u010da razli\u010ditih sekvenci kretnji. Izvo\u0111a\u010di su ljudi koji svojim tijelom mogu izvesti sa\u010duvane kretnje nekog zna\u010dajnog ljudskog doga\u0111anja, primjerice japanske borila\u010dke vje\u0161tine ili sekvenci kretanja pradavnog rituala. Skenove kretnji ljudskog izvo\u0111a\u010da Kenderin arhivira kao trodimenzionalne objekte, pretvaraju\u0107i ih tako u muzejske izlo\u0161ke (Kenderine, 2020.). Takvi izlo\u0161ci su zapravo baze podataka, a koje se lako mogu upotrebljavati u razli\u010dite svrhe, u igrama ili edukativnim programima, za stvaranje umjetnih osobnosti i uop\u0107e izvedbu. Ljudski izvo\u0111a\u010d u\u017eivo tako postaje samo-promatra\u010d, ne samo sebe osobno, nego svoje ljudske izvo\u0111a\u010dke esencije pretvorene u informati\u010dke to\u010dke. Ono \u0161to ljude u takvom slu\u010daju razlikuje od podatkovnih izvo\u0111a\u010dkih tijela, avatara i drugih rastjelovljenih entiteta generiranih ra\u010dunalom u svrhu predstavljanja tijela ljudskog korisnika, jest upravo svjesnost ljudi da sudjeluju u emulaciji. Kramer isti\u010de kako je zamjensko tijelo generirano u skladu s pravilima i fikcijom igre za koju je kreirano pa se tako savr\u0161eno uklapa u pozornicu, a sam ljudski igra\u010d manipulira to tijelo i sam svijet igre, te promatraju\u0107i rezultate svoje manipulacije postaje svoj vlastiti gledatelj, dakle igranje igre svojim podatkovnim tijelom je neka vrsta samopromatranja (Ripll, 590 od 692). Samopromatranje je oduvijek dio gluma\u010dkog postupka kada na pozornici izvodi ulogu, jer je to ono \u0161to ga osigurava od stapanja s konstruiranim tijelom uloge. Ako samopromatranje izostane, glumac ili izvo\u0111a\u010d ne mo\u017ee se vi\u0161e vratiti u svoje ishodi\u0161no tijelo i ostaje stalno u stanju koje je trebalo biti privremeno. Primjeri su nemogu\u0107nost izlaska iz stanja ratne traume, ili stapanja ljudskog identiteta sa strojem u simulacijama ili preozbiljno shva\u0107enim igrama. Spoznaja o procesu koje je Giacomo Rizzolatti nazvao ogledalnim neuronima<\/em> ljudima omogu\u0107uje potrebnu distancu od izvedbenog su\u010delja. Ogledalni neuroni su istovremena aktivacija istih neuronskih impulsa u mozgu \u010dovjeka koji izvodi i onoga koji tu izvedbu samo gleda (Rizzolatti, 2008: passim). Ogledalni neuroni aktivni su i u mozgu ljudi koji promatraju izvedbu generiranu strojem ili izvedbu samog stroja. Ekvivalent ljudskim ogledalnim neuronima kod stroja koji promatra izvedbu, ljudsku ili neljudsku, jo\u0161 nije definiran, ali analiza tragova svjedo\u010di o njegovom postojanju. Sposobnost stroja da u\u010di promatranjem izvedbe i nau\u010deno samostalno primjenjuje nazivamo danas umjetnom inteligencijom, iako se radi o imitaciji izvedbe, svojevrsnoj demonstraciji ispaljivanja naboja strojnih ogledalnih neurona. Na sli\u010dan na\u010din stroj komunicira s ljudskim korisnikom, a pomo\u0107u prethodno nau\u010denih obrazaca. Takva komunikacija podsje\u0107a na magijske rituale u kojima je potrebno izvesti to\u010dno odre\u0111enu izvo\u0111a\u010dku sekvencu kako bi se materijalizirao rezultat, primjerice promijenilo stanje i status sudionika rituala. Tako se i pritiskom ljudske ruke na tipkovnicu ra\u010dunala ili ljudskog prsta na ekran osjetljiv na dodir pokre\u0107e to\u010dno odre\u0111ena strojna sekvenca i posti\u017ee \u017eeljeni rezultat. Vremenski raspon izme\u0111u dodira ljudskog tijela i povratnog rezultata stroja, a koji se ocrtava na ekranu i produ\u017euje retinom u ljudski um, ispunjen je procesima poput ra\u010dunanja, ispaljivanja elektri\u010dnog naboja, konzultiranja baza podataka, optimiziranja odgovora prema trenutnim parametrima i sl. Tako \u017eivo ljudsko tijelo emulira ditirambski kor kojim se gr\u010dka anti\u010dka tragedija okru\u017eila kako bi sprije\u010dila prodor realnosti. Aktivno dodirivanje stroja ljudskim tijelom pokre\u0107e tako stvaranje novih autonomnih poetika izvan okru\u017eenja samo jedne realnosti. Takva komunikacija nije vi\u0161e ograni\u010dena samo na jednostavni pritisak koji izaziva jednostavni odgovor, primjerice utipkavanje prstom slova ili broja. Stroj je pomo\u0107u hapti\u010dke komunikacije s ljudskim korisnikom sposoban prepoznati sve ve\u0107i broj uputa i sve vi\u0161e nijansi dodira. Hapti\u010dka komunikacija ljudskog tijela i stroja ozna\u010dava se kao aktivni dodir, a derivirana je iz istra\u017eivanja percepcije okoline slijepih ljudi (Jansson u Hersh, 2008: 137). Hapti\u010dko komuniciranje omogu\u0107uje stroju da, shodno svojem kapacitetu, prepoznaje odjeke informacija kojima je konstituiran ljudski korisnik \/ izvo\u0111a\u010d. Kada priti\u0161\u0107emo ekran osjetljiv na dodir to \u010dinimo cijelim svojim tijelom koje se koncentrira u vr\u0161ku prsta. Na\u010din na\u0161eg pritiska je uvjetovan na\u0161im kulturnim slojevima i memorijama, ali i informacijama po kojima je na\u0161e tijelo konstituirano. Ljudsko tijelo kao da \u017eudi u\u0107i u stroj, u telemati\u010dku realnost, bez posrednika. Ljudsko tijelo u izvedbi odjekuje i uputama svoje dnk, a koje su sekvence nastale i kao odjek borbe na\u0161ih predaka s pradavnim virusima. Na\u010din pritiska ljudskog prsta na ikonu aplikacije ovisi o tim naslije\u0111enim faktorima na\u0161eg tijela, a koji odre\u0111uju raspone izvedbe. Hapti\u010dka komunikacija to razumije i prenosi tu izvedbu ispod ekranske povr\u0161ine, u digitalne dubine. Tako se pokre\u0107e izvedba stroja, reakcija na komunikaciju s ljudskim tijelom. Odgovor se uzdi\u017ee poput erupcije vulkana informacija i razla\u017ee na ekranu u obliku prijevoda na ljudima razumljivi jezik. Predla\u017ee se ljudskom tijelu da izabere neku od ponu\u0111enih (digitalnih) maski i zapo\u010dne izvedbenu igru s digitalnim su\u010deljem. Isprepletenost dramaturgije ljudi i dramaturgije stroja privremeno stvara novo izvedbeno su\u010delje, tijelo komunikacije i tijelo izvedbe. Sve se to doga\u0111a u najmanjem impulsu vremena i na privremeno kreiranom prostoru, a samo zahvaljuju\u0107i dramaturgiji prenosivog kazali\u0161ta smje\u0161tenog na na\u0161em dlanu.<\/p>\n

       <\/p>\n

      \n
      \n

      <\/a>[209<\/strong><\/span>]<\/sup><\/a> 
      \nBug, engleski za bubu u sustavu, kvar. Y2k, engleski: y = year\/godina, 2k = dvije tisu\u0107ita.
      \n<\/span><\/p>\n<\/div>\n

      \n

      <\/a>[210<\/strong><\/span>]<\/sup><\/a> 
      \nMcKenzie, Jon. 2006. Izvedi ili snosi posljedice<\/em>. Zagreb: CDU \u2013 Centar za dramsku umjetnost.
      \n<\/span><\/p>\n<\/div>\n

      \n

      <\/a>[211<\/strong><\/span>]<\/sup><\/a> 
      \nKoji se ispreple\u0107e sa sovjetskim projektima u istom razdoblju.
      \n<\/span><\/p>\n<\/div>\n

      \n

      <\/a>[212<\/strong><\/span>]<\/sup><\/a> 
      \nDokumentarno istra\u017eiva\u010dki film iz 2019. Great Hack, detaljno razotkriva suradnju Facebooka i britanske tvrtke za analizu podataka Cambridge Analityca, a koji su u svrhu utjecaja na izborne rezultate ilegalno prikupljali podatke o milijunima korisnika dru\u0161tvenih mre\u017ea.
      \n<\/span><\/p>\n<\/div>\n

      \n

      <\/a>[213<\/strong><\/span>]<\/sup><\/a> 
      \n      https:\/\/0100101110101101.org\/i-know-that-its-all-a-state-of-mind\/<\/a>
      \n<\/span><\/p>\n<\/div>\n

      \n

      <\/a>[214<\/strong><\/span>]<\/sup><\/a> 
      \nNaziv kazali\u0161ta je dvosmislen, mo\u017ee se prevesti i kao Ratno kazali\u0161te ali i Popri\u0161te rata. Engleski jezik pojam Theatre upotrebljava u \u0161irem smislu, kao opis podru\u010dja na kojem se ne\u0161to doga\u0111a, posebno za ratne operacije.<\/p>\n

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

      \n

      <\/a>[215<\/strong><\/span>]<\/sup><\/a> 
      \nZoom je jedna od najpopularnijih mre\u017enih digitalnih platformi za telekonferencije. Kao i Skype, Google Meet, MicrosoftTeeams i mnoge druge, Zoom omogu\u0107uje korisnicima telekonferenciju u realnom vremenu, a pomo\u0107u su\u010delja mikroekrana u ekranu gdje svaki korisnik ima svoj ekran i istovremeno vidi sve ostale ekrane.<\/p>\n

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

      \n

      <\/a>[216<\/strong><\/span>]<\/sup><\/a> 
      \nEcole Polytechnique Federale de Lausane
      \n<\/span><\/p>\n<\/div>\n

       <\/p>\n

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

      Batuman, Elif: Can Greek tragedy get us throughh the pandemic<\/em>? The New Yorker 1. 9, New York 2020.<\/p>\n

      Baudrillard, Jean: The transparency of evil. Essays on extreme phenomena<\/em>. Verso., London 1993.<\/p>\n

      Fergusson, Francis: The Idea of a Theater<\/em>, Princeton University Press, New Jersey 1972.<\/p>\n

      Haraway, Donna: Staying with the Trouble; Making Kin in the Chthulucene<\/em>. Duke University Press, Durham and London 2016.<\/p>\n

      Fischer-Lichte, Erica: Estetika performativne umjetnosti.<\/em> TKD \u0160ahinpahi\u0107, Biblioteka Diskursi, Sarajevo 2009.<\/p>\n

      Foucault, Michel: Discipline and Punishment. The Birth of the Prison<\/em>. Vintage books. A Division of Random House, New York 1995.<\/p>\n

      Gelb, Peter: https:\/\/www.nytimes.com\/2020\/04\/01\/opinion\/covid-arts-livestream-audiences.html?searchResultPosition=6<\/a> (pristupljeno: 4. travnja 2020.).<\/p>\n

      Haraway, Donna: Staying with the Trouble; Making Kin in the Chthulucene.<\/em> Duke University Press, Durham and London 2016.<\/p>\n

      Hersh, Marion i Johnson A. Michael, ur.: Assistive Technology for Visually Impaired and Blind People.<\/em> University of Glasgow, Glasgow \/ Springer, London 2008.<\/p>\n

      Hiroshi, Ishii:. https:\/\/www.youtube.com\/watch?v=VYPeCJ8Ge4w<\/a>, 2019.<\/p>\n

      Kenderine, Sarah: https:\/\/www.epfl.ch\/labs\/emplus\/<\/a> Ecole Polytechnique Feserale de Lausane, \u0160vicarska 2020.<\/p>\n

      Kulenovi\u0107, Tvrtko: Pozori\u0161te Azije<\/em>. Prolog<\/em>. Centar za kulturnu djelatnost, Zagreb 1983.<\/p>\n

      Manovich, Lev: The Language of New Media<\/em>. MIT Press, Cambridge 2002.<\/p>\n

      Marcus, Ezra: Tone Is Hard to Grasp Online. Can Tone Indicators Help?<\/em> https:\/\/www.nytimes.com\/2020\/12\/09\/style\/tone-indicators-online.html?referringSource=articleShare<\/a>, 2020.<\/p>\n

      Mould, Oli: Lights, cameras, but where’s the action? Actor-Network Theory and the production of Robert Connolly’s Three Dollar<\/em>s. U: V. Mayer, M. J. Banks, & J. Caldwell (Eds.), Production studies: Cultural studies of media industries<\/em>. NY: Routledge, New York 2009.<\/p>\n

      Ridler, Faith: https:\/\/www.dailymail.co.uk\/news\/article-8149319\/Priest-accidentally-turns-video-filters-hilarious-clip.html<\/a> (pristupljeno 5. travnja 2020.).<\/p>\n

      Rippl, Gabriele. Ur.. Handbook of Intermediality: Literature \u2013 Image \u2013 Sound \u2013 Music<\/em>. De Gruyter Mouton, Berlin 2015.<\/p>\n

      Rizzolatti, Giacomo; Sinigaglia: Mirrors In The Brain: How Our Minds Share Actions and Emotions.<\/em> Oxford University Press, New York 2008.<\/p>\n

      Schiller, Friedrich: https:\/\/larouchepub.com\/eiw\/public\/2015\/eirv42n26-20150626\/33-37_4226.pdf<\/a>. 2015.<\/p>\n

      Zandberger, Dorian: Silicon Valley New Age The Co-Constitution of the Digital and the Sacred<\/em>, u: Aupers, Stef i Houtman, Dick, ur. Religions of Modernity: Relocating the Sacred to the Self and the Digital<\/em>. Leiden, Boston: Brill. Leiden 2010.<\/p>\n

       <\/p>\n

      Virtualization of Live Artistic Performance in Post \u2013 Covid-19 Culture<\/span><\/strong><\/p>\n

       <\/p>\n

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

       <\/span><\/p>\n

      Digital culture realizes itself by social leaps, not following the linear flow of technology development. The change of the global cultural paradigm is accepted immediately and without reservations, both in the cases of the first two jumps (y2k millennial bug and web2.0), as in the third post-covid-19. Live communication, like other common aspects of human live performance, is becoming virtualized. The process is developed and maintained using patterns of traditional live artistic performance, known from theater dramaturgy and performance. Such patterns have been incorporated into digital communication technology before. The position of the human performing body in new circumstances becomes the subject of interest of machine civilization. The battle of people to maintain identity is led by performance in Post-covid-19 discourse as well, similar to the battles historically fought with super-systems of power.<\/em><\/p>\n

       <\/p>\n

      Key words:<\/em><\/strong> digital culture, virtualization, communication, artistic performance, Covid-19.<\/em><\/p>\n

       <\/span><\/p>\n

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

       <\/span><\/p>\n

      \n\n\n\n
      \"inmediasres\"<\/p>\n

      \n  10(18)#11 2021<\/strong> <\/p>\n<\/td>\n

      		\n

      \n\"Creative<\/a>
      This journal is open access and this work is licensed under a       Creative Commons Attribution-NonCommercial 4.0 International License.<\/strong><\/a><\/p>\n<\/td>\n

      		\n


      \nDOI 10.46640\/imr.10.18.10<\/a>
      \nUDK 005.582:614.44\u201d20\u201d
      \nPregledni \u010dlanak
      \nReview article
      \nPrimljeno: 11.12.2020.<\/strong><\/p>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

       <\/p>\n

       <\/p>\n

      Nenad Vertov\u0161ek<\/span><\/p>\n

      Odjel za kroatistiku Sveu\u010dili\u0161ta u Zadru, Hrvatska
      \nnenad.vertovsek@gmail.com<\/p>\n

      The Tipping Point \u2013 when, how and why did We
      \nstart thinking \u201cPandemically\u201d?<\/span><\/strong><\/p>\n


      \nPuni tekst: pdf (556 KB), English, Str. 2915 – 2940
      \n<\/span><\/strong><\/a><\/p>\n

       <\/p>\n

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

       <\/span><\/p>\n

      Suspended between theories of manipulation and the public health catastrophe that continues to shake our world, there is a whole range of answers to the questions posed by scientists, doctors, politicians and ordinary folk \u2013 when, where, how and why did it all begin? Given the various concepts and ideas on the future corona<\/strong> world, it is important to keep asking and (still) avoid simple and mind-numbing answers. The world of media has also reached or surpassed a tipping point \u2013 can we even shake the illusion we deserve some \u201cnew normal\u201d? Or perhaps the future holds a \u201cnew abnormal\u201d world, alongside the \u201cold abnormal\u201d. On the one hand the pandemic has changed our behavioural patterns, and will continue to do so, but it has also changed our way of thinking, reaching conclusions and perceiving the external world and the world within us. On the other hand, are we in part historically regressing through our acceptance of half-dictatorship, lockdowns, immovability, blandness and hiding our smiles? Why and how might the philosophy of the media help with this challenge of views in some new techno-feudalism<\/strong>? Will we adopt any new lessons? We must first remember the legendary children\u2019s show Sesame Street<\/strong> and its revolutionary insight \u2013 you can teach children only if you attract their attention first…<\/em><\/p>\n

       <\/p>\n

      Key words:<\/em><\/strong> pandemic, crisis, media manipulation, tipping point, future world.<\/em><\/p>\n

       <\/p>\n

       <\/p>\n

      A world that follows the rules of epidemics
      \nis a very different place from the world we think we live in now.<\/em><\/p>\n

      Malcolm Gladwell<\/em><\/strong><\/p>\n

      Numerous aspects of our lives, of physical phenomena as well as the psychological, human reactions to new and unexpected circumstances, have been marked by the age of corona, which still has not passed, and in some aspects it practically won’t ever disappear. It will continue to change our world alongside all the challenges and (lack of) adaptation stemming from our attempts to control what has befallen us. First however, it should be noted that the issue is not only the reaction and adaptation to an emergency health phenomenon, which is complex also in terms of its medical aspects and attention focused on the World Health Organization and the globally present pandemic. It stretches all the way down to our individual lives, endangered not only by the actual disease, but also by the fear and anxiety due to the possible consequences, progression of the disease and spread of the contagion. The role of media, faithful followers and interpreters of such crises should also be examined.<\/p>\n

      The global pandemic<\/a>[217<\/strong><\/span>]<\/sup><\/a>, faced basically by all countries and regions of the world to a higher or lesser degree, with more or less serious consequences, is actually also a specific global phenomenon within which there is also the non-medical and non-healthcare aspect. This aspect is interlinked with events relating directly to the spreading, stopping or weakening of the disease, and is still stimulated, whether we like it or not, by the specific social and psychological reactions to the disease. It is becoming increasingly evident that the impact of the coronavirus on healthcare processes is also closely linked to the influence of politics (as the art of the possible<\/em> but also as manipulation with public opinion), and interest appetites of elite groups<\/a>[218<\/strong><\/span>]<\/sup><\/a> as well as other social classes facing these new circumstances. Also, it may turn out that these non-medical causes and effects (which do not necessarily have to be unscientific or inexpert) “work at” strengthening their influence or even use it in order to manage social and media changes or trends.<\/p>\n

      We therefore aim to explain the significance of “new” events precisely through the discussion of the extent to which the pandemic and its consequences and circumstances have impacted opinion, everyday politics, corporate economy, practical sociology and philosophy… This is specifically important in terms of media, freedom of media and mass media actions. It means accepting the simultaneous strengthening of previously hidden or at least socially less acceptable instances of curtailing or limiting freedom, whether in terms of space, time or democratic and civil rights. Unfortunately this is a matter of interdependence and feedback in which effects and consequences on health are increased or changed precisely by politics, interests and interest groups, lobbyist and corporate activities, influenced by the hunger for profit, as well as the factors of human depression, helplessness and inactivity. <\/p>\n

      The coronavirus and its effects on global society, regional perspectives as well as individual affinities and possibilities \u2013 all of which can collectively be termed the future of social changes<\/em> \u2013in the first months of 2021 faces new energies, changes and reversals. It is becoming increasingly clear that \u2013 partly due to the changing climate in parts of the world where winter is coming to an end, but also due to the wider use of vaccines \u2013 that the severity and death toll of the virus will gradually decrease. The problem will be “different” from the healthcare point of view, as well as from the previously mentioned non-medical aspect, and we should ask ourselves whether we are ready for change and a return to the “old state of affairs” under circumstances in which activities of political institutions will continue to change, as will our psychological reaction to the existing crisis. Actors, passive and active throughout the crisis, transform and seek new positions in which to strengthen their power of surveillance and the “never-ending dream” \u2013 achieving the greatest possible amount of control over our actions, motivations, wants and driving forces of our minds.<\/p>\n

      In order to address this issue, one needs to go back chronologically, thematically and purposefully to the moment when the first twist slapped us in the face \u2013 when we were suddenly yanked out of what we considered to be the old normal into some new circumstances. The question remains whether the previous state of affairs was either old or normal. At the beginning, these new circumstances did not seem like possible or logical causes of some global turning point affecting regions and territories. Much has already been written, analysed and discussed on the coronavirus, but here we aim to examine those moments, or rather the time when we started thinking pandemically. When, how and why did we agree to changes we have “spun” to such an extent that we have become very active participants in further changes, which we at the same time regarded as something unknown, unexpected or alien?<\/a>[219<\/strong><\/span>]<\/sup><\/a> Changes we have often refused to name as such.<\/p>\n

      We should also clearly and purposefully focus our efforts on the (mass) media sphere and (mass) media dimensions<\/a>[220<\/strong><\/span>]<\/sup><\/a> of this global event that in a short time managed to instil deep changes in almost every aspect of our lives and activities. Comparisons with other historical periods and circumstances when different epidemics spread dangerous diseases through old civilizations, the medieval and modern era, may bring a range of deeper insights and conclusions, or even help us in psychosocial coping with what we are faced with. But it is certain that no epidemic, regardless of its severity or mortality rate, has ever taken place with such a presence and impact of the media, ranging from print to electronic media, especially the Internet. <\/p>\n

       <\/strong><\/p>\n

      Pandemic or infodemic \u2013 the chicken or the egg of the media?<\/strong><\/p>\n

      It can be stated as fact that the media themselves were one of the main actors in the pandemic, impacting the situation in both positive and negative ways, because the pandemic event was actually more global than ever or anywhere in history. The use of the neologism infodemic<\/em> is thoroughly justified if we take into account that the media as a whole and in individual instances, served as the main instigator of the whole atmosphere due to their type and function. Not only in terms of providing information on the causes and effects of the pandemic, but because they also served as the goal and means of a complete reversal towards a more unsettled, frightened, and in a way, sicker society. Of course, here we do not discuss the goals of the medical profession or efforts and hard work by healthcare workers and those who truly care about fighting for the good health and lives of individuals.<\/p>\n

      The issue in fact is the interference and efforts to hasten the transformation of epidemiological circumstances into pandemical ways of thinking which would instrumentalize the development of events, this time not only in the medical sense, but also in terms of changes in social circumstances, environment and psychological aspects. These would then finally bring about an economical struggle and pause in economic activities and the current dynamic within global, regional and national frameworks. These are no conspiracy theories which could be discussed in a whole separate paper, but rather these are emerging structures formed from elements of a post-truth<\/em> society and community, from the fake news<\/em> of weapons and tools used by the media, and the use of the current state of affairs for crudely and strictly political goals and purposes. <\/p>\n

      The pandemic can and should be analysed as an infodemic from the perspective of the philosophy of the media, when examining the general and specific current role and effect of the media and its mediation in human relationships. This also includes the impact on the exchange of everyday and mental data of every conscious human being from the outside in and vice-a-versa. The lessons and messages we receive in this fashion can surely help as part of the analysis and evaluation in this age that we can rightly define as a moment in which the already known idea of the media constructing reality instead of truthfully mirroring it is further developed and confirmed. The media aims to represent reality with as much fuzziness and manipulation as possible, thus ceasing to serve as correctives in line with traditional journalistic and professional values. Instead they obscure reality and become the ones who justify a newly constructed reality that serves their own interests or rather, the interests and goals of the quasi-elite.<\/p>\n

      If we are to achieve a wide-ranging explanation of the context in which this medical phenomenon appears, alongside the causes and consequences of the problems affecting (mass) media in the local and global sense, we should not merely focus on the beginning of the epidemic or the official proclamation of a pandemic. We must examine the changes in reporting styles and interpretation in the media, as well as the consequences on public opinion and the general public in the global sense, and on other levels, all the way down to the mentality of the individual. <\/p>\n

      It is therefore first necessary to examine the so-called tipping point, the (spatial and temporal) watershed that changed our established way of thinking not just as readers, listeners or viewers, but also as critically analytical individuals that could be said to represent a healthy society and a healthy general public. <\/p>\n

      Let us begin with the idea by Malcolm Gladwell who posited in a sociological sense that “the best way to understand the emergence of fashion trends, the ebb and flow of crime waves, or, for that matter, the transformation of unknown books into bestsellers, or the rise of teenage smoking, or the phenomena of word of mouth, or any number of other mysterious changes that mark everyday life is to think of them as epidemics<\/strong>” (text bolded by N.V.)<\/a>[221<\/strong><\/span>]<\/sup><\/a> Gladwell begins his extensive research with the notion that ideas, products, messages and behaviours also have their “medical” characteristics \u2013 they are activated and begun, spread and developed as infectious diseases. <\/p>\n

      Gladwell lists three main rules of an epidemic (or in the case of corona, a pandemic) \u2013 the first one is contagiousness<\/em> with clearly noticeable patterns of infectious behaviour in psycho-sociological phenomena like the ones in infectious disease. The second rule relates to the fact that little causes can have big effects<\/em>, and third, that change happens not gradually but at one dramatic moment<\/em>. It is similar to the principle of how for instance, chickenpox spreads through a classroom or how the flu returns every winter.<\/p>\n

      Gladwell sees this third principle as the most important one \u2013 the idea that epidemics start or end in one dramatic moment we may or may not notice, but after which things and circumstances are quite different and therefore require different types of behaviour and solutions. He notes that it is this principle “that makes sense of the first two and that permits the greatest insight into why modern change happens the way it does. The name given to that one dramatic moment in an epidemic when everything can change all at once is the Tipping Point.”<\/a>[222<\/strong><\/span>]<\/sup><\/a><\/p>\n

      Gladwell translates sociological phenomena ranging from fashion trends to crime rates, into healthcare or biological aspects in order to deepen the sociological and\/or psychological meaning regarding human society. For example, contagiousness is for him a general rule which, like epidemiological causes and characteristics may turn into a contagion of laughter, shopping for clothes or surprising characteristics of anything in our environment. Little changes can truly lead to big results, for example, the speaker’s motivation or the tireless presentation of one’s own example. Such is the possibility of a sudden and drastic change after relatively expected gradual advent of smaller oscillations, whether in the development of illnesses or trends \u2013 the sudden moving of houseowners from areas controlled by criminal groups for example, or sudden migrations or the spread of new technologies.<\/p>\n

      Such phenomena of course also have their dialectical cause and interpretation, not just as sociological or epidemiological changes. Our aim is to learn if and how it is possible to examine a “reversed” process \u2013 can contagiousness, small changes as precursors to big results and sudden surprising changes lead to a turning point in the current global state of affairs? Applying this idea onto our situation, we come to the conclusion that these three rules are currently true, as the world of the coronavirus pandemic has led to what we are now experiencing in the media and psychosocial sphere \u2013 the phenomenon of pandemical thinking. This also means a lack of critical thinking, preponderance of fear and disbelief, and pandemical behaviour we have been led to, or which has partly been imposed on us.<\/p>\n

      One thing can be ascertained with some ease \u2013 the Covid-19 pandemic, also known as the coronavirus pandemic, was first identified as a new respiratory disease Covid-19 (Corona Virus Disease 2019). The condition first appeared in late December 2019 in the city of Wuhan (11 million inhabitants) in the Hubei province in China. In January 2020 it grew into an epidemic in China, and then spread to numerous other countries and reached all continents. It was sparked by the previously unknown coronavirus SARS-CoV-2. In order to stop the spread of the disease in countries with no efficient healthcare systems, the World Health Organization (WHO) declared an international state of emergency on 30 January 2020.<\/a>[223<\/strong><\/span>]<\/sup><\/a><\/p>\n

      As early as 9 February 2020, the number of registered fatalities surpassed the total number of deaths during the SARS virus pandemic in 2002\/2003. The speed and dramatic extent of the epidemic were also evidenced by the WHO report from 26 February 2020, the first instance when a greater number of people were infected outside of China than within its borders. Furthermore, starting from 28 February 2020, WHO analyses and reports assessed the risk as “very high” on the global scale, in comparison to the previous estimation of a “high” risk. Finally, on 11 March 2020 the WHO officially identified the epidemic as a pandemic, making it the first pandemic after the one of swine flu, in 2009.<\/p>\n

      In Croatia, the first case was confirmed on 25 February 2020. This was a 26-year-old who visited Milan in the period between 19 and 21 February (Italy was among the countries with a sudden rise in the number of those infected). After he tested positive, he was hospitalized in the University Hospital for Infectious Diseases Dr. Fran Mihaljevi\u0107 in Zagreb. Two new cases were confirmed on 26 February, the twin brother of the first patient and one Croatian who had been working in Parma. After 29 February, Croatia had a total of seven confirmed cases, and then the number of those infected doubled in just 10 days. On Wednesday, 11 March 2020, the Minister of Healthcare in Croatia, Vili Bero\u0161 issued the Decision on declaring the epidemic of the disease Covid-19 caused by the SARS-CoV-2 virus<\/em> on the whole territory of the Republic of Croatia, and the WHO declared COVID-19 a global pandemic on the same day.<\/a>[224<\/strong><\/span>]<\/sup><\/a><\/p>\n

      Although it may not appear so at first, analysing the statistics and recorded cases is somewhat easier than to examine, determine and assess the moments or period in which we “started” thinking and acting first “epidemically” and then also “pandemically”. In part this is due to the fact that for a while, numerous elements were interpreted in two different ways \u2013 one part of the general public did not perceive the coronavirus as something dangerous, and some were quick to disregard published facts. All of this was aided by the often conflicting views by experts, as well as all kinds of self-proclaimed experts, and by new legions of haters and trolls, alarming and confusing the public, as could be expected in this world and age of image and superficiality. <\/p>\n

      Social networks, forums and anonymous paid or volunteering instigators of fear and anxiety, unfortunately became the centre of spreading infodemic aspects, which proved to be no less dangerous than the pandemic ones. This included the obscuring of actual events, casting doubt on science and medicine, as well as common conspiracy theories which were once again resurrected. <\/p>\n

      Of course one should always note that conspiracy theories are not to be mixed with the usual logic of capital and megacorporations, of governments and elites that favour manipulation, and for whom the foundation of economy, management and conquering structure is in imposing force and often absurd rules that the masses and most of the general public do not understand. Although radical conspiracy theories (aliens and lizard men…) and critiques of society and media often start from similar (partial) information, the relevance and conclusions by conspiracy theorists (even the most persuasive ones) compared to well-intentioned social critics are quite different in their nature and scientific methods.<\/p>\n

      Attempts to merge specific manipulation techniques, instances of exaggeration, generalization and averting attention by established elites and ruling classes, with absurd theses about the perennial “external” influences on the helpless and innocent public, prove to be fertile ground for the further “contagion” with fear and anxiety. Problems do not necessarily arrive from the outside and from other countries, regions, ideologies and religions, as members of these quasi-elites would have us believe. The general public and the elective body are not always innocent either, as they very often elect the same options or do not even participate in the elections, thus passively voting for the next or same “elite”. The issue of helpless, atomized individuals continues to be one among the more or less hidden foundations for the ruling and privileged classes. This is the essence of their political and economic power, and often the psychosocial power as well. <\/p>\n

      Ivan Krastev, an intellectual and expert on Eastern European studies and modern Europe, has an interesting view on circumstances surrounding the coronavirus. In a particularly well executed study of the coronavirus pandemic, he emphasizes the changes in the pandemic world which we did not see coming, although there were some warning signs. The National Intelligence Council predicted as early as 2004 that it is “only a matter of time before a new pandemic appears, just like the influenza virus which killed millions people worldwide during the 1918 \u2013 1919 pandemic”. Such an event, the report continues, might “stop world travel and trade during a longer period of time and stimulate world governments to spend huge amounts of resources on the struggling healthcare system”.<\/a>[225<\/strong><\/span>]<\/sup><\/a> Furthermore, Krastev notes that in a TED talk<\/a>[226<\/strong><\/span>]<\/sup><\/a> from 2015, Bill Gates predicted and announced a global epidemic of a highly contagious virus, in addition to warning that the world and various countries are not prepared enough to face it. Even Hollywood had its continuous “warnings” through horror movies on global deadly contagions.<\/a>[227<\/strong><\/span>]<\/sup><\/a><\/p>\n

       <\/strong><\/p>\n

      The crisis as a chance or time wasted?<\/strong><\/p>\n

      The pandemic of thinking (about corona) i.e., thinking about the pandemic may be said to have begun with the moment when the disease was officially declared a pandemic. This however is not entirely true, since it was still often not clear in the public or the media, what was actually happening, even when the number of those infected began to rise significantly. It could be said that a healthcare crisis was beginning, while the more overwhelming crisis \u2013 mental and social, local and global \u2013 appeared somewhat later. This included the already mentioned absurdity that during this period the general public started dividing into groups \u2013 “apologists” of the pandemic, often named as scared servants to the global conspiracy theory, and the opposing side, often seen as irresponsible and unreasonable. The media followed its superficial and sensationalist instincts, pitting one group against the other, while increasingly disregarding the “third” category of moderate readers, listeners, viewers and online news readers, actual experts, scientists, doctors and those who were interested in solutions instead of bouncing off problems in the media.<\/p>\n

      Unfortunately, ever since the first reports and comments, the pandemic also became an infodemic, in its multitude of contagious texts, newspaper articles and approaches following the goals and styles of a post-truth society. The basic tenet here is that truth is not as important as inciting emotions and likes through things like corona deaths or statements that need to carry the punch of great tension and anxiety. This then of course increases the likelihood of clicks and frantic searches for opinions-we-approve-of<\/em> and decreases the need for verified and true facts on the extent and consequences of the disease. <\/p>\n

      The American sociologist C. Wright Mills already warned of the fact that “wielded power becomes manipulation” and such methods and techniques later developed precisely in the wake of disasters such as wars or mass starvation. They are also present in the definition and spread of “deadly democracy” and forced freedom \u2013 an oxymoron preferred in particular by Western governments, participants and instigators of warfare and economic operations in the Third World. This is the so-called soft control in which people and the public are smothered within the rules of the system instead of being directly eliminated \u2013 “in a modern society, coercion has been monopolized by the democratic state, and is rarely necessary as a continuous measure, but those in power often use it in hidden ways.”<\/a>[228<\/strong><\/span>]<\/sup><\/a><\/p>\n

      Such involvement by the government in the turn of events during the corona crisis, depending on the character of its rule and actual level of democracy, was the determining factor in the gradual move from pandemic events to pandemic thinking in the community, at the local and global level. Regardless of their autocratic or democratic characteristics, the already corroded democratic rule in a large number of countries, ranging from the U.S. to Europe and Asia, acquired new holes and patches, as the ruling class, governments in general and the so-called elite understood how the corona pandemic as an emergency situation could be used for increasing control. <\/p>\n

      As opposed to historical attempts to implement something similar, the control of the pandemic provided a reasonable and justified goal, which could also be aided by technology in numerous ways and in planetary proportions. Mass media as modern technological tools are now liberated from the traditional requirement of being a corrective and mirror to society that cooperates with the public in order to strengthen its critical faculties and intelligence. By their nature being alienated things and aspects, mass media now enter into pacts with the government. They do not do this openly, of course, but gradually, in the mere failure to do something<\/em> and the disregard for the standard and accepted rules of reporting and sharing information. <\/p>\n

      Of course we must not overgeneralize, as there is no clear distinction between black and white in terms of media, even though some wish there would be. Those months when the power of the coronavirus weakened, revealed how some media returned to their original principles and (again) started exploring and exposing the levels of corruption, injustice, poverty or economic and military domination. For some luckily and for others unfortunately, the coronavirus spread not only through physical space, but also in the media. The wish to increase the extent of political power was stronger first for governments, and indirectly for some elite groups, so they continued to exploit the situation. However big or small, totalitarianism is a life form that grows and learns quickly, aided by the fresh water provided by the media. <\/p>\n

      As rightly noted by Sead Ali\u0107, “the crisis makes it impossible to infinitely perpetuate the system of flagrant reiteration of untruths as a form of ingraining the preferred way of thinking into the heads of viewers as potential citizens. Once the resources run out, needed for paychecks, pensions, payment of accrued interest etc., then the flickering smiles on the screen, the game of promises, false security and pre-emptive attacks \u2013 lose their footing.”<\/a>[229<\/strong><\/span>]<\/sup><\/a> However, the weakening of the disease and the (apparent?) return of citizens to their half-forgotten circumstances, as well as the relaxing or tightening of measures, can make media users go slightly crazy. Within the superficial fight and worry for human plight and the already mentioned return to “how it was”, the media actually offer increased anxiety and fear, fuzziness and distraction. These are individuals and actions that did not meet expectations during the emergency situation, or cannot satisfy them anymore, but are kept in place by the institutions and governments because \u2013 any kind of power tastes just as sweet.<\/p>\n

      In the media sense, every crisis, including the pandemic, therefore strives to offer interpretations that are either optimistic or pessimistic, depending on which emotions are to be invoked in those who click and pay for the advertisements. However, the only correct interpretation would be to show things in their reality! “Every crisis is primarily caused by the need to redistribute media space among the political, economic, religious and cultural actors\/agents\/groups\/classes in society. Just as a nation can be led to war owing to the media, it cannot be led out of the war without them. The crisis helps us understand the media. Understanding the media is the beginning of a new era.”<\/a>[230<\/strong><\/span>]<\/sup><\/a><\/p>\n

      Slobodan Relji\u0107 is openly critical of certain media, and emphasized even before the appearance of the coronavirus that in some media, journalism is in fact “wholesale trade in poison”. Such an endeavour constructs the public into a mass, preferably an uncritical one and susceptible to excessive emotional outbursts which in a vicious circle reproduces mass without solidarity. A critically aware public should contain solidarity at its core and in the way it acts. <\/p>\n

      However, the increasing influence of media on the lives of individuals and society as a whole seems to be taking place in a paradoxical back-and-forth direction. At the same time there is increasingly a lack of trust among the general public and the masses in the veracity of media truths, as well as the growing level of mistrust, contempt and even hatred among the public and online forum commenters towards the media (not necessarily only among the haters). The sentiment of the media towards its consumers is sometimes similar. However, in the end all these negative thoughts and (media) hatred constitute the poison we all drink, certain that someone else will be the one poisoned.<\/p>\n

      The audience gives different amounts of attention to different news. According to one research by Doris Graber within the PEW Research Centre<\/a>[231<\/strong><\/span>]<\/sup><\/a> carried out between 1986 and 2003, the most prominent stories were the ones on endangering the safety of media users or violating social norms. “Fear-arousing situations attract the largest audiences… These are reactions to events that threaten survival, and these reactions mobilize cognitive resources inducing attention\u2026 News (particularly images) can operate as sources of stimuli equivalent to lived experience. Hatred, anxiety, fear, and high elation are particularly stimulating and are also retained in long-term memory.”<\/a>[232<\/strong><\/span>]<\/sup><\/a><\/p>\n

       <\/strong><\/p>\n

      The silent (voluntary) death of media and journalism<\/strong><\/p>\n

      What then is the biggest \u2013 and not always recognized \u2013 (harmful) role of media among centres of power, different forms of manipulation, faster technological and social communication, in terms of the relationship between power and media? “Politics is the process of allocation of power in the institutions of the state\u2026 power relationships are largely based on the shaping of the human mind by the construction of meaning through image-making… ideas are images (visual or not) in our brain. For society at large, as distinct from a given individual, image-making is played out in the realm of socialized communication. In contemporary society, everywhere in the world, the media are the decisive means of communication.”<\/a>[233<\/strong><\/span>]<\/sup><\/a><\/p>\n

      Castells sees the overall media system as a system and set of communication organizations and technologies that encourage individuals’ own decisions or what they believe are their own decisions. It adapts to close-knit social groups, famous role models (whatever they may be) and strengthens or weakens communication in a society, which proves to be extremely important during pandemic times. In the context of the coronavirus, media policy is not only the fight for their users or for survival \u2013 a fight in which print and even electronic media are falling behind social networks. In the symbiosis between government and media which exists during pandemical thinking \u2013 the generally accepted way of thinking \u2013 the meaning of media is gradually transformed into managing media politics within the media, while politics as an art of the possible primarily becomes media policy.<\/p>\n

      A pandemic way of thinking makes objects, individuals and groups susceptible to focusing on mere numbers of those newly infected, sick, hospitalized, dead, without really understanding the meaning of these categories. At the same time numbers of those who have recovered are barely mentioned, even though this should be one of the ways to give some hope to the population. But is that really necessary at all? Maybe it would decrease anxiety and stimulate solidarity and activism, which are among the greatest dangers for the calculated union between the media and pure politics. <\/p>\n

      Pandemical thinking also includes the belief that there is no need for messages, organizations and leaders not closely related to the coronavirus, or rather its sensationalist and spectacular aspects, to even be present in the media. Thus it is impossible for them to gain any significance or permanence in the mind of the public. “The fact that politics is essentially played out in the media does not mean that other factors (for example, grassroots activism or fraud) are not significant in deciding the outcome of political contests. Neither does it imply that the media are the power-holders. They are not the Fourth Estate. They are much more important: they are the space of power-making. The media constitute the space where power relationships are decided between competing political and social actors.”<\/a>[234<\/strong><\/span>]<\/sup><\/a><\/p>\n

      Here however we must depart from a mere criticism of the media during the corona crisis \u2013 among the institutions, groups, social classes and decisions, who would then survive the criticism of all those descriptions, explanations, comments and interpretations of measures and requests by the government and healthcare professionals? Or who would speak truthfully of their own mistakes, information traps, personal interpretations, ego-trips induced by haters and trolls, everyday wise guys and conscious individuals. <\/p>\n

      In this case who would “cast the first stone at the media who have received and taken on a difficult task \u2013 to report on the situation with the virus, the state of different countries and nations, the global situation, internal affairs, foreign threats, global, regional and local changes happening every hour of the day? They are analysing global changes which are practically without precedence in modern history (not taking into account epidemics like ebola or the plague) down to individual personal behaviours and, first and foremost, the relation to Oneself and to Others in times of overarching emergencies like wars or epi\/pan\/demics.”<\/a>[235<\/strong><\/span>]<\/sup><\/a><\/p>\n

      Criticism of the media, a Sisyphean task of trying to separate the roles and goals of so-called serious journalism and media on the one hand and social networks on the other during times of corona, should not in the end be a fruitless task. We must remember that journalism as a whole began to die out many years before the coronavirus appeared, after suffering several difficult illnesses threatening the profession. It was already losing its breath when the coronavirus came along as a momentary relief at a time when the media patient lay in its bed. Leo Rafolt also comments on this situation, noting that “the world is shaped today on the slopes of information, beyond the binarism of truth and lies, and so tries to take over what we once called the news. In late winter and early spring of 2020, the world was ravaged by one such news item, in the form of information. They named it corona, then Covid-19, and it was simply a virus, one of many modulations existing on the border between living and nonliving, biology and chemistry. The information itself soon became a virus. The virus became information.”<\/a>[236<\/strong><\/span>]<\/sup><\/a><\/p>\n

      In his book, Rafolt identifies moments and phenomena that actually pull members of masses or elites away from reality, mainly away from the comforting world in which everyone had to know their place. Hashtags, numbers of those infected and dead, limited travels, social distancing as the bogeyman of the new era, these have spread like a virus through Europe and other parts of the globe. Alain Badiou painted the age of corona in even harsher and direct terms, probably due to his intellectual experience and images lived through, saying that “one will need to show publicly and dauntlessly that so-called ‘social media’ have once again demonstrated that they are above all \u2013 besides their role in fattening the pockets of billionaires \u2013 a place for the propagation of the mental paralysis of braggarts, uncontrolled rumours, the discovery of antediluvian ‘novelties’, or even  fascistic obscurantism”.<\/a>[237<\/strong><\/span>]<\/sup><\/a><\/p>\n

      Velimir \u0160onje is another critic who analysed the situation when Croatia was firmly in the grips of the corona crisis. A scientist and economist, he meticulously analyses the circumstances, the psychosis and collective social reaction.\u00a0 This includes facts<\/a>[238<\/strong><\/span>]<\/sup><\/a> which will luckily remain recorded in his exhaustive research on the so-called five riders of the apocalypse, that is, the five bad ideas that were “catapulted to the surface of society” due to the spread of fear about the coronavirus. <\/p>\n

      He believes that bad ideas<\/a>[239<\/strong><\/span>]<\/sup><\/a> include “helicopter money” (giving money to citizens), then the fact that the European Union is compromised, and the striving for self-sufficiency in which global capitalism is replaced by national economy frameworks. There is also the idea of a state-mother as reaffirming state power and intervention and finally the inescapable suspension of democracy and civil rights. \u0160onje’s point of view is that of an expert economist who warns about the disregarded effects of the pandemic on the economy, which provides a starting point for the five negative actions and ideas. These might seem like a gentle step or two backwards, from liberal capitalism to medieval and feudal “sanctuaries” of body, spirit and soul.<\/p>\n

      \u0160onje notes that some experts and journalists in the Croatian media claimed that any questioning of the official doctrine of the Government and Crisis Headquarters on the corona situation, also included the possibility that “the young and healthy, and the entrepreneurs sacrifice the old and infirm, for profit and to stimulate the economy…”<\/a>[240<\/strong><\/span>]<\/sup><\/a> This of course wasn’t true, but could be used by the media alongside similar statements for inflating someone’s alleged Nazi-sociological or fascist tendencies towards methods of eliminating the older population. This simultaneously turns the attention away from mistakes made by the Government and its politically allegiant Crisis Headquarters in their inability to introduce and maintain protection measures. Certain sins and dilemmas of the government in dealing with the crisis may be understood and justified, but the refusal to admit to the mistakes and improve or change the measures, brought on new confusion and gradually decreasing trust of the public in the decisions and activities by the government and the Crisis Headquarters. <\/p>\n

      A particularly professional and humane comment by the CNN journalist Fareed Zakaria can be used as an example for analysis and interpretation on why and when people started to think pandemically alongside their thinking about the pandemic. This change additionally blocked the implementation of measures in global terms and in individual countries, depending on the importance given to the main goal \u2013 the health of citizens irrespective of interference by the political elite striving to keep its privileges and customs. Depending on the cooperation by some media (mostly social networks and online news services) the government accused “the others” of its own selfish interests, those apparently not following the proscribed measures thus sabotaging all efforts by the healthcare system and good intentions of the government and the elite. This again could be used for excuses that the coronavirus cannot be controlled and new and more strict measures should be imposed, while part of the privileged classes and those aspiring to be like them again broke the rules. This happened again and again.<\/p>\n

      Zakaria’s work Ten Lessons for a Post-Pandemic World<\/em> offers a range of interesting insights. He reveals good medical knowledge, but also the ability to include additional effects in his thinking, such as populism, limitations on travel and freedom of movement for people, goods and services, or the positive and negative sides of digital inventions during the challenges posed by corona. Zakaria notes that some topics such as equality, have been forgotten, and due to global lockdowns and breakdown of economies, this leads to the neglect of increasing global inequality and poverty. There is also a lack of empathy and real compassion for those most hit by the crisis, regardless of their continent, region, gender, age or state of health and health standard.<\/p>\n

      The people should listen to the experts \u2013 and the experts should listen to the people<\/em> \u2013 Fareed Zakaria emphasizes, warning that numerous politicians and statesmen did not listen to the experts. Their approach was hypocritical and populist, as they claimed the experts can be calmly ignored.<\/a>[241<\/strong><\/span>]<\/sup><\/a> This of course includes instances where the experts themselves, occupying the heights of their Mount Olympus, failed to listen to vox populi<\/em> (already quite a normal<\/em> approach taken by politicians) i.e. check up on their own statements, actions and theories in the feedback of everyday life and troubles of common folk. \u00a0\u00a0<\/p>\n

       <\/strong><\/p>\n

      Lessons and messages from the past, for the future<\/strong><\/p>\n

      This seems strange and absurd, since it would appear that at the beginning of 2021, after one year has passed since the first victims of the coronavirus, there are no hopes for the end, or the weakening of the pandemic and its consequences. At the same time this does not include the significant part of the world population living outside of Europe, and North and South America. Experiences from history can prove quite useful when we analyse the overarching consequences and changes that happened in a similar way, first medically and then according to rules we noted in the writings of Malcolm Gladwell.<\/p>\n

      For example, the Spanish flu in fact does not provide us with a good comparison since this was a misfortune that literally wiped out parts of the already suffering humanity, especially in Europe, right on the heels of the catastrophe of the Great\/First World War. Since this could surely be a theme for a separate paper, here we limit the similarities to the contagiousness and drastic changes in the population, without the factor of a global audience like the one that witnessed the birth of corona. <\/p>\n

      The historian Nikola Anu\u0161i\u0107 very precisely and meticulously analyses the Spanish flu pandemic in northern Croatia, from demographic to close statistical indicators of the situation and its consequences. As an introduction to the analysis of events in northern Croatia, an area that was hit in particular like the poorer parts of Europe, he talks about the new variant of the influenza A virus, of a mysterious origin, that spread over the world in three pandemic waves, infecting over half a billion people and killing 50 to 100 million across the world. “No pestilence, war or any period of hunger in human history has ever before killed such a great number of people in such a short period of time. The great Spanish flu pandemic in 1918 was the strongest global demographic earthquake the world had ever experienced.”<\/a>[242<\/strong><\/span>]<\/sup><\/a><\/p>\n

      We emphasize the apparently absurd circumstances, as Anu\u0161i\u0107 notes, that such a great and dramatic watershed for a large proportion of humanity, was later almost forgotten?! The scientific and historiographic interest for the greatest pandemic in history soon almost disappeared and overviews of world history rarely mentioned the Spanish flu pandemic, while some studies on World War I don’t even mention it. Anu\u0161i\u0107 is surprised by “its swift and total disappearance from the collective memory of humanity. As noted by R. Collier, there are no songs, legends or works of art inspired by the great pandemic in the cultural history of the world and references to the Spanish flu in world literature, even among the famous contemporaries of the pandemic, are so slight they don’t deserve to even be mentioned… we might say that today people on average know more on the Black Death of the 14th century than the Spanish flu at the end of World War I.”<\/a>[243<\/strong><\/span>]<\/sup><\/a> In the period between the 1957\/58 Asian flu pandemic and the 1968\/69 Hong Kong \u00a0flu pandemic there was some increasing interest in studying the Spanish flu.<\/a>[244<\/strong><\/span>]<\/sup><\/a><\/p>\n

      Krastev also discusses this topic, noting that the Spanish flu might have killed more people than the First and Second World War in total \u2013 about 67 million people, as opposed to the approximation that the “Spaniard” killed between 50 and 100 million (according to different sources). Laura Spinney points out that most answers to the question on the greatest misery of the 20th century fail to mention the Spanish flu.<\/a>[245<\/strong><\/span>]<\/sup><\/a> Krastev notes that most scientists\/historians have forgotten about this epidemic. In 2017, WorldCat, the largest catalogue of books in the world, listed about 80 thousand books (in over forty languages), of which only 400 (four hundred) were on the Spanish flu, in only five languages. The question is \u2013 “why do we remember wars and revolutions, and forget about pandemics, although they also change our economies, politics, societies and city architecture just as thoroughly”.<\/a>[246<\/strong><\/span>]<\/sup><\/a><\/p>\n

      It might seem somewhat strange or irrational to now take the work of a novelist, G.G. Marquez, and his Love in the Time of Cholera<\/em> written in 1985, for the purposes of a broader and more creative analysis of the subject of pandemical thinking and its causes as well as the (long term) consequences. At first analysing a love story at the turn of the 20th century in the Caribbean may look like “missing the target”. <\/p>\n

      Marquez won the Nobel prize three years before this novel, and the silent questions on the reasons for this comparison may become clearer if we try to find the relation between a fictitious love during the cholera epidemic that actually happened, and the current real emotions and corona \u00a0pandemic. This disease of the 21st century has already caused unforeseen changes and will in the future influence our emotions ranging from love to hatred.\u00a0 <\/p>\n

      The novel in fact focuses not on the medical aspects, but on the love relationships and triangles during emergencies. It would be more true to say that it focuses on a somewhat old-fashioned, but quite modern obsession with how things and emotions of fear, love, wonder and expectation, look during times of crisis, especially when we are not certain what is even happening. It should be said that the term cholera in Spanish (c\u00f3lera<\/em>), can also mean passion or anger, similar to the English adjective choleric<\/em>. <\/p>\n

      However, why should we use a novel in a discussion like this and find similarities other than the six-letter words (cholera-corona) that give these infectious diseases their names? We do not mention this novel in terms of history (medicine) or historicity of the actors, locations and similarities between the main characters and our lives at the end of the second decade of the third millennium. The more important message is how today’s actors, individuals and the whole society (as well as the media), are facing and will face changes, that are entirely unexpected but at the same time not so surprising. <\/p>\n

       <\/strong><\/p>\n

      Will we (ever) forget about the pandemic?<\/strong><\/p>\n

      What is the element in which we reinforce the memory and remembrance of the past in terms of the current “passionate” character and background of modern media during the corona crisis? We can use the words of this famous novelist \u2013 “From the time the cholera proclamation was issued, the local garrison shot a cannon from the fortress every quarter hour, day and night, in accordance with the local superstition that gunpowder purified the atmosphere. The cholera was much more devastating to the black population, which was larger and poorer, but in reality it had no regard for colour or background. It ended as suddenly as it had begun, and the extent of its ravages was never known, not because this was impossible to establish but because one of our most widespread virtues was a certain reticence concerning personal misfortune<\/strong>” <\/strong>(text bolded by N.V.).<\/a>[247<\/strong><\/span>]<\/sup><\/a><\/p>\n

      The loves in this old novel and our everyday life do not need to be human in their depth or passion, and in their impact on our emotions and impulses for love, anticipation, hope, or dependence. In the historical novel these are human loves, and for us these are media loves, the evidence given by “those in the media sphere” that oxymoronically love and hate us at the same time. <\/p>\n

      During the time of corona these are then “media loves to be recognized, developed and revealed in the relationship between the public <\/em>(made up from individuals) and the state <\/em>of the media, that once served as correctives and mirrors while now they are constructors and active partners to social elites in shaping our mental capacities of (failing to) understand what is happening to us or what has happened to us.”<\/a>[248<\/strong><\/span>]<\/sup><\/a> Or, as noted by Marquez and the previously mentioned authors, if love and media can change our emotions and ways of thinking and behaviour, they also produce the oblivion of crisis and disasters, and warn indirectly that we should already start thinking about the future post-pandemic thought.<\/p>\n

      As there have already been repeating periods of great epidemics and multilevel crises throughout history, we should start wondering \u2013 what next? We should not forget that we have been “warned” multiple times, in the modern era also through the inescapable role of the media that participated in these chaotic phenomena. We should also learn from the reactions of individuals and the society in recent health crises that brought fear, vaccinations and the humiliating and necessary quarantines and intervention costs. As if following an experiment, media-political psychoses relating to world events appear cyclically \u2013 the Western Nile virus in 2002, SARS in 2004, bird flu the following year, swine flu five years later. After a short break, here comes 2014 and the Ebola virus, Zika virus in 2016 and finally Covid-19 which seems to be turning into Covid-21.<\/p>\n

      The role of rulers (whether by name or actual characteristics), elite groups and social classes during the corona crisis will probably need to be judged and evaluated in the years that follow. However, even now, alongside analyses from the period before the coronavirus, we should note the warnings and statements that served as (now particularly necessary) guidelines and frameworks for professional and ethical judgements on the actual role of some media or mainstream media in the global medical, physical and mental lockdown <\/em>we are currently experiencing.<\/p>\n

      In a particularly insightful and uncommon way, Sead Ali\u0107 exposes this role of media institutions alongside the technological development of the media, in his comment that centralized media houses for publishing books and newspapers “helped” begin the First World War. The radio as a media had a similar role in World War II, while mass media enabled and developed totalitarian systems of the 20th century, as they encouraged the extermination of whole nations and fighting those who think differently.<\/p>\n

      In several instances Ali\u0107 therefore emphasizes how philosophy of the media is necessary to truly uncover the hellish nature of the media body and spirit, as well as the vicious symbiosis and misuse of media and technology development. “Human responsibility for every uttered word is multiplied with each technical means that multiplies this word\u2026 the task of every serious opinion is then to question the influence of media on the behaviour of individuals and groups, the influence of technologies on human experience and how the multiplication of messages impacts medio(demo)cracy. The manufacture of lowly passions in media consumers is a logical product of liberal capitalism. The consequence is a state of war waged on multiple levels in multiple forms and among different interest groups, organizations and institutions. Television likes wars and helps them, as Bilwet <\/em>would say \u2013 survive. But not just the wars waged along different latitudes, but also those within our deep or shallow souls.”<\/a>[249<\/strong><\/span>]<\/sup><\/a><\/p>\n

      So if we wonder where we are now and where we are going at the beginning of 2021, it is better not to read and watch frantic forecasts or crazy clowns of modern mass media. We must steer clear of social networks psychopaths, as well as lower our dependence on “serious”, otherwise distinguished experts and politicians with some sense of responsibility. We must recognize those who have sensed like vultures that the coronavirus also brings fear and lack of knowledge \u2013 which is their favourite food. Existing hunger nudged into action comedic souls and dangerous couch-generals as well as mental masturbators, frustrated careerists and unrealised instigators of fear and stupidity. <\/p>\n

      Ivan Krastev already talked and wrote about the deep changes that would be introduced by Covid-19 in modern economy, politics, way of life and everyday relationships. He envisages the dwindling power of the U.S., and the need to transform the European Union if it wishes to keep its integrity after the corona crisis. He sees the past century as a century of separation, marked by the disintegration of globalization trends, and the coronavirus as a crisis and challenge in which one needs to act much faster and wiser than it has been achieved in certain countries, regions, continents or the world as a whole. “I was certain that the world would change, but I did not think that the direction of these changes was predetermined. I also knew our predictions were less reliable even than those first tests for the virus during the early days of the pandemic.”<\/a>[250<\/strong><\/span>]<\/sup><\/a><\/p>\n

      In analysing what might actually happen, Krastev offers a careful selection of seven lessons following the emergence of the coronavirus, and later (after lockdowns) he rephrases them as seven paradoxes. The analysis goes deeper but this short summary can provide an overview of the veils that obscure our vision. The first paradox is the discovery of the dark side of globalization, to which the pandemic simultaneously acts as an “agent”. The second one is the increased speed of deglobalisation trends but also the revealed limits of renationalization. The third paradox notes that in the early phase the fear of the virus encouraged a state of national unity in various countries, but in the long run it actually deepens existing social divisions.<\/p>\n

      In the fourth paradox, democracy has been put “on hold” \u2013 in the beginning people gave all authority to their governments without question, but the suspension of civil rights will lead to a resistance when health problems are replaced by economic, social and psychological ones. The fifth paradox is the non-participation of the EU during the early stages of the pandemic and the way it almost ignored the problem, but the danger lies not only in new territorial brexits <\/em>but in the fact that the Union itself might become irrelevant. The sixth paradox shows that the pandemic encompasses three earlier crises \u2013 the war on terrorism, the refugee crisis and the financial crisis, but at the same time it re-examines and makes possible different outcomes of the final story. The seventh paradox deals with the relative autonomy of individual countries and healthcare systems which led to a situation in which Brussels first represented a symbol of openness and autonomy, but then strict lockdowns and stronger integration became possible in some spheres.<\/p>\n

       <\/strong><\/p>\n

      Techno-feudalism and the repression of reality<\/strong><\/p>\n

      All of this together reveals influences by several emergency aspects that encourage one another although this has mainly been seen as the process of deglobalization. The crisis of repression and impression of another reality both relate to the information, communication and production environment, the current economic situation as well as forecasts that appear grimmer and worse than the consequences of the pandemic. Maybe that is why mass media, especially those partners to autocrats and unrealized dictators, do not like to talk about this \u2013 although fears and anxieties are their sustenance, as they gently avoid the topic of economic disasters.<\/p>\n

      Is this the media-animalistic instinct through which they sense there is a greater cause for fear than the one they produce every day? However, this Fear might truly scare the media themselves, lulled by news websites and social networks with their heights of hypocrisy and fake news. Do they still think they are immortals of the media, capable of surviving anything? They seem to believe that mere mortals, especially users of social networks, will forever be blinded by their “gifts”, but once they wake up, this might lead to bigger changes in the relationship towards large technological and media companies.<\/a>[251<\/strong><\/span>]<\/sup><\/a><\/p>\n

      What of the times after the pandemic? This is a question with certain “traps”. The first one relates to how we have been soothed and distracted \u2013 especially by the media \u2013 with the notion that this is some “new normal” which would one day in the bright future become the “old normal”. This helped not so much in overcoming the fear and anxiety about corona, but in promoting the hope that all of this would end before the summer of 2020. But as it often happens in fairy tales, especially ones spiced with the predatory aspect of the media, the wait for the new tipping point was prolonged into the autumn and winter of that year, and the whole cycle practically began again at the beginning of 2021. Only now instead of endless discussions on mask-wearing and social distancing, we had the vaccines business, discussion on their form, country of origin etc., the more absurd the better.<\/a>[252<\/strong><\/span>]<\/sup><\/a><\/p>\n

      It would be more correct to expect a “new abnormal” instead of the old normal, if we even need such slogans and sayings. Expressions such as “stay home” or “be responsible”, were compromised (regardless of their good intentions) mostly due to rule violations or inconsistencies, especially in the case of the privileged classes who through violation of the rules during the corona crisis showed their power and special status. They held the power to act according to their own whims, different to what they publicly declared. This unfortunately is a custom inherited from the past, because times of crisis exist, we might say ironically, so that the quasi-elite might show its power and protected status.<\/p>\n

      And so, following the second wave, it seems that we (again?) ask ourselves, will this ever end? When will the strictest measures stop? Is there another tipping point in store for us \u2013 if not “something better”, then definitely “something different”? Some kind of “end” of the pandemic seems possible with warmer days in the Northern Hemisphere, but it remains to be seen whether after the summer passes the old reflex will again crop up, moulding the opinion that an authoritarian approach (or should we say, dictatorship) is just the thing that the confused flock needs. <\/p>\n

      New social experiments may be next, probably until all the types and forms of vaccines are sold, and the second and\/or third doses given, while “the best vaccine” will be determined depending on the ideological and (geo)political situation. If there was a tipping point for pandemical thinking, what can be said of the tipping point at the end of the pandemic cycle, which is always welcome, given the appetites and wishes of the great controllers of our world? This role might be played by new variants of the virus, new viruses, new experiments, but without the detailed analyses and evaluations of what actually happened previously. There is a possibility that everything will be simply forgotten, like those lessons from epidemics of the past.<\/a>[253<\/strong><\/span>]<\/sup><\/a><\/p>\n

      We showed how Malcolm Gladwell sees rules of emerging epidemics not only in the medical sense, but within the beginnings of new trends, movements and changes in behaviour, habits and thinking. Common rules for the coronavirus, or new trends in fashion in music, as well as important and key changes in psychosocial environment in general, are actually similar and comparable. They are influenced by global changes, but also by small social and economic details which may suddenly \u2013 and contagiously \u2013 spread to unexpected areas and aspects of life. “Epidemics are strongly influenced by their situation \u2013 by the circumstances and conditions and particulars of the environments in which they operate. This much is obvious. What is interesting, though, is how far this principle can be extended. It isn’t just prosaic factors like the weather that influence behaviour. Even the smallest and subtlest and most unexpected of factors can affect the way we act.”<\/a>[254<\/strong><\/span>]<\/sup><\/a><\/p>\n

      The special and specific combination of various circumstances, things and facts, may lead to great changes, not only in the health and economic sense, but within the system of thinking, ethical frameworks and seemingly small and unimportant details. Just as in other great epidemics and pandemics, the cause, in this case the Covid-19 virus, is very small, but in the end it very abruptly and dramatically changes the physical and mental capacities of numerous human beings. The return to something “old” is practically impossible, as we are taught by history, and remains at most \u2013 a form of nostalgia. <\/p>\n

      Before Covid-19 the world only seemed to be better, freer and always promoting progress, although warnings already existed, and not only in terms of new epidemics (as we previously listed several different viruses of the early 21st century). This was something the media earnestly and continuously warned us about, and this included the more serious and mainstream media as well as news websites that sprung like mushrooms after an international rainfall. Fareed Zakaria notes that after the Cold War, the new international system was determined by three forces \u2013 the geopolitical, economic and technological, reflected in American power, the free market and IT revolution. <\/p>\n

      All this, aided by globalization, seemed to be leading towards a better and more successful world. But it was still a “world filled with crises \u2013 some of which may spin out of our control. These include the Balkan Wars, the Asian financial crisis, 9\/11 attacks, the global financial collapse, and now Covid-19. Although all of these constitute different crises, they all have a common key element. All of them appeared as asymmetrical shocks<\/em> \u2013 something that begins small, but in the end sends seismic shockwaves across the world.”<\/a>[255<\/strong><\/span>]<\/sup><\/a><\/p>\n

      It should be noted that such asymmetrical shocks should be something we have already “learnt” as a society and as individuals, at least those of us for whom history was at least a schoolmate if not a life’s teacher. However, large parts of the masses and the general public, and even the elites \u2013 disregarding those who need international shocks for their international businesses \u2013 will need to make the physical and mental effort to better understand media messages, consequences of the crisis, totalitarian appetites or technological visions of the future. At the same time they won’t take into account that these are actually different sides of the same paradoxical coin. Sead Ali\u0107 rightly notes \u2013 “totalitarianism is no longer a matter of different parties. It is initiated by technologies that require it. In order to establish a totalitarian society, one needs only a lack of critical faculties. The media initiate everything else by themselves.”<\/a>[256<\/strong><\/span>]<\/sup><\/a><\/p>\n

      Zakaria also establishes this well as a message for the future when he says \u2013 “The post-pandemic world is going to be, in many aspects, a sped-up version of the world we knew. But when you put life on fast-forward, events no longer proceed naturally, and the consequences can be disruptive, even deadly… life after the pandemic may be different across different countries, companies, and especially individuals. Even if economics and politics return to normal, human beings will not. They will have been through an unusual, difficult trial and have a sense of newfound, hard-won opportunity.”<\/a>[257<\/strong><\/span>]<\/sup><\/a><\/p>\n

      One needs to stay focused in this apparent possibility of choice \u2013 on the one hand, we will need to have a good long think in order to understand more deeply the unity and connection among different aspects of epidemics. On the other hand it remains to be seen if we will need to repeat all of this at some new tipping point \u2013 in terms of healthcare, economy, in the sociological aspect, technological, communication, philosophical… It would appear that this time we almost do not have any other alternative.<\/p>\n

      Do we really see a possible new tipping point \u2013 a type of techno-feudalism <\/em>which we have already tasted in fragments? Another lockdown within territorial borders, no quick travels and new knowledge from other parts of the world through the media and social networks engulfed in everything \u2013 fake news stories, word of mouth with no critical analysis, dangers to the body, mind and heart, through stories and fairy tales on huge amounts of money, about noblemen, kings and princesses…<\/p>\n

      Will we really wish to return to a sort of Middle Ages and feudal limitations on freedom, the movement of people, goods and capital? With the high level of technological development and focus where one smartphone or android seems like a special steel sword used for ending permanent depression, tension and anxiety, capable of striking the enemy before he strikes at you. What a tipping point for the future!<\/p>\n

      Merry Crisis and Happy New Fear!<\/em><\/p>\n

      Graffiti by an anonymous author on an unidentified wall, made during the corona crisis, photograph published on Facebook in December 2020. <\/em><\/strong> <\/strong><\/p>\n

       <\/p>\n

      \n
      \n

      <\/a>[217<\/strong><\/span>]<\/sup><\/a> 
      \nA pandemic is the spread of a disease to large areas, covering different countries, a whole continent, more continents or the whole world. Until today, the term was used for infectious diseases such as the plague, cholera or influenza. Lately, pandemic diseases can also be said to cover AIDS, which across a span of several years covered all continents and almost all countries of the world. Further reading at:       https:\/\/medicinski.lzmk.hr\/clanak.aspx?id=10508<\/a> But in comparison with previous pandemics, the corona pandemic became the “most global” one not only due to its harmful consequences for the human health (mortality rate) but due to the literal participation of the whole world in its progress, as well as the global reach of the media.<\/p>\n

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

      \n

      <\/a>[218<\/strong><\/span>]<\/sup><\/a> 
      \nAn elite is a group of people, a minority that holds influence and surveillance over some or all aspects of social life. The idea of a ruling political minority was first developed by Plato, who gave this status to philosophers… Classical theorists of elites, including V. Pareto, G. Mosca and R. Michels, believe that societies are always divided into the ruling, managing elite and an underprivileged mass. An elite is made up from individuals who have reached the highest level in their specific areas…       https:\/\/enciklopedija.hr\/natuknica.aspx?ID=17725<\/a> However, in terms of corona, an elite can also be a group that believes itself to be “chosen and privileged”, which enables it to decide in the name of everyone (and in their absence) on the necessary limitations, not only in terms of healthcare, but in all other aspects as well…<\/p>\n

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

      \n

      <\/a>[219<\/strong><\/span>]<\/sup><\/a> 
      \nIn some Tibetan temples passersby can roll large prayer wheels containing old inscriptions, and they keep spinning smoothly and continuously, never-ending. Each passerby and visitor tries to spin them again (as fast as they can go)… the symbolism of transience and one’s own participation in what is now and what is to come i.e. leaving the responsibility to one’s heirs and people (strangers) to continue the karmic journey. The difference between these wheels and a situation in which we keep “spinning” the same thoughts and fears about corona, is perhaps in the fact that in Buddhism, what you leave behind needs to be filled with warmth, joy and positive thoughts for the ones who will follow \u2013 despite the transience and the possibility of negative outcomes…
      \n<\/span><\/p>\n<\/div>\n

      \n

      <\/a>[220<\/strong><\/span>]<\/sup><\/a> 
      \nIt should be noted that we consider the media in general through the impact of mass media, the largest and most prominent (global and local) keepers and distributers of information, and through the impact and work of social networks (Facebook, Twitter… as well as forums and the activity of haters, trolls and average users). In the following ideas and analysis, mass media<\/em> are defined through the term and phenomena of the media<\/em> as the totality of what is realized and interpreted by the media during the pandemic, as it creates and gains infodemic characteristics of pandemical thinking.
      \n<\/span><\/p>\n<\/div>\n

      \n

      <\/a>[221<\/strong><\/span>]<\/sup><\/a> 
      \nMalcolm Gladwell, To\u010dka preokreta<\/em>. Kako male stvari mogu dovesti do velikih promjena<\/em>, Jesenski i Turk, Zagreb 2011, p. 10. (Tipping Point, Hachette Book Group, New York 2002);
      \n<\/span><\/p>\n<\/div>\n

      \n

      <\/a>[222<\/strong><\/span>]<\/sup><\/a> 
      \nIbid, p. 11.
      \n<\/span><\/p>\n<\/div>\n

      \n

      <\/a>[223<\/strong><\/span>]<\/sup><\/a> 
      \n      https:\/\/hr.wikipedia.org\/wiki\/Pandemija_COVID-19<\/a>\u00a0 Here we won’t discuss fake news and politicized comments on how “China deliberately (?!) spread the virus”. It has been shown that China, and other countries such as New Zealand or South Korea, fought coronavirus decisively, not only in the medical sense, but owing to the culture of the population and their following of prescribed measures. In this way it managed to suppress the coronavirus, much to the chagrin of Western “mainstream media” of Trump’s era, and became an actual role model for procedures taken by the government as well as the public and population. At the moment of writing this text \u2013 January 2021, the coronavirus continues to be an extensive problem mainly in the so-called Western world, while countries in Asia and Africa, and their experience with the coronavirus are no longer the focus of Western mass media (on purpose?)…<\/p>\n

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

      \n

      <\/a>[224<\/strong><\/span>]<\/sup><\/a> 
      \nDuring 2020 the number of newly infected people in Croatia increased in hundreds and thousands, by the end of the year reaching up to four thousand newly infected a day and dozens of deaths. The beginning of 2021 brought lower numbers, but this time measures weren’t relaxed.
      \n       https:\/\/zdravstvo.gov.hr\/userdocsimages\/2020%20coronavirus\/odluka%20o%20progla%c5%a0enju%20epidemije%20bolesti%20covid-19.pdf<\/a>
      \n       https:\/\/hr.wikipedia.org\/wiki\/Pandemija_koronavirusa_u_Hrvatskoj_2020.#Dolazak_i_%C5%A1irenje_koronavirusa_u_Hrvatskoj<\/a>
      \n<\/span><\/p>\n<\/div>\n

      \n

      <\/a>[225<\/strong><\/span>]<\/sup><\/a> 
      \nIvan Krastev, Pandemija nostalgije. Kako koronavirus mijenja Europu<\/em> (The Nostalgia Pandemic: How the Coronavirus is Changing Europe), TIMpress, Zagreb 2020, p. 9.<\/p>\n

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

      \n

      <\/a>[226<\/strong><\/span>]<\/sup><\/a> 
      \nTED, an abbreviation of Technology, Entertainment, Design, was established in 1984 and organizes motivational talks on specific topics. The length of the talks ranges from 3 to 18 minutes, and speakers include various notable individuals, experts from across the world, famous or important for their discoveries or successes in various areas such as education, business, science, technology and creativity. Available at:       www.ted.com<\/a><\/p>\n

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

      \n

      <\/a>[227<\/strong><\/span>]<\/sup><\/a> 
      \nHere we should note that neither Krastev nor the author of the current paper, take into account any conspiracy theories that “reveal” planning and conspiring to release a contagious virus from a laboratory, nor do they link Bill Gates with plans for the mass chipping of humans or radiation of 5G technology. However, such ideas were most often used, not only by members of obscure organizations and regular trolls and haters scouring social networks, but also by journalists and the media in general, especially some news websites whose influence increased during corona and surpassed the impact of print media. The influence was mainly due to casting doubt and worry, in short, the manufacture of anxiety and fear of technology, which then increased the number of “clicks” on these webpages. We emphasize the possible warning signs before the so-called tipping point itself, which have not been heard or understood well enough, which was also the case with other dramatic and sudden changes in history, not only related to medicine.
      \n<\/span><\/p>\n<\/div>\n

      \n

      <\/a>[228<\/strong><\/span>]<\/sup><\/a> 
      \nFurther reading in: Slobodan Relji\u0107, Kriza medija ili mediji krize<\/em> (Crisis of the Media or the Media of the Crisis), Slu\u017ebeni glasnik, Belgrade 2013, p. 112.<\/p>\n

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

      \n

      <\/a>[229<\/strong><\/span>]<\/sup><\/a> 
      \nAli\u0107, Sead, Masmediji zatvori bez zidova. Tekstovi filozofije medija<\/em> (Mass Media \u2013 A Prison without Walls: Essays in the Philosophy of the Media), Centre for Media Philosophy and Research, Zagreb 2012, p. 66.
      \n<\/span><\/p>\n<\/div>\n

      \n

      <\/a>[230<\/strong><\/span>]<\/sup><\/a> 
      \nIbid, p. 68. <\/p>\n

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

      \n

      <\/a>[231<\/strong><\/span>]<\/sup><\/a> 
      \nPEW (Pew Research Center)<\/em> \u2013 independent research centre based in Washington.       https:\/\/www.pewresearch.org\/<\/a><\/p>\n

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

      \n

      <\/a>[232<\/strong><\/span>]<\/sup><\/a> 
      \nManuel Castells, Mo\u0107 komunikacija, <\/em>Multimedia Clio-RTS, Belgrade 2014, p. 195; (Communication Power, Oxford University Press Inc., New York 2009, p. 156)<\/p>\n

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

      \n

      <\/a>[233<\/strong><\/span>]<\/sup><\/a> 
      \nIbid, p. 234 (2009: p. 193).
      \n<\/span><\/p>\n<\/div>\n

      \n

      <\/a>[234<\/strong><\/span>]<\/sup><\/a> 
      \nIbid, p. 235. (2009: p. 194)<\/p>\n

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

      \n

      <\/a>[235<\/strong><\/span>]<\/sup><\/a> 
      \nNenad Vertov\u0161ek, Drveno \u017eeljezo medija <\/em>(The Wooden Iron of the Media), Medijska kultura, Nik\u0161i\u0107 2020, p. 157. <\/p>\n

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

      \n

      <\/a>[236<\/strong><\/span>]<\/sup><\/a> 
      \nLeo Rafolt, Virus in fabula<\/em>, Meandarmedia, Zagreb 2020, p.11.
      \n<\/span><\/p>\n<\/div>\n

      \n

      <\/a>[237<\/strong><\/span>]<\/sup><\/a> 
      \nAlain Badiou, On the Epidemic Situation<\/em>, Verso, 23 March 2020 \u2013 cited in L.Rafolt, Virus in fabula<\/em>, p. 11. (      https:\/\/www.versobooks.com\/blogs\/4608-on-the-epidemic-situation<\/a>)<\/p>\n

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

      \n

      <\/a>[238<\/strong><\/span>]<\/sup><\/a> 
      \nOne needs only keep in mind that Vili Bero\u0161, the Minister of Health, who was at one moment celebrated as a hero by the media, said in conversation with Sobodna Dalmacija<\/em> on 26 February 2020 that corona was a “disease similar to the common flu”. This happened only two days before the WHO declared a “high level of risk”, not even two weeks before corona was recognized as a global pandemic… Velimir \u0160onje, Korona ekonomika <\/em>(Corona Economics), Arhivaanalitika, 2020, p. 10. <\/p>\n

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

      \n

      <\/a>[239<\/strong><\/span>]<\/sup><\/a> 
      \nV. \u0160onje, Korona ekonomika<\/em>, p. 103.<\/p>\n

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

      \n

      <\/a>[240<\/strong><\/span>]<\/sup><\/a> 
      \nIbid, p. 12.<\/p>\n

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

      \n

      <\/a>[241<\/strong><\/span>]<\/sup><\/a> 
      \nZakaria, Fareed, Deset lekcija za svijet poslje pandemije <\/em>(Ten Lessons for a Post-Pandemic World), Fraktura, Zagreb 2020, p. 85. Zakaria notes that during his nomination at the 2016 election, Donald Trump claimed he talks “most with himself because he is very smart”, and later explained how he does not rely on experts because “experts are terrible people”. At the same time, Michael Grove, a British politician and advocate for Brexit, was asked to list economists who agree with his view that leaving the European Union would be good for business. He answered that “people in this country are sick of experts”… Trump and similar highly positioned politicians like the UK Prime Minister Boris Johnson or Jairo Bolsanaro, President of Brazil and a plethora of others, expressed their contempt for expertise before the corona crisis as well, but their “stumbling” and “imposed populism” in manipulating the people in the name of that same people, has proved to be particularly fatal for hundreds of thousands of people during the corona crisis.
      \n<\/span><\/p>\n<\/div>\n

      \n

      <\/a>[242<\/strong><\/span>]<\/sup><\/a> 
      \nNikola Anu\u0161i\u0107, U sjeni velikog rata. Pandemija \u0161panjolske gripe 1918.-1919. u sjevernoj Hrvatskoj<\/em> (In the Shadow of the Great War. The Spanish Flu Pandemic of 1918-1919 in Northern Croatia), Srednja Europa, Zagreb 2015, p. 1.<\/p>\n

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

      \n

      <\/a>[243<\/strong><\/span>]<\/sup><\/a> 
      \nIbid, p. 2.<\/p>\n

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

      \n

      <\/a>[244<\/strong><\/span>]<\/sup><\/a> 
      \nThe work of the doctors Jeremi\u0107 Rista and Jorja Tadi\u0107 “Prilozi za istoriju zdravstvene kulture starog Dubrovnika<\/em>” (Towards a History of the Health Culture in Old Dubrovnik) provide us with an interesting confirmation that after the Spanish flu epidemic calmed down, there is a lack of historical data, i.e. there are holes in the collective written memory, unlike for example, the data on the 14th century plague. The valuable historical heritage of Dubrovnik is a source of knowledge on numerous epidemics ranging back to 871, but it was in the 14th century that consequences of up to ten epidemics and the appearance of the plague are described in more detail. The archive also describes in detail numerous epidemics of the 15th and 16th century. See chapter Epidemics and Sanitation, pp. 65-111. What will happen with the official archives on Covid-19?<\/p>\n

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

      \n

      <\/a>[245<\/strong><\/span>]<\/sup><\/a> 
      \nLaura Spinney, Blijedi jaha\u010d: kako je \u0161panjolska gripa 1918. promijenila svijet<\/em> (Pale Rider: The Spanish Flu of 1918 and How It Changed the World), VBZ, Zagreb 2019.<\/p>\n

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

      \n

      <\/a>[246<\/strong><\/span>]<\/sup><\/a> 
      \nI. Krastev, Pandemija nostalgije <\/em>(The Nostalgia Pandemic), p. 10. Laura Spinney also adds an interesting note that “it is easier to count those who have been killed by bullets than by the coronavirus.” But there are numerous disagreements and doubts about recorded victims of the coronavirus and the mortality rate, presented in different media, ranging from traditional print press to online news. The criteria are sometimes unclear in media texts and there is a variety of comments and statements by experts, epidemiologists and politicians, who act as official interpreters of the consequences and current news on the coronavirus.<\/p>\n

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

      \n

      <\/a>[247<\/strong><\/span>]<\/sup><\/a> 
      \nGabriel Garcia Marquez, Ljubav u doba kolere<\/em>, V.B.Z., Zagreb 2018, p.128;(Love in the Time of Cholera, translated by Edith Grossman; Alfred A. Knopf, New York 1988)<\/p>\n

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

      \n

      <\/a>[248<\/strong><\/span>]<\/sup><\/a> 
      \nN. Vertov\u0161ek, Drveno \u017eeljezo medija<\/em>, p. 156.<\/p>\n

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

      \n

      <\/a>[249<\/strong><\/span>]<\/sup><\/a> 
      \nS. Ali\u0107, Masmediji \u2013 zatvori bez zidova<\/em>, p. 33.
      \n<\/span><\/p>\n<\/div>\n

      \n

      <\/a>[250<\/strong><\/span>]<\/sup><\/a> 
      \nI. Krastev, Pandemija nostalgije<\/em>, p. 17. When he discusses the changes brought on by the coronavirus and those it might still introduce, Krastev brightly cites the novelist Stephen Leacock and his Nonsense Novels<\/em>: “Lord Ronald said nothing; he flung himself from the room, flung himself upon his horse and rode madly off in all directions”.<\/p>\n

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

      \n

      <\/a>[251<\/strong><\/span>]<\/sup><\/a> 
      \nJeffrey Tucker from the American Institute for Economic Research warns that WhatsApp users are choosing other services for encrypted messaging ever since the Facebook-owned app updated its Privacy Policy. He notes that some companies are losing the trust of their customers and “this is actually an important moment on the technology market of social media.”       https:\/\/www.logicno.com\/politika\/zbogom-big-tech-ljudi-gube-povjerenje-u-platforme-drustvenih-medija-tvrdi-ekonomist-za-boom-bust.html<\/em><\/a>More time will be needed to evaluate the extent and reach of these trends, not only as a reaction to the blocking of Donald Trump.<\/p>\n

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

      \n

      <\/a>[252<\/strong><\/span>]<\/sup><\/a> 
      \nA whole separate paper might be developed on the lucid behaviours and statements by our most prominent experts, for e.g. Krunoslav Capak, director of the Croatian Institute of Public Health. At a press conference of the Crisis Headquarters he said the coronavirus vaccines are not wasted because actually six doses can be extracted from one Pfizer vaccine bottle instead of five as noted by the manufacturer. “Colleagues reported that they managed to get out six or seven doses. We asked for an explanation and Pfizer said this is possible because they had received complaints from other countries. Then they said we would now be charged for 6 doses per bottle” \u2013 Capak said. Asked by the journalists how it was possible that the manufacturer was unaware of this fact before, he merely replied “Ask Pfizer…” Available at:       https:\/\/www.vecernji.hr\/vijesti\/capak-javili-smo-pfizeru-da-iz-jedne-bocice-mozemo-navuci-sest-doza-cjepiva-sad-nam-vise-naplacuju-1461210<\/a>\u00a0<\/p>\n

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

      \n

      <\/a>[253<\/strong><\/span>]<\/sup><\/a> 
      \nPrime Minister Johnson said that the new UK variant of the virus is “70 percent more infectious than the original” (?!), which was immediately reported by the diligent media across the EU. This overshadowed difficulties with the first vaccine that was supposed to come from this country but was then stopped when sudden negative side-effects were discovered. Although the WHO said that these new variants are not as dangerous as reported and that vaccines will be effective against them as well, the new Pandora’s box was again opened, bringing in new levels of fear.       https:\/\/www.telegram.hr\/politika-kriminal\/situacija-s-novim-sojem-eskalira-zemlje-jedna-po-jedna-ukidaju-letove-iz-britanije-svi-cekaju-potez-eu\/<\/a>\u00a0<\/p>\n

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

      \n

      <\/a>[254<\/strong><\/span>]<\/sup><\/a> 
      \nM. Gladwell, To\u010dka preokreta<\/em>, pp. 25-26.<\/p>\n

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

      \n

      <\/a>[255<\/strong><\/span>]<\/sup><\/a> 
      \nF. Zakaria, Deset lekcija za svijet poslije pandemije<\/em>, pp. 18-19.<\/p>\n

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

      \n

      <\/a>[256<\/strong><\/span>]<\/sup><\/a> 
      \nS. Ali\u0107, Masmediji \u2013 zatvori bez zidova<\/em>, p. 31.<\/p>\n

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

      \n

      <\/a>[257<\/strong><\/span>]<\/sup><\/a> 
      \nF. Zakaria, Deset lekcija za svijet poslije pandemije<\/em>, p. 13.<\/p>\n

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

       <\/p>\n

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

      Ali\u0107, Sead, Masmediji zatvori bez zidova. Tekstovi filozofije medija<\/em>, Centar za filozofiju medija i mediolo\u0161ka istra\u017eivanja, Zagreb 2012.<\/p>\n

      Anu\u0161i\u0107, Nikola, U sjeni velikog rata. Pandemija \u0161panjolske gripe 1918.-1919. u sjevernoj Hrvatskoj<\/em>, Srednja Europa, Zagreb 2015.<\/p>\n

      Carr, Nicholas, Plitko. \u0160to ra\u010dunala \u010dine na\u0161em mozgu <\/em>(The Shallows: What the Internet Is Doing to Our Brains), <\/em>Jesenski i Turk, Zagreb 2011. <\/p>\n

      Castells, Manuel, Mo\u0107 komunikacija, <\/em>Multimedia Clio-RTS, Belgrade 2014.<\/p>\n

      Gladwell, Malcolm, To\u010dka preokreta. Kako male stvari mogu dovesti do velikih promjena<\/em>, Jesenski i Turk, Zagreb 2011.<\/p>\n

      Hromad\u017ei\u0107, Hajrudin, Medijska konstrukcija dru\u0161tvene zbilje <\/em>(The Media Construct of Social Reality), AGM, Zagreb 2014.<\/p>\n

      Jeremi\u0107 Risto; Tadi\u0107 Jorjo, Prilozi za istoriju zdravstvene kulture starog Dubrovnika<\/em>, Planet, Belgrade 1938.<\/p>\n

      Krastev, Ivan, Pandemija nostalgije. Kako koronavirus mijenja Europu<\/em>, TIMpress, Zagreb 2020.<\/p>\n

      Marquez, Garcia Gabriel, Ljubav u doba kolere<\/em>, V.B.Z., Zagreb 2018.<\/strong><\/p>\n

      Rafolt, Leo, Virus in fabula<\/em>, Maeandarmedia, Zagreb 2020.<\/p>\n

      Relji\u0107, Slobodan, Kriza medija ili mediji krize<\/em>, Slu\u017ebeni glasnik, Belgrade 2013.<\/p>\n

      Rushkoff, Douglas, Iznu\u0111ivanje. Za\u0161to slu\u0161amo ono \u0161to nam ONI ka\u017eu?<\/em> (Coercion: Why We Listen to What "They" Say), Bulaja, Zagreb 2002.<\/em> <\/strong><\/p>\n

      Spinney, Laura, Blijedi jaha\u010d: kako je \u0161panjolska gripa 1918. promijenila svijet, VBZ, Zagreb 2019.<\/em><\/p>\n

      \u0160onje, Velimir; Kotarski Kristijan, Korona ekonomika. Pet jaha\u010da apokalipse<\/em>, Arhivanalitika d.o.o., Zagreb 2020.<\/p>\n

      Vertov\u0161ek, Nenad, Drveno \u017eeljezo medija<\/em>, Medijska kultura, Nik\u0161i\u0107 2020.<\/p>\n

      Zakaria, Fareed, Deset lekcija za svijet poslije pandemije<\/em>, Fraktura, Zagreb 2020.<\/p>\n

       <\/strong><\/p>\n

      Internet Sources:<\/strong><\/p>\n

      https:\/\/medicinski.lzmk.hr\/clanak.aspx?id=10508<\/a> Accessed 4 January 2021.<\/p>\n

      https:\/\/enciklopedija.hr\/natuknica.aspx?ID=17725<\/a> Accessed 4 January 2021.<\/p>\n

      https:\/\/hr.wikipedia.org\/wiki\/Pandemija_COVID-19<\/a> Accessed 4 January 2021.<\/p>\n

      https:\/\/zdravstvo.gov.hr\/userdocsimages\/2020%20coronavirus\/odluka%20o%20progla%c5%a0enju%20epidemije%20bolesti%20covid-19.pdf<\/a> Accessed 5 January 2021.<\/u><\/p>\n

      https:\/\/hr.wikipedia.org\/wiki\/Pandemija_koronavirusa_u_Hrvatskoj_2020.#Dolazak_i_%C5%A1irenje_koronavirusa_u_Hrvatskoj<\/a> Accessed 6 January 2021.<\/p>\n

      https:\/\/www.pewresearch.org\/<\/a> Accessed 9 January 2021.<\/p>\n

      www.ted.com<\/a> Accessed 11 January 2021.<\/p>\n

      https:\/\/www.logicno.com\/politika\/zbogom-big-tech-ljudi-gube-povjerenje-u-platforme-drustvenih-medija-tvrdi-ekonomist-za-boom-bust.html<\/a> Accessed 15 January 2021.<\/p>\n

      https:\/\/www.vecernji.hr\/vijesti\/capak-javili-smo-pfizeru-da-iz-jedne-bocice-mozemo-navuci-sest-doza-cjepiva-sad-nam-vise-naplacuju-1461210\u00a0 <\/a>Accessed 15 January 2021.<\/p>\n

      https:\/\/www.telegram.hr\/politika-kriminal\/situacija-s-novim-sojem-eskalira-zemlje-jedna-po-jedna-ukidaju-letove-iz-britanije-svi-cekaju-potez-eu\/<\/a>  Accessed 16 January 2021.<\/p>\n

       <\/p>\n

      To\u010dka preokreta \u2013 kada smo, za\u0161to i kako po\u010deli misliti pandemijski?<\/span><\/strong><\/p>\n

       <\/p>\n

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

       <\/span><\/p>\n

      Izme\u0111u teorija manipulacija i zdravstvene nepogode koja je potresla svijet nalaze se brojni odgovori na pitanja znanstvenika, lije\u010dnika, politi\u010dara i obi\u010dnih ljudi \u2013 gdje je, kada, kako i za\u0161to sve zapo\u010delo? Obzirom na razne koncepte i ideje o svijetu korona<\/strong> budu\u0107nosti, bitno je stalno postavljati pitanja i ne (jo\u0161) priklanjati se jednostavnim i zatupljuju\u0107im odgovorima. Svijet medija tako\u0111er je dostigao ili pre\u0161ao to\u010dku preokreta \u2013 mo\u017eemo li se uop\u0107e rije\u0161iti iluzija kako zaslu\u017eujemo nekakvo \u201enovo normalno\u201d. Ili, naprotiv, \u010deka nas svijet \u201enovog nenormalnog\u201d, ali i uz \u201estaro nenormalno\u201d. Pandemija, s jedne strane, mijenja i mijenjat \u0107e ne samo na\u0161 na\u010din pona\u0161anja, ve\u0107 i na\u0161 na\u010din razmi\u0161ljanja, zaklju\u010divanja i percepcije svijeta unutar nas i izvan nas. S druge strane, vra\u0107amo li se dijelom i povijesno unatrag, pristaju\u0107i na polu-diktature, zatvaranja, nekretanja, bezli\u010dja i skrivanje osmijeha. Za\u0161to i kako bi filozofija medija mogla pomo\u0107i u ovom izazovu mi\u0161ljenja u nekakvom novom tehnofeudalizmu<\/strong>? Ho\u0107emo li ne\u0161to nau\u010diti? \u2013 moramo se najprije sjetiti legendarne dje\u010dje TV serije Ulica Sezam<\/strong> i njene revolucionarne spoznaje – djecu mo\u017eete nau\u010diti ne\u0161to samo ako im privu\u010dete pozornost…<\/em><\/p>\n

       <\/p>\n

      Klju\u010dne rije\u010di:<\/em><\/strong> pandemija, kriza, medijske manipulacije, to\u010dka preokreta, svijet budu\u0107nosti.<\/em><\/p>\n

       <\/span><\/p>\n

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

       <\/span><\/p>\n

      \n

      II FILOZOFIJA I FILM<\/p>\n\n\n\n
      \"inmediasres\"<\/p>\n

      \n  10(18)#12 2021<\/strong> <\/p>\n<\/td>\n

      		\n

      \n\"Creative<\/a>
      This journal is open access and this work is licensed under a       Creative Commons Attribution-NonCommercial 4.0 International License.<\/strong><\/a><\/p>\n<\/td>\n

      		\n


      \nDOI 10.46640\/imr.10.18.11<\/a>
      \nUDK 7.01:347.786
      \nPregledni \u010dlanak
      \nReview article
      \nPrimljeno: 29.01.2021.<\/strong><\/p>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

       <\/p>\n

       <\/p>\n

      Victor Bruno<\/span><\/p>\n

      Universidade Federal do Piau\u00ed, Brazil<\/p>\n

      victorbruno@outlook.com<\/p>\n

      Digital Media Environments and their Implications: Instagram<\/span><\/strong><\/p>\n

      A Philosophical Look at Andr\u00e9 Bazin\u2019s Realism<\/span><\/strong><\/p>\n


      \nPuni tekst: pdf (560 KB), English, Str. 2941 – 2954
      \n<\/span><\/strong><\/a><\/p>\n

       <\/p>\n

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

       <\/span><\/p>\n

      Andr\u00e9 Bazin\u2019s notion of cinematic realism has been either denigrated as \u201cna\u00efve\u201d or been deformed to fit lines of thought in film studies that are at variance with the nature of his thought. However, as this article shows, there are strong influences of what one might call \u201carchaic thought\u201d in Bazin\u2019s conception of realism. However, there is another influence on his thought: a substratum of Hegelianism, which often ignored in the reception of his work, contributing to its misrepresentation. At the end, we conclude if we forfeit this residual Hegelianism, not only we can have a better grasp of what realism truly is, but we also can have a more synchronous relationship between cinema and other art forms. <\/em><\/p>\n

       <\/p>\n

      Key words:<\/em><\/strong> Andr\u00e9 Bazin, philosophy, philosophy of media, film philosophy, Hegel, Plato, archaism, French film criticism.<\/em><\/p>\n

       <\/p>\n

       <\/p>\n

      Ad Maiorem Dei Gloriam<\/em><\/p>\n

       <\/p>\n

      Introdution<\/strong><\/p>\n

      The richness of cinema in philosophical possibilities is vast. Perhaps one of the first to make full use of the philosophical range of cinema, both in the filmic practice as well as in the theoretical field, was Andr\u00e9 Bazin (1918\u22121958). To Jean Renoir, Bazin is “greater than his subject.”<\/a>[258<\/strong><\/span>]<\/sup><\/a> Although his writing is well known and his legacy as a co-founder of Cahiers du cin\u00e9ma <\/em>is tremendous, the appreciation of his role as a philosophical thinker of cinema is still underdeveloped. However, on closer examination, the basis of his thought has deep connections to philosophy. Researchers have acknowledged the profound impact that Modernist Catholic theology of the 1920s to the 1940s had in his formative thought, especially in relation to his early contributions to the Personalist journal Esprit<\/em>, for instance.<\/a>[259<\/strong><\/span>]<\/sup><\/a> Many ignore this connection, as if it were only one more influence on him, as if it had no greater impact on the substance of his work on cinema and the nature of image\u2014but that is misguided. The matter is that philosophy is at the very root of his greatest insight on film: the realist<\/em> vocation of cinema.<\/p>\n

      However, many do not notice the profound philosophical vision behind that insight. That may have to do with the fact that his definition of realism is somewhat pied. As Peter Matthews stated, “his refusal to follow due [academic] process” made his realism amount to “little more than a loose patchwork of ideas that never coalesced into a stringent system but remained dangerously impressionistic.”<\/a>[260<\/strong><\/span>]<\/sup><\/a> As I will show below, I do not think that Bazin’s impressionism is a problem per se<\/em>; the source of the problem is deeper. For instance, his use of the word “metaphysics” is choked with the twentieth-century reserve against immateriality. It is not that he is afraid of the word; but when he uses it, he gives it a materialistic <\/em>definition. Therefore, we have in Bazin a transcendental kind of realism that never escapes the realm of materiality, even though Bazin clearly implies this “will” to transcendence.<\/p>\n

      In this manner, at the core of Bazin’s thought, we have a kind of duel: he is at once a Hegelian and a “Platonist,” as Professor Tom Gunning mentioned en passant<\/em> in his essay in Opening Bazin<\/em> (2011).<\/a>[261<\/strong><\/span>]<\/sup><\/a> To me, it is capital to solve this problem because so far it has been his Hegelianism that has prevailed, which kick-started a two-fold ramification of Bazin scholarship, so to speak:<\/p>\n

        \n
      1. on the one hand we have the “spiritualists,” those who accepted Bazin’s theory of the emanation of a certain kind of spectral reality steams from the screen in the work of certain directors. The spiritualists generally accept that Bazin was the first to understand cinema’s capacity to translate spiritual reality by means of formal expositions by means of the image. This gave birth to the criticism of Rohmer, Truffaut, the early Godard, and the “MacMahon school” of criticism. “Reality” is feeling<\/em> and arousal<\/em>;<\/span><\/li>\n
      2. on the other hand, we have the “revolutionaries.” These are latecomers, emerged in the late 1970s and curiously understood Bazin’s “realism” as “possibility.” Perhaps the most flagrant case of this kind is that of Deleuze:<\/span><\/li>\n<\/ol>\n

        The idea of cinema as an adhesion to reality [al reale<\/em>] in its unpredictability, and hence as a device in which its specified is that of remaking movement and duration,\u2026 precedes Deleuze’s thought, and is present in the reflections of Andr\u00e9 Bazin.<\/a>[262<\/strong><\/span>]<\/sup><\/a><\/p>\n

        These two views are still philosophically wanting. (1) makes cinema merely aesthetic and sentimental, at odds with the principle that art cannot be irrational.<\/a>[263<\/strong><\/span>]<\/sup><\/a> Mere aesthetics impoverishes the artistic experience because it reduces art to a mere pushing and pulling of our emotional buttons. (2), however, spouses an even poorer view, not only of art, but of the kosmos<\/em> as a whole; one that makes politics the teleology of everything in existence\u2014an “one-minded,” theo-epistemic view; in short, a vision aligned with what Eric Voegelin called revolutionary gnosticism, the congenial view of modernity.<\/a>[264<\/strong><\/span>]<\/sup><\/a> Not unlike those who use cinema as a foil for their philosophical views, this group uses cinema to read political ideology into cinema. As the Cahiers<\/em> historian Antoine de B\u00e6cque puts it,<\/p>\n

        It was said, after Bazin, that cinema is “all-natural” since the camera and the film stock are made with this in view, “reproducing” reality. But the Cahiers<\/em> labeled this “reality,” as well as the technical apparatus made to reproduce it faithfully, were “entirely ideological.”\u2026 [The post-1968 Cahiers<\/em>] were eminently revolutionaries.<\/a>[265<\/strong><\/span>]<\/sup><\/a><\/p>\n

        Despite Professor Gunning’s observation about Bazin’s “Platonism” (more accurately, a traditional or archaic aesthetic view) intermingled with Hegelianism, I feel that this subject has not been so far explored in Bazinian studies, especially in the light of the fact that only six percent of Bazin’s writings “have been republished in anthologies or edited essay collections.”<\/a>[266<\/strong><\/span>]<\/sup><\/a> This means, in the long haul, that his definition of realism has not been fully understood or has not been fully explored, paving the way to mischaracterization. Not only that hurts a correct comprehension and appreciation of his thought, it also sets cinema apart from the study other art forms, such as painting or literature, that had the chance of being studied in a more archetypal and traditional light; that is, in opposition to the more sensorial and aesthetical light that, in the best of cases, researchers and thinkers use to interpret cinema. In this article, I will try to show the nature of Bazin’s archaism, his Hegelianism, and what profit we might gain by discriminating these two aspects of his thought.<\/p>\n

         <\/p>\n

        Bazin’s Platonism (or Hegelianism)<\/strong><\/p>\n

        Bazin’s What Is Cinema?<\/em> begins with his most famous text, “Ontology of the Photographic Image.” It is the text that heralds his metaphysical and essential understanding of cinema. This “essential” understanding is aligned with a meaning that is comparable with the meaning that the Scholastics held on that word: essence meaning nature or substance. As St. Anselm puts it, “Therefore there is some thing which, whether it is called an essence, a substance, or a nature, is the best and the greatest, and of all the things that are, the supreme.”<\/a>[267<\/strong><\/span>]<\/sup><\/a><\/p>\n

        Bazin refers to mankind’s “mummy complex”: our desire to cast out time and its corruptive nature to our bodies and to the world around us. To him, however, this need is psychological:<\/p>\n

        The Egyptian religion, which entirely directed against death, made survival dependent on the perennial preservation of the material body. This satisfied a fundamental need of human psychology: the defense against time. Death is but the victory time.<\/a>[268<\/strong><\/span>]<\/sup><\/a><\/p>\n

        To Bazin, the entire meaning of the plastic arts gravitates around this psychological need. It is necessary to literally “exorcise time,”<\/a>[269<\/strong><\/span>]<\/sup><\/a> and neither mummification, nor the labyrinths that make the finding of the sarcophagus an ordeal, nor the statuary that used to stand by the side of the mummy in the pyramids could prevent the action of time ultimately to destroy the material body or its depiction. It does not escape Bazin that plastic arts, from this point of view, were firstly thought as something religious<\/em>: “Thus is revealed, in the religious origins of statuary, its primordial function: that of saving the being through resemblance.”<\/a>[270<\/strong><\/span>]<\/sup><\/a><\/p>\n

        Even though we are speaking of religion, and therefore of metaphysics, to some degree, Bazin still stresses the need of depicting being photographically as a psychological matter. However, this link between preservation and the body entails that elusive catchword: realism. “If the history of the plastic arts is not one of its aesthetics alone, but more so of its psychology, then it is really about resemblance, or, if you will, of realism.”<\/a>[271<\/strong><\/span>]<\/sup><\/a> By saying this, Bazin decidedly places film as a noetic<\/em> matter\u2014that is, a matter of the mind (nous<\/em>). Evidently, this does not rule out the thesis that the production of meaning in pictures is a double construct of the film itself and the spectator, as Margulies points out.<\/a>[272<\/strong><\/span>]<\/sup><\/a><\/p>\n

        It is not surprising that elsewhere, especially in his writings about Italian neorealism, Bazin stresses time and again that realism has nothing to do with aesthetics per se<\/em>, but with moral prerogatives that the director lays on the screen: “In [neorealist] mise en sc\u00e8ne<\/em>, the moral or dramatic significance is never visible on the surface of reality; yet we can’t fail to sense what that significance is if we pay attention.”<\/a>[273<\/strong><\/span>]<\/sup><\/a> Therefore, the mind must work to decode the symbolisms disposed on the screen, in a holistic and integrative manner. These symbolisms are not esoteric in kind, but express a species of reality that only the camera can record. It is not corporeal reality, but a reality of the mind; a moment in time captured by the camera and given new life when projected. Cinema is a gateway to a realm of pure intellectuality; it is movement minus time, or outside<\/em> time. Cinema conquers what apparently ancient religions could not do: to extract from history (i.e., from time) and replay this little piece of history over and over again. “For Bazin, [the] moral duty [of photography] is ultimately a sacred one \u2212 the photographic media are, in effect, preordained to bear endless witness to the beauty of the cosmos.”<\/a>[274<\/strong><\/span>]<\/sup><\/a><\/p>\n

        This is not distant from an archaic or traditional understanding of time and art. By traditional, I do not mean merely a “conservative” view of art, but something in the etymological sense that the word tradition<\/em> implies: “to deliver something.” Likewise, one must understand “archaic” in Mircea Eliade’s meaning of the word: something that is basilar to the conception of something, close to what St. Paul the Apostle writes in Hebrews 5:12: “You have need to be taught again what are basic principles of the words [t\u0113n arkh\u0113s t\u014dn logik\u014dn<\/em>] of God.” It is important to stress that, because Bazin’s contention that cinema partakes of the traditional notion of preserving time\u2014or better yet, of taking man out of time<\/em> and replaying a fundamental action, reviving it over and over\u2014is the true kernel of his notion of realism, which is also behind the traditional philosophy of art as reintegration of eternity into history.<\/p>\n

        It is not by accident that he used Ancient Egyptian mortuary practices as an example, but he could have used exempla from anywhere in the ancient world. As Eliade explained, one of traditional man’s basic urges is to escape from the terror of time<\/em> and the terror of history<\/em>. In very traditional societies, true actions do not happen in time<\/em> since they reflect cosmogenic gestures made by god the gods at the dawn of the Creation. That is because “human nature has nothing to do with time,”<\/a>[275<\/strong><\/span>]<\/sup><\/a> so every gesture in fact is the coming-to-be of a primordial gesture; better yet, every gesture is the coming-to-be of an eidetic<\/em> gesture, the gesture that is a Form. The perfection of each gesture is what validates life, is what makes life worthwhile. “This conscious repetition of given paradigmatic gestures reveals an original ontology\u2026. The gesture acquires meaning, reality, solely to the extent to which it repeats a primordial act.”<\/a>[276<\/strong><\/span>]<\/sup><\/a> In this perspective, art is repetition of primordial gestures rendered by symbols and examples, and the book of nature is choked with symbols: “Hast thou not considered how God sets forth an example [mathalan<\/em>]?” (Qu\u02ber\u0101n 14:24). The making of art abolishes the perception and the flow of time, in the manner that it does not serve only to the individual delight, but also to the use of society. Rites and communal acts make use of statuettes, masks, paintings, and other artistic artifacts because they symbolize these primordial examples and acts, something we can readily understand when we attend the Mass of St. Pius V or a communal ritual in aboriginal societies, where often the chief or a high-ranking individual speaks from within hollow statues that represent the founder of the tribe or the first in a blood lineage.<\/a>[277<\/strong><\/span>]<\/sup><\/a><\/p>\n

        This is a feature that the “Ontology” stresses, in its retracing of our drive to make realistic images as something dating from our early belief as humans in magic<\/a>[278<\/strong><\/span>]<\/sup><\/a> (which was probably the first kind of science and religion ever).<\/a>[279<\/strong><\/span>]<\/sup><\/a> Following this thread, in one of his most superb articles, “The Evolution of the Cinematographic Language,” he boldly proclaims there are “directors who believe in the image and those who believe in reality.”<\/a>[280<\/strong><\/span>]<\/sup><\/a> When defining image, he again offers a very traditional definition: “By ‘image’ I roughly mean everything that can be adjoined to the represented thing in its representation<\/em> on the screen.”<\/a>[281<\/strong><\/span>]<\/sup><\/a><\/p>\n

        This is a definition fundamentally founded on a traditional, archaic, and archetypal figural thought. Let me adduce Erich Auerbach’s observations on image in representation in the traditional Christian theory of the figure:<\/p>\n

        Figural interpretation establishes a connection between two events or persons, the first of which signifies not only itself but also the second, while the second encompasses or fulfills the first. The two poles of the figure are separate in time, but both, being real events or figures, are within time, within the stream of historical life.<\/a>[282<\/strong><\/span>]<\/sup><\/a><\/p>\n

        Bazin’s definition also is kindred with a cosmetic or ornamental theory of image. Pay attention: I said “cosmetic” or “ornamental,” not “aesthetic.” Why? As Bazin says, our imagetic drive is not aesthetic. To Bazin, images reveal above all a reality that is not exactly corporeal, but formal<\/em>; that is, eidetic<\/em>, in the Platonico-Scholastic sense of the word. Though Bazin does not use the word formal in this sense (on the contrary, he uses it in its modern meaning of “style,” as opposed to “content”),<\/a>[283<\/strong><\/span>]<\/sup><\/a> I am not risking infidelity drawing this conclusion. “Ornament” and “cosmetic” have Latin and Greek etymologies; both stem from the words ordo<\/em> and kosmos<\/em>, which mean the same thing: order. Ornament means “the furnishing of anything essential to the validity of whatever is ‘adorned.’” It “enhances its effect, empowering it.”<\/a>[284<\/strong><\/span>]<\/sup><\/a> Let us see what he draws from the evolution of Western painting since early modernity\u2014<\/p>\n

        It is true that universal world painting had reached the point of equilibrium between the symbolism and the realism of the forms. But from the fifteenth century onward in the West, painting started to diverge from its primordial aim of reproducing the spiritual reality through autonomous means and started to focus on a combination of spiritual expression with a more or less perfect imitation of the outward world<\/a>[285<\/strong><\/span>]<\/sup><\/a>\u2014<\/p>\n

        \u2014comparing it with the traditionalist author Titus Burckhardt:<\/p>\n

        A rigorous perspective in painting inevitably involves a loss of color symbolism: by their dependence on an artificial illumination that goes hand-in-hand with spatial illusion, the colors lose their direct nature. A Medieval painting is luminous, not because it suggests a source of light situated in the world depicted, but because its colors directly manifest the qualities inherent in light; they are glimpses of the primordial light that is present in the heart. The development of chiaroscuro, on the contrary, reduces color into nothing more than the play of an imaginary light; the magic of lighting carries painting into a sort of intermediate world analogous to a dream, a dream sometimes grandiose, but one that envelops the spirit instead of liberating it. Baroque art carried this development to an extreme, until finally spatial forms, suggested by chiaroscuro, lose the almost tangible corporeity conferred on them in Renaissance painting; at this point color seems to acquire an autonomous quality, but it is color lacking in sincerity.<\/a>[286<\/strong><\/span>]<\/sup><\/a><\/p>\n

        As I have already pointed out, Bazin does not equate realism with corporeality, or with naturalism, or with verisimilitude with the material world.<\/a>[287<\/strong><\/span>]<\/sup><\/a> If we meditate on this aspect of his thought, his criticism of Baroque art is not surprising at all, for this was the period when Western painting started to fooling the eye for good, mistaking reality for illusion\u2014the illusion of perspective, which Bazin calls “the original sin of Western painting.”<\/a>[288<\/strong><\/span>]<\/sup><\/a> With perspective, Western art gained the false impression that pictographic euhemerism is the nec plus ultra<\/em> of reality, that there is a perfect overlap of what we see and the meaning of existence.<\/p>\n

        In other words, Bazin is criticizing nominalism in art. The particular and individual image drenched in the fake realism of perspective had claimed universal prerogatives; that is, by reproducing what our eyes see\u2014we, immanent creatures\u2014had now thought that we could render reality as it is by our imitation of the corporeal in a more or less perfect manner.<\/a>[289<\/strong><\/span>]<\/sup><\/a> In short, beginning with the Renaissance and culminating in the Baroque, Western art now put its faith in the image<\/em>, not in reality. Those directors who put their faith in the image and try to fool our eyes and minds are continuing the corrupted nature of Early Modern art.<\/p>\n

        Cinema is thus the art of reality, and the best director is he who can portray reality on the screen. We have seen how Bazin clearly proclaims the sacerdotal nature of cinema, but how exactly does cinema profess reality? Here we enter in the second most problematic realm of Bazin’s thought (the first being his semi-Hegelianism), and probably that aspect for which you either take him or leave him. Cinema renders reality and reality is something impersonal; additionally, images have no value of their own, being rather the language through which reality shines through. In painting, artists are not required to transmit in their images how they see the world: they have only to portray things as they are with the essential forms they have in their heads\u2014and that form is not exactly the natural, corporeal presentation. How can one portray Jesus Christ naturally?<\/a>[290<\/strong><\/span>]<\/sup><\/a> This is what led Bazin to love Romanesque and Gothic art, to the point of starting to prepare a documentary on Romanesque churches.<\/a>[291<\/strong><\/span>]<\/sup><\/a> However, in cinema’s case, the camera renders the image of the world mechanically, disinterestedly. The director has nothing to add to it. Thus we are led back to the principles of Medieval art. The camera has reality as an end. Cinema is teleological.<\/p>\n

         <\/strong><\/p>\n

        Bazin’s Hegelianism<\/strong><\/p>\n

        Every end can be perverted, though. Thus, even if, as we shall see, Bazin admits that one can express reality in various manners, there are certain prescriptions that warrant the conveying of reality on the screen. Thus we have one of the most dogmatic pieces Bazin ever wrote, “The Virtues and Limitations of Montage,” where we read that very striking rule, “When the essence of a scene demands the simultaneous presence of two or more factors in the action, montage is ruled out.”<\/a>[292<\/strong><\/span>]<\/sup><\/a> What worries Bazin in this essay is the convention that cinema is editing (montage<\/em>) and that meaning (reality) is a creation of the cutting room. Instead, reality stems from that which is before the camera, on the set. Reality is something that speaks directly to the mind of the viewer, something that is under-stood<\/em>\u2014something to which we subject ourselves as true. Again, this is not something that has to do with verisimilitude or naturalism: it does not matter if what we see in the image is materially real. It suffices that the idea<\/em> (form) that the finished picture conveys what the director had in his mind while making it. Hence, when discussing a scene from Crin-Blanc<\/em> (1953) in which the young protagonist is dragged by the horse, he says, “It is of no consequence that the horse we see dragging Folco in the long shot is a double for Crin Blanc, nor even that for that dangerous shot, [director Albert] Lamorisse had himself doubled for the boy.”<\/a>[293<\/strong><\/span>]<\/sup><\/a><\/p>\n

        Peter Matthews says that the absence of academic strictness allowed Bazin to “free play in an atmosphere as yet unhampered by Jesuitical nit-picking,”<\/a>[294<\/strong><\/span>]<\/sup><\/a> thus making his thought “infinitely more concrete, nimble and flexible than the lucubrations of those obliged to flag each theoretical move with a sheaf of footnotes” (like this very essay); however, as I have quoted above, “his refusal to follow due process” made his realism amount to “little more than a loose patchwork of ideas that never coalesced into a stringent system but remained dangerously impressionistic.” I fully agree with Matthews, though I do not think that his impressionism is the source of danger. The real danger is the double-sensed nature that his use of the word realism has, and that is not something necessarily impressionistic. It is worth reminding that Bazin is a mid-twentieth-century author; therefore, an author that on the one hand has a transcendent vision, but that takes immanence as a part of his thought. As we saw, Bazin equaled ontology to psychology, and thus slapped the nature of cinema to a purely human endeavor, even though it had cosmic consonances. It is metaphysics, sure\u2014but in doubt of its own nature as metaphysics. An example of his psychologizing, for instance, is his constant use of the word “obsession”: he treats it almost as a value necessary to making art, paralleling it with man’s will to overcome time\u2014a notion that continues to this day when researchers talk about Bazin and obsession in general.<\/a>[295<\/strong><\/span>]<\/sup><\/a> However, on closer examination, what he means by “obsession” is closer to the traditional notion of “intuition,” the perception of the “essential,” after which “the rest follows as consequences or as application of this perception to the various orders of contingent realities.”<\/a>[296<\/strong><\/span>]<\/sup><\/a> If we observe that to Bazin cinema has a sacred vocation, and that in archaic thought intuition is “the most immediate and the most elevated of all kinds of knowledge,”<\/a>[297<\/strong><\/span>]<\/sup><\/a> then it is natural that the drive of its “priests” inspire them to portray the symbols of the paradigm they intuit, a notion not very far from what Plato says about the rhapsodist in the Ion<\/em>: they are seized<\/em> (kathekhomenai<\/em>) by a drive<\/em> (dynamos<\/em>) to bring out their art from within\u2014or from above, for that matter.<\/a>[298<\/strong><\/span>]<\/sup><\/a><\/p>\n

        * * *<\/p>\n

        If for one part his impressionism opens the door to misunderstanding (by himself and by others) about the meaning of his thought, it also leaves open the possibility to access a freer range of forms the image can convey realism. We can explore that by examining his relationship with neorealism and Roberto Rossellini. As he says in “Defense of Rossellini,” he has a “strong dislike for a notion of neorealism which is based, to the exclusion of all else, on what is only one of its present aspects, for this is to submit its future potential to a priori<\/em> restrictions.”<\/a>[299<\/strong><\/span>]<\/sup><\/a> This has to do, of course, with the fact that for Bazin, neorealism (and realism as a whole) is “before all else a kind of humanism.”<\/a>[300<\/strong><\/span>]<\/sup><\/a> Neither of the two men ever framed neorealism in a purely materialistic or corporeal contingency. Rossellini himself stated that Giovanna d’Arco al rogo<\/em> (1954) was “neorealism in the sense he always intended”<\/a>[301<\/strong><\/span>]<\/sup><\/a>\u2014and Bazin and the Cahiers<\/em> readily granted that.<\/a>[302<\/strong><\/span>]<\/sup><\/a> But if we compare a picture like Open City<\/em> (1946), one of the films that heralded the dawn of neorealism, with Giovanna<\/em>, it would be hard to convince anyone that there are not aesthetic differences between the two of them\u2014as there are differences between Giovanna<\/em> and Socrates<\/em> (1971). From what I have exposed so far, we cannot deny that Rossellini’s pictures are all realist<\/em>, even if they do not partake of the same aesthetic principles. As Bazin himself said,<\/p>\n

        There is not one realism, but several realisms.<\/a>[303<\/strong><\/span>]<\/sup><\/a> The word “realism” as it is commonly used does not have an absolute and clear meaning, so much as it indicates a certain tendency toward the faithful rendering of reality on film. Given the fact that this movement toward the real can take a thousand different routes, the apologia for “realism” per se<\/em>, strictly speaking, means nothing at all.<\/a>[304<\/strong><\/span>]<\/sup><\/a><\/p>\n

        Therefore, Bazin recognizes that realism is not a matter of visual graphy; but this does not neutralize his preference for the long take, deep focus, marginalized editing, and the prevalence of rational decoupage over montage. In other words, it does not rule out “The Virtues and Limitations of Montage.” Take, for instance, Bazin’s texts on CinemaScope.<\/a>[305<\/strong><\/span>]<\/sup><\/a><\/p>\n

        We are getting closer to the source of his Hegelianism. Why is the long take potentially more cinematic than Soviet- or even classic-style editing? As Gunning observed, one can deduce Bazin’s affinity with Hegel in his teleological and dialectical conception of the history of cinema:<\/p>\n

        Bazin’s ideal of total cinema might ultimately resemble Hegel more than Plato since it reveals itself in the unfolding of the history of film as one stage sublates rather than abolishes the preceding one, a history that has not yet reached its end.<\/a>[306<\/strong><\/span>]<\/sup><\/a><\/p>\n

        It is a good guess, but if we are to label Bazin as a Hegelian to any degree, we will not find the justification in his historical conception of cinema; we should rather single out his preference for the long take.<\/a>[307<\/strong><\/span>]<\/sup><\/a><\/p>\n

        As I quoted above, Bazin does not believe in aprioristic contentions to filmmaking or film philosophy. Realism has to do with moral postures, but not with dogmatic statements within the film itself. In contrast with the determinism of analytical (classical) or Soviet editing, in which each combination of shots has only one possible meaning (and here often he referred to the Kuleshov experiment), Bazin preferred the tranquil liberty of the long take. That is because in the long take, the meaning of the shot was gradually produced with each revolution of the supply reel of the projector\u2014or of the spinning hard disk. The projection of each still amounts to a new piece of revelation; it is a new manifestation of the spirit of the picture. The longer the take, the freer this spirit is. Each cut is deterministic because it curtails the progress of this spirit, a spirit that ultimately dominates the viewer. The late Brian Henderson said that<\/p>\n

        the odd quality of the intra-sequence cut that it reflects back on the scene<\/em> (and on mise-en-sc\u00e8ne<\/em>) and defines it or qualifies it in retrospect. The cut which ends a long take\u2014how it ends it as well as where\u2014determines or affects the nature of the shot itself. Looked at oppositely, the mise-en-sc\u00e8ne<\/em> requires a certain kind of cut at a certain time. The two categories are strictly correlative. If one begins talking about the one, he ends talking about the other; and vice versa. The cut is the limit or boundary of the shot and this boundary enters into and determines the nature of the shot itself. Hegel says: “A thing is what it is, only in and by reason of its limit. We cannot therefore regard the limit as only external to being which is then and there. It rather goes through and through the whole of such existence.”<\/a>[308<\/strong><\/span>]<\/sup><\/a><\/p>\n

        I guess the implications are clear. Even though Bazin admits cinema is a language, he does so cryptically and at the twilight of his life.<\/a>[309<\/strong><\/span>]<\/sup><\/a> In his mind, the ideal director lets reality be, so naturally reality will let itself be captured by the camera, as if it were some kind of unicorn approaching a virgin unaware of the hunters behind her. This is why continuity and flux are the best manner to portray reality. A picture is something historical; each picture is a complex whole, made of the historical progression of each shot, and every shot has its own spirit. It is only when the picture is over that its supreme spirit reveals itself. On the other hand, as I stated, Bazin admitted that there are other ways to render realism. Here is his archaism, at odds with his Hegelianism. In archaic aesthetical realist thought, immanent existence declines from the eidos<\/em> of that individual thing. In Hegelianism, the eidos<\/em> (in reality, the spirit; we cannot talk about eidos<\/em> in Hegel) is something that unravels itself only a posteriori.<\/a>[310<\/strong><\/span>]<\/sup><\/a><\/p>\n

        The progress of Bazinian film criticism eventually squared “reality” with “emotion.” The emergence of the politique des auteurs<\/em> (an idea to which Bazin had his reservations) is an element in the development of this thought. Realism is the natural vocation of cinema. Though we do not know exactly what it is, we know that there are a number of directors who time and again made effective realist pictures without resourcing to didactics. The Cahiers<\/em> canon of working Hollywood-based directors in the fifties is a good indicator of the general understanding of what was realism and auteurism up to that time: Allan Dwan, John Ford, Samuel Fuller, Howard Hawks, Alfred Hitchcock, Henry King, Fritz Lang, Joseph Losey, Otto Preminger, Nicholas Ray, Douglas Sirk, King Vidor, Raoul Walsh, and Orson Welles. What do these directors have in common? Running themes in their works, certainly; but what else? An honest use of emotion<\/em>s. Not “cheap emotions,” not “shock” (which would be the Cahiers<\/em> equivalent to art pour l’art<\/em>), but an intelligent and articulate use of emotions in service of a general idea of cinema. As a matter of fact, Godard made Fuller say as much in Pierrot le fou<\/em> (1965) in the “Film is a battleground” monologue. For one reason or another, Bazinian critics eventually chose to zero in on the “emotional” aspect of this intelligence, until the emergence of the gnosticist group of Bazinian or soft-Bazinian critics I singled out earlier.<\/p>\n

         <\/strong><\/p>\n

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

        We have seen how Bazin’s diffuse use of the word “realism” led to a myriad of possibilities and interpretations of his thought. While I may grant that it indeed made the debate richer and while I admit the “epiphenomenal” nature of his thought made him more open to various kinds of possibilities in cinema, it also led critics to misuse the art or to ends that are contrary to its nature. Worse, this sparse and non-rigorous use of the word could not prevent authors from seeing cinema as a lesser art that needs the furnishing of other disciplines to become intellectually and philosophically rich, or as a merely emotional or aesthetic art form that can survive purely in the beatitude and placidness of its visual delights.<\/p>\n

        To demand rigor from an author that wrote for the most part in magazines and journals might strike as too much. It may be our job to unpin whatever treasures there might be in his writings and explore his perceptions about an art that still is, now in its second century of existence, in its infancy, even though many declare that it is already dead.<\/p>\n

        Not only we might gain many insights about cinema and its relations to the other arts and with reality itself, knowing, studying, and researching about Bazin can make us refocus the situation of philosophy and the intellectual condition in the twentieth century. As I argued above, at the center of the theater of his mind there were two blatantly different beasts: archaic, or traditional, thought and Hegelianism. Many other authors, oftentimes far removed from cinema, also had this duel going on in their minds. A good example is none other than Martin Heidegger, as some recent studies revealed.<\/a>[311<\/strong><\/span>]<\/sup><\/a><\/p>\n

        In relation to the cinema, Bazin’s almost Medieval and Scholastic vision of art as an integral art in which images point out to substantial wholes may help us to position cinema in a more heightened place than it currently holds in relation to more ancient art forms. By conferring it the same objective value that traditional civilizations conferred to painting, sculpture, music, and drama (in virtue of their relations to ritual and religion), not only can cinema escape from its merely commercial value to which it was almost immediately associated with at the time of its birth, but we can also see films in a more traditional light, even though most of the cinematographic canon was produced under the spell of commercialism or capitalism. If a picture such as Raoul Walsh’s Saskatchewan<\/em> (1958), one of the great works of classic Hollywood cinema, has to make concessions to topoi<\/em> of commercial cinema\u2014especially concerning its decadent love story\u2014this has more to do with our current historical cycle than with its association with the romantic genre it belongs to, where love stories swarm, but not in the decadent and almost misplaced style Saskatchewan<\/em> displays.<\/a>[312<\/strong><\/span>]<\/sup><\/a> There is no reason why the arts cannot be synchronic to each other and Bazin might help us to reach that synthesis.<\/p>\n

         <\/p>\n

        \n
        \n

        <\/a>[258<\/strong><\/span>]<\/sup><\/a> 
        \nJean Renoir, Foreword to Andr\u00e9 Bazin, What Is Cinema?<\/em> 2 vols., tr. and ed. Hugh Gray (Berkeley: University of California Press, 2005), 1:v. <\/p>\n

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

        \n

        <\/a>[259<\/strong><\/span>]<\/sup><\/a> 
        \nDudley Andrew, Andr\u00e9 Bazin<\/em>, rev. ed. (Oxford: Oxford University Press, 2013), Ch. 1. See also Peter Matthews, “Divining the Real: The Leaps of Faith in Andr\u00e9 Bazin’s Film Criticism,” Sight & Sound<\/em> 9, no. 8 (1999):         https:\/\/www.bfi.org.uk\/news-opinion\/sight-sound-magazine\/features\/andre-bazin-divining-real-film-criticism-overview<\/a>; Dudley Andrew, What Cinema Is! Bazin’s Quest and Its Change<\/em> (Malden, Mass.: Wiley-Blackwell, 2010), 113; and Philip Rosen, “Belief in Bazin,” in Dudley Andrew and Herv\u00e9 Joubert-Laurencin, eds., Opening Bazin<\/em> (Oxford: Oxford University Press, 2011).<\/p>\n

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

        \n

        <\/a>[260<\/strong><\/span>]<\/sup><\/a> 
        \nMatthews, “Divining the Real.”<\/p>\n

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

        \n

        <\/a>[261<\/strong><\/span>]<\/sup><\/a> 
        \nSee Tom Gunning, “The World in Its Own Image,” Opening Bazin<\/em>.<\/p>\n

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

        \n

        <\/a>[262<\/strong><\/span>]<\/sup><\/a> 
        \nDaniela Angelucci, Deleuze e i concetti di cinema<\/em> (Macerata: Quodlibet, 2012), 14.<\/p>\n

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

        \n

        <\/a>[263<\/strong><\/span>]<\/sup><\/a> 
        \nPlato, Gorgias<\/em>, 465A. Ananda K. Coomaraswamy, “Art in Indian Life,” apud Brian Keeble, God & Work <\/em>(Bloomington: World Wisdom, 2007), 6: “In every work of art there [must be] a combination of formal\u2212intelligible\u2026 and material\u2212sensible\u2026 factors, the former corresponding to the ‘ear’ as a symbol of angelic understanding, the latter to the ‘eye’ of sensational experience.”<\/p>\n

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

        \n

        <\/a>[264<\/strong><\/span>]<\/sup><\/a> 
        \nEric Voegelin, The New Science of Politics<\/em>, in Modernity without Restraint<\/em>, ed. Manfred Henningsen, Collected Works of Eric Voegelin<\/em>, vol. 5 (Columbia: University of Missouri Press, 2000), 175ff.<\/p>\n

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

        \n

        <\/a>[265<\/strong><\/span>]<\/sup><\/a> 
        \nAntoine de B\u00e6cque, Les<\/em> Cahiers du cin\u00e9ma. <\/em>Histoire d’une r\u00e9vue<\/em>, 2 vols. (Paris: Cahiers du Cin\u00e9ma, 1991), 2:230\u22121.
        \n<\/span><\/p>\n<\/div>\n

        \n

        <\/a>[266<\/strong><\/span>]<\/sup><\/a> 
        \nMarco Grosoli, “Andr\u00e9 Bazin: Film as Social Documentary,” New Readings<\/em> 11 (2011): 1. Of these, says Lorenzo Fabbri, “only a handful [have] been translated into English” (“Neorealism as Ideology,” The Italianist<\/em> 35 [2015]: 184).
        \n<\/span><\/p>\n<\/div>\n

        \n

        <\/a>[267<\/strong><\/span>]<\/sup><\/a> 
        \nSt. Anselm, Monologion<\/em>, iii, in The Major Works<\/em>, eds. Brian Davies and G. R. Evans (Oxford: Oxford University Press, 2003), 14.
        \n<\/span><\/p>\n<\/div>\n

        \n

        <\/a>[268<\/strong><\/span>]<\/sup><\/a> 
        \nAndr\u00e9 Bazin, “Ontologie de l’image photographique,” in Qu’est-ce que le cin\u00e9ma ?<\/em> (Paris: \u00c9ditions du Cerf, 1987), 9.
        \n<\/span><\/p>\n<\/div>\n

        \n

        <\/a>[269<\/strong><\/span>]<\/sup><\/a> 
        \nIbid., 10.
        \n<\/span><\/p>\n<\/div>\n

        \n

        <\/a>[270<\/strong><\/span>]<\/sup><\/a> 
        \nIbid., 9.
        \n<\/span><\/p>\n<\/div>\n

        \n

        <\/a>[271<\/strong><\/span>]<\/sup><\/a> 
        \nIbid., 10.
        \n<\/span><\/p>\n<\/div>\n

        \n

        <\/a>[272<\/strong><\/span>]<\/sup><\/a> 
        \nIvone Margulies, “Bodies Too Much,” in Ivone Margulies, ed., Rites of Realism<\/em> (Durham, NC: Duke University Press, 2002), 4.
        \n<\/span><\/p>\n<\/div>\n

        \n

        <\/a>[273<\/strong><\/span>]<\/sup><\/a> 
        \nAndr\u00e9 Bazin, “Germany Year Zero<\/em>,” in Bazin at Work<\/em>, ed. Bert Cardullo, tr. Alain Piette and Bert Cardullo (London: Routledge, 1997), 124.
        \n<\/span><\/p>\n<\/div>\n

        \n

        <\/a>[274<\/strong><\/span>]<\/sup><\/a> 
        \nMatthews, “Divining the Real.”<\/p>\n

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

        \n

        <\/a>[275<\/strong><\/span>]<\/sup><\/a> 
        \nAnanda K. Coomaraswamy, Christian & Oriental Philosophy of Art<\/em> (New York: Dover, 1956), 124.<\/p>\n

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

        \n

        <\/a>[276<\/strong><\/span>]<\/sup><\/a> 
        \nMircea Eliade, Cosmos & History<\/em> (New York: Harper Torchbook, 1956), 5.
        \n<\/span><\/p>\n<\/div>\n

        \n

        <\/a>[277<\/strong><\/span>]<\/sup><\/a> 
        \nLeonhardt Adam, Primitive Art<\/em>, rev. ed. (Harmondsworth, Middlesex: Penguin, 1949), 54.<\/p>\n

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

        \n

        <\/a>[278<\/strong><\/span>]<\/sup><\/a> 
        \nBazin, “Ontologie,” 11.
        \n<\/span><\/p>\n<\/div>\n

        \n

        <\/a>[279<\/strong><\/span>]<\/sup><\/a> 
        \nSee Christopher Dawson, Progress & Religion<\/em> (Washington, DC: Catholic University of America Press, 2001), 81ff.
        \n<\/span><\/p>\n<\/div>\n

        \n

        <\/a>[280<\/strong><\/span>]<\/sup><\/a> 
        \nBazin, “L’\u00c9volution du langage cin\u00e9matographique,” Cin\u00e9ma ?<\/em> 132.
        \n<\/span><\/p>\n<\/div>\n

        \n

        <\/a>[281<\/strong><\/span>]<\/sup><\/a> 
        \nIbid., 132 (Bazin’s emphasis<\/em>).
        \n<\/span><\/p>\n<\/div>\n

        \n

        <\/a>[282<\/strong><\/span>]<\/sup><\/a> 
        \nErich Auerbach, Scenes from the Drama of European Literature<\/em>, Eng. tr. (Minneapolis: University of Minnesota Press, 1984), 53. Some readers may argue that Auerbach presents an historical interpretation of the concept of figure in Christian thought, since he goes on to say that “the two poles of the figure are separate in time, but both, being real events or figures, are within time, within the stream of historical life. Only the understanding of the two persons or events is a spiritual act, but this spiritual act deals with concrete events whether past, present, or future, and not with concepts or abstractions” (ibid.).
        \nAs we have seen, that may have to do with the linear kind historic conception, something necessary in a religion that awaits the coming of the Messiah (Judaism) or that awaits His second coming (Catholicism), an experience that brings about the concept of faith. As Eliade explains, a story such as Abraham’s sacrifice points out to the slight difference between “the traditional conception of the repetition of an archetypal gesture and the new dimension, faith<\/em>,” created under the spell of the successive defeats of Israel in the military field and “the pressure of history” (Cosmos & History<\/em>, 108\u22129, 106; emphasis<\/em> Eliade’s). Since there is a relation of time between antitype and type, but since there is a relation between antitype, type, and meaning, it entails a creation of a third element: the archetype that confers meaning to antitype and type. This element is necessary because Judaism and Catholicism are religions that still are in the “eternal now” that characterizes archaic thought, even though they are more attuned to the movement of time than, say, Hinduism. Without it, we have nominalism and association between figures by common agreement and not by essentiality. See Ghazi bin Muhammad, “The Traditional Doctrine of Symbolism,” in Martin Lings and Clinton Minnaar, eds., The Underlying Religion: An Introduction to the Perennial Philosophy<\/em> (Bloomington: World Wisdom, 2007), 159n4.
        \n<\/span><\/p>\n<\/div>\n

        \n

        <\/a>[283<\/strong><\/span>]<\/sup><\/a> 
        \nSee Bazin, “L’\u00c9volution,” 136.
        \n<\/span><\/p>\n<\/div>\n

        \n

        <\/a>[284<\/strong><\/span>]<\/sup><\/a> 
        \nAnanda K. Coomaraswamy, “Ornament,” in Coomaraswamy 1: Traditional Art and Symbolism<\/em>, ed. Roger Lipsey (Princeton: Princeton University Press, 1977), 244.
        \n<\/span><\/p>\n<\/div>\n

        \n

        <\/a>[285<\/strong><\/span>]<\/sup><\/a> 
        \nBazin, “Ontologie,” 10.
        \n<\/span><\/p>\n<\/div>\n

        \n

        <\/a>[286<\/strong><\/span>]<\/sup><\/a> 
        \nTitus Burckhardt, “The Decadence and Renewal of Christian Art,” in The Essential Titus Burckhardt<\/em>, ed. William Stoddart (Bloomington: World Wisdom, 2005), 138. See also Coomaraswamy, Christian & Oriental<\/em>.
        \n<\/span><\/p>\n<\/div>\n

        \n

        <\/a>[287<\/strong><\/span>]<\/sup><\/a> 
        \nHence it is quite paradoxical to read Professor Margulies acknowledging that Bazin is not concerned with verisimilitude but insisting on the importance of corporeality<\/em> in his realism (see “Bodies Too Much,” 4).<\/p>\n

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

        \n

        <\/a>[288<\/strong><\/span>]<\/sup><\/a> 
        \nBazin, “Ontologie,” 12.
        \n<\/span><\/p>\n<\/div>\n

        \n

        <\/a>[289<\/strong><\/span>]<\/sup><\/a> 
        \nErwin Panofsky, Gothic Architecture and Scholasticism <\/em>(New York: New American Library, 1976), 16\u22127: “The most characteristic expression of this subjectivism is the emergence of a perspective interpretation of space which, originating with Giotto and Ducio, began to be accepted everywhere from 1330\u221240. In redefining the material painting or drawing surface as an immaterial projection plane, perspective\u2014however imperfectly handled at the beginning\u2014renders account, not only of what is seen, but also of the way it is seen in particular conditions. It records, to borrow Ockham’s term, the direct intuitus<\/em> from subject to object, thus paving the way for modern naturalism and lending visual to the concept of the infinite.”<\/p>\n

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

        \n

        <\/a>[290<\/strong><\/span>]<\/sup><\/a> 
        \nSee Coomaraswamy, Christian & Oriental<\/em>, 23\u221260, 117\u221229.
        \n<\/span><\/p>\n<\/div>\n

        \n

        <\/a>[291<\/strong><\/span>]<\/sup><\/a> 
        \nThis is what he was working on at the time of his passing. See Andr\u00e9 Bazin, “Les \u00c9glises de Saintonge,” Cahiers du cin\u00e9ma<\/em>, no. 100 (1959): 55\u201358.
        \n<\/span><\/p>\n<\/div>\n

        \n

        <\/a>[292<\/strong><\/span>]<\/sup><\/a> 
        \nBazin, “The Virtues and Limitations of Montage,” What Is Cinema?<\/em> 1:50.<\/p>\n

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

        \n

        <\/a>[293<\/strong><\/span>]<\/sup><\/a> 
        \nIbid., 1:48.
        \n<\/span><\/p>\n<\/div>\n

        \n

        <\/a>[294<\/strong><\/span>]<\/sup><\/a> 
        \nMatthews, “Divining the Real.”<\/p>\n

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

        \n

        <\/a>[295<\/strong><\/span>]<\/sup><\/a> 
        \nCf. Philip Rosen, Change Mummified: Cinema, Historicity, Theory<\/em> (Minneapolis: University of Minnesota Press, 2001), 21: “The existential desire to defeat death\u2026 can only continue to exist as an obsession not as a rational one.”<\/p>\n

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

        \n

        <\/a>[296<\/strong><\/span>]<\/sup><\/a> 
        \nRen\u00e9 Gu\u00e9non, La Crise du monde moderne<\/em> (Paris: Gallimard, 1946), 69.<\/p>\n

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

        \n

        <\/a>[297<\/strong><\/span>]<\/sup><\/a> 
        \nIbid., 85.<\/p>\n

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

        \n

        <\/a>[298<\/strong><\/span>]<\/sup><\/a> 
        \nIon<\/em>, 340A.<\/p>\n

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

        \n

        <\/a>[299<\/strong><\/span>]<\/sup><\/a> 
        \nBazin, “In Defense of Rossellini,” What Is Cinema?<\/em> 2:95.<\/p>\n

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

        \n

        <\/a>[300<\/strong><\/span>]<\/sup><\/a> 
        \nBazin, “\u00c9volution,” 138.<\/p>\n

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

        \n

        <\/a>[301<\/strong><\/span>]<\/sup><\/a> 
        \nIn interview to Maurice Sch\u00e9rer [\u00c9ric Rohmer] and Fran\u00e7ois Truffaut, Cahiers du cin\u00e9ma<\/em>, no. 37 (1954): 12.<\/p>\n

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

        \n

        <\/a>[302<\/strong><\/span>]<\/sup><\/a> 
        \nThe association between cinema and morality, or at least with a certain ethical human posture, was not lost to the early Bazinian critics: Luc Moullet’s “tracking shot is a matter of morals” and Godard’s “moral is a matter of tracking shot” decline from Bazin’s moral vision of cinema. Rivette’s evisceration of Gillo Pontecorvo’s Kap\u00f2<\/em> (1960) is by its turn the application of that moral vision (“De l’abjection,” Cahiers du cin\u00e9ma<\/em>, no. 120 [1961]: 54\u22125). <\/p>\n

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

        \n

        <\/a>[303<\/strong><\/span>]<\/sup><\/a> 
        \n“William Wyler; or, The Jansenist of Directing,” Bazin at Work<\/em>, 6.
        \n<\/span><\/p>\n<\/div>\n

        \n

        <\/a>[304<\/strong><\/span>]<\/sup><\/a> 
        \nAndr\u00e9 Bazin, Jean Renoir<\/em>, ed. Fran\u00e7ois Truffaut, tr. W. W. Halsey II and William H. Simon (London: W. H. Allen, 1974), 85.
        \n<\/span><\/p>\n<\/div>\n

        \n

        <\/a>[305<\/strong><\/span>]<\/sup><\/a> 
        \nSome of them collected in Andr\u00e9 Bazin’s New Media<\/em>, ed. and tr. Dudley Andrew (Oakland: University of California Press, 2014), Pt. 6.<\/p>\n

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

        \n

        <\/a>[306<\/strong><\/span>]<\/sup><\/a> 
        \nGunning, “The World in Its Own Image,” 124.<\/p>\n

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

        \n

        <\/a>[307<\/strong><\/span>]<\/sup><\/a> 
        \nI am at variance with Gunning’s interpretation of Bazin’s conception of the history of cinema as Hegelian because Hegel did not think that the end of history will be spiritless. I think Gunning got it backwards: the current historical stage gets us a step closer to the end of history and of the final form of the spirit of history, a spirit that progresses with each historical stage. This is why, as Christopher Dawson observed, he is so important to the philosophy of progress in modernity (Progress & Religion<\/em>, 33\u22125). In point of fact, Hegel thought that the final form of history was the Prussian State and he was the philosopher of Prussia. That was something he, and only he, could deduce. The gnosticist implications of this philosophy are clear and other writers have explored it at length. See Eric Voegelin, “On Hegel: A Study on Sorcery,” in Published Essays, 1966\u22121985<\/em>, ed. and intro. Ellis Sandoz, Collected Works on Eric Voegelin<\/em>, vol. 12 (Baton Rouge: Louisiana State University Press, 1990), Glenn Alexander Magee, Hegel and the Hermetic Tradition<\/em> (Ithaca: Cornell University Press, 2011), and Jacques D’Hondt, Hegel secret. <\/em>Recherches sur les sources cach\u00e9es de la pens\u00e9e de Hegel<\/em> (Paris: PUF, 1986). The final form of the spirit<\/em> of history was a thing that Hegel personally believed was revealed to him. To Bazin, the idea<\/em> (mind the difference) of film was something expressly stated by cinema’s pioneers. Either way, there is no way to get around the fact that both Bazin and Hegel are teleological thinkers in some manner and to some degree.<\/p>\n

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

        \n

        <\/a>[308<\/strong><\/span>]<\/sup><\/a> 
        \nBrian Henderson, “The Long Take,” Film Comment<\/em> 7, no. 2 (1971): 9. Hegel’s quote comes from the Shorter Logic<\/em>.<\/p>\n

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

        \n

        <\/a>[309<\/strong><\/span>]<\/sup><\/a> 
        \nHe added the famous “On the other hand, cinema is a language” line in 1958, but the essay itself dates from the mid-1940s (Dudley Andrew, Foreword, What Is Cinema?<\/em> 1:xiv).<\/p>\n

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

        \n

        <\/a>[310<\/strong><\/span>]<\/sup><\/a> 
        \nOr, as he liked to say after Sartre (who said it after Heidegger), “existence precedes essence” (Bazin, “Pour un cin\u00e9ma impur,” Cin\u00e9ma ?<\/em> 102).<\/p>\n

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

        \n

        <\/a>[311<\/strong><\/span>]<\/sup><\/a> 
        \nDavid Walsh, “Voegelin and Heidegger: Apocalypse without Apocalypse,” in Lee Trepanier and Steven F. Maguire, eds., Voegelin and the Continental Tradition<\/em> (Columbia: University of Missouri Press, 2011).<\/p>\n

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

        \n

        <\/a>[312<\/strong><\/span>]<\/sup><\/a> 
        \n“Romantic” here is understood in Northrop Frye’s sense of the word. See Frye, Anatomy of Criticism<\/em> (Princeton: Princeton University Press, 1971), 186\u2212206. <\/p>\n

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

         <\/p>\n

        Arhaizam i Hegel u kolutu filmske vrpce<\/span><\/strong><\/p>\n

        Filozofski pogled na realizam Andr\u00e9a Bazina<\/span><\/strong><\/p>\n

         <\/p>\n

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

         <\/span><\/p>\n

        Stav Andr\u00e9a Bazina o filmskom realizmu ili je ocrnjen kao \u201cnaivan\u201d ili je deformiran kako bi odgovarao linijama mi\u0161ljenja u filmskim studijama koje su u suprotnosti s prirodom njegove misli. Me\u0111utim, kao \u0161to ovaj \u010dlanak pokazuje, postoje sna\u017eni utjecaji onoga \u0161to bismo mogli nazvati \u201carhai\u010dnom mi\u0161lju\u201d u Bazinovoj koncepciji realizma. Me\u0111utim, postoji jo\u0161 jedan utjecaj na njegovu misao: supstrat hegelijanizma, koji se \u010desto ignorirao u recepciji njegova djela, pridonose\u0107i njegovom pogre\u0161nom predstavljanju. Na kraju zaklju\u010dujemo ako se odreknemo ovog zaostalog hegelijanizma, ne samo da mo\u017eemo bolje razumjeti \u0161to je zapravo realizam, nego mo\u017eemo imati i sinkronijski odnos izme\u0111u kinematografije i drugih umjetni\u010dkih oblika.<\/em><\/p>\n

         <\/p>\n

        Klju\u010dne rije\u010di:<\/em><\/strong> Andr\u00e9 Bazin, filozofija, filozofija medija, filozofija filma, Hegel, Platon, arhaizam, francuska filmska kritika.<\/em><\/p>\n

         <\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

             10(18)#1 2021 \u010casopis je otvorenog pristupa, a ovo djelo je dano na kori\u0161tenje pod licencom Creative Commons Imenovanje-Nekomercijalno 4.0 me\u0111unarodna.             UVOD   Predrag Finci Flat 5, Rosa Freedman Ctr. 17 Claremont Way, London, England predrag.finci@gmail.com Korona, bilje\u0161ke Puni tekst: pdf (226 KB), Hrvatski, Str. 2779 – 2787 […]<\/p>\n","protected":false},"author":2,"featured_media":370,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_et_pb_use_builder":"","_et_pb_old_content":"","_et_gb_content_width":"","footnotes":""},"categories":[90],"tags":[690,678,689,672,683,586,154,162,682,687,266,519,609,673,681,684,674,675,677,676,342,126,441,655,680,686,671,688,685],"class_list":["post-379","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-in-medias-res-broj-18","tag-a-philosophical-look-at-andre-bazins-realism","tag-ageism-in-the-age-of-pandemic","tag-archaism-and-hegel-in-the-supply-reel","tag-bits-and-pieces-experiences-of-social-reality-in-the-midst-of-the-covid-19-pandemic","tag-ecology-and-media","tag-fahira-fejzic-cengic","tag-fulvio-suran","tag-halima-sofradzija","tag-hipermedijska-sfera-i-virtualne-ucionice","tag-how-and-why-did-we-start-thinking-pandemically","tag-hrvoje-juric","tag-iris-jeroncic-tomic","tag-iva-paska","tag-ivana-marasovic-susnjara","tag-koronavirus-kraj-jedne-epohe-za-filozofski-preporod","tag-leo-katunaric","tag-maja-vejic","tag-media-and-health-angel-and-devil","tag-media-framing-of-the-coronavirus-in-croatia","tag-mirela-holy","tag-mirko-jakovljevic","tag-nenad-vertovsek","tag-predrag-finci","tag-rosanda-mulic","tag-school-for-a-hollow-life-or-the-pedagogical-poem-2-0","tag-the-tipping-point-when","tag-uvod-korona-biljeske","tag-victor-bruno","tag-virtualizacija-zive-umjetnicke-izvedbe-u-post-covid-19-kulturi","et-has-post-format-content","et_post_format-et-post-format-standard"],"acf":[],"yoast_head":"\n\u010clanci IN MEDIAS RES br. 18 - 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